无法

Detached Abstract

艺术家 | Artist：王易罡 | Wang Yigang

展览日期 | Exhibition Time：2017.5.21-6.18

开幕 | Opening :2017.05.21 4:00 PM

地点 | Venue : 空间站

北京市朝阳区酒仙桥路4号798艺术区中一街 | SpaceStation, NO.4 Jiuxianqiao Rd, 798 Art District, Beijing

王易罡

2017.5.21 周日 午间

798艺术区空间站

请走入库艺术直播间

艺术家本人将在展览开幕之前

现场解读他最新的作品

以及详细阐释他对于抽象艺术的理解

具体访谈内容还将入编库艺术十年文献抽象丛书，

欢迎关注库艺术微信公众号，获取相关信息。

“无法”——王易罡个展

文/郭芳

空间站很荣幸的宣布将于2017年5月21日至6月18日迎来“无法”王易罡个展。此次将展出鲁迅美术学院教授、美术馆馆长王易罡近年来的抽象系列作品。

表现主义是20世纪初兴起于德国的艺术运动，强调艺术家的个性和主观情感、反对传统客观再现的现代艺术运动。大胆的色彩，强有力的笔触，放弃画面的和谐，追求夸张、变形、破坏……用任何适合的语言表现真实的内心情感，反映了一战前后德国和欧洲的社会问题和政治危机。1945年第二次世界大战后，抽象表现主义（也称为纽约画派、行动画派）作为美国第一个艺术运动，结合了抽象和表现主义的共同特征，反对制造幻觉的具象绘画、反对传统的美学和逻辑，强调艺术中的自我表现和纯粹性观念，它与超现实主义和抽象艺术学派（如立体主义、未来主义和包豪斯）都有呼应。抽象表现主义分为“表现性抽象”（波洛克、德库宁为代表）和“色域抽象（罗斯科、纽曼为代表），前者运用超现实主义无意识、偶然性和自动主义的概念进行创作，强烈直接的抒发、宣泄内心的情感。后者则继承了立体主义和抽象主义的衣钵，运用简单统一的色块来展现内心感受的共鸣。

王易罡的创作源于对西方抽象表现主义的学习，但又不是直接挪用的再发展。这是因为，西方抽象表现主义的出现有其深刻的历史根源，并且受到当时的西方哲学、科技进步的深刻影响，加上两次世界大战后对既有文明的破坏，人的本能作用被重新唤起，荣格“集体无意识”理论的提出也对抽象表现主义的发展产生了影响，这一理论解释了这种包含了人类共同记忆的无意识是如何成为当时人们构造神话、哲学和科学的原动力的。

但是，20世纪80年代抽象表现主义在中国的发展却失去了这种上下文的关系，王易罡的艺术创作正是开始于那个年代。西方的抽象艺术在借鉴”日本书道”等东方文化的同时继续向前发展。当时的中国刚刚经历文革，进入改革开放新的历史时期，抽象表现主义引进中国既切断了与西方历史传承，也与东方文化保持一种疏离的关系，可以说，这种借鉴只是从形式语言、绘画风格方面的借鉴，中国艺术家在精神气质、文明特征、社会人文背景方面都与西方存在明显的不同。抽象表现主义在中国的萌芽发展势必存在某种信息的丢失，文献的不完整，甚至某些错误的理解，但是这种“不完整”也为抽象表现主义在中国的发展带来了新的可能。

抽象作品S49 | Abstract S49

布面油画 | Oil on Canvas 100x100cm 2017

抽象艺术如今已成为国际性的绘画语言，其主要任务就是用视觉化的图像来表现精神、音乐、力量、关系、自然法则和其他不为肉眼所见的事物。人类有史以来，表现肉眼不可见的事物对艺术家来说一直是个挑战。至于解决的办法，早在抽象艺术形成之前，人们就已经偏向于使用抽象手法。比如讲述神话故事，传播宗教信仰……有趣的是，大部分这些不可再现的思想会越过国界和语言的屏障，使某些艺术家成为在创作中混合运营科学和伪科学材料的大师。

王易罡同时沉浸于两种截然不同的美学世界中：西方艺术的抽象表现主义精神与东方艺术的禅宗精神。他试图创立一种基于自身经验的抽象艺术形式，在创作方法上坚持绝对的独立，“希望在破坏中寻找秩序”，从“否定”到“肯定”再到“否定”，如此的循环往复的过程中不断接受挑战。在批判中建立或者重生，对他来说绘画的过程实际上也已成为作品的一部分。艺术家必须不断寻找更能准确表达内心世界的技术和语言，在偶然中遇见必然，批判已有的秩序，在与物质世界的对话中寻找和自身精神世界的准确契合点。

学院派艺术家最容易落入对西方经典美学系统学习的窠臼，王易罡在开始个人创作之初就意识到，倘若只是单纯的对西方抽象表现主义形式、媒介、语言方面的重复，作品最大的成就即是成为西方抽象艺术谱系中的番外篇而已——一个中国化了的抽象表现主义样式。中国的抽象艺术如何立足于本土的文化立场，回归自身的艺术史发展逻辑，捍卫自己的文化身份？王易罡从一开始就选择了反叛学院派固有的美学逻辑，甚至会去从某些不舒服的地方中寻找新的突破点，不愿落入经典视觉经验的漩涡。受到现代科技对艺术的影响，表现主义者早已不再相信客观事物存在于固定、完整的不变状态，希望用纯抽象的艺术语言表现 “纯粹精神的世界”。

王易罡近几年的作品能看到强烈的能量在笔触运动中翻滚，或诗意澎湃，或汹涌动荡，或骤然自持。他在自己的画布空间中倾注着大量的顔料，在长时间与画布的搏斗中，体验着生与死的痛苦与快乐，在无数次的涂抹中感受着创造的过程及生命存在的意义。他每天的涂改可以证明生命依然在延续。这些画作令人唤起个人记忆中某些特殊而强烈的片段，那些愤怒、残酷、找寻、与失落，除了带给我们坦率、真实、直接的感受，又多了一分自在而为的淡然。他的画有时是具有侵略性的，引人注目，有时又顽皮率直，真性情表露无遗。对他来讲，艺术一直是在过程中被感知的，当下的感受充满某些永恒的意义，这是个体和精神存在的证明。艺术世界的较量是不分国界、风格和语言的，作品能否直接打动人，感染人，留下深刻印象，带来美学观念和技术的创新？这是艺术家每天都要直面的问题。如同具象绘画中的代表人物白发一雄用禅宗来理解抽象艺术一样，王易罡这些“无法”无主题的抽象画作，他早已逃离了叙事语言和实证主义的世界，那是艺术史逻辑也很少提及的部分：大相无形。他的艺术就是生活，每分每秒的感受都铭刻于作品，那是一种真实的释放和恒久的陶醉。存在感也许正是抽象表现主义艺术所想表达的终极母题。

2015抽象作品21号| 2015 Abstract 21

布面油画 | Oil on Canvas 60X60cm 2015

Detached Abstract: Wang Yigang Solo Exhibition

Guo Fang

The Space Station is honored to announcethat Detached Abstract: Wang Yigang Solo Exhibition will be held during May 21- June 18, 2017. The exhibition will display the abstract works created in recentyears by Wang Yigang, who is a professor at Luxun Academy of Fine Arts, and thecurator of the affiliated art museum.

Expressionism, emphasizing theindividuality and subjective perspective of artists, and opposing objectiverepresentation in modernist movement, was an art movement originated in Germanyat the beginning of 20th Century. Expressionist artists, applying bold colors, andstrong brushstrokes, relinquishing the harmony of the pictures, seeking forexaggeration, deformation, and destruction etc., expressed their emotions inany suitable language, which reflected the social and political crises ofGermany and Europe before and after the First World War. After the breaking ofWorld War II, abstract expressionism (also known as the New York School, actionpainting), as the first American art movement, which combined expressionism withabstract, and which, by emphasizing self-expression and pure conception in art,opposed illusions made by figurative painting, and the traditional aestheticsand logic, found an echo in surrealism and abstract art school (such as Cubism,Futurism and the Bauhaus). Abstract expressionism is divided into expressive abstract(Jackson Pollock, Willem De Kooning) and color-field painting (Mark Rothko, BarnettNewman). The former, strongly and directly expressing emotions, works byapplying the concept of surrealism unconsciousness, contingency, and automatism,while the latter inherited the mantle of cubism and abstractionism, usingsimple and uniform color to show the sympathy of inner feelings.

抽象作品 S37|Abstract S37

布面油画 | Oil on Canvas 80x60cm 2017

Wang’s creation springs from the study of abstractexpressionism, but it is not a redevelopment of appropriation, for westernabstract expressionism, influenced by western philosophy, and the progress ofscience and technology at the time, has its profound historical origin; and humaninstinct was recalled after the two World Wars’ devastation of civilization, abstractexpressionism, therefore, was also influenced by Jung’s theory of thecollective unconscious, which explained how this unconsciousness, implying thecollective human memory, arouses a motive power to construct myth, philosophy,and science.

However, in the 1980s, the development ofabstract expressionism in China lost those backgrounds. While Wang’s artisticcreation began in that period, the abstract art in the West had its developmentby means of learning from oriental cultures, such as the “Japanese calligraphy.”At that time China just navigated its way through the Cultural Revolution,entering a new historical period of reform and opening-up. The introduction ofabstract expressionism into China, maintained an alienated relationship to orientalculture, lost its historical heritage in the West. It might be said that thosereferences are merely references in terms of the form of the language, paintingstyle etc., for there are distinct differences between Chinese artists andwestern ones in qualities, humanity backgrounds, and characters of civilization.There must be a loss of information in the sprout and development of Chinese abstractexpressionism -- incomplete literature, even some misunderstandings -- but thiskind of “incompleteness” might bring new possibilities for the development ofabstract expressionism in China.

Abstract art, whose main concern is to usevisual images to show the spirit, music, strength, relations, laws of natureand other things invisible, has now become an international language of painting.It has always been a challenge for artists to perform things unseen. As to thesolution, people have been inclined to use abstract techniques before theformation of abstract art, such as telling fairy tales and spreading religiousbeliefs... Interestingly, most of these unrepresentable ideas will crossnational boundaries and language barriers, allowing some artists to becomemasters of mixing the materials of business science and pseudo-science in theircreations.

2015抽象作品 z16号|2015 Abstract z16

布面油画 | Oil on Canvas 160x140cm 2015

Wang was immersed in two entirely differentaesthetic worlds: the abstract expressionism spirit of Western art and the Zenspirit of Oriental art. He tried to create an abstract art form based on hisown experiences, and adhered to the absolute independence in creation methods, andwith “the hope to find orders in destruction” continued to face challenges from“negative” to “positive” and then to “negative.” Establishing or regeneratingin criticism, the course of painting, for him, has actually become a part ofthe work. The artist must seek after more accurate expressions of technologyand language of the inner world, meeting the necessity in accidental,criticizing the given order, and seek for a fitting point linking his spiritualworld in the dialogue with the material world.

Academic artists in China are often apt to getinto a rut of the systematic study of western classical aesthetics. Wang, instead,at the beginning of creation, realized that the utmost achievement his worksmight reach is to become an extra story, a Sinicized pattern of Westernabstract expressionism, sprung from the Western abstract art if only to simply repeatthe form, media, language and so on in western abstract expressionism. HowChina’s abstract art can base itself on the local cultural standpoint? How it canreturn to its own logic of the development of art history, and defend its owncultural identity? Wang, at the very beginning, chose the inherent aestheticlogic that rebels against the academic, and even sought new breakthroughs insome uncomfortable places, rather than fallen into the vortex of classicalvisual experience. Influenced by modern science and technology, expressionistshave long ceased to believe that objective things persist in a fixed andcomplete state; and they wish to express the purely spiritual world in purelyabstract artistic language.

There, in Wang’s recent works, can be foundan intense energy tumbling in the strokes’ movement, surging poetically, or carryinga fierce turbulence, or suddenly self-sustained. He poured a lot of paints onthe canvas, and savored the pain and pleasure of life and death in the strugglewith the canvas, and experienced the creation and the meaning of life in thenumerous smearing. His daily alterations would prove that life is still goingon. These paintings evoke from one’s personal memory some special and strongfragments, the fragments of angry, cruelty, searching, and frustration, whichbrings us into a kind of being indifferent beside frank, real, and directexperiences. His paintings are sometimes aggressive, compelling, sometimesnaughty and frank, revealed the nature of emotions. Art, for him, has beenperceived in a process; and the instant feelings are filled with certaineternal meanings, which are the evidence of the existence of the individual andspirit. The contest of art goes beyond national boundaries, styles, andlanguages. The problems that can the artworks immediately impress people, and infectpeople, making a deep impression, and bringing about innovations in aestheticconceptions and techniques are problems artists have to face every day. Like KazuoShiraga’s understanding of abstract art in the spirit of Zen, Wang’s DetachedAbstract paintings had fled from the narrative language and positivism world, whichthe logic of art history rarely mentioned: grand vision has no set design. Hisart is his life; and every minute of his feelings is engraved on his work,which is a real release and everlasting intoxication. The feeling of presence maybe the ultimate motif that abstract expressionism art is to express.

王易罡

1961 年生于黑龙江省齐齐哈尔市

1986 年毕业于鲁迅美术学院油画系获学士学位

现居沈阳，鲁迅美术学院教授、美术馆馆长、研究生导师，中国美术家协会策展委员会委员

主要个展

2017 王易罡个展，塞美术馆，韩国，首尔

“无我之境”，波恩当代艺术馆，德国，波恩

2016 “flow化境”，香农画廊，法国，巴黎

2016 “未见”，巴黎亚洲艺术中心，法国

2016 “反抽象：书写，过程，身体成为一种新方式”

西安美术馆，中国，西安

2013 “无关乎远近”，沈阳久麗美术馆

2012 “在色彩与情感之间”,索卡艺术中心，中国，北京

2010 “王易罡抽象艺术回顾展”，今日美术馆，中国，北京

2004 “中国山水”，双视觉画廊，美国，加州

2003 “长在红旗下”，双视觉画廊，美国，加州

1996 “王易罡个人艺术作品展”，红门画廊，中国，北京

主要联展

2016 “重绘画，博弈当代艺术困境” 白盒子美术馆，北京

2016 “中国当代纸本绘画”the waterfront gallery，伦敦

2016 “2016 抽象中国”展 ，上海明圆美术馆，上海

2016 “运行中的非形象”，正观美术馆，北京

2016 “游吟时代 ，中国当代艺术中的诗意”艺术方位画廊 深圳

2016 “抽象艺术研究展”，今日美术馆，中国，北京

2015 “倒叙的美术史：中国当代艺术的另一种线索”艺利美术馆，中国，北京

“抽象与意境”，缤纷美术馆，中国，北京

“国风”中国当代艺术国际巡展，中国，北京

“后学院学术研究展”，广州美术学院美术馆，中国，广东

2014 “再编码：修辞与叙事的重构”芳草地画廊，中国，北京

2013 “未曾呈现的声音”平行展，意大利，威尼斯

2012 “无形之形——中国当代艺术展”，卡尔舒特艺术中心，德国

2011 “独领风骚—北京索卡十年”，索卡艺术中心，中国，北京

2010 “中国性—2010当代研究艺术文献展”，苏州本色当代美术馆，中国，苏州

2006 “时间的一个点”，中国，武汉

2005 亚洲艺术节，大河上下——新时期中国油画回顾展，北京

2004 国际艺术双年展，美国，加州

2003 “时间的一个点”，中国，长沙

2001 “学院与非学院派”中国画坛精英展，上海艺博画廊，中国，上海

2000 第三届全国青年美术展，中国，北京

1999 日本东亚友好艺术展，日本，富山

1997 香港回归油画大展，中国，上海

1996 国际视觉艺术周，德国，汉堡

1995 “中国新艺术精神”，美国，纽约，洛杉矶

1994 中国批评家年度提名展，中国美术馆，北京

Wang Yigang

1961 Born in Qiqihar,Heilongjiang Province

1988 Graduated from the Oil Painting Department ofLuxun Academy of Fine Arts

Currently lives inShenyang , Professor of Luxun Academy of Fine Arts , Graduate studentsupervisor , Committee member of Curator committee , China Artists Association

Selected SoloExhibition

2017 Wang Yigang’s exhibition , Sai Gallery ,Korea , Seoul

2017 “Selfless State” , Bonn Museum ofContemporary Art , Germany , Bonn

2016 Anti-Abstraction:a new method stablished by descriotion,process andbody-painting , Xi’ an Art museum,China

2013 “Regardlessof distance”, Jiuli Art Museum , Shenyang , China

2012 “Between colorand emotion”, Soka Art Center , Beijing , China

2010 “WangYigang abstract art retrospective exhibition”, Today Art Museum , Beijing ,China

2004 “Chinese Landscape”,Dual Vision Gallery,California,USA

2003 “Growingunder the red flag”, Dual visual Gallery , California , USA

1996 WangYigang’s art works exhibition , Red Gate Gallery , Beijing , China

Selected GroupExhibition

2016 The working non-Figurative system,Right view Museum,BeiJing,China

2016 The era of the bords,Thepoetry in chinese contemporary art , J&ZGallery ShenZhen,China

2016 AbstractArt Research Exhibition, Today art Museum,BeiJing,China

2015 Art Historyin Reverse Narration: Another Clue of Contemporary Chinese Art, Yili Gallery，Beijing China

Abstract and Art Concept, Binfen ArtGallery, Beijing China

National Fade：Cruise Exhibition International ofContemporary Chinese Art, Beijing China

Post Academy Age： Exhibition of Studies, Guangzhou China

2014 “Re-encoding : The reconstruction of therhetoric and narrative”, Fangcaodi Gallery , Beijing , China

2013 “Voice of the Unseen” parallel exhibition ,Venice , Italy

2012 “The shape of intangible-Chinese ContemporaryArt Exhibition”, Kart Shute Art Center , Germany

2011 “Take the lead-Beijing soka ten years”, SokaArt Center , China

2010 “Chinese style-2010 contemporary artliterature exhibition”, True Colors Contemporary Art Museum , Suzhou , China

2006 “A point of time”, Wuhan , Hubei

2005 Asian Art Festival ,”Along the Great River”in the new period Chinese oil painting retrospective exhibition , Beijing

2004 The international Art Biennale , California ,USA

2003 “A point of time”, Changsha , Hunan

2001 “The Academy and the Non-academic”-Chinesepainting exhibition , Shanghai Yibo Gallery

2000 The Third National Youth Art Exhibition ,Beijing

1999 Japan’s East Asia friendly art exhibition ,Toyama , Japan

1997 The oil painting exhibition of Hong Kong’sreturn , Shanghai

1996 international visual arts week , Hamburg ,Germany

1995 “Chinese new art spirit”, New York , LosAngeles , USA

1994 The year nominated exhibition of Chinesecritics , China Art Museum , Beijing