和其光 同其尘
The Mysterious Agreement
 
王玺 Wang Xi
 
 
开   展:  2011年12月09日, 15:00 – 22:00
Opening:  2011.12.09, 15:00-22:00 
展览时间: 2011年12月09日—2012年2月18日
         (周二至周日 10:30-18:00 )
Duration: 2012.3.16-2012.5.16 (Fri.-Wed. 10:30am-6pm )
展览地点: 广州市天河区天河路365号天俊阁5层
Venue: 5F, No. 365 Tianhe Rd., Tianhe Dist., Guangzhou, Guangdong
学术主持:鲁明军 
Academic Host: Lu Mingjun 
策划 / 主办:5 楼艺术空间
Curated / Hosted by: 5 Art Space
 
 
王玺_海报(小图)-1206
王玺 
1982年生于四川省攀枝花市。
2004年毕业于川音成都美术学院油画系,获学士学位。
2005年就读川音成都美院油画系研修班。
2006年至今生活创作于成都,职业艺术家。
 
参加展览
2002年 “突发10.28”当代艺术展(成都)
2003年 铅锋体验素描六人展(成都)
        首届农民街当代艺术展(成都)
2005年 四川省新人新作展(成都)
        四川省首届艺术院校硕士研究生及导师美术作品邀请展(成都)
2007年 川音成都美院首届油画系学生年展(成都)
2008年 川音成都美院油画系毕业展(成都)
        今日美术馆 “青涩创想”2008艺术院校大学生提名展(北京)
        成都中联国兴书画院 “铭记5·12 重建精神家园”新加坡展(新加坡)
        第四届“农民街”当代艺术年展 暨北村艺术区首届开放展 (成都)
2009年 “过敏性”Y艺术组第一回展(成都)
       “半途不废”Y艺术组第二回展(成都)
        99起艺画廊 “红河起艺”台湾、昆明、重庆、成都当代艺术联展(蒙自)
2011年 A-7958画廊 “两岸思考,当代对话”作品展(台湾)
 
 
WANGXI
1982 Born in Panzhihua Sichuan Province
2004 Bachelor of Art-School of Oil Painting from Chengdu Academy of Fine Art
2005 Further education in Chengdu Academy of Fine Art
2006 Professional artist living in Chengdu
 
Exhibitions:
2002 “Breakthrough 10.28”Contemporary Art Exhibition (Chengdu)
2003  Sketch Pioneer Sextet (Chengdu)
          Contemporary Art Exhibition on Nongmin Street (Chengdu)
2007  Chengdu Academy of Fine Art Art Exhibition (Chengdu)
2008  Chengdu Academy of Fine Art Graduation Exhibition (Chengdu)
          Today Art Museum “Green Hope Project” Young Artists Exhibition (Beijing)
          5.12 Rebuilding Spirituality (Singapore)
2009 “Allergic” Y Group Exhibition (Chengdu)
         “Stopped Midway” Y Group Exhibition (Chengdu)
           Yi Art Gallery Chengdu Contemporary Artist Group Exhibition (Inner Mongolia)
2011  Gallery 7958 Cross-Straits Dialogue Exhibition (Taiwan)  
自  叙
 
画要隐,而非显;张扬的力,该是向内的。不是不语,而是给出一些蛛丝马迹,我以为好。
最近漫无目地乱涂,固定的体系打乱之后从浑浊之中重拾回归,我想得到一个真视野。风景对我来说是一个引子,与写生、照片甚至具体之物无关。一个问题是我们为何对风景着迷,是什么吸引了你?我想不是具体的物质,而是人的内心向往,所以,虚构的风景一旦保持了这种向往,它即便不是你“眼见为实”,你也会认为那就是风景。
很长一段时间,我偏好于画那频繁而向上的笔触,感受一种抽离实体的精神。有点不安,却并不迷茫,这是一种对生的向往。这一点与写实无关、与表现无关,甚至与感觉无关。仅存的那点秩序不需要代表“美”,一些不太漂亮的笔触、漏洞、空白被反复几十上百遍便可以作为画面新的秩序而成立。孤立的问题会放大自身,重复的问题便成为所谓常规,这算是一种社会性吧!
图像在这个时代泛滥成灾,也构成了我早期创作的思考。我的绘画对摄影图片的依赖度是很低的。有时我还不自觉地抵触即得图像,我对它保持怀疑。使用图像时,有时我会主动地扭曲它,只保留最基础的图像识别。有时我只用脑海里跳出来的映像。所以,我觉得有必要保持创作拥有主动权和控制力。图像是被当代艺术肢解了的感官形式末梢。那么对于绘画来说,哪里隐喻真“象”,我想那一定是超越了这具体之物的、甚至消解掉“核”自身的某体。
 
 
WangXi’s Prologue
 
Like powerful forces, paintings should also be introverted. Rather than speaking out loud, thoughts are better to be hinted subtly.
 
Recently, I have been painting aimlessly, after putting an end to what’s standard, I was able to find myself once again, I wish to find a new point of view, for me, landscapes are merely an introduction, it has little to do with my sketches, my photos, even the subject itself. Why are we infatuated with landscape, what is it that catches our attention? I think it has more to do with inert emotions of wanting than the subjects themselves. Therefore, as long as these fictional landscapes keep this inert wanting, then, when looking at them, one can still consider these images to be “real”.
 
Over the recent years, I am used to painting with upwards and frequent brush-strokes; it feels as though detached from the subject. Its quite unsettling, but still I feel on course, I think it’s an outlook on life. It has nothing to do with what’s realistic, has nothing to do with what’s presented, it even has not much to do with emotions. What remains of the orderliness does not represent what’s “beautiful”, those not so beautiful brush strokes and blank spaces can be repeated until they form a new order on the canvas. Loneliness will enlarge itself, repeated doubts will become the norm, and maybe this is how society works.
 
Images have become abundant in this age, it had also crafted my initial creative thoughts. My dependence upon photography is very low, sometimes I would even doubt photographs. When I use photography, I would distort them and only keep the most primitive. Sometimes I would use imagined landscapes. I think it’s necessary to maintain in control. Images are amputated sensory nerve-ends of contemporary art. Therefore, for art, where the true “shape” or “form” is hidden, where can one find the substance that surpasses the realistic, even where the medium is able to eliminate the ‘core’ itself.
 
Wang Xi
Friday 25th Nov 2011