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自由的尺度·第五回 —— 中國當(dāng)代水墨世界巡展（北京站） BOUNDARY OF FREEDOM · FIFTH ROUND ——CHINESE CONTEMPORARY INK WORLD TOUR (BEIJING) 參展藝術(shù)家（按姓氏筆畫排名）：王冬齡、王秋人、王舒野、田黎明、白明、劉知白、劉巨德、劉子建、劉鄧、島子、楊鍵、佘文濤、邱振中、陳光武、張大我、李永波、吳家驊、周韶華、茅小浪、鄭連杰、侯拙吾、侯珊瑚、鐘躍英、姬子、賈西貝娃、黑鬼、鮑蓓、樊洲 Artists（in the order of the number of strokes in the surnames）：Wang Dongling，Wang Qiuren，Wang Shuye，Tian Liming，Bai Ming，Liu Zhibai，Liu Jude，Liu Zijian，Liu Deng，Dao Zi，Yang Jian，She Wentao，Qiu Zhenzhong，Chen Guangwu，Zhang Dawo，Li Yongbo，Wu Jiahua，Zhou Shaohua，Mao Xiaolang，Zheng Lianjie，Hou Zhuowu，Hou Shanhu，Zhong Yueying，Ji Zi，Jia Xibeiwa，The Dark Ghost，Bao Pei，F(xiàn)an Zhou 策展人：王春辰 Curator：Wang Chunchen 出品人：賈廷峰 Producer：Jia Tingfeng 展覽時間：2018年10月13日—10月19日 Duration: 13th Oct. 2018 — 19th Oct. 2018 開幕酒會：2018年10月13日（周六）15:30 Opening reception: 15：30，13th Oct. 2018 展覽地點：太和藝術(shù)空間 Exhibition Venue: Taihe Art Gallery 地址：北京市朝陽區(qū)酒仙橋路798藝術(shù)區(qū)2號院B10 Add: B10 798 Art Zone Jiuxianqiao Road Beijing. Tel: 010-59789856 Email: taiheyishu@163.com Website: www.taiheart.com 前言 王春辰 水墨作為中國本土生長的一種藝術(shù)形式，歷史源遠(yuǎn)流長，綿延至今。自20世紀(jì)以來，在與全球化的藝術(shù)交流與互動中，水墨藝術(shù)發(fā)生著自身邏輯的巨大演化與推進(jìn)。在水墨的理解和認(rèn)識上，那些來自國際的其他藝術(shù)類型都成為水墨的比較對象，也成為反觀自身的鏡像。 水墨的生命力在于藝術(shù)家群體的自我反思和孜孜不息的探索實踐。我們無法想象一種千年以上的藝術(shù)形式，如果不在當(dāng)代進(jìn)行深刻而全面的反省，它如何煥發(fā)出新的生命、如何在今天如此豐富的藝術(shù)生態(tài)里凸顯其特殊的藝術(shù)魅力。我們知道，在過去的一個多世紀(jì)里，中國歷經(jīng)多元文化的沖擊、國運跌宕、戰(zhàn)爭以及社會政治運動，而其中針對中國水墨藝術(shù)的討論、爭論不絕于耳，經(jīng)常是這樣的爭辯讓中國人心潮澎湃，各種觀點和立場針鋒相對。如果說二十世紀(jì)的全球藝術(shù)是一個大變動大轉(zhuǎn)化大發(fā)展的時代，那么關(guān)于中國水墨的討論也是如此，甚至可以說關(guān)于一種特定藝術(shù)媒介的討論，也就是這個中國的水墨了。 在中國對它的討論，不僅來自于藝術(shù)家群體，還來自于中國早期的政治家們，如晚晴倡導(dǎo)改良的康有為，民國初年倡導(dǎo)新學(xué)的陳獨秀等等，而民國早期留學(xué)歐洲的徐悲鴻等也提出改良中國畫的問題，到了1950年代有“新國畫運動”，到了80年代有“中國畫窮途末路”之爭，到了90年代有關(guān)于水墨繪畫是否以筆墨為根本的爭論，到了21世紀(jì)是關(guān)于“新水墨”的討論。對于它的世紀(jì)之辯，足可以是歷史的奇觀。 那么，對于不了解這些背景的國際觀眾，可能今天看到的僅僅是這些世紀(jì)之爭的結(jié)果，或看到的是它對中國水墨影響的一個側(cè)面。那么，我們今天需要說的是什么呢？歷經(jīng)百年的陶冶和筋骨磨礪以及我們自身對這種水墨藝術(shù)的重新認(rèn)識，結(jié)論是它鳳凰涅槃了。 其根源在于東方這片土地上，有一批真正的體悟自身、棲息在蕓蕓眾生中、刻骨銘心地視水墨為生命本源的人們在堅守著水墨的文化底蘊、水墨與個體價值的關(guān)聯(lián)、水墨與人性不相分割的基因關(guān)系，最主要是在中國有一批不在主流的意識體系之內(nèi)的人沒有放棄他們身為中國人的那種生命堅強(qiáng)意志驅(qū)動他們?yōu)樗纳òl(fā)走下去做下去。 在這里，我們想證明的是，不是水墨作為藝術(shù)語言形式，它有其筆法、章法、畫論支撐，也不說它有新的藝術(shù)理論資源來打破它的媒介限制，也不談它大量吸收了現(xiàn)代藝術(shù)的創(chuàng)作手法，而是昌明它所具有的中國人本價值，即作為自由的價值。如果你還滋養(yǎng)在一種源自漫漫遠(yuǎn)古時期的信念中，如果你還領(lǐng)受著“天行健，君子以自強(qiáng)不息”這樣的古訓(xùn)，如果你沒有沉落在強(qiáng)勢話語的灌輸中，那么我們就會發(fā)現(xiàn)水墨成為了中國人安身立命的場域，尺幅之間，包含了天地宏闊的自由。水墨已經(jīng)不僅僅是一幅作品的含義，它是中國人寄寓情思感悟與個體生命的庇護(hù)所；如果說中國人在20世紀(jì)遭遇了國難家亡的悲劇、遭遇了文化斷裂、思想飽受沖刷的苦澀，那么水墨就成了一批中國人尋求個體自由的最后領(lǐng)地。這里的自由是不茍合于思想禁錮的自由，是不媚俗于陳規(guī)陋習(xí)、僵化頑固的自由，是出污泥而不染的自由，是悲憫天地蒼生的自由，是化解心頭郁結(jié)的自由，是不悖逆自然大道法則的自由，是通達(dá)普世人性價值的自由。 自由，總是與羈絆伴隨。正因為如此，才有了20世紀(jì)的曠久爭論，才有了不茍合于趨魅世俗的真水墨。自由的水墨絕非是天恩賜予的，它只能是苦難中磨煉下來的。水墨之自由全在于人性不曾泯滅，全在于心靈的自由，全在于對時代隱秘的洞察。如果自由是人的自然屬性，是人之為人的自然需求，那么，水墨作為藝術(shù)提供了這樣的可能性，提供了藝術(shù)家進(jìn)入自由空間的可能性。但是，我們也要說到水墨藝術(shù)具有世界上最龐大的創(chuàng)作群體，由于其筆墨紙硯工具簡單，從事水墨繪畫創(chuàng)作的人數(shù)之多，史無前例，匯流成浩浩蕩蕩的奇觀，但這些依然不足以說明水墨的自由，因為真正自由的水墨必是終生歷練的事情，不僅出神入化、得心應(yīng)手，而且是品格高雅、道境至上的水墨。我們訴求的自由的水墨是為了生命價值的自由，不是消遣的水墨，而是與之悲喜同在的水墨，是俯仰天地、與命運呼吸的水墨。 如果我們理解了20世紀(jì)對于中國的含義，那么我們就更加深切理解水墨對于中國的意義和豐富的潛臺詞。我們這里倡導(dǎo)的自由的水墨必將是未來歷史的水墨，而不是在現(xiàn)世中名利場里的那些浮光掠影的水墨——是那些水墨壞了水墨的真實價值和生命意義。生命需要在沉靜中積孕不可遏制的生命力，讓生命之輕不再沉重。 在21世紀(jì)的藝術(shù)流變中，我們回望東方，瞭望世界，水墨不再孤立，不再被詛咒束縛，它開始日漸凸顯內(nèi)蘊的意義——自由的生命才是價值，而生命之自由才能創(chuàng)造自由的水墨，維系著水墨藝術(shù)的生命根基�；诖耍覀儾邉澚怂拇巍蹲杂傻某叨�——中國當(dāng)代水墨藝術(shù)》，它們分別在巴塞爾、美洲、亞洲巡展，向國內(nèi)外觀眾展示中國的當(dāng)代水墨，使得國內(nèi)國際觀眾深為震撼，讓他們看到了當(dāng)代水墨的卓越成果，展現(xiàn)了其非凡的美學(xué)特質(zhì)、語言表現(xiàn)及觀念探索。 今天，我們再次策劃《自由的尺度（第五回）——中國當(dāng)代水墨藝術(shù)走向歐洲》，持續(xù)向同樣擁有悠久藝術(shù)歷史的意大利觀眾來展示來自東方的特殊藝術(shù)，展示一種完全不同于古典中國畫的藝術(shù)，它的獨特性可以說是國際藝術(shù)景觀世界中的新大陸，它將打破人們對傳統(tǒng)水墨藝術(shù)的認(rèn)識，為當(dāng)代藝術(shù)的內(nèi)在豐富性增添新的元素。通過這二十幾位藝術(shù)家的作品，讓我們看到歷史的敘事結(jié)構(gòu)可以有另外的邏輯，在我們熟悉的視覺經(jīng)驗之外，還有這樣富有創(chuàng)造性的藝術(shù)存在。我們是希望通過廣泛展示這些中國當(dāng)代水墨藝術(shù)來與國際藝術(shù)界對話和交流，以藝術(shù)家的個體創(chuàng)造來揭示中國當(dāng)代社會與人的價值關(guān)聯(lián)，以此來探索一種具有歷史基因的藝術(shù)如何在全球化時代里演變著、如何再生著，更重要的是通過觀看這些當(dāng)代水墨作品來感悟中國的文化定義、來探究人本主義的中國文化。 2018年4月11日 于中央美術(shù)學(xué)院 Preface Wang Chunchen Ink is an art form that is native to China, with a long-standing and well-established history that has stretched unbroken into the present. In global artistic exchanges and interactions since the beginning of the twentieth century, there has been a major evolution in the logic of ink art. In our understanding and comprehension of ink, other forms from the international art world became comparisons or mirrors for the medium. The vitality of ink lies in the continued self-reflection and diligent exploration of artists. We cannot imagine how an art form that is thousands of years old could spark new life or showcase its distinctive charms in such a rich artistic environment if it were not being deeply and completely rethought in the contemporary moment. In the last several centuries, we know that China has experienced multiple cultural collisions, shifts in national destiny, wars, and social and political movements, and the discussions and debates about Chinese ink art that took place over these centuries still linger. These arguments filled Chinese people with deep emotion as they debated diametrically opposing viewpoints and ideas. If global art in the twentieth century was a time of big changes, big transformations, and big developments, then this was also true of discussions of Chinese ink. The discussion of ink in China did not just occur amongst artists; China’s early politicians also engaged with the topic. In the late Qing period, Kang Youwei advocated for the reform of ink, and in the early Republican period, Chen Duxiu promoted New Learning. Xu Beihong, who studied in Europe early in the Republican period, also raised the issue of reforming Chinese ink painting. There was also the New Chinese Painting Movement in the 1950s, the 1980s debate about “the end of Chinese ink painting,” the controversy over whether ink and brush were the foundation of ink painting in the 1990s, and the twenty-first century discussion of New Ink. These grand debates about ink art could be considered spectacles of history. International viewers who do not understand this background may just see the results of these heated debates, or a portion of their influence on Chinese ink, so what do we need to say today? After one hundred years of molding, tempering, and re-understanding ink art, the medium has risen like a phoenix. Its roots can be found in the land of the East, and there is a group of people who truly understand themselves, reside with all things in the universe, and deeply believe that ink is the source of life. They adhere to the cultural underpinnings of ink, the connections between ink and their individual values, and the inherent and inseparable relationship between ink and human nature. Most importantly, China has a group of people outside the mainstream system who have not abandoned their strong living will as Chinese people in continuing to drive the vitality of ink. Here, we do not want to demonstrate ink’s place as an artistic language or form, supported by its brushwork, compositional structures, and painting theories. We do not want to say that new art theory has been proposed, which will break through the restrictions of the medium, and we don’t want to talk about ink’s broad absorption of the creative methods of modern art. Instead, what we want to do is elucidate ink’s inherently Chinese value: freedom. If you are still nourished by the faith of remote antiquity, if you still accept that “Heaven, in its motion, gives strength. The superior man, in accordance with this, drives himself to ceaseless activity,” and if you have not become ensnared by the infusion of discourses of power, then we discover that ink has become a lifelong pursuit for the Chinese people. The freedom of the vast universe exists within these small paintings. Ink has meaning not only for single works; it is a haven of mood, understanding, and individual life for the Chinese. In the twentieth century, the Chinese people have endured the tragedy of national crisis and the pain of cultural fissures and intellectual erosion, so ink became the last refuge for Chinese people pursuing individual freedom. Here, freedom is neither tied to intellectual suppression nor tarnished by outmoded and rigid ideas; it is a freedom that grows from the mud but remains unsullied. It is a freedom that shows pity for all living things on earth. It is a freedom that reconciles mind and heart. It is a freedom that does not rebel against the laws of nature and the Dao. It is a freedom that connects to universal human values. Freedom is always accompanied by constraints, and precisely because of this, we have the twentieth century’s long-standing disputes about the medium and a true ink that is not tied to the vulgar world. The freedom of ink is not bestowed by the kindness of heaven; it can only be refined in suffering. The freedom of ink lies entirely in the indomitability of the human spirit, the freedom of the soul, and insight into the mysteries of one’s time. If freedom is a natural property of man and a natural requirement for human interaction, then ink as an art form provides this possibility, the possibility for the artist to enter a space of freedom. However, ink art has the world’s largest creative cohort, and due to the simplicity of the tools of ink, brush, paper, and inkstone, an unprecedented number of people are making ink paintings. They come together to create a seemingly endless landscape, but this doesn’t entirely explain the freedom of ink, because truly free ink must be refined over a lifetime. It is not simply achieving mastery or even skilled proficiency; it is achieving refinement and elevation through ink. We pursue a free mode of ink for the freedom of living values. Ink is not a pastime; it is an art form with both joy and pain. It is a medium that makes you look up to heaven and breathe in your destiny. If we understand the meaning of the twentieth century for China, then we profoundly understand ink’s meaning for China and its rich subtext. Here, the freedom of ink that we promote must be past and future ink, and not the superficial ink of the present, focused on fame and fortune—that kind of ink ruins the true value and living meaning of ink. Life needs to nurture unrestrained vitality amidst calm, lightening the weight of life. With the developments in art in the twenty-first century, we looked back to the East, while keeping an eye on the world. Ink is no longer isolated, no longer cursed; it has begun to reveal its intrinsic meaning—only then is the freedom of life valued. Only the freedom of life can create the freedom of ink, maintaining a living foundation for ink art. Based on this, we have curated four editions of “Boundary of Freedom: Chinese Contemporary Ink,” which have traveled to Basel, America, and Asia, bringing Chinese contemporary ink to audiences in China and abroad. Viewers from around the world have been amazed by the wonderful products of contemporary ink and their extraordinary aesthetic qualities, linguistic expressions, and conceptual explorations. We have now curated the fifth edition of “Boundary of Freedom,” subtitled “Chinese Contemporary Ink Towards Europe.” We are presenting a distinctly Eastern art, but one that is entirely different from classical Chinese painting, to the Italian public, a people with a similarly long artistic history. The unique quality of this exhibition could be considered a new territory in the spectacular world of international art; it will break with people’s understanding of traditional ink art, adding new elements to the inherent richness of contemporary art. Through the work of these two dozen artists, we see that the narrative structures of history can take on another logic; there is a richly creative artistic existence outside of our familiar visual experience. We hope to engage in dialogue with international art through the wide exhibition of Chinese contemporary ink art. We have used the individual creations of these artists to reveal the relationship between Chinese contemporary society and Chinese people, exploring how an art form with a long history can evolve and regenerate in an era of globalization. More importantly, through these contemporary ink works, viewers will come to appreciate China’s cultural position and explore human-centric ideas in Chinese culture. April 11, 2018 Central Academy of Fine Arts 展覽作品欣賞：
王冬齡 Wang Dongling 亂書·韋莊詩·江雨霏霏 Chaotic Scribbling·Wei Zhuang·Heavy Rain 97×180cm 紙本水墨 Chinese Ink on Paper 2017
王秋人 Wang Qiuren 丁酉云山 Cloud and Mountatin 紙本設(shè)色 Color on Paper 205x70cm 2017
王舒野 Wang Shuye 時空祼體·即（118） Space-time nude Identical（118）墨、朱墨、麻紙 Ink, red ink on jute Paper 114X83cm 2018
田黎明 Tian Liming 都市男孩 City Boy 139X69CM 紙本設(shè)色 Ink and Color on Paper 2017
白明 Bai Ming 繭像·地圖 The Map of Silkworm Cocoon 98x198cm 紙本水墨 Chinese Ink on Paper 2018
劉知白 Liu Zhibai 洗馬印象 The View of Xima 69x138cm 紙本水墨 Chinese Ink on Paper 2002年
劉巨德 Liu Jude 追日草 The Sun-Chasing Grass 水墨紙本設(shè)色 Ink Colors on Rice Paper 141cm×362cm 2011
劉子建 Liu Zijian 石墨鐫華--19 Graphite Engrave China 19 200x120cm 紙本水墨 Chinese Ink on Paper 2017
劉鄧 Liu Deng 泰一Ⅱ Aplomb一Ⅱ 皮紙 丙烯 propene colour on leather paper 221×215cm 2013
島子 Dao Zi 靈泉苦竹 Suffering Bamboo Beside Spiritual Springs 紙本水墨設(shè)色 Ink and Color on Paper 137x69cm 2015
楊鍵 Yang Jian 缽 Alms Bowl 紙本水墨 Chinese Ink on Paper 120x86cm 2017年
陳光武 Chen Guangwu 摹寫王羲之 Facsimile Wang Xizhi 145×365cm 紙本水墨
張大我 Zhang Dawo 生命玄線之三 Life Archeline No.3 400×118cm 紙本水墨 Chinese Ink on Paper 2017
李永波 Li Yongbo 無垢白蓮明光 Shining Forth from the Untainted White Lotus 水墨 Ink-wash on Chinese paper 192X100cm 2017
吳家驊 Wu Jiahua 水墨日志8 Chinese Ink Journal No.8 70×138cm 水墨紙本 Chinese Ink on Paper 2018
周韶華 Zhou Shaohua 大漠浩歌——戰(zhàn)旱極 Great Songs of the Desert Fighting the Severest Drought 紙本水墨 Chinese Ink on Paper 247cm×123cm 2000
茅小浪 Mao Xiaolang 草虬 Wilderness Dragon 非宣水墨 Non-rice Paper Ink 96×135cm 2017
鄭連杰 Zheng Lianjie 腥紅色的天空 Scarlet Sky 紙本設(shè)色 Ink and Color on Paper 33×137cm 2013
侯珊瑚 Hou Shanhu 態(tài)象系列TW1616 Dynamic & Phenomenon seriesTW1616 Chinese Ink on paper 紙本水墨 180×96cm 2016
鐘躍英 Zhong Yueying 浮現(xiàn) Emerge 紙本水墨 Chinese ink on paper 188×94cm 2016
姬子 Ji Zi 永恒的流動 Eternal Flowing 182.5x145cm 紙本水墨 Chinese Ink on Paper 2013
鮑蓓 Bao Pei 紐約的雨， 是流亡者的雨之二 Rain and Tear in New York City No.2 紙上綜合材料 Mixed Media on Paper 132m x102cm 2014年
樊洲 Fan Zhou 韻律山水 Rhythm Landscape 245x125cm 紙本水墨 Chinese Ink on Paper 2016
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