参展艺术家：张方白、封加樑、乐坚

开幕时间：2023.10.1 16：30

展览时间：2023.10.1-2023.11.1

地点：中国▪上海▪普陀区莫干山路50号4A-109

发行人：沃夫冈▪那爱（德国）

策展人：薛红艳（中国）

学术主持：马丁▪伦德尔（德国）

Participating artists: Zhang Fangbai, Feng Jialiang, and Le Jian

Opening time:16:30, October 10, 2023

Exhibition time: October 1, 2023- November 1, 2023

Adress：4A 109, No. 50 Moganshan Road,Putuo District, Shanghai, China

Publisher：Wolfgang Neu（Germany）

Curator：Xue Hongyan（China）

Academic Chair：Martin Rendel（Germany）

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艺术家简介（Artist Introduction）

张方白，1965 年生于湖南衡阳。1991 毕业于中央美术学院油画系第四工作室，曾任天津美院油画系教师，现为华东师范大学美术学院教授、中国表现中心主任。

主要个展：

2018 凝固—张方白个展/科布伦茨路德维希博物馆/德国凝固—张方白个展/奥赛画廊/德国

2017 方白同名个展/户尔空间/柏林

2013 立场／美仑美术馆／长沙／中国

2013 张方白油画展／GALERIE PHILINE CREMER／杜塞尔多夫／德国

2011 独立／亚洲艺术中心／北京／中国

2008 张方白艺术展／J.BASTIEN 画廊／比利时

2007 华夏：张方白的世界／莎拉·希尔顿艺术博物馆 ／芬兰

2005 鹰的形象·张方白油画展／阿斯特利艺术馆／瑞典

1991 张方白油画展／中央美术学院画廊／北京／中国

主要群展：

2022 切磋、当代艺术展／鼓浪屿当代艺术中心／厦门。

第三届新写意展／崔振宽美术馆／西安。

2021 众妙之间、中欧艺术邀请展／上海玖事美术馆／上海 CDMOA 年度艺术学术展／广东美术馆／广州。

第二届非客观艺术邀请展／天和美术馆／威海。

深度书写／南京师范大学美术馆／南京。

2020 年中国表现第一回展/华泰美术馆/上海

2019 培根铸魂/建国七十周年七十人作品展/国家博物馆/北京

2019 年风起海上／华东师范大学美术学院教师作品展/时代美术馆/北京

2017 中国汇—中国当代艺术展/大都会展览馆/美国

金砖五国会议展/厦门会议中心/厦门

2015 中国 8《概况 视野中国》/威斯特法伦会展中心/杜塞尔多夫/德国

中国 8《视野世界的词汇》/MKM 库珀斯米尔勒当代艺术博物馆/杜伊斯堡/德国

2014 首届新疆国际双年展／乌鲁木齐国际展览中心/乌鲁木齐

2013 文化·精神·生成／莫拉宫殿／威尼斯／意大利

穷尽：德国新表现主义—当代艺术大展／展洲国际／北京

2012 在当代·中国油画双年展／中国美术馆／北京／中国

2010 新东方精神／亚洲艺术中心／北京／中国

中国当代艺术新浪潮／加州大学首府美术馆／美国

2008 磨石·中国瑞典绘画联展／中国美术馆 ／北京／中国

磨石·中国瑞典绘画联展／瑞典东方物馆／瑞典

2007 后先锋中国新艺术展／香港／中国

1993 首届中国油画双年展（获学院奖）／中国美术馆／北京／中国

1991 91中国油画年展／中国历史博物馆／北京／中国

奖项：

2019 年奥地利文化部颁发的巜国际杰出艺术家奖》，

2018 年中国美术报评为《2018 年度中国最有影响力的十大艺术家》。

2017 年国务院厦门金砖五国会议小组颁发《金砖五国会议优秀创作奖》。

1993 年中国艺术研究院颁发的《中国油画双年展学院奖》。

收藏：

中国美术馆、中国国家博物馆、中央美术学院美术馆、德国科布伦茨路德维希博物馆、上海中华艺

术宫，广东美术馆，上海世博会博物馆、厦门金砖五国会议馆、湖南美伦美术馆

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艺术家作品（Artistic works）

鹰 023.10

Eagle 023.10

布面油画 Oil on canvas

60x80cm

张方白 Zhang Fangbai

2023

鹰 023.12

Eagle 023.12

布面油画 Oil on canvas

60 X 45cm

张方白 Zhang Fangbai

2023

瓶罐 023.5

Bottle 023.5

布面油画 Oil on canvas

50 X 40cm

张方白 Zhang Fangbai

2023

瓶罐 023.1

Bottle 023.1

纸本水墨 Ink on paper

77 X 55cm

张方白 Zhang Fangbai

2023

我个人不太敢直接触碰“中国表现”，所以这次展览名选择了“表现之上”。表现主义来源于西方，但中国又有“意象”一说。我个人认为：中国的表现绘画融合了西方的“表现主义”与中国的“意象绘画”，且有自己的文化属性和本土特征，因而，我取之为：“表现之上”。我相信，此次参展的三位艺术家们的作品是超越时空而在当下喷薄而出的表现意象。在“表现主义”和“意象绘画”打通了两者的关系，并在其间找到了一个言说的途径，她凶猛而有力量，展现了中国艺术家在绘画领域的一种精神饥渴且得以解渴的途径。当第一眼观看张方白先生的作品，对于我而言，是生疏的。然，随着时间的推移，慢慢咀嚼并悟出了其个中滋味儿。这些不是简单的“鹰”、“塔”“罐子”等图像。在混沌阴阳黑白之间隐藏着艺术家内心深处最庞大的意念表现。在“似有”与“似无”之间、在“圆润”与“枯涩”之间、在“重墨”与“淡抹”之间、在“有”于“无”之间，艺术家对事物的表现达到了“大象无形、大道至简”的境界，且又开拓了诸多空白之处，等候观赏者在其间的“漫游与思考”。我个人比较喜欢张方白先生作品里的这种能量与张力。

用黑白笔墨堆积而成的追求极致的纯粹和极其厚重的张力，张方白先生的不同系列作品《不倒的鹰》、《塔》、《凝固》中烙印着来自德国新表现主义和日本行动派的影响，又渗透传承了中国传统审美和写意绘画的厚重灵魂。在强烈的视觉冲击之下，安静而又缓慢地充溢着东方的神秘气质与略带忧伤的情愫。北京大学艺术学院院长彭锋说：“张方白的绘画却让我想起苍茫、雄浑、高古、朴拙、荒寒.....”美国摩帝富艺术基金会副主席黄文叡写到：“不管何种主题，在张方白的笔下都是抑郁的，是种内心底层的压抑，也是种对生命的悲泣与探索。就是这层压抑，让他的画面充斥着屏息以待的希望，虽然鹰不振翅飞翔、鱼不悠游于水里、花瓶被静静地搁置着、 房子幽暗不语，但那股静谧中释放出的存在感，悄悄地伴随着观者的咀嚼，逐渐化为一股等待的力量，就像暴雨未歇，彩虹不来。愿意等待，就有希望。希望就足以证明时间的存在。在他的作品中，空间是种虚构，时间成了想象。他呼应了中国水墨画中‘空间’的概念，也颠覆了西方在平面画布上表达‘时间’的局限。”中央美术学院院长范迪安这样评述：“张方白从在美术学院学习开始，就表现出不受陈规约束的倔强个性，沉潜于自我的世界。他内心的强烈情感——确切地说，是一种坚定的意志——流露在画面上，变成了一种种难以定型的团块。那些出没于混沌背景中的团块与其说是某种象征，不如说是他灵魂的化身，有一种男性的雄强的张力，也具有生命生生不息的意志。”

以上学者对张方白先生的评述各有侧重，归纳起来的关键词有：黑白、团块、混沌、凝重、忧郁、张力、表现、意志。张方白先生能从内心迸发出如此之大的能量是与其长期一惯的倔强、执着、不妥协的性格有着很大的关系。他是一个温和谦卑的学者型艺术家，但其画作在当代的确独树一帜，在同时代倘若试着找出类似的作品恐怕很难，我想，这就是张方白及其作品的可贵之处。

张方白先生说：“我从不害怕别人在旁边观望我创作”。这就对了，一个心胸坦荡的人总是能直面人生，就像他的作品一样，黑白分明，大胆热烈且不修边幅，与时下精致主义的作品形成了强大的反差，开创了一个新版图并能大胆地敞亮自己的语言，在这个虚情假意的时代就是一个独特的艺术图景。然，再深入解读，其作品中的笔墨痕迹又让人流连忘返沉醉于其中。自然流淌的笔墨、深浅浓淡的笔墨、沉着洒脱的笔墨、婉转波折的笔墨……只有经过中国传统文化熏陶过的人才有对笔墨这样游刃有余的精准拿捏，也只有对当代文化有所追问的人才能找到如此宽阔的创作语境。

在张方白先生个展的空间里，黑白无常的姿态婉转于庞大的空间里，那种势态具有时代交响乐的浓烈之焰，又带人一下子扎进了在混沌之间分离出来的阴阳文化空间，咀嚼出深沉的中国文化精髓之味儿。在张方白先生用水墨般的油彩构筑的各种矛盾空间之间，我们依然能够感受到中国阴阳文化的平衡与和谐。突然想起苏轼的诗词：横看成岭侧成峰，远近高低各不同。不识庐山真面目，只缘身在此山中。我觉得张方白先生开创了一个极具穿越时空的“当代语境”，无论如何这是原创之作。在“表现”和“意象”之间找到一个平衡的创新点是需要极大的能量的。

用最简洁的油彩笔墨画出了庞大的文化语言体系，这个不是一般人做到的。张方白先生的作品是表现的，也是抽象的，亦是具有批判性的。老鹰是继续飞翔，还是半路夭折？罐子是器皿还是徒有虚名？黑白的世界是和谐统一，还是相互打架？阴阳转顺的规则是延续，还是破碎？在其个体作品集体亮相的空间里，张方白先生造就了一个孤独的旷野而抛砖引玉，且引发了诸多哲思……张方白先生的作品抽离了诸多细枝末节，言说了一个与地域生态甚至宇宙之间有关人类命运之话题。（作者/薛红艳）

I personally don't dare to directly touch "Chinese Performance", so I chose "Above Performance" as the exhibition title. Expressionism originated from the West, but China also has the concept of "imagery".I personally believe that Chinese performance painting combines Western "expressionism" with Chinese "imagery painting", and has its own cultural attributes and local characteristics. Therefore, I call it "above expression".I believe that the works of the three artists participating in this exhibition are expressive imagery that transcends time and space and emerges in the present moment. The relationship between "expressionism" and "imagery painting" has been established, and a way of expression has been found between them. She is fierce and powerful, showcasing a spiritual thirst and a way for Chinese artists to quench their thirst in the field of painting.When I first saw Mr. Zhang Fangbai's works, it was unfamiliar to me. However, as time passed, I slowly chewed and realized its true meaning.These are not simple images of "eagles", "towers", "jars", etc. Hidden between the chaos of yin, yang, black and white lies the artist's greatest expression of inner thoughts.Between "seemingly existing" and "seemingly nonexistent", between "mellow" and "dull", between "heavy ink" and "light wipe", between "existing" and "nonexistent", the artist's performance of things has reached the realm of "invisible great form Is beyond shape, simple road", and has opened up many empty places, waiting for the viewers to "roam and think" in the meantime.I personally prefer the energy and tension in Mr. Zhang Fangbai's works.

The pursuit of ultimate purity and extremely heavy tension, accumulated in black and white ink, is imprinted in Mr. Zhang Fangbai's different series of works, such as "The Eagle That Will Not Fall", "Tower", and "Solidification", with influences from German neoexpressionism and Japanese activism. It also permeates and inherits the heavy soul of traditional Chinese aesthetics and freehand brushwork.Under the strong visual impact, it quietly and slowly fills with the mysterious temperament and slightly melancholic emotions of the East.Peng Feng, Dean of the School of Art at Peking University, said, "Zhang Fangbai's paintings remind me of vastness, grandeur, antiquity, simplicity, and desolation..."Huang Wenrui, Vice Chairman of the Motifu Art Foundation in the United States, wrote: "Regardless of the theme, in Zhang Fangbai's works, it is a depression, a depression at the bottom of the heart, and also a lamentation and exploration of life.It is this repression that fills his pictures with the hope of holding his breath. Although the eagle does not fly, the fish does not swim in the water, the vase is quietly put aside, and the house is dark and silent, the sense of existence released in the silence, quietly accompanied by the chewing of the viewer, gradually turns into a force of waiting, just like the rainstorm does not stop, and the rainbow does not come.He echoes the concept of 'space' in Chinese ink painting and also subverts the limitations of the West in expressing 'time' on flat canvas."Fan Dian, Dean of the Central Academy of Fine Arts, commented: "Since studying at the Academy of Fine Arts, Zhang Fangbai has shown a stubborn personality that is not constrained by stereotypes and is immersed in his own world. His strong emotions - specifically, a steadfast will - have emerged on the surface of his paintings, becoming various difficult to shape lumps.The clumps that appear in the chaotic background are not so much symbols as incarnations of his soul, with a masculine tension and a will to live endlessly."

The above scholars have different focuses on Mr. Zhang Fangbai's comments, and the keywords summarized include: black and white, clumps, chaos, gravity, melancholy, tension, expression, and will. Mr. Zhang Fangbai's ability to unleash such great energy from his heart is closely related to his long-standing stubborn, persistent, and uncompromising personality. He is a gentle and humble scholar artist, but his paintings are indeed unique in contemporary times. It may be difficult to find similar works in the same era. I think this is the value of Zhang Fangbai and his works.

Mr. Zhang Fangbai said, "I am never afraid of others watching me create. That's right, a person with an open mind can always face life directly, just like his works, which are clear in black and white, bold and passionate, and not neat, forming a strong contrast with the current exquisite works, creating a new version of the art and boldly highlighting their own language. In this era of hypocrisy, it is a unique artistic landscape. However, upon further interpretation, the ink marks in his works make people linger and indulge in them. Only those who have been influenced by traditional Chinese culture can have such a smooth and precise grasp of pen and ink, as well as those who have inquired about contemporary culture, can find such a broad creative context.

In the space of Mr. Zhang Fangbai's solo exhibition, the black and white impermanence gracefully transforms into a vast space, with a strong flame of the symphony of the times. It also brings people into the Yin Yang cultural space separated from chaos, chewing on the profound essence of Chinese culture. Between the various contradictory spaces constructed by Mr. Zhang Fangbai with ink like oil paint, we can still feel the balance and harmony of Chinese yin and yang culture. Suddenly, I remembered Su Shi's poetry: when viewed horizontally, there are peaks on the sides of the mountain, with different distances and heights. I don't know the true face of Mount Lu, only because I am in this mountain. I think Mr. Zhang Fangbai has created a highly timeless' contemporary context ', which is an original work no matter what it is. Finding a balance between "expression" and "imagery" requires a great deal of energy to innovate.

Drawing a vast cultural language system with the simplest oil paint strokes and ink is not something that ordinary people can achieve. Mr. Zhang Fangbai's works are expressive, abstract, and critical. Does the eagle continue to fly, or does it die halfway? Is a jar a vessel or just a nominal name? Is the black and white world harmonious and unified, or do we fight each other? Is the rule of Yin Yang turning clockwise continued or broken? In the space where his individual works collectively appear, Mr. Zhang Fangbai has created a lonely wilderness and sparked many philosophical ideas... Mr. Zhang Fangbai's works have detached many details and talked about a topic related to human destiny in regional ecology and even the universe.（writer/Xue Honeyan）

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开幕场景花絮（Opening Scene Gags）