贫穷的诗意——蒋宛霖个展:

2019

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Wanlin Jiang • The poetry of poverty

蒋宛霖 • 贫穷的诗意


Curator: Peng Feng

策展人:彭锋


Producer:Brenda / Wang Haiying

出品人:鲍 禹 / 王海英


Co-organizer: Common Art Center / Zero space

主办单位:共同艺术中心 / 第零空间



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策展人 彭锋



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   策展人 | 彭锋 简介


北京大学艺术学院院长、博士生导师

教育部长江学者特聘教授

北京大学美学与美育研究中心研究员

教育部高等学校艺术学理论教学指导委员会秘书长

中华美学会常务理事

中国文艺评论家协会理事

中国美协理事

国际美学协会执行委员

从事美学理论、艺术理论、艺术批评、展览策划、剧本创作等方面的研究教学和实践

著有《艺术学通论》、《美学导论》等


策划展览

1. 2011威尼斯双年展中国馆《弥漫》 (2011.6.4-11.27,意大利,威尼斯)

2. 第一届大同国际雕塑双年展 (2011.9.28-11.28,山西大同,和阳美术馆)

3. 《弥漫·北京》-威尼斯双年展中国馆再现北京 (2011.12.3-17,北京798,悦美术馆)

4.《时差--中国当代多媒体艺术展》(2012.4.23-5.27,德国汉诺威国际会展中心,汉诺威浮士德艺术中心)


Curator | Peng feng, a brief introduction to


Dean and doctoral supervisor, school of arts, Peking University

Distinguished professor of changjiang scholars, ministry of education

Researcher, aesthetics and aesthetic education research center, Peking University

Secretary general of art theory teaching steering committee of the ministry of education

Executive director, Chinese American institute

Director of China art critics association

Director of China art association

Executive member, international aesthetics association

He is engaged in research, teaching and practice of aesthetics theory, art theory, art criticism, exhibition planning, playwriting and other aspects

He is the author of general theory of art, introduction to aesthetics, etc


Planning exhibition


1. The Chinese pavilion at the 2011 Venice biennale "in the air" (2011.6.4 -- 11.27, Venice, Italy)

2. The first datong international sculpture biennale (2011.9.28-11.28, datong, shanxi, heyang art museum)

3. "in the air: Beijing" - Venice biennale China pavilion recreates Beijing (2011.12.3-17, Beijing 798, yue art museum)

4. Time difference -- China contemporary multimedia art exhibition (2012.4.23-5.27, Hanover international exhibition center, Hanover Faust art center, Germany)



贫穷的诗意


文  彭锋  北京大学艺术学院院长

艺术界的风格总是在不断轮换。如果说19世纪的艺术是美的、雅的、精致的,二十世纪的艺术就是的、俗的、粗糙的。波普艺术和贫穷艺术,毫不掩饰自己对粗俗的追求。粗俗不仅拓展了趣味的范围,而且具有强调的反叛精神,尤其是反对占统治地位的布尔乔亚式的情趣。


然而,随着新世纪的来临,波普和贫穷都因为失去了批判的对象而成为无的放矢。当丑的、俗的、粗糙的成为艺术界的“政治正确”之后,与之相对的美的、雅的、精致的就体现出了叛逆精神。因此,今天出现的“美的回归”不应该被理解为对正统趣味的维持,而是对“政治正确”的嘲讽。


就像我们无法回到过去一样,经历了“美的滥用”之后,就再也无法有正真的“美的回归”。21世纪的艺术不可能像19世纪的艺术那样回到“为艺术而艺术”的圈子里,艺术不仅是对技巧的锤炼,对社会的关注、对问题的思考、对观念的选择,已经成为今天艺术家必做的功课。或许真的像黑格尔所说的那样,艺术的发展经历了螺旋式的上升。今天的艺术在克服波普和贫穷的同时,也消化了波普和贫穷。用黑格尔的术语来说,就是“扬弃”。

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山水之二蒋宛霖 | Shanshui No. 2 | Wanlin Jiang

 综合材料 Comprehensive materials

420x180cm2018


蒋宛霖的艺术就体现了这种“扬弃”。在学生阶段专注国画的经历,让宛霖对雅的趣味有根深蒂固的记忆。借用王国维的术语来说,中国艺术追求的既不是优美,也不是崇高,而是古雅。古雅是“形式美之形式美”,是第二形式。具体说来,表现为书卷气以及逸的品格和淡的境界。这种趣味与当代艺术的批判性和社会性格格不入。学生生涯结束之后,宛霖没有沉醉在古雅的趣味之中,而是决意做一位当代艺术家,走向社会,发现问题,思考生活。出于女性的本能和幼年的独特经验,宛霖对牛仔服情有独钟。她看到了牛仔服所体现的叛逆精神和贫穷趣味。但是,她没有像贫穷艺术家那样直接展示现成品,而是将它们塑造成为充满诗情画意的中国山水。贫穷与诗意,一个源于西方,一个源于东方,一个存在当代,一个存在古代,它们在宛霖的作品中居然能够携起手来。宛霖的作品包含了强烈的冲突与戏剧性的和解,或许这正是她内心状态和周遭世界的写照。

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《物欲山水系列四》(局部)蒋宛霖

Materialistic landscape No. 4(part) | Wanlin Jiang

 综合材料 Comprehensive materials

530X212cm2019



The translation

The poetry of poverty

Peng feng, dean of the of arts, Peking University

Styles in the art world are always changing. If the art in 19th century is beautiful, elegant and delicate, then the art in 20th century is ugly, vulgar and rough. Pop art and poor art make no secret of their pursuit of vulgarity. Not only does vulgarity extend the range of taste, but also has an emphasis on rebellion, especially it against the dominant bourgeois taste.

However, with the advent of the new century, both Pope and poverty have lost targets to criticize. When the ugly,vulgar and rough become the "political correctness" of the art world,the opposite beauty, elegance and delicacy is reflecting the rebellious spirit.Therefore, today's "return of beauty" should not be interpreted as amaintenance of legitimate interest, but rather as a mockery for "political correctness".
 
Just as we cannot go back to the past, after experiencing the "abuse of beauty", there will be no true "return of beauty". It is impossible for art in the 21st century to return to the circle of "art for art's sake" in the 19th century. Art is not only the polishing of skills,but also the focus on society, the contemplation of problems and the choice of ideas, which have become the homework for artists today. Perhaps, as Hegel said,the development of art has experienced a spiral rise. The art today, while overcoming Pop and Poverty, it also digests Pop and Poverty at the same time.In Hegel's terminology, it is "sublation."


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镜像山水》蒋宛霖 | Mirror the landscape | Wanlin Jiang

 综合材料 Comprehensive materials

直径 Diameter 120cm 2018


The art of Jiang Wanlin embodies such"sublation". The experience of focusing on traditional Chinese painting in the student stage gave Wanlin a deep-rooted memory of elegant taste. Borrowing Wang Guowei's term, Chinese art seeks neither beauty nornobility, but quaintness. Quaint is the "formal beauty of beauty in formal", it is the second form. Specifically, it performs as bookish style, and the character of ‘Yi’ , as well as the mld state.This taste is incompatible with the critical and social nature of contemporary art. After the end of her school life, Wanlin did not indulge in quaint interest, but decided to be a contemporary artist, stepping into society to find problems and think about life.

Due to the instinct of women and the unique experience of childhood, Wanlin was fascinated to jeans. She perceived the rebellious spirit and the poverty from jeans. However, she did not directly display ready-made products like poor artists, instead, she shaped them into poetic Chinese landscapes. Poverty and poetry, one stems from the West, one originates from the East, one exists in the present, and one exists in the ancient times. Surprisingly, they can join hands in the works of Wan Lin. So, there are strong conflicts and dramatic reconciliations in Wan Lin's works. Perhaps this is the portrayal of her inner state and the world around her.











   作品赏析 Art appreciation

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《净》蒋宛霖 | The clean | Wanlin Jiang

 综合材料 Comprehensive materials

120X100cm2019


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《物欲山水》蒋宛霖

Materialistic landscape | Wanlin Jiang

 综合材料 Comprehensive materials

280X120cm2019


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《物欲山水系列六》蒋宛霖

Materialistic landscape No. Wanlin Jiang

 综合材料 Comprehensive materials

212X106cm2019


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《残山剩水》蒋宛霖 | Leftovers | Wanlin Jiang

 综合材料 Comprehensive materials70x180cm2019


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《山水系列一》蒋宛霖 

Landscape series  | Wanlin Jiang

 综合材料 Comprehensive materials

280X120cm2019


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《山水之三》蒋宛霖 蒋宛霖

Shanshui No. Wanlin Jiang

 综合材料 Comprehensive materials

120x180cm2018


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《古意山水系列六》、《境系列一》蒋宛霖

Ancient landscape series Ⅵ

Habitat - series Ⅰ | Wanlin Jiang

 综合材料 Comprehensive materials | 60x70cm2018


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《境系列一》(局部)蒋宛霖

Habitat - series Ⅰ | Wanlin Jiang

 综合材料 Comprehensive materials60x70cm2018


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《古意山水系列》、《境系列》蒋宛霖

Ancient landscape series

Habitat - series | Wanlin Jiang

 综合材料 Comprehensive materials60x70cm2018


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《古意山水系列》、《境系列》蒋宛霖

Ancient landscape series 、Habitat - series | Wanlin Jiang

 综合材料 Comprehensive materials60x70cm2018



艺术家简介


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艺术家:蒋宛霖

(原名:蒋霞)

1993年1月出生于四川省遂宁市

2015年本科毕业于四川音乐学院美术学院中国画系

2018年硕士毕业于四川音乐学院美术学院中国画系水墨山水专业

2014年12月赴韩国国民大学交流学习艺术

2017年7月赴威尼斯建筑大学和佛罗伦萨美术学院

学习美术学和绘画专业

现为职业艺术家工作生活于中国北京


Wanlin Jiang 

(Real nameJiang XiaEnglish nameFiona)

She was born in suining , sichuan in 1993

In 2015 ,graduated fromsichuan music college of fine arts with a bachelor's degree in Chinese painting

In 2018,graduated fromsichuan music college of fine arts with a master's degree in Chinese paintingfrom the department of landscape and water painting.

In 2014,went to kookminuniversity in South Korea for exchange and study of art.

In 2017,went to Veniceuniversity of architecture and Florence academy of fine arts to study fine artsand painting.

Currently  lives and works in Beijingprofessionalartist.


重要展览

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个展:

2019   “贫穷的诗意”,共同艺术中心,中国北京


主要联展:

2019  “艺术釜山” ,共同艺术中心, 韩国釜山

2018  “大匠之路-第三回农工党四川省书画院届展”,四川省图书馆,成都

2018  “第九届四川省新人新作展”,四川省美术馆,成都

2017  “第六届四川省青年美术作品展览”,四川美术馆,成都

2017  “全国美育成果展”一等奖,中华人民共和国文化部,北京

2017  “芳华·时空-八所美院新锐展”,汉方美术馆,北京

2016  “第七届中国高校美术作品学年展”博硕组优秀作品,北京

2016  “第七届中国高校美术作品学年展”博硕组三等奖,北京

2015   “第三届“艺术家之路”系列活动“全国书法·绘画·设计邀请赛”专业组国画一等奖,北京

  2015  “绚丽年华第八届全国美育成果展评”学生组一等奖,北京

2014  “第二届成都市临帖临印展”,四川美术馆,成都

2014  “芙蓉绽放·当代工笔画大展暨中国画名家邀请展”,获提名奖,怀古堂美术馆,成都

2014  “首届我眼中的生态四川中国-中国画赛”,四川美术馆,成都

2013  “四川省第四届青年美术作品展”,四川美术馆,成都


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Solo exhibition :

2019    “the poetry of poverty”,common art center,Beijing China


Selected  Exhibitions :

2019    Art Busan ,common art center  ,korea

2018   "road of great artisans -- the third exhibition of sichuan painting and calligraphy academy of rural labor party", sichuan library, chengdu

2018   "the ninth new works exhibition of sichuan province", sichuan provincial art museum, chengdu

2017   "the sixth exhibition of sichuan youth art works", sichuan art museum, chengdu

2017   "national aesthetic education achievements exhibition" first prize, ministry of culture of the People's Republic of China, Beijing

2017   "fanghua · time-space -- eight new art institutes exhibition", hanfang art museum, Beijing

2016  "the seventh annual exhibition of fine arts of Chinese colleges and universities" excellent works of the doctoral and postgraduate group, Beijing

 2016    "the seventh annual exhibition of fine arts of Chinese universities", The third prize of the bog-master group ,Beijing

2015   The first prize of Chinese painting in the professional group of the "national calligraphy, painting and design invitational competition" series activities of  the third "road of artists" , Beijing

2015   The first prize of the student group of "brilliant years" national aesthetic education achievement exhibition evaluation, Beijing

2014   "the second chengdu lintie lintie lintie printing exhibition", sichuan art museum, chengdu

2014   "furong blossom · contemporary fine Chinese painting exhibition and invitation exhibition of Chinese painting masters", nominated award, huaigu hall art museum, chengdu

2014   "the first ecological sichuan china-chinese painting competition in my eyes", sichuan art museum, chengdu

2013   "the fourth youth art works exhibition of sichuan province", sichuan art museum, chengdu



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画廊简介


共同艺术中心成立于2015年,是国内首家众筹会员制的当代艺术画廊。共同艺术中心由业内资深的策展人、艺术经纪人、藏家等专业人士共同发起,致力于用全新的业务模式为当代艺术藏家提供专业的收藏方案,“纸是”装置作品项目是我们的主要经营方向。把纸为媒介、媒材的作品作为主要研究经营方向,是因为这类艺术品在中国美术体系下的重要性以及未来的广阔发展前景,用纸和民间艺术做媒介的优秀艺术家让纸艺术可以作为工具抵抗它的命运,让它摆脱功能的遮蔽而显现自身价值。



画廊寄语

共同艺术·共享收藏

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