展名 / Title: 天空之后 - 王劼音水墨新作展
Boundless Sky - New Ink Paintings of Wang Jieyin

艺术家 / Artist: 王劼音 Wang Jieyin
策展人 / Curator: 夏可君 Xia Kejun

展期 / Duration: 2020.11.6 (Fri）- 12.20 (Sun)
开幕 / Opening:  2020.11.6 (Fri) 3:00pm

地点 / Venue: 亚洲艺术中心（北京）
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing

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亚洲艺术中心荣幸地宣布将于2020年11月6日举办“天空之后 - 王劼音水墨新作展”，于下午三点开幕。

作为40年代出生于上海的老一辈艺术家，王劼音的艺术创作始终根植于中国传统艺术的脉络。他游刃于版画、油画、水墨等多种绘画形式语言之间，同时又以朴素的精神、书写性的绘画实验、为中国水墨绘画注入了更新的力量，并将古老的视觉经验重新塑造于新的审美意象之内。

本次展览由夏可君担任策展人，展出王劼音作品共三十余件，均为艺术家依据亚洲艺术中心空间所特别创作的全新的水墨作品。“天空之后 - 王劼音水墨新作展”，是继2014年今日美术馆“云起 - 王劼音作品展”、2016年龙美术馆“风间云度 - 王劼音个展”之后艺术家的再一次大规模作品呈现，同时也是其在北京首次水墨创作的大型个展。
 

点指江山——王劼音水墨绘画的天空
夏可君
 

王劼音水墨绘画2020新作展，让我们看到了一个老艺术家非常了不起的新突破，打破水墨绘画的既有常规，突破自己之前的油画语言，纯然以日常随机的“墨点”，重构整个古典山水画与文字的图像世界，自由联结半成品的废画片断，让青铜器的纹理和汉画像的拓影得以还魂，形成抽象的网格与玄幻的空间，以时间的厚度重构一个消逝已久的梦幻世界，一个中国文化的魂魄世界。

▲  宝石山   Gem Mountain  137x137cm  纸本水墨设色  2019
 

这个世界也是老艺术家梦想的艺术天空，这一个人的天空也是古典世界之后的新世界，是天空之后的天空，它充满迷舞的动感却并不缺乏理性的构成，带有孩童天趣的“白相”却又融入沉黑苍茫的意境。转换山水画的散点与游走的整体观，以不同时间所画的半成品片断，随机地加以不同方向的颠倒组合，充分激发偶发性与即兴组合的欢愉，产生出意想不到的迷人视觉效果。

▲  石上清流  Stream Brushed the Stone   137x271cm   纸本水墨  2020
 

▲  石上清流（局部） Stream Brushed the Stone （Detail）
 

  ▲  飘浮   Float  139x139cm   纸本水墨  2018
 

王劼音把图像元素还原为墨点的粒子式微观运动，使之带有旋转的律动与回旋的气韵，回旋出各种可能的组合空间，回响着青铜器回纹天地感应的玄音，既看似天网，又好似黑色迷宫。墨点随意的游走穿越，浓淡变化带来凸凹的错觉，变化莫测又加速了回旋，如同跑道或赛车道，打破对称并去除工艺化，拟似各种形状但又加以自由变形，传统山水变幻为数码时代的机器形态，触发错觉的机趣，看似坏画却又见出机妙禅意。墨点还暗讽我们这个手指触屏的点赞时代，同时又指明网络虚拟空间无法逃逸的虚假，还暗含着指点江山的超然意趣。

▲  极地之光   Light of the Polar     69x137cm   纸本水墨设色   2019
 

▲  烟云参悟  Mediation in the Mist   67x136cm  纸本水墨  2020
 

王劼音以其工匠般持久工作的热情，创作出一个“点指江山”的世界，其建构起来的绘画天空，乃是一个天空之后的天空，墨点就如同生命生长的胚胎，其建构的玄幻世界也对应着画家油性作品上漆黑万古的苍劲意境，但其拙稚的游戏性，以拼图的孩童乐趣激发二维平面上的眩晕，让我们重新“看图识字”，却又在残破中唤醒文字的魂魄，让我们重新面对历史文化的“记忆图像”，让我们面对虚拟技术的幻象世界时，回到生命微妙的触感，进入心灵的天空。

▲  江山胜景图  The Mountain Scenery  136x426cm  纸本水墨设色  2019


Pointing County——Boundless Sky in Ink Paintings of Wang Jieyin
Xia Kejun
 

Asia Art Center is honored to announce that an exhibition entitled "Boundless Sky - Wang Jieyin's New Ink Paintings" will be held on November 6, 2020, with a subsequent opening ceremony at 3pm. As a senior artist born in Shanghai in the 1940s, Wang Jieyin's artistic creation has always been rooted in the context of traditional Chinese art. He is a comprehensive master of printmaking, oil painting, ink painting and other forms and languages. With continuing enthusiasm and persistence in art, he keeps injecting updated energy into Chinese ink painting, reshaping ancient visual languages to correspond to the contemporary aesthetic taste.

  ▲   大地苍茫图  Boundless Land  205x272cm 纸本水墨设色  2020
 

▲  大地苍茫图（局部） Boundless Land （Detail)
 

Curated by Xia Kejun, this exhibition displays more than thirteen ink paintings by Wang Jieyin. This is the third large-scale solo exhibition since “Beyond Clouds Solo Exhibition” held by Long Museum in 2016 and  “Rising Clouds” held by Today Art Museum in 2014.


An upcoming exhibition of Wang Jieyin displays his most recent ink paintings, while also show casing superb breakthroughs from the craftsmanship of a senior artist. Indeed, Wang breaks with the existing conventions of ink paintings and oil painting aesthetic language he acquired in earlier period. He draws random “ink spots” to reconstruct an image world of classical landscape combined with calligraphy. Though connecting semi-finished fragments of past paintings, Wang Jieyin represents an image of patterns from bronzeware and Han Dynasty stone relief, shaping an abstract grid and magical space. His persistence and endurance on work reconstruct a dream world, a spiritual world of Chinese culture.

▲   云岩浮云  Floating Clouds Between Rocks  70x206cm  纸本水墨  2020
 

  ▲   乐舞   Dance in the Music    69x308cm   纸本水墨   2019
 

This world is an artistic paradise hiding dreams of the senior artists, a boundless sky after the classical world, brimming with dynamic sentiment, rational structure, and joyfulness as childlike innocence as well as an artistic conception of dark vastness. Intransforming scatter points and roaming panorama of landscapes, Wang randomly inverted combinations from varies directions with fragments of semi-finished works from different periods. In this regard, Wang embraces occasional and uncertain results impromptu to create unbelievable enchanting visual effects.

  ▲   看图识字 - 12   Flashcards No.12    52x62cm   纸本水墨设色   2018
 

  ▲   看图识字 - 13   Flashcards No.13    52x62cm  纸本水墨设色  2018
 

Wang Jieyin reforms image elements as ink dot particle in microscopic movement, which gives his works aspinning rhythm, echoing the rectangular spiral patterns of bronzeware. To some instance, his artworks resemble a sky net as well as a black maze. The random motion and penetration of ink dots together with changes in their thickness create a sense of visual misconception. In addition, unpredictable changes also accelerate the vortex, breaking with the symmetry offered by the lane on a running track or speedway and eliminating any sense of craftsmanship. His works resemble various shapes but are freely deformed, in which traditional landscapes are transformed into machine forms in the digital age, creating humorous allusion imbued with ingenious Zen Buddhist sentiment. These ink dots satirize a generation who are concentrated and buried themselves in digital phones, which highlights the inescapable falseness of cyberspace while alluding to the transcendent appeal of landscapes.

  ▲   看图识字 - 9  Flashcards No.9    52x62cm  纸本水墨设色   2018
 

 ▲   平远疏林图    Flat Forest Map     137x139cm  纸本水墨   2018

Wang Jieyin has created a world of “pointing country” with enthusiasm of his craftsmanship spirit on enduring work. Ink dots are like the embryo of life growth, surviving in the boundless sky constructed by him.On the one hand, It corresponds to a dark and eternal sense from his oil paintings, regardingas “first picture dictionary” which showcases clumsy playfulness and stimulates dizziness on the two-dimensional plane from a child’s sight. On the other hand, those calligraphy in images reminds us of historical and cultural "memory image", leading a return to a sensation soul in mundane life from the phantom world of virtual technology.



关于艺术家
About Artist


王劼音，1941年生于上海。画家。中国美术家协会会员，中国版画家协会会员，上海市美术家协会副主席。1966年毕业于上海美术专科学校。1986年赴维也纳应用艺术大学及维也纳美术学院进修。从1996年至今，任教于上海大学美术学院教授。

重要个展：“天空之后 - 王劼音水墨新作展”（亚洲艺术中心，北京，2020），“大山水”（香港艺术中心包氏画廊，香港，2019），“云烟集翠 - 王劼音个展”（3812画廊，香港，2017），“风间云度 - 王劼音个展”（龙美术馆，上海，2016），“云起 - 王劼音作品展”（今日美术馆，北京，2014），“素造 - 王劼音水墨作品展”（视平线画廊, 上海, 2013) , “无中生有 - 王劼音个展”（华府艺术空间，上海, 2012) ，“无何有乡”（M艺术空间，上海, 2009)，“精神的风景”（张江当代艺术馆，上海，2007），“王劼音个展”（55画廊，曼谷，泰国，2004），“王劼音个展”（上海油画雕塑院，上海，1998），“王劼音个展”（新加坡法国语言学院，新加坡，1997），“王劼音个展”（云南美术馆，昆明，1990），“王劼音个展”（AAI画廊，维也纳，奥地利，1986）

重要群展：“东方桃花源：对传统美学继承、回应以及发扬的中国当代艺术”（莱比锡棉纺厂艺术区12号展馆，莱比锡，德国，2018），“ ‘被遮蔽的桃花源’ 中国当代艺术的深耕样本展”（蜂巢当代艺术中心，北京，2018），“ ‘极地’ 新水墨系列展之一”（秋水空间，上海，2017），“诗意地栖居”（偏锋新艺术空间，北京，2016），“虚色美学”（筑中美术馆，北京，2015），“造境”（临港当代美术馆，上海，2015），“ ‘非由述作，发于天然’ 丁立人、王劼音、尚扬、夏阳、作品联展”（视平线画廊，上海，2015），“平流层 - 朵云轩当代水墨大展”（朵云轩艺术中心，上海，2015），“ ‘另一种乌托邦’ 上海抽象系列展：边界”（明圆美术馆，上海，2015），“ ‘虚薄之境’ 对画：山水与风景”（明圆美术馆，上海，2015），“无形之形：中国当代抽象艺术展”（圣乌尔班当代艺术博物馆，瑞士，2014），“空寒”（索卡艺术中心，北京，2014），“ ‘5:5对话’ 中德当代艺术展”（现代艺术博物馆，波恩，德国，2014），“ ‘破・立’ 新绘画之转序”（龙美术馆，上海，2014），“上海美术作品进京展”（中国美术馆，北京，2013），“样式 - 上海水墨的十个个案展览”（张江当代艺术馆，上海，2013），“上海与巴黎之间 - 中国现当代艺术展”（中华艺术宫，上海，2013），“意象”（上海喜马拉雅美术馆，上海，2013），“第九届佛罗伦萨当代艺术双年展”（佛罗伦萨展览中心，佛罗伦萨，意大利，2013），“忆江南 - 中国当代艺术展”（上海泛华艺术中心，上海，2012），“锦绣中华 - 行进中的新世纪中国美术”（中华艺术宫，上海，2012），“上海新水墨艺术大展”（上海多伦现代美术馆，上海，2012），“静玩 - 视平线艺术十年庆典展”（视平线画廊，上海，2011），“第七届深圳国际水墨双年展”（关山月美术馆，深圳，2010），“化合之境”（徐汇艺术馆，上海，2010），“向祖国汇报 - 新中国美术60年”（中国美术馆，北京，2009），“中国蓝 - 瑞典文化节”（马尔默，瑞典，2008），“艺术中国”（瓦伦西亚现代艺术博物馆，瓦伦西亚，西班牙，2007），“上海当代”(VADEHRA画廊，新德里，印度, 2007), “水墨在途 - 上海新水墨大展” (上海多伦现代美术馆，上海, 2007) , “海上一线 - 上海当代架上艺术邀请展” (视平线画廊，上海, 2006), “ ‘大河上下’ 新时期中国油画回顾展”（中国美术馆，北京, 2005) , “异型与幻想” (上海美术馆，上海, 2005), “多元纷呈 - 2004上海抽象艺术大展” (明圆文化艺术中心，上海, 2004)，“中国新表现性具象油画名家邀请展”（刘海粟美术馆，上海，2003），“第三届中国油画精选作品展”（中国美术馆，北京，2003），“二十世纪中国油画展”（中国美术馆，北京，2000），“首届中国油画学会展”（中国美术馆，北京，1996），“上海新架上画派展”（上海美术馆，上海，1995），“第八届全国美展优秀作品展”（中国美术馆，北京，1994），“第二届中国油画展”（中国美术馆，北京，1994），“第十二届全国版画作品展”（深圳美术馆，深圳，1994），“中国当代版面精品邀请展”（银川，1991）

公共收藏：法国格拉沃利讷博物馆（法国），法国国家图书馆（法国），波特兰艺术博物馆（美国），亚太艺术博物馆（美国），上海美术馆（上海），江苏省美术馆（南京），刘海粟美术馆（上海），澳门总督府（澳门）

Wang Jieyin, an artist born in Shanghai in 1941, also is regarded as a member of  China Artists Association and China Print Artists Association, vice chairman of Shanghai Artists Association. In 1966, Wang Jieyin graduated from Shanghai Fine Arts Training Class. In 1986, Wang Jieyin went abroad for studying prints study in Vienna National University of Applied Arts, Vienna, Austria. Wang currently works as a professor of Shanghai University’s College of Fine Arts since 1996.

Selected Solo Exhibitions: “Boundless Sky - New Ink Paintings of Wang Jieyin”（Asia Art Center, Beijing, 2020）, “Grand Landscapes Solo Exhibition” (Hong Kong Arts Centre , Hong Kong, 2019), “Coalescence of Clouds and Mist solo”(3812 Gallery, Hong Kong, 2017), “Beyond Clouds Solo Exhibition” (Long Museum, Shanghai, 2016), “Rising Clouds”(Today Art Museum, Beijing, 2014), “Su Zao - Ink Paintings of Wang Jieyin” (Visual Horizon Gallery, Shanghai, 2013), “Something from Nothing” (Huafu Art Space, Shanghai, 2012), “A Place Named Nowhere” (M Art House, Shanghai, 2009), “Scenery of the Spirit” (Zhangjiang Contemporary Art Museum, Shanghai, 2007), “Wang Jieyin Solo Exhibition” (55 Gallery, Bangkok, Thailand, 2004), “Wang Jieyin Solo Exhibition” (Shanghai Oil Painting and Sculpture Institute, Shanghai, 1998), “Wang Jieyin Solo Exhibition” (French Language Institute, Singapore, 1997), “Wang Jieyin Solo Exhibition” (Yunnan Art Museum, Kunming, 1990), “Wang Jieyin Solo Exhibition” (AAI Gallery, Vienna, Austria, 1986)

Selected Group Exhibitions: “Oriental PeachValley” (Spinnerei Leipzig, Leipzig, Germany, 2018), “The Clouded Peach Blossom Spring - Selected Works of Chinese Contemporary Artistsas Exemplars Exhibition” (Hive Center for Contemporary Art, Beijing, 2018), “ ‘The Polars’ of New Ink Paintings” (Autumn Water Space, Shanghai, 2017), “Poetic Dwelling Contemporary Art Exhibition” (PIFO Gallery, Beijing, 2016), “China Infra - Colour Aesthetics Art Exhibition” (Zhuzhong Art Museum, Beijing, 2015), “Creating Atmosphere Art Exhibition” (Lingang Contemporary Art Museum, Shanghai, 2015), “Art from Original, Not Artificial Art Exhibition” (Eye Level Gallery, Shanghai, 2015), “Stratosphere: Duoyunxuan Contemporary Ink Painting Exhibition” (Duoyunxuan Art Center, Shanghai, 2015), “Border - Another Utopia - Shanghai Abstract Art Show Series Exhibition” (Shanghai Mingyuan Art Museum, Shanghai, 2015), “Serene Voidness - Dialogue: Between Mountains and Water” (Shanghai Mingyuan Art Museum, Shanghai, 2015), “Shape of the Invisible art Exhibition” (Sankt Urban Contemporary Art Museum, Switzerland, 2014), “Kong Han” (Soka Art Center, Beijing, 2014), “5:5 Dialogue art Exhibition” (Bonn Contemporary Art Museum, Bonn, Germany, 2014), “Broken - Stand” (Long Museum, Shanghai, 2014), “Exhibition of Shanghai Fine Art Works in Beijing” (National Art Museum of China, Beijing, 2013), “Pattern-ten cases of Shanghai Ink Painting” (ZhangJiang Contemporary Art Museum, Shanghai, 2013), “Between Shanghai and Paris Art Exhibition” (China Art Museum, Shanghai, 2013), “Image” (Himalayas Art Museum, Shanghai, 2013), “The 9th Florence Biennial International Contemporary Art Exhibition”(Florence Exhibition Center, Florence, Italy, 2013), “Memories of the South” (Fanhua Art Center, Shanghai, 2012), “Splendid China - New Century Chinese Art in Progress” (China Art Museum, Shanghai, 2012), “New Ink Painting Exhibition of Shanghai” (Shanghai Duolun Museum of Modern Art, Shanghai, 2012), “Jing Wan” (Visual Horizon Art Gallery, Shanghai, 2012), “The 7th Shenzhen International Wash Painting Biennial Exhibition” (Guan Shanyue Art Museum, Shenzhen, 2010),  “Integration Realm” (Xuhui Art Museum, Shanghai, 2010), “Report to Mother Land - Art 60 years of New China” (National Art Museum of China, Beijing, 2009), “China Blue” (Sweden Art Festival, Malmo, Sweden, 2008), “The Arts of China” (Valencia Contemporary Art Museum, Valencia, Spain, 2007), “Shanghai Contemporary” (VADEHRA Gallery, New Delhi, India, 2007), “Exploration New Ink Art Shanghai” (Duolun Museum of Modern Art, Shanghai, 2007),  “Shanghai Impression” (Eye Level Gallery,Shanghai, 2006), “Along the Great River - Retrospective Exhibition of ChineseOil Painting in New Period” (National Art Museum of China, Beijing, 2005), “Alienand Illusion” (Shanghai Art Museum, Shanghai, 2005), “Shanghai Abstract Art Exhibition” (Shanghai Ming Garden Art Centre, Shanghai, 2004), “Invitation Exhibition of New Expressionism Realistic Oil Painting Masters of China” (Liu Haisu Art Museum, Shanghai, 2003), “The 3rd Oil Painting Exhibitionof China” (National Art Museum of China, Beijing, 2003), “The 20th Century Chinese Oil Paintings Exhibition” (National Art Museum of China, Beijing, 2000), “The 1st China Oil Painting Academy Exhibition” (National Art Museumof China, Beijing, 1996),  “New Easel Painting School” (Shanghai Art Museum, Shanghai, 1995), “The 8th Excellent Works Exhibition of National Fine Arts” (National Art Museum of China, Beijing,1994),  “The 2nd Chinese Oil Painting Exhibition” (National Art Museum of China, Beijing, 1994), “The 12th Chinese Prints Exhibition” (Shenzhen Art Museum, Shenzhen, 1994), “Invitation Exhibition of Chinese Contemporary Printing Works” (Yinchuan, 1991)

Public Collections: The Gravelines Museum (France); National Library of France (France); Portland Art Museum (U.S.A); Pacific Asia Museum (U.S.A); Shanghai Art Museum (Shanghai); Jiangsu Art Museum (Nanjing); Liu Haisu Art Museum (Shanghai); Macau Government House (Macau)



关于策展人
About Curator


夏可君，哲学家、评论家与策展人。哲学博士，曾留学于德国弗莱堡、法兰克福大学以及法国斯特拉斯堡大学，现任教于中国人民大学，为文学院教授。个人著作十多部，以＂无用＂为核心概念，出版《一个等待与无用的民族》、《无用的神学》与《无用的文学》等专著，让无用、虚化以及余让的中国范畴生成为当代哲学的核心概念。作为具影响力的当代艺术评论家与策展人，夏可君倡引虚薄艺术、余象与虚托邦等概念，在国内外策划系列重要展览及讨论会超过二百多场，为当代艺术中国立论产生了深远的影响。

Xia Kejun is a philosopher, art critic and curator born in 1969. He studied at University of Freiburg in Germany and University of Strasbourg in France. He is a Professor in the School of Liberal Arts in Renmin University of China, Beijing.

Xia Kejun has published more than a dozen works of people, around the key concept of "Useless", he has published several related works: "A Waiting and Useless Nation – Zhuangzi and Heidegger's Second Turn", "Useless Theology - Benjamin, Heidegger and Zhuangzi" and "Useless Literature - Kafka and China", Xia tries to let Zhuangzi or Daoism enters into deep dialogues among Heidegger, Benjamin, Kafka, and Derrida, in order to open up the possibility of a cross-cultural philosophical dialogue, and let these concepts: Useless (Wuyong), Chora (Xu) and Remnant (Yu) become the core concepts of contemporary philosophy. In addition, as a very influential critic and curator of contemporary art, Xia has also proposed the concepts of Infra-mince Art, Infra-image and Enchorial-topia, and has curated a series of related important exhibitions in China and Europe.