物像·本质——收藏界最关注的艺术展
主办：思莱德画廊
策 展 人：于伟萍
策展助理：李卓
参展艺术家：马堡中、王强、郝祥、方惠民
开幕时间：2009年8月8日星期六下午四点
展览时间：2009年8月8日-2009年9月4日
展览地址：北京市朝阳区酒仙桥2号798艺术区706北1街
Host:Thread Gallery
Curator:Yu Wei-ping
Assistant:Li zhuo
Artist:Ma Bao-zhong Wang Qiang Hao Xiang Fang Hui-min
Opening:Saturday 2009/8/8 16:00
Duration:2009/8/8--2009/9/4
Exhibition Address: 706 North 1 Street，798 Art Zone，Jiuxianqiao Street 2, Chaoyang District, Beijing
思莱德画廊将于2009年8月8日下午四点举行展览《物像•本质》的开幕酒会。本次展览有于伟萍策划，参展艺术家有马堡中、王强、郝祥、方惠民,被誉为收藏界最关注的艺术家展,赞助商国瑞地产,渣打银行友情支持；媒体支持新浪网、搜狐网、优品杂志。
任何语言的意义隐藏在于符号的象征意义之中,绘画语言亦是如此,“像”是通过对“物”的提炼而获得的感知综合,虚实相生是像最大的特点,在绘画中像通过符号来表达。
然而当我们洞察到语言所反映的物像时,绘画的意义就不自觉的产生在象征界与想象界之间.于是作者在画面之中力求表达的隐喻与我们目击现场所获得的转喻在相互作用,期间也许会产生情结、转译、与其他意识的撞击,最终我们获得思想的释放。“本质”的产生也归结于这种模式,它通过符号来描述自己,而符号是一个泛指——对外在的提纯加以总结归纳,解构事物以获得全新的经验重构,这种经验在第一时间把观众感染,艺术家创作的图像从输出到释放在观众的意识里奖励了一个完美的架构，每个架构的组成与分解都可能是不一样。
在《物像•本质》里，凝聚了关于政治，战争，权利的表现，也对工业文明加以阐述，更有对生活中真性情的“综合解释”。无论是细致的结构主义，还是超写实或幻想主义,艺术家在塑造形象方面都采取了夸张的手法。例如,油画家王强把女人体与衣物结合,并带有不同颜色毛皮的陪衬,女人体呈现的各种优美的状态在衣物上加以体现,仿佛女性的荷尔蒙已经在画布上漫溢开来。“语言的实质意义就是隐喻,并把隐喻理解为用符号象征可欲对象”,从哲学的观点看,我们似乎可以套出艺术家的意图与构想,但也永远不会有把握去定义衣物上的女人真正的意义何在。
马堡中是超级结构主义造型概念的创始人,是中国后政治艺术流派的代表人物。他的艺术在当代艺术界独树一帜,网络造型的概念在认识的深度,使用的能力上大大的超越了结构素描,它含有后现代的解构成分。油画中,马堡中把视野主要集中在大的社会背景上也是第一个把眼光放在后冷战题材上的画家,关注国际形势、政治、经济的变化,其作品意义并不是对事件的再现,而是客观的表现政治、权利。
与政治权利无关,与欲望无关。郝祥的作品是刻画的极为精确的水面下的石头,以假乱真的程度,从水里映射出来,给人最直观的印象。另一部分是水面上反射出天空的白云,白云与石头,二者虚实相生。郝祥的作品不仅揭示了被习惯的艺术思维所遮蔽的日常经验，而且揭示了被日常经验所遮蔽的事物本身。当郝祥用超级写实技法将石头和白云描绘出来的时候，石头和白云就不再是日常生活中的石头和白云了，尽管它们被描绘得能够以假乱真。与传统写实不同，超级写实背后有一个新的哲学观念。按照这种哲学观念，在日常生活中，我们都是用高度功能化的眼光来看待事物，因而只能看见事物符合我们需要的某个方面，事物本身则为我们需要的那个方面所遮蔽。
方惠民用精湛的版画艺术语言,使我们用自我意识将精神游离在生活之外的一个个生活实景,在艺术感觉与刀、铜版、酸诸种材料相互局限又相互发生碰撞交流中导演出了画面的生命,浑然的空间感与斑驳陆离的色彩构成了方惠民似的言说。他在多个版种间穿插运行并持续进入热情的实验与探索状态,他曾言：“风潮与我无关,这个时段必须有这个时段的画。”
The symbolic meaning of symbols has a meaning of language, painting is the same, refinery, " Image " after the "objects" to obtain an integrated perception, virtual and real is the biggest characteristic of the painting as the adoption of symbols to express.
However, when we have insight into the language as reflected in the objects, the painting is not conscious of the significance of a symbol generated in the sector between industry and imagination. "Nature" is also attributed to the emergence of this model, which describes itself through the symbols, and symbols is a general reference - to be in the summary of the outside purification, disintegration of things for Reconstruction of a new experience, this experience infected with the audience in the first time, the images that the artist created award a perfect incentive structure to the consciousness of the audience from theoutput to the release, the composition and decomposition of each structure may be different.
In " Object-image • nature", it is not only the embodiment of political, war, the right to performance, but also elaborate on the industrial civilization, and more "Comprehensive interpretation"to the true feelings to life.Both the detailed structure, or a super-realism or fantasy, the artists have taken the way exaggerated in shaping the image.For example, oil painter Wang Qiang combinats the human body with clothes,and fur with the foil in different colors, a variety of female human body’s beautiful state to be reflected in the clothing, as if women's hormones are already open to spillover canvas. "Language’s real meaning is the metaphor and metaphor is understood as using of symbols of the object that you want", from a philosophical point of view, we seem to be set up with the idea of the artist's intention, but it will never be able to go on the definition of what is the real significance of the woman on the clothing.
Marburg is the founder of the modeling concept of super-structure and of representatives of the Chinese postpolitical arts schools. His works is unique in the contemporary arts. The concept of network modeling beyond the structure drawing in the understanding of the depth and in the ability to use, it contains components of post-modern deconstruction. In the paintings, Ma Bao-zhong mainly concentrated in the great social background, and was also the first one to place his eyes on the post-Cold War theme, concern about the international situation, political and economic changes.The meaning of his work is not a reproduction of the incident, but the objective performance of the political, rights.
Has nothing to do with political rights, has nothing to do with desire. Hao's work is extremely accurate portrait of the stones in the bottom of the river, the degree of confused as real ones, from the mapping out of the water, giving the impression that the most intuitive. The other is the surface of the water reflecting the sky and white clouds, white clouds and rocks. Hao's works not only reveals the day-to-day experience that has been always covered by the accustomed art of thinking, but also reveals things itself that has been always sheltered by the day-to-day experience. When Hao use the techniques of Super realism to depict the stones and white clouds ,although they although they were described to be confused as real ones, the stones and white clouds is no longer the stones and clouds on the daily life. Different from traditional realism, behind the super-realism there is a new philosophy. According to this philosophy, in their daily lives, we all function with a high view of things, which can only see the things we need to comply with a certain respect, for the thing itself that we need in the shelter.
Fang Hui-ping art prints with exquisite language, so that we will use the spirit of free self-consciousness in the life of a real life, the feeling and the Sword in the art, etching, acid various material limitations mutual exchange between the collision of a director picture of life, unaware of the sense of space and constitute a variegated color Fang Hui-ping statement like that. In his version of a number of inter-weaved into the passion to run and continue to experiment and explore the state that he had made: "the surge has nothing to do with me, this time there must be that time of the painting."
【编辑：霍春常】
