被盗的世界/A Stolen World
艺术家/Artist：杜昆/DU Kun
展期/Duration：2010.07.24（Sat.） - 08.29（Sun.）
酒会/Reception：2010.07.24（Sat.） 16：30~
三潴画廊很荣幸地将于7月24日（周六）在草场地举办年轻艺术家杜昆的首次个展。
杜昆1982年生于四川，本科毕业于中央美术学院油画系第四工作室。大学期间，他曾一度热衷于音乐创作，并和以他名字命名的乐队一起发行了专辑。2007年大学毕业后他开始创作自己的绘画作品。2009年三潴末雄先生发现了杜昆的绘画才能，并于他正式签约，由此杜昆成为了三潴画廊独家代理的年轻艺术家。 此次展览题目为《被盗的世界》，杜昆说这个题目曾经是一个音乐论坛的名字，打开这个论坛就重复播放一首特别忧伤而且空灵的钢琴曲。论坛的整个网页背景是黑色的，让人觉得很压抑，而且里面有个电台经常推荐一些很好听的音乐。然而后来这个论坛不知为何突然就消失了。这就像它的名字，好像“被盗”了一样。由于信仰的关系，他一直相信这个貌似美丽但实质腐朽的世界，某一天也会像那个整天播着美妙音乐但又有着阴郁的黑色背景的论坛一样，突然消失掉。 在他看来，人类向大自然索取得太多了，但却从未知足，也不懂得感恩，人类觉得自己的能力是能够战胜一切的。极端的自负导致贪婪、自私、纵欲、欺骗......这一切充斥着这个时代的人心。 另外，“被盗的世界”还有一层意思：圣经中多次提到审判的日子来到，好像夜间的“贼一样”，没人知道（帖前5：2，帖前5：3，启3：3，启16：15...)。因此，杜昆说：“我的作品尝试描绘这个世界被‘贼’所盗那一天的景象。不过上帝的做工一定是超出人类的想象，所以我只能尝试着接近，不可能完全。希望通过这个展览中的作品来警醒所有人：重视这些年愈发频繁的自然灾难，从根本上去寻找原因，我们因罪而生，因罪而亡，我们应该知道感恩并且悔改。”
著名日本当代艺术家会田诚（AIDA Makoto）这样评价杜昆：
“（画得）太、太~棒了！”
坦白地说，这是我对杜昆君作品的第一印象。
也许不仅仅是他，中央美术学院毕业的学生大都拥有高超的绘画技巧，这可以说是尚存的所谓的“社会主义现实主义”吧？而且这种绘画技巧与当今的电脑绘图技术环境的合流之处让人觉得颇有意思：仿佛19世纪跨过20世纪直接与21世纪牵手——特别是对于我等日本人看来，着实吃了一惊。
不过，杜昆君最擅长的，是他在作品中表现出来的一种独特的“恐怖感”。那种让人后背毛骨悚然，极度静穆的恐怖。无论是他最近的都市灾难系列，还是以前创作的清代人物系列，都体现了这种恐怖感。至于那种深深的阴郁从何而来？是个体特征还是民族特性？——这才是使人深感趣味悠然之处。
会田诚的话不仅概括了杜昆作品的特点，更重要的是他还点出了在21世纪第一个十年的今天，杜昆的艺术所具有的在国际交流层面上的启示和价值。
Title: A Stolen World
Artist: DU Kun Duration: July 24 (Sat) ~ August 29 (Sun) 2010
Reception: July 24 (Sat) 16:30
Mizuma & One Gallery is proud to host the debut solo exhibition of emerging artist DU Kun at Cao Chang Di, starting Saturday, July 24.
Born in 1982 in Sichuan, DU Kun graduated from the Fourth Studio of Department of Oil Painting, China Central Academy of Fine Arts. During his college years, DU was ever enthusiastic about musical creation, and released albums with the musical team named after him. After graduating in 2007, he began creating fine art works. In 2009, Mr. MIZUMA Sueo discovered DU’s artistic talents and signed contract with him as his exclusive agent.
The show is titled A Stolen World; DU said this was the one-time name of a musical forum, which repeatedly played a melancholy and aerial piano piece whenever the viewers opened its website. The whole background of the forum’s web pages was black, depressing, and the radio there often recommended wonderful pieces of music. However, the forum just disappeared without leaving a clue, as if it were stolen, as like the name. As a matter of faith, DU believes that this world, apparently beautiful but actually rotten, too would suddenly disappear one day, just like the black-backgrounded forum that had been playing wonderful music day after day.
In his view, human beings have asked too much from nature, never getting satisfied or understanding gratitude, and came to believe that human power could conquer everything. Utter arrogance has led to greed, selfishness, indulgence in desires, deception…. All these have filled the human heart of the present epoch.
Also, there is a second meaning to the “stolen world”: with the arrival of the Last Judgment, the Lord comes “as a thief in the night” (1 Thessalonians 5:2~3, Revelation 3:3 & 16:15). Hence, DU said, “my works attempt to depict the scenes on the day of this world being stolen by the ‘thief.’ However, the work of God is bound to exceed human imagination, and all I can do is to get close to it, inevitably unfinished. I hope the works on show will awake all the people: Be tentative to the natural disasters so frequent in recent years and seek the causes at their root; we were born with sins and may die with sins. We ought to learn to be grateful and repent.”
AIDA Makoto, famous contemporary Japanese artist, commented on DU:
“[His works] are wonderful, through and through!
Frankly, that is my first impression of DU's works.
Perhaps not only DU, but also other graduates from China Central Academy of Fine Arts, who also possess superb fine-art techniques. Perhaps that is a sign of the barely surviving “socialist realism”? Also noteworthy is the interesting blending of such fine-art techniques with today’s computer-aided drawing environment, as if the 19th century had extended its arm through the 20th century to hold hands with the 21th century – a big surprise to a Japanese like me.
Nevertheless, DU is at his best when expressing a unique sense of “horror” in his works. That is a kind of horror sending chills down the spine, in sober silence. That is conveyed not only in his recent works on urban catastrophes, but also earlier works of Qing Dynasty figures. Where does such a concern with horror come from? Is it an idiosyncratic character or national character? – That is the most intriguing part.”
With these comments, AIDA Makoto not only summed up the features of DUN Kun’s works, but also highlighted the message and value of his art that may make its way to the circle of international communication at the turn of the second decade of the 21th century.
