歧感激流—通向语言的绘画

策展人：戴卓群

艺术家：陈彧君，段建宇，耿旖旎，侯勇，黄宇兴，吉磊，贾蔼力，李青，刘唯艰，马文婷，秦琦，仇晓飞，申亮，沈晔，宋元元，唐永祥，屠宏涛，谢南星，谢其，翟倞，詹翀，郑文昕

开幕：2016.05.08 3：00pm

时间：2016.05.08-2016.05.18

主办：今日美术馆

赞助：哇棒移动传媒集团

地点：今日美术馆二号馆

前言|戴卓群

西方绘画的主体历史经验，从早期服务于神和宗教，中世纪之后逐渐转变为服务宫廷与贵族，到十八世纪后开始面向人与自然，民主化、自由与个人主义，虽然绘画的语言与风格自觉隐现，但绘画的对象和内容自始至终处于绘画的外部。现代主义革命所带来的成果，是将绘画本身变成了绘画的对象，将绘画导向了自身的内部。自印象派之后，表现主义、立体派、抽象派、超现实主义、抽象表现主义、新具象、新表现…乃至超越绘画、反对绘画，绘画革命所导向的，不是得出绘画已死的论断，而是绘画自身的解放，是关于绘画的绘画，绘画自身成为绘画的对象。中国绘画传统亦有相似的进路，但是在元明文人画鼎革之后历史性地走向了衰败之路，如同中国历史自身晚到的现代性。

绘画存在于语言之中，也只有在语言的建构中，事物原本被遮蔽、不可见乃至不可理解的东西显现出来。绘画通过语言将真实对象予以分析、分解，然后重新给予新结构、新内涵，这种没有确切意义和充满不确定性的形而上学活动，使得绘画在与其客体以及时空之间产生新意，其意涵远高于原初对象一般的可理解性。

创作或行动在当下的绘画语境中，已然不再是再现事物直观可视的具体形象，不是为了模拟实在对象，而是为了让我们发展对事物的理解和思考。规定艺术意义的并非客观对象自身的属性，而是通过绘画语言的建构，赋予物像的增益，可以说，是语言创造作品，或者更进一步说，只有语言才是作品的灵魂。绘画的语言方式使对象之间的关系和并存不再是纯粹偶然的结果，绘画亦不再体现恒定的、有限的、“真实的”意义，而是不知穷尽地努力去创造新的形式与意义。

Dissensus Agitation - The Painting to Language

Curator： Dai Zhuoqun

Artists： Chen Yujun， Duan Jianyu， Geng Yini， Hou Yong， Huang Yuxing， Ji Lei， Jia Aili， Li Qing， Liu Weijian， Ma Wenting， Qin Qi， Qiu Xiaofei， Shen Liang， Shen Ye， Song Yuanyuan， Tang Yongxiang， Tu Hongtao， Xie Nanxing， Xie Qi， Zhai Liang， Zhan Chong， Zheng Wenxin

Opening： 2016.05.08 3：00pm

Duration： 2016.05.08-2016.05.18

Organizer： Today Art Museum

Sponsor： Wooboo Mobile Media Group

Venue： Building No.2 Today Art Museum

PREFACE/ DAI ZHUOQUN

When we go through the mainline of western painting，we can find that art served for religious purpose at the beginning， then served for royal family and the nobility after middle ages. When it came to 18th century， painting started manifest the concern about democratization， freedom and individualism. Although the languages and styles varied， the object and content have been separated from painting itself. The modernism revolution leads painting to look inside， as painting becomes the object of painting. As the Impressionism， Expressionism， Cubism， Surrealism， Abstract Expressionism， Neo-figuration and Neo-abstraction showing， painting has be liberated， instead of going dead. Chinese painting has a similar history， to be specific， it begun to decay after the bloom of literati painting of Yuan and Song dynasty， and the modernization happened rather lately.

Painting exists in the language. Only when the language constructed， the hidden part， sometimes is not cognitive， will emerge. Painting analyzes and deconstructs the real objects through language and then endows them with new meanings and structures. This kind of probabilistic metaphysics activity inspires painting to find new possibility between its object and context， which is more valuable than the ordinary meaning of a primary object.

Creation activities refer to， in today’s context， neither reflecting the visible objects， nor simulating a real object， but to provoking our thinking about these objects. What defines art is actually how to organize the artistic language rather than to show the nature of an object. In another word， the language builds a work. Further， only the language is the soul of an artwork.

Painting， as a language， makes the relationship between objects is not occasional any more. What’s more， instead of representing constant finite and “real”meanings，it continuously creats new forms and meanings.