《友涵与余友涵----余友涵的早期经验与晚期风格》展览将于2025.03.25-2025.06.15在深圳市美术馆举办。

深圳美术馆作为深圳最早的艺术展览机构，一直以来以“立足深圳、面向世界，立足时代、面向未来”为基本定位，多年来，见证和承载着深圳美术发展历史，构建近现代中国美术文脉，积极践行着中国美术传播者、当代艺术观察者、艺术脉络梳理者、城市文化建构者的多重身份。举办余友涵先生的个展，正是深圳美术馆在梳理艺术脉络、推动当代艺术发展方面的重要之举。展览通过余友涵先生的早期实践与其晚期创作之间的对话，展现出余友涵先生在其艺术创作过程中内在变化的思想肌理，向观众展现出艺术家的个人生涯与中国当代艺术自身发展及其背后的思想流变形成的互文关系。

The Shenzhen Art Museum is the oldest art institution in Shenzhen， with the motto of "rooted in the local, facing the global; anchored in the present, looking to the future", the museum has witnessed and borne the historical development of Shenzhen's art, constructed the context of modern Chinese art, and actively fulfilled multiple roles as a disseminator of Chinese art, an observer of contemporary art, a comber of the art context, and a constructor of urban culture. Holding Mr. Yu Youhan's solo exhibition is precisely an important move by the Shenzhen Art Museum in sorting out the art context and promoting the development of contemporary art. The exhibition seeks to reveal the conceptual underpinnings of his stylistic evolution by fostering a dialogue between his early practice and his later one. It also aims to establish an intertextual connection between the artist’s personal trajectory and the development of Chinese contemporary art in terms of their intellectual undercurrents.

上海艺术家余友涵先生1943年出生，直至2023年辞世，其艺术人生跨越了中国当代艺术发展中数个激荡的历史时期。他的创作发端于骤变中的社会生活，他通过艺术含蓄地转译了他对生活与文化的思考。到了晚年，他充分地反刍早期的创作经验，在作品中展现出多变、灵动、自如、平和的面貌。余友涵曾概括形塑自己创作的因素，“一方面来自社会本身所带来的情感上的刺激，一方面来自全球的当代艺术的潮流，同时也受到本地历史和现实问题的影响。”此次展览是余友涵先生离世后的首个大型回顾展，全面呈现余友涵先生跨越半个多世纪的创作生涯，涵盖了100多件作品和丰富的文献资料。在此次展览中，两位策展人基于自身艺术史和思想史的双重视野，勾勒出余友涵立足于自身的艺术探索，与时代孜孜不倦地对话的卓越成果，也从他的个人实践中提炼出若干与当代艺术史相关的关键性问题。

Yu Youhan was born in 1943 and deceased in 2023. His artistic life traversed across several tumultuous periods in the historical course of contemporary art in China. His art emerged from a period of the society characterized by dramatic shifts and he subtly translated his reflections on life and culture into his works. In his later years, he fully digested and reactivated his early creative experiences. As a result, his late works appeared to be constantly changing, flexible, fluid, and tranquil. Yu once summarized the factors that shaped his art as such,“On the one hand, they might be the emotional stimulations brought about by society itself; on the other hand, they might be trends in global contemporary art; and furthermore, they might be the influence of local historical and reality issues. I painted the collisions among the three.”This general description can encompass nearly every stage of his works, which vary considerably in forms and subject matters.

展览试图通过其早期经验与晚期风格两个相互辉映的部分来谱写余友涵的创作人生。他的早期经验包括1970年代的后印象派风格的风景写生，和1980年代通过揣摩现代派形式的作品，结合“文化热”的思潮而抵达“圆”系列的探索过程。他的晚期风格，即在2002年之后直至晚年的20余年间，不断消化和游戏他在上一个阶段中所积累下来的经验，从而生发出轻松自然，超越某一风格和时间的“晚期风格”，释放出早期的快乐和发现。“友涵与余友涵”意在展现出一位艺术家不断成长和自我扩容的过程。其数十年的思考和专研使其作品具有难以超越的广度和深度，为艺术世界留下了一笔丰厚的遗产。余友涵的实践告诉我们：在艺术中，对自我创造进行探索可以一直进行到底。

This exhibition depicts Yu's creative life through two mutually reinforcing spectrums: his early experience and his later style. His early experiences include post-impressionist landscape paintings in the 70s, his exploration of modernist forms in the 1980s, which culminated with the “Circles” series, under the influence of Cultural Fever of the time. As to his later styles, which were formed from 2002 to his last days, he continued to re-project the experiences he had accumulated through previous stages, ultimately delivering a relaxed and natural “late style” that transcended time while releasing the joys and discoveries of his early years. As early as in 1983, Yu Youhan recognized in Picasso's art the quality of infinite variations both in various stages of his practice and in every single part of his painting, colors differing in edges and lines varying in ending points. He thus held himself up to such a standard. It’s this self-expectation that can unify all of Yu's later inventions. From “Youhan” to “Yu Youhan,”it is a journey that encapsulates an artist's continuous growth and self-expansion. Decades of contemplation and exploration in art empowers Yu’s works with unsurpassed breadth and depth, offering a rich legacy for the art world. Yu Youhan's practice proves such a point: in art, the search for artistic creation within oneself can go all the way to the end.

关于艺术家

余友涵

1943年，余友涵出生于上海，并于上海生活和工作直至2023年离世。1973年毕业于北京中央工艺美术学院。余友涵被认为是中国当代重要和具有影响力的艺术家之一，他的绘画实践可以追溯到1970年代，是中国当代艺术的重要先驱。余友涵融汇了中国传统艺术的理解和西方艺术的表达方式，通过对各种视觉手法的持续探索，他的绘画保持着普遍意义，影响并感染了一代年轻艺术家。

他曾参加第22届圣保罗双年展，巴西（1994），第45届威尼斯双年展，意大利（1993），以及首届亚太当代艺术三年展，布里斯班，澳大利亚（1993）。他的作品在国内外广泛展出，包括：余友涵：永恒与多变，金鹰美术馆，南京（2022）；长乐路的风，应空间当代艺术中心，北京（2021）；具象·抽象，龙美术馆，重庆（2018）；魔都之脉动——上海当代艺术的腾飞，熊本市现代美术馆，日本（2018）；1989年之后的艺术与中国：世界的舞台，古根海姆博物馆，纽约，美国（2017）；余友涵回顾展——PSA中国当代艺术收藏展系列，上海当代艺术博物馆，上海（2016）；余友涵1973-1988作品展，龙美术馆，上海（2016）；走出上海，非具象艺术博物馆，奥滕多夫，德国（2009）；墙上的字：中国80、90年代新现实主义和前卫艺术，格罗宁根博物馆，荷兰 （2008）；身体·中国，马赛现代艺术博物馆，马赛，法国（2004）；中国现代艺术展，中国美术馆，北京（1989）等。

关于策展人

刘鼎 卢迎华

2013年至今，刘鼎与卢迎华持续开展题为“社会主义现实主义的回响”的研究，对叙述中国当代艺术的视角和方法论进行重新评估。他们共同策划的一系列展览包括“小运动——当代艺术中的自我实践I、II”（2011，2013年）、“偶然的信息——艺术不是一个体系，也不是一个世界”（2012年）、“从艺术的问题到立场的问题——社会主义现实主义的回响”（2014年）、“‘新刻度’与钱喂康——中国早期观念艺术的两个案例”（2015年）、“沙龙沙龙——1972－1982年以北京为视角的现代美术实践侧影”(2017年、2020年)，“工厂、机器与诗人的话——艺术中的现实光影”(2019年)、“巨浪与余音——重访1987年前后中国艺术的再当代过程”（2020年）、“巨浪与余音——后现代主义与全球80年代”（2021年），“万言亦无声——生活的学术价值”（2021年）和“笔记——来自二十世纪末的中国声音”（2022）。第八届横滨三年展艺术总监（2024年）。