2021成都双年展特别邀请展

欲上.合囤

——川音成都美术学院油画系硕士研究生提名展 前 言

欲上.合囤——川音成都美术学院油画系硕士研究生提名展顺应成都双年展“超融体”的策划主题，以成都本土艺术高校研究生创作群落为主体，旨在借助成都双年展平台展现本土当代艺术的新生力量。当然，或许更为真实的目的，在于呈现一种真实的西南区域年轻艺术家的肌理和质地。

要为这群青年艺术家造像是难的，简单粗暴的评定为“川音成都美术学院油画系硕士研究生是一个有当代油画语言意识和图像意志的创作群体”似乎并不公平。他们是单独的“个体”，有着对艺术创作的差异化认知，心态、年龄、资历也不尽相同，尽管是同一位导师培养出来的，彼此差别也是明显的。这个群体并不服从“某一种体系”，如果刻意去寻找一种风格定调和倾向性，我也看不到这种归纳的必要。这源于以下经验：“过往的哲学家，大多倾向于实证主义，也就是建构一个理论，然后被经验所证实。比如说，牛顿力学被证实，是因为海王星的发现。再比如，万有引力之下，苹果肯定向下掉，自有人类开始，总是如此。但是卡尔.波普尔认为，这种说法是错的。因为你不知道哪一天可能就出现与这个理论不一致的现象。从逻辑上来说，归纳是有限的，而任何科学理论都试图得出一个普遍性结论，那么这个普遍性结论是绝对不可能被归纳所证实的。犹如无限无法被有限所证实一样。”那么究竟如何给这群先后出入江湖或者是即将出入江湖的年轻艺术家造像呢？是否完全没有可能，抑或是还有一种我们不曾觉察到的边界，可以将这个群像恰当地勾勒出一个可辨识的轮廓？

“欲上.合囤”是一个比较感性的标题，语词的诗意跳跃旨在于表达对“绘画是一种自我表达的意志”的价值取向，和态度上的认定和笃定，即法国当代哲学家吉尔.德勒兹哲学中提到艺术功能的“向上流变”或福柯的“异托邦”。“合囤”是指一种群体状态，大致寓意着“合力而囤，厚积薄发”的指向，以此展示川音成都美术学院研究生群体的样态和生发。除此之外，没有更多造作的深刻逻辑了。“欲上.合囤”这个主题有着浓厚的“本土性”，成都这座城市生态所滋养的散漫、无羁、自性、逍遥的生命样态彼此不同，岔道相通。今天的文化和艺术或许需要这种散漫的温情和流浪意志。川西坝子文化基因里没有王勃那首写于南昌的《滕王阁序》的引经据典的金句对仗；也没有唐崔颢那首写于武汉的《黄鹤楼》烟波浩渺的生死茫茫；也似乎找不到北宋范仲淹《岳阳楼记》里那份忧国忧民的家国情怀，依稀继承的还是四川眉山东坡《记游松风亭》当中那份自在自若和对生活的温柔，“余尝寓居惠州嘉佑寺，纵步松风亭下。足力疲乏，思欲就亭止息。望亭宇尚在木末，意谓是如何得到？良久，忽曰：此间有甚么歇不得处？由是如挂钩之鱼，忽得解脱。若人悟此，虽兵阵相接，鼓声如雷霆，进则死敌，退则死法，当恁么时也不妨熟歇”。或许这是中国文化史上第一次出现的“躺平”事件，苏轼一生被放逐的人生境遇与松风亭的“不妨熟歇”与今日流行之“躺平”一词有着跨时空的异质同构，“躺平”现象涉及到社会分层及阶层结板化带来的虚无态度、价值萎缩等社会化议题，是德勒兹理论中的一种社会装配出的“集体——个体”肌理的外化显征，也是福柯定义的“权力结构化的驯化结果”。“躺平”这个状态如果硬要被指责为“偏安一隅”，这里只能“呵呵”了，不禁嘲讽一句：按照后现代文化里的“多重立场”和“去中心化”意志，偏安一隅不正是恰如其时？

“欲上——躺平”、“合囤——个体”是两对很有意思的语词组合，语词之间互为注解和分层，形成一种“迭奏”，正如“一个孩子身处黑暗之中，被恐惧钳制，以低声的歌唱来安慰自己，觅得一个宁静的中心，通过一个迭奏形成一个保护性的辖域。”这是理解“欲上——躺平”、“合囤——个体”机制的心理含义。

所以，我们尽可能不急于对这一群青年艺术创作者造像或定义，他们还在各自形成和生成的过程中，“欲上——躺平”、“合囤——个体”都是他们的特征之一。这个成都双年展特别邀请展以此为名聚集这一群体仅仅是因为他们均成长于一所四川的艺术院系——川音成都美术学院油画系，除此之外，是各自的开枝散叶，一路荡漾。

策展人：魏言 2021年10月12日写于新都

Special Invitation Exhibition of Chengdu Biennale 2021 Desire Hoarding

Nomination Exhibition for Master Degree Candidates of Oil Painting Department of Chengdu Academy of Fine art.

Preface

“Desire Hoarding ” --- Nomination Exhibition for Master Degree Candidates of Oil Painting Department of Chengdu Academy of Fine art conforms to the "Super Fusion" theme of Chengdu Biennale, taking the creative community of graduate students in Chengdu local art colleges as the main part, it aims to show the new force of local contemporary art through the platform of Chengdu Biennale. Of course, perhaps the more real purpose is to present a real texture and texture of the Young Artists in the Southwest Region.

To portray these young artists is difficult, It seems unfair to simply and crudely assess as "Graduate students of Oil Painting Department of Chengdu Academy of Fine Arts are a creative group with contemporary oil painting language awareness and the will of image". They are separate "individuals" with differentiated cognition of artistic creation, and their mentality, age, and seniority are not all the same. Even though they are trained by the same tutor, the differences between them are obvious. This group does not obey "a certain system." If deliberately looking for a tone of style setting and tendency, I don't see the necessity for this kind of induction either. This stems from the following experience: "Most philosophers in the past tended to be positivistic, that is, to construct a theory, and then to be confirmed by experience. For example, Newtonian mechanics was confirmed because of the discovery of Neptune. Another example, under universal gravitation, Apple must fall downward, since humans started, always. But Karl Popper believes that this statement is wrong. Because you don’t know which day there may be a phenomenon that is inconsistent with this theory. Logically speaking, Induction is limited, and any scientific theory tries to draw a universal conclusion, then this universal conclusion is impossible to be confirmed by induction. Just as infinity cannot be confirmed by finiteness." So how to portray this group of young artists who have entered or are about to enter and leave the Jianghu? Is it impossible at all, or is there a boundary that we have not perceived, which can properly draw a recognizable outline of this group image?

"Desire Hoarding" is a more perceptual title. The poetic leap of words aims to express the value orientation of "painting is a will for self-expression", and determination and determination in attitude, It is the "upward flow" of artistic function mentioned in the philosophy of French contemporary philosopher Gil Deleuze, or the "heterotopia" by Foucault. "Combination" refers to a group state, roughly implying the direction of "joining forces and hoarding, profound accumulation"

To show the students' style and generative development, In addition, there is no more contrived deep logic. The theme of "Desire Hoarding" has a strong "locality", The undisciplined, uninhibited, self-nature, and carefree life form nourished by The matrix of Chengdu City are different from each other, but they are connected. Today's culture and art may need this kind of loose warmth and wandering will. The Cultural Genes of Chengdu Plain do not have the golden sentence contrast of Wang Bo's quotation from "The Preface to the Pavilion of the King of Teng" written in Nanchang; There is also no Tang Cuihao’s "Yellow Crane Tower" written in Wuhan, and the vast life and death of the misty waves; It seems also can’t find the feelings of worrying about the country and the people in Fan Zhongyan’s "The Story of Yueyang Tower" in the Northern Song Dynasty. The vaguely inherited poem "Journey to Songfeng Pavilion" by Su Shi in Meishan, Sichuan， “I used to live in Jiayou Temple in Huizhou. One day, I was walking around Songfeng Pavilion. I felt exhausted and tired. I wanted to rest in the pavilion. But when I saw the eaves of Songfeng Pavilion still far away in the woods, when would I get there? Then I changed my mind and thought again, and suddenly realized: "Why can't I take a rest here?" I understood it all at once, and it was like a baitfish, suddenly liberated. If you can understand this point, even on the battlefield with close combat, the drums are like thunder, and you will die by the enemy's hands when you rush up, and you will die by military methods when you retreat. At this time, you might as well take a good rest.“ Perhaps this is the first "Lie down" event in the history of Chinese culture. The circumstance of Su Shi's life, "Come and take a rest" with Songfeng Pavilion in the in Poetry And today’s popular term "Lie Down" have heterogeneous and isomorphic across time and space, the phenomenon of "Lie Down" involves social issues such as nihilistic attitudes and value shrinkage brought about by social stratification and stratification is an externalized manifestation of the "collective-individual" texture assembled by society in Deleuze's theory, and it is also the "domesticated result of the power structure" defined by Foucault. If the state of "Lie Down" is to be accused of being "stay in a corner", there will be no more than "um...interesting" here. I can't help but ridicule: According to the "multiple positions" and "decentralized" will in postmodern culture, isn't it just the right time for a corner? I can't help but ridicule: According to the "multiple positions" and "decentralized" will in postmodern culture, isn't it just the right time to stay in a corner?

“Desire - Lie down“, "Hoarding - individual" are two very interesting word combinations, The words and words are mutually annotation and layering, forming a kind of "iteration", Just as "a child is in darkness, restrained by fear, comforts himself with a low voice, finds a quiet center, and forms a protective jurisdiction through an iteration." This is to understand the psychological meaning of the mechanism of “Desire - Lie down“ and "Hoarding - individual".

Therefore, we try our best not to rush to portray or define this group of young art creators, they are still in the process of their respective formation and generation, “Desire - Lie down“ and "Hoarding - individual" are one of their characteristics. In addition, they enlarge and spread their power and influence gradually, rippling all the way.

Curator: Wei Yan In Xindu, October 12, 2021

二.展览架构： 学术主持：何多苓 策展人：魏 言 统筹：赵 欢 主办机构： 川音成都美术学院美术研究院 何多苓美术馆 协办单位： 成都D空间 参展艺术家： 由川音成都美术学院油画系提名组成30名年轻艺术家的参展群体。 参展作品种类： 油画、水彩、装置、影像、综合材料、观念摄影 展览统筹：吕 静、王 龙 平面设计：钟 浩 顾问组： 马一平、周思源、何多苓、贺阳、魏言、马杰、王建斌、李昌龙、黄明元、邹琼辉、郭维新、章肇方、刘可 展览时间：2021年10月25日

画册印刷 欲上.合囤——川音成都美术学院油画系硕士研究生提名展画册 画册出品人：川音成都美术学院油画系 画册主编：魏 言

序

艺术作品具有自己的个体经验，同时也有社会的共同记忆。通过不同的媒介表达自己的观念和对当代社会的思考。

川音成都美院油画系历届研究生提名展，不仅是对青年艺术家的关注，同时也是关注成都当代艺术的传承。这次展览是系统性艺术研讨，更是一次文化脉络的梳理。

何多苓美术馆长期为推动本土青年艺术家提供平台，以推动本土艺术,提升公共文化美学教育为基础,为公众提供欣赏艺术的机会,展示艺术研究方面的学术成果。

川音成都美院油画系创建于2000年，是由著名美术教育家马一平院长亲手建立，在历届系主任：刘虹教授、刘勇教授的先后主持下，逐渐形成集绘画基础课、语言实验探索课、艺术创作以及艺术理论课为一体的教学系统。在现任系主任魏建翔副教授组织带领下，将该教学体系又得到了更一步的深化和完备。

油画系开收研究生从2003年（第一届）至今已经是19届了，大约有200余人在此毕业。 本次研究生提名展由油画系硕导群共同提名和筛选，共有有29位艺术家参展，这里面既有最早一批毕业的研究生，也有2020级在读的研究生。 展出包括油画、水彩、综合材料、雕塑以及影像多个种类，共计92件作品。集中呈现艺术与当下社会碰撞中绽放的多元化的面貌，折射他们目前的创作生态和精神内涵。

何多苓美术馆馆长 赵欢 2021.10.17

————- Preface

The artwork has its individual experience, but also the common memory of society. Express the ideas through different media and thinking about contemporary society.

This exhibition is a systematic art seminar, It’s more of a cultural context combing，and also for the attention of young artists, At the same time, also concerned about the inheritance of Chengdu contemporary art.

He Duoling Art Museum has provided a platform for promoting local young artists for a long time, based on promoting local art and enhancing public cultural aesthetics education, providing the public with opportunities to appreciate art, and exhibiting academic achievements in art research for a long time. To promote local art, enhance public cultural aesthetics education as the basis, provide opportunities for the public to appreciate art, show academic achievements in art research.

The Oil Painting Department of Chengdu Academy of Fine art been founded in 2000. It was personally established by the famous art educator Ma Yiping, Dean. Under the presidency of successive deans: Professor Liu Hong and Professor Liu Yong, gradually, a teaching system integrating basic painting courses, language experiment exploration courses, artistic creation, and art theory courses have been formed. under the leadership of the current department head, Associate Professor Wei Jianxiang, the teaching system has been further deepened and completed. The Department of Oil Painting began to recruit graduate students from 2003 (the first year), it has been 19 years, and about 200 students graduated here.

This postgraduate nomination exhibition is jointly nominated and selected by the master tutor group of the Oil Painting Department. There are a total of 29 artists participating in the exhibition. There are not only the first batch of graduate students but also the 2020 graduate students.

The exhibition includes oil paintings, watercolors, mixed materials, sculptures, and videos, with a total of 92 works. Focusing on the diversified faces blooming in the collision between art and current society, it reflects their current creative ecology and spiritual connotation.

By Zhao Huan, Director of He Duoling Art Museum 2021.10.17

学习就是力量

今年5月，在川音成都美院的研究生毕业展上，我向油画系主任魏言提出，可以在适当时候在我的美术馆办一个我院研究生的展览。如今，这个展览已经策划完成，即将呈现，并且被纳入2021成都双年展的特邀展系列。无论如何，这是个好事——从学院来说，参展艺术家都是自己的导师推荐，算是一个阶段性小结；对于学生，能集结成展，进入成都双年展序列，在他们的艺术历史中也算光彩的记录。对于我，多年来一直在为青年艺术家提供展出机会方面略尽绵力，这次能在自己的美术馆推出（和D空间联展），也是一个荣幸。

在艺术领域，学院体系占有绝对优势。也就是说，现在活跃的艺术家基本来自各个艺术学院，这是一个现实。有鉴于此，本文来谈谈师承。

以我为例，我出身成都师范学院美术班、四川美术学院绘画系本科和研究生班。从资历上，算典型的学院派。对这个名词，当下褒贬不一。但关于这一点，有一个情况可能有说服力。当年和我一起业余学画的朋友很多，如今他们在专业圈子里消失了——他们后来都没考美院。不管这算不算一个原因，就我来说，能走到今天，首先要归功于我的老师们。比如我在川美的老师马一平先生，他教给我“转调”的概念和方法，至今受益匪浅。老师们训练了我，也改变了我，使我的作品有了今天的面貌——时进时退，正负相加——一个长期而复杂的过程的叠加。我不知道这次参展的学生是否有同样体会。不争的事实是，他们都经历过学习，如果他们选择成为专业艺术家，那么这个学习模式将伴随他们一生。

“学院派”之所以被质疑，可能因为现代艺术就是从对此的反叛中诞生和发展的。以我来说，并不算典型的当代画家，但也早已不用在学院里学到的风格工作。我也经常告诉我的学生，有些东西学到手后就要遗忘——我其实指的是，某些学问已经进入肌肉记忆，不需要去想到它，但并不代表它不起作用。比如上文提到的“转调”，好比一位作曲家，用手而不是脑子在操作，而这正是多年脑子学习的结果。

再谈学习。昨晚看了一个视频音乐讲座，谈肖邦五岁时写的一首曲子。同为神童，和莫扎特对比，在这首曲子的成熟度上，肖邦胜出。但主讲人指出：这是因为前后关系——莫扎特在前，肖邦学习了他，所以……所以我要谈学习的另一个（也许更重要的）方面，就是向前人学习。

不久前在深圳艺博会的活动上，和几位不同领域的人士座谈。一位建筑师说，现在我们已经不是在向自然学习，而是师法前人，即使用自己的眼睛，也是站在前人的肩膀上。我发现建筑界谈起这一点很坦率——不知何故，艺术界对此有点羞羞答答。可能，当代艺术的成功基本上在于原创。所以大家都想成为杜尚。但我要说，你生已晚，语言都被前辈（甚至包括同辈中的先觉者）用完了。你只能先学到他们的语言，然后争取说得更好。这就要说到“引用”了。

上文说到语言的原创时代已经结束。中国当代艺术起步晚，加速的方法就是学习和引用。这也是一个客观事实。每一位成功艺术家的后面都站着一位过去的大师；尽管艺术界不大谈师承——谁也看得出谁的父本是谁。当然，我也遵循潜规则，心照不宣；然后理直气壮地劝学生，喜欢谁就学谁，喜欢什么已有的符号就加以引用。不以为耻，反以为荣。须知，在某些领域，引用乃是逼格很高的事儿。古文时代，不会用典的诗人都不好意思说自己是诗人。画得像谁没关系——一来你本来是学生，二来只要像好东西即可。在艺术门类，口头能传授的学问有限。视觉艺术主要靠视觉。我告诉学生，首先要学会“看”。瞻前顾后、左顾右盼，看历史，看当代。看大师也看素人画家。看老师也看你的同学。看画册、看画展。别的领域也不能忽略——我从建筑中学到了很多无法从美院里学到的。要听音乐——不能想象一位优秀的画家不热爱音乐。如果可能，看看乐谱。音符有视觉之美，因为它改变了世界。画画的要多看摄影，画油画的要多看水墨画，搞当代的要多看传统——学习不可耻，不学习可耻。先学习，再思考，边走边学，边学边丢——最后就是你自己。

中国传统画界很乐于说师承。师承某某某，这是炫耀家底。虽然我宁愿我的学生不像我，也不像历史上任何一位画家。但我们也不用回避血统。因为它存在。

何多苓 2021.10.17晚

Learning is strength

In May of this year, at the 2021 Graduate Graduation Exhibition of Oil Painting Department of Chengdu Academy of Fine art, I proposed to Wei Yan, the director of the oil painting department, that an exhibition of graduate students of our school could be hold in my museum at an appropriate time. Now, this exhibition has been well planned and will be presenting soon, and it will be included in the Special Invitation Exhibition of Chengdu Biennale 2021. Anyhow, it is a good matter. For the college, the participating artists are recommended by their own instructors, which is a stage summary. For students, being able to gather into an exhibition and enter the Chengdu Biennale sequence is also a glorious record in their art history. For me, I have been doing my best in providing exhibition opportunities for young artists for many years. It is also an honor to be able to launch this time in my museum (joint exhibition with D Space).

In the field of art, the college system has an absolute advantage. In other words, this is a reality that the active artists are basically from various art schools. In this context, this article will talk about the mentorship.

Take me as an example, I graduated from the fine arts class of Chengdu Normal University and the undergraduate and postgraduate classes of the painting department of Sichuan Fine Arts Institute. In terms of qualifications, regarded as a typical academism. There are mixed reviews for this term at the moment. But on this point, there is a situation that may be convincing. Back then, many friends studied painting with me together in their spare time. Now they disappeared from the professional circle, none of them were admitted to the Academy of Fine Arts. Regardless of whether this is a cause, as far as I am concerned, I can go to this day, first of all, thanks to my teachers. For example, Mr. Ma Yiping, my teacher at Sichuan Fine Arts Institute, taught me the concept and method of "Modulation" and has benefited a lot so far. The teachers have trained me and changed me so that my work has the same appearance as it is today, moving forward or back, increase or reduce, sometimes. I don't know if the students participating in this exhibition have the same experience. The indisputable fact is that they have all experienced learning. If they choose to become professional artists, then this learning mode will accompany them throughout their lives.

The reason why "academism" is being questioned, maybe because modern art was born and developed from the rebellion against this. As far as I am concerned, I am not a typical contemporary painter, but I no longer have to work with the style I learned in the academy. I also tell my students that some things should be forgotten after they have learned them —— What I am actually referring to is that certain knowledge has entered muscle memory and there is no need to think about it, but it does not mean that it does not work. For example, the "Modulation" mentioned above is like a composer operating with his hands instead of his brain, and this is the result of years of brain learning.

Let's talk about learning. I watched a video music lecture talked about a song written by Chopin when he was five years old last night. They are all child prodigies. Compared with Mozart, Chopin won the song in terms of maturity. But the speaker pointed out: It's because of context, Mozart was in front, Chopin learned from him, So I want to talk about another aspect perhaps more important of learning, which is to learn from the predecessors.

Discuss with several people in different fields at the Shenzhen International Art Fair not long ago, an architect said that now we are not learning from nature, but learning from our predecessors. Even using our own eyes, we are standing on the shoulders of predecessors. I find that the architecture world is very frank about this, somehow, the art world is a little shy to answer this. That is possible, that the success of contemporary art basically lies in originality. But I want to say that you are too late in your life, and your language has been used up by your predecessors (and even the awakeners among your peers). You can only learn their language first, and then strive to speak better. This is about "quoting".

As mentioned above, the era of the original language is over. Chinese contemporary art started late, and the way to accelerate it is to learn and quote. This is also an objective fact. Behind every successful artist stands a master of the past; Although the art world doesn't talk much about mentorship -- you can always tell who your father is. Of course, I also follow the unspoken rules, tacitly; Then confidently urge the students to learn whoever they like, and to quote any existing symbols they like. Of course, I also follow the unspoken rules, tacitly; Then confidently urge the students to learn whoever they like, and to quote any existing symbols they like. Don't be ashamed of it, but proud of it. It’s important to know that in some areas, the quote is a high-level thing. In ancient times, poets who can't use allusions are embarrassed to say that they are poets. It doesn't matter your painting looks like someone else's painting. First, you were originally a student, the second is as long as it looks like a good thing. In the art category, the knowledge that can be taught orally is limited. Visual art mainly relies on vision. I told students that they must learn how to "look" first. Looking forward and backward, looking left and right, looking at history, looking at the present. Look at the master and look at the amateur painter. Look at the teacher and look at your classmates. Look at the picture album, watch the art exhibition. Other areas of knowledge cannot be ignored yet. I learned a lot from architecture that I cannot learn from the Academy of Fine Arts. Listen to music, I can not imagine that a good painter who doesn't love music. If possible, If possible, have a look at the sheet of music. Musical notes have their visual beauty because they change the world. Those who paint should look more at photography, those who paint oil paintings should look more at Chinese Ink Painting, the contemporary artist should look more at the traditional things. It is not shameful to learn, and it is shameful not to learn. Learn first, think again, learn while growing, learn while losing, in the end, you are yourself.

The world of Chinese traditional painting is very glad to talk about mentorship. To learn from someone is to show off his value. Although I would rather my students are not like me or any painter in history. But we don’t have to avoid pedigree. Because it exists.

He Duoling In the night, 17th October, 2021

展览评语

胡佳颖，她的画有女性画家特有的温婉，柔美之感，她的画宁静淡雅，颇有些尾尾道来之感。

温泉的作品严谨笃定，追求光与人之间色彩光线造型交织在一起的变化，由此找出自己的追求和表达方向和方式。

—————王建彬

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Hu Jiaying, Her paintings have gentleness that is unique to female painters, A sense of femininity, Her paintings are quiet and elegant, quite like told the stories leisurely to us. The works of Wen Quan is strictly and firmly, Pursue the interweaving change of color, light, and shape between light and people, therefore find out the direction and way of pursuing and expressing yourself.

—————By Wang Jianbing

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张洪宇：张洪宇对绘画有着较为突出的控制能力，但他自己并不满足于此。在不断的自我省视和绘画语言的追问中将表达推进到通过语言的纠葛激发画面结构张力的突显以及痕迹的沉思状态。

冀玺冰：冀玺冰擅长于以具有强烈的情绪共振的造型和边缘线来塑造画面关系，并凸现身体的异化感受和心理的疏离。

高蜜：高蜜对绘画有着强烈的身体体验快感，在绘画中往往依靠其直觉行动，既有孩子般的冲动又有自我的感受和凝视。

——————马杰

···························································································································································· Zhang Hongyu has a relatively prominent ability to control painting, but he is not satisfied with it. In the constant self-examination and questioning of the painting language, to pushing the expression into a state in which the entanglement of language stimulates the highlighting of the structural tension and traces of the picture of contemplation.

Ji Xibing is good at shaping the relationship between pictures with strong emotional resonance shapes and edge lines, moreover, highlighting the feeling of body alienation and the alienation of the psychological.

Gao Mi has a strong sense of physical experience in painting. In painting, she often relies on his intuition to act, there are both childlike impulses and self-feelings and gaze.

————Ma Jie

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邓晧天：图形的表达是有局限性、图像在画的过程是一部电影式的现象。在现实与绘画节点上所表达的气息没被掩饰。＂非直视＂在时空运动中所留下＂痕迹＂，恰恰是艺术表现所在。

段睿：改造与碰撞同样是水彩的表现方式、对于着迷这种态度时心态还是单纯的恣意、即使在浓重的忧郁中也同样饱含春色。也是当下心里的触动。

刘娇：审美导向是属于自己的一种表达方式，在水彩这个方框以外建立自己的一个世界后、意图的再行为才是绘画的本质。

————章肇方

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Deng Haotian: The expression of graphics is limited, and the process of drawing images is a cinematic phenomenon. The breath expressed in the node of reality and painting has not been concealed. The "trace" left by "non-direct vision" in the movement of time and space is precisely where the artistic expression lies.

Duan Rui: Transformation and collision both are expressions of watercolor, the attitude towards obsessed with this attitude is still pure and arbitrary, even in the deep melancholy, it is also full of spring. It is also touch in the heart at the moment.

Liu Jiao: Aesthetic orientation is an expression of oneself, After establishing her own world outside the frame of watercolor, the re-behavior of intention is the essence of painting.

————Zhang Zhaofang

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为什么推荐魏书龙同学？作为川音美院油画系的2018级的研究生，他比较有代表性，也非常突出，在校三年的研读期间创作了一大批这个具有个人独特语言风格的油画创作，他的创作即能够代表今日高校艺术油画创作教育的动向和我们思考的一些标准，同时，在个人语言性的深度和题材的挖掘，以及个人的创作方法论和思考探索方面，魏书龙的创作也都具有了一定的成熟度，作为一位年轻艺术家，对他的这样的一个认可，我觉得是非常值得肯定的。

张斯羽在研期间完成了一批带有鲜明个性的纸本作品，她对医学观测下的微观世界有着特殊的兴趣，图像叙事建立了一种暗喻和隐匿的指涉。作为研三的学生，我们还期待她在毕业创作中有更成熟的表现。

张瑞翔过去几年一直致力于实验影像创作，在他的作品里，经常会闪烁着关于青春期的异化叙事、生存的日常与意外等主题。张瑞翔的影像作品里一种“特质感”，虽然这种“特质感”还处在一种未完成状态，但作品的冷静和锐度让人印象深刻。

李梓瑄擅长于处理一种异样的图像，她总能快速的找到她的调性：单纯的、极简的、抽象的视觉经验，仿佛是她自己身体的一部分，充满了作者“自我凝视”的意味。她的系列观念摄影、现场装置似乎都在这个维度而被我们所感知。

-------魏言

···························································································································································· Why recommend Wei Shulong? As a 2018 graduate student of the Oil Painting Department of Sichuan Music Academy of Fine Arts, he is very representative and outstanding, during his three-year study in school, he created a large number of oil paintings with his own unique language style. It shall be said that he is relatively excellent in the southwest region and these art colleges, and there is a clear difference. His creation can represent a trend of art education in Southwestern universities and some of our standards, meanwhile, In terms of personal linguistic depth and subject exploration, as well as personal creative methodology and thinking and exploration, they also have a certain degree of maturity.

As a young artist, such a recognition of him,I think it is very worthy of recognition.

Zhang Siyu completed a batch of paper works with a distinctive personality during his postgraduate period, she has a special interest in the microscopic world under medical observation, image narration establishes a metaphor and concealed reference. we also expect her to have a more mature performance in graduation creation as a third-year graduate student.

Zhang Ruixiang has been committed to experimental video creation in the past few years, the alienation narrative about adolescence, Daily life And accidents, and other topics are always shining in his works. Zhang Ruixiang's video works have a kind of "special texture”. Although this kind of "special texture" is still in an unfinished state, the calmness and sharpness of the work is impressive.

Li Zixuan is good at processing the kind of strange images, she can always find her tone quickly as if it were part of her own body: simple, minimal, abstract visual experience, it is full of the author's "self-gaze". Her series of conceptual photography and on-site installations seem to be perceived by us in this dimension.

————Wei Yan

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任俊超: 任俊超是一位可以在绘画、装置、综合材料之间相互穿越的年⻘艺术家，他的才能体现在他所触及的每一种艺术倾向的表达中都能获得相应的艺术张力，这源于他敏锐的艺术直觉和感受能力，以及艺术语言的转换能力。可以预期，他的综合修养达到一定的高度后，艺术潜能在某些单项上的爆发。

涂侃: 以废弃物为对象的绘画表达在近年来的艺术创作中时有所延续，而涂侃绘画中却有个人独到的阐释：一是“事实场景”的选择；二是“绘画方式”的选择。“事实场景”中往往是荒诞现实的存留物，如豪宅、舞台、吧台等，自带隐语和秘密，而“绘画方式”却在保持“事实场景”的 基础上进行“语言调侃”。

唐果: ⻛景写生在某种程度成为艺术界流行文化标志以后，概念化的风景写生大行其道。而唐果的风景景写生中，寄托有儿时的记忆，成年后的奔波与古道热肠。表现在绘画语言上，已初具沉稳而不虚饰，厚朴而不失灵动，虽传统而不失进取精神的风貌，加之充沛的艺术热情，未来可期。

林广海: 当代媒体因科技的发展迅速地翻新换代，引来了图像时代的个体狂欢，虚拟的事物成为事实一样的存在， 广海在其中发现“事实场景”中的“问题语境”，于是他在综合材料方面的实验精神与关注当代艺术前沿理论的习惯，成为他艺术表达的助力。绘画、综合材料、装置，皆有所获。

⻩子萱: 摄影中新的视觉经验在绘画中的运用，在新一代画家中已成为一种日常习惯，随机的手机拍摄和图象处理，似乎更适合新时代的个体心理感受？正如⻩子萱所说：“我被图片的模糊感受或者呈现的凌乱所打动......这种绘画体验以及遵从自己内心的创作感受深深吸引着我。”

——————刘勇

···················································································································································· For Ren Junchao: Ren Junchao is a young artist who can travel through paintings, installations, and comprehensive materials, his talent is reflected in the expression of every artistic tendency he touched can get the corresponding artistic tension, this stems from his keen artistic intuition, ability to feel, and ability to transform artistic language. It can be expected, after his comprehensive cultivation reaches a certain height, his artistic potential can explode in certain individual items.

For Tu Kan: The expression of paintings with waste as the object is occasionally seen in recent years of artistic creation. However, there is his own unique interpretation in Tu Kan's paintings: 1. The choice of "Factual scenes", 2. The choice of "Drawing method". "Factual scenes" are often remnants of absurd reality, such as mansions, stages, and bar counters, with lingoes and secrets. On the other hand, the “painting method” doing "Language Teasing" is based on keeping a “factual scene”.

For Tang Guo: After landscape sketching has become a symbol of popular culture in the art world to some extent, conceptualized landscape sketching is taking over the mainstream. In Tang Guo's landscape sketches, there are memories of childhood, also the rush, being sincere and enthusiastic as an adult. Expressed in the language of painting, it has already begun to be calm and unpretentious, simple yet flexible, although traditional, but not lost progressive spirit, coupled with ample artistic enthusiasm, the future can be expected.

For Lin Guanghai: The contemporary media is upgrading iteration due to the rapid development of technology, it has attracted the individual carnival of the Age of Image, virtual things become reality like existence, Guanghai found the "problem context" in the "fact scene", Therefore, his experimental spirit in comprehensive materials and the habit of paying attention to the cutting-edge theories of contemporary art become a boost for his artistic expression. Paintings, comprehensive materials, and installations have all been rewarded.

For Huang Zixuan: The use of new visual experiences of photography in painting has become a daily habit among the new generation of painters. Random cellphone shooting and image processing seem to be more suitable for individual psychological feelings in the new era? As Huang Zixuan said: "I was moved by the blurry feeling of the picture or the messy presentation, this kind of painting experience and the feeling that followed my inner creativity deeply attracted me.”

————Liu Yong

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殷果的艺术思维活跃，创作实践能力强，他通过对综合材料绘画语言的不断探索，形成了《皮毛》等系列作品。他的作品多用废弃的羊皮来构建代表权力的服饰，从而达到一种强烈的反差感；同时用羊皮作为艺术材料也凸显了其作品特有的民族属性。

何帖子宏对艺术执着而专注，思维敏锐，创作能力强。研究生阶段，持续探索景观符号与虚拟图像之间的界限。在此次展出的系列作品中，他将创作素材进行解构、重组与转换，以此实现自我批判与否定，同时强调了他的观念意识在现实中的呈现。

———邹琼辉

···························································································································································· Yin Guo has active artistic thinking, strong creative and practical ability. Through continuous exploration of the painting language of comprehensive materials, he formed the "Fur" series of works. His works mostly use discarded sheepskins to construct clothing that represents power, to achieve a strong sense of contrast; At the same time, the use of sheepskin as an art material also highlights the unique ethnic attributes of his works.

He Tiezihong has perseverance and focuses on art, Sharp thinking, and strong creative ability. At the graduate level, continue to explore the boundaries between landscape symbols and virtual images. In the series of works exhibited this time, He deconstructed, reorganized, and transformed the creative materials to realize self-criticism and denial, and at the same time emphasized the presentation of his conceptual consciousness in reality.

————Zou Qionghui

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何千里：混合了幻想与现实，童年与成熟，时代变异中的成长痕迹

刘纬：比起绘画，行为与装置所体现的行走的脚步、多维的空间，似乎更能满足他的思考

朱可染：执着于表面沉静，实则内在狂野的画面。近作更凝固了流动的力量，把水这种生命载体以结构的方式再现

张靖：直接而粗暴的题材与呈现，体现作者旁若无人的率直内心世界

伊文兵：层层叠叠的画面，貌似抽象，时而闪现具象，灿烂而厚重

吴奇睿：幽暗的画面，近来变得明亮。复杂斑驳的意象，暗示了对美好世界的向往

罗仕鹏：形体更强调涂鸦似的偶然，色块和线条时而分离，在错综复杂中呈现空灵

熊垚宇：画面的内容源于杂志图像的转化，赋予其陌生荒诞的疏离感，一种忧郁挥之不去。

————何多苓

···························································································································································· He Qianli: a mixture of fantasy and reality, childhood and maturity, traces of growth in the variability of the times.

Liu Wei: Compared with painting, the walking steps and multi-dimensional space embodied in behaviors and installations seem to be more satisfying for his thinking.

Zhu Keran: She is persistent to the calmness on the surface, but in fact, the inner wildness. Recent works have solidified the force of flow, reappearing the life carrier of water in a structural way.

Zhang Jing: Direct and rude subject matter and presentation, reflecting the author’s straightforward inner world like no one else. It embodies the author’s straightforward inner world like no one else.

Yi Wenbing: Layers upon layers, seemingly abstract, sometimes flashing concretely, brilliant and heavy.

Wu Qirui: The dark picture gradually becomes brighter. The complex and mottled imagery implies a yearning for a better world.

Luo Shipeng: The shape more emphasizes graffiti-like accidents, the color blocks and lines are sometimes separated, appear ethereal in the intricacies.

Xiong Yaoyu: The content of the picture stems from the transformation of magazine images, giving it a strange and absurd sense of alienation, a melancholy lingering melancholy.

————He Duoling

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陈岚楠的绘画具有难得的厚重感，同时兼容女性的浪漫抒情，使得她的作品不止于对图像的简单摘取，是综合的、复杂的、饱含情感的表达，是耐得住观看的真正的绘画。

与李明师生近十年之久，在研究生期间他的绘画就有敏锐且独特的感受，时至毕业后多年，依然能看到他对绘画的进一步认识与理解，用以震动的色彩将空间抽象化，使抽象寓于具象之中。这样的作品正是全身心的投入和对自己千百般的磨练所做到的表达。

——————郭维新

···························································································································································· Chen Fenglan's paintings have a rare sense of heaviness, at the same time compatible with women’s romantic lyricism, makes her work more than simply extracting images, it is a comprehensive, complex, and emotional expression, and it is a real painting that can withstand viewing.

For nearly ten years with Li Ming's teachers and students, he has had a keen and unique feeling in his paintings during his postgraduate studies. Until many years after graduation, he can still see his further understanding and understanding of paintings, abstracting space with vibrating colors. Transformation, so that the abstract resides in the concrete. This kind of work is the expression of wholehearted devotion and the expression of tempering of himself thousands of times.

————Guo Weixin