展覽 ｜ EXHIBITION?

井士劍

《植物的意志》

JING Shijian:?Kunstwollen

展期｜Duration

2023.09.08 (Fri.) - 10.21 (Sat.)

地點(diǎn) |?VENUE

阿拉里奧畫廊上海

ARARIO GALLERY Shanghai

上海市徐匯區(qū)龍愛路7號芒果廣場D棟一層 1F, Building D,
Mangoo Hub, 7 Longai Rd. Mangoo Hub, Xuhui District, Shanghai, China?

禪家頌雪壓蘆葦，柔韌而不折萎；詩人寫落花依草，雖墜落，依然是美；哲人見大樹莊嚴(yán)，即逸興遄飛。此是植物意志，亦造藝意志，西人所謂Kunstwollen也。植物，物自體也。藝術(shù)家觀其形態(tài)表象，意志生焉。藝術(shù)家造藝之痛苦，達(dá)于極致，與植物不可動(dòng)搖之安寧，其境界一也。拜覽井士劍教授之《植物的意志》啟余感悟于上。范景中謹(jǐn)記。

The Zen master reveres the slender reeds, yielding gracefully against the snow but never breaking; The poet praises the flowers, fading yet still exuding beauty; The philosopher admires the wisdom of mighty trees that illuminate their soaring spirits. Thus, the inspiration of art emerges along with the will of plants, which some Western scholars describe as "Kunstwollen" (the will of art). A plant is a ‘being-in-itself’, by observing and depicting the forms and appearances of plants and trees, the artist develops his will of art. Akin to the unshakable tranquility of plants and trees, artists struggle in their pursuit of spiritual realm. These are my thoughts on viewing Professor JING Shijian’s solo exhibition "Kunstwollen”.

by Fan Jingzhong

阿拉里奧畫廊欣然宣布將于2023年9月8日至10月21日呈現(xiàn)藝術(shù)家井士劍個(gè)展“植物的意志”Kunstwollen。展覽不僅涵蓋了藝術(shù)家近年的油畫作品與絹本作品，還將展出其創(chuàng)作于90年代早期表現(xiàn)主義風(fēng)格的大幅油畫作品，以呈現(xiàn)藝術(shù)家對藝術(shù)語言的混合性使用與其創(chuàng)作風(fēng)格不斷嬗變的清晰線索。

ARARIO GALLERY Shanghai is pleased to announce artist?JING Shijian's solo exhibition "Kunstwollen",?on view from?September 8th to October 21st,?2023. This exhibition encompasses JING?'s recent oil paintings and silk works,?and features one of his large-scale expressionistic paintings created in the early 1990s,?presenting a clear trail of the artist's hybrid use of artistic language and his ever-evolving creativity.

作為“新西湖繪畫”的代表人物之一，井士劍始終將目光望向自然本初，他提出“藝術(shù)地理”的概念，強(qiáng)調(diào)地理外延和地域景觀對于藝術(shù)家創(chuàng)作的影響，關(guān)注人與藝術(shù)發(fā)生地自然景象與歷史文化的關(guān)聯(lián)。他生長于中國北方，而后又在江南生活多年。隨著地理維度的遷移和所見之景的變換，體現(xiàn)在他的作品中，便有了相輔相承的以“新西湖”繪畫和“植物意志”繪畫為表現(xiàn)脈絡(luò)的作品，如描繪西湖人文景致的《江湖·二十四小時(shí)》、《湖舟》系列等，及以植物意志為表現(xiàn)的“石榴系列”和“罌粟系列”等。他近期的作品依然根植于自然景觀，將生活中熟悉而普遍存在的植物，運(yùn)用混合性語言的手法呈現(xiàn)，以探討自然與社會(huì)、植物與人類的共生關(guān)系。

As one of the representative figures of "New West Lake Painting",?JING has always directed his gaze towards the nature of the original.?He puts forward the concept of "Art Geography",?emphasizing the influence of geography and regional landscape on artists' creations,?and focusing on connections between natural scenery,?history and culture where art and human converge.

Growing up in northern China and later living in Hangzhou,?his works reflect the migration of geographical dimensions and shifting landscapes witnessed over time. This influence is evident in works like "Jianghu（literal meaning river,?lake）- 24 Hours"?series?(“江湖·二十四小時(shí)”)and "Hu Zhou?(literal meaning river,?boat)?" series?(“湖舟”) ,?depicting West Lake scenery. He also explored northern plants in the "Pomegranate" and "Poppy" series. More recently,?JING has progressed to employing surrealistic techniques to present plants in new ways,?aiming to discuss?the symbiosis between nature/society and plants/humanity.

“植物系列”是井士劍三十年前便開始創(chuàng)作并延續(xù)至今的系列，其中反復(fù)出現(xiàn)的意象——石榴和罌粟花等，是自然鄉(xiāng)野常見的植物。將其入畫時(shí)，他摒棄了傳統(tǒng)的靜物畫法，轉(zhuǎn)而經(jīng)由對植物的觀察和描繪，重返其自然生長的形態(tài)，在還原自然本初的過程中，抵達(dá)原本的真實(shí)。他的絹本系列就是這一藝術(shù)理念的例證，他筆下的罌粟花素雅清淡，呈現(xiàn)出其自然的狀態(tài)，還原了視覺與知覺的真實(shí)。他描繪的植物性表現(xiàn)了中國傳統(tǒng)的人文精神屬性。

The recurring images in JING 's longstanding plant series- namely pomegranate and poppy flowers commonly found in northern China-depart from still-life techniques. Instead,?he seeks their natural growth forms to capture the primordial essence of truth. This concept is also exemplified in his silk "Poppy" series,?where the elegant,?subtle poppies portrayed restore authentic visual and perceptual experiences of their natural state.?

面對創(chuàng)作，他始終保持著開放的態(tài)度，以嚴(yán)謹(jǐn)?shù)囊曈X感知邏輯創(chuàng)造繪畫，不曾將自己局限在某種固定的創(chuàng)作方法中?？v觀近期井士劍的作品，不難發(fā)現(xiàn)其創(chuàng)作風(fēng)格的變化。在用色上，畫面一改沉靜悠遠(yuǎn)的棕灰色調(diào)，而愈發(fā)濃重豐富。他近期的植物繪畫似乎更強(qiáng)調(diào)一種介于真實(shí)和想象之間敘述敘事——以一個(gè)意象為錨點(diǎn)，展開藝術(shù)的聯(lián)想，賦予畫筆下的事物以精神性的維度。以古希臘月亮崇拜、女性生殖崇拜及狩獵女神阿爾忒彌斯為原型創(chuàng)作的作品《阿爾忒彌斯》，以鮮明濃郁的色彩勾勒，象征大地之母豐碩的生命力，同時(shí)也是向藝術(shù)家路易斯·布爾喬亞的致敬。

Over?the decades of his artistic career, JING remains open-minded,?never confined to fixed methods. In recent years, his works have?revealed colorful evolution - paintings moving from serene brownish-grays into increasingly vibrant tones. Latest plant depictions emphasize a stronger reality-imagination narrative. Using images as anchors,?he unfolds associations and imbues spiritual dimension. The work,?"Artemis",?inspired by ancient Greek worship and reverence for motherly fertility,?is created in bold vivid hues symbolizing the abundance of Mother Earth,?which is also a tribute to the artist Louise Bourgeois.

經(jīng)由植物性，井士劍進(jìn)而開始思考我們切身所處的現(xiàn)實(shí)，展開了對于物我關(guān)系的追問和探尋。他的創(chuàng)作從對事物存在方式的描繪再現(xiàn)開始，逐漸接近心靈。正如著名美術(shù)史學(xué)家范景中先生所言：“植物，物自體也。藝術(shù)家觀其形態(tài)表象，意志生焉。藝術(shù)家創(chuàng)造藝之痛苦，達(dá)于極致，與植物不可動(dòng)搖之安寧，其境界一也?！?/strong>井士劍的創(chuàng)作既有自然的蹤跡，又飽含精神的蘊(yùn)藏，將物與我相統(tǒng)一，成為一種對生命萬物體察和關(guān)照的方式。

As art historian Fan Jingzhong wrote,“A plant is a 'being-in-itself',?by observing and depicting the forms and appearances of plants and trees,?the artist develops his will of art. Akin to the unshakable tranquility of plants and trees,?artists struggle in their pursuit of spiritual realm.”?Jing Shijian's journey starts depicting plant existences, gradually approaching the soul realm. His works bear nature's traces while containing profound spiritual essence,?unifying self with the world. It ultimately becomes a way of observing and caring for all aspects of life through deeper contemplation of the reality in which we are all embedded.

關(guān)于藝術(shù)家 ABOUT THE ARTIST

井士劍?1960出生于中國遼寧省黑山縣。藝術(shù)家，中國美術(shù)學(xué)院教授、博士生導(dǎo)師，現(xiàn)工作生活于杭州。從上世紀(jì)80年代至今，致力于當(dāng)代藝術(shù)研究與創(chuàng)作。關(guān)注全球語境下的當(dāng)代藝術(shù)研究和形成自身獨(dú)特的藝術(shù)語言結(jié)構(gòu)和詞語與語法。以幾十年一系列個(gè)展勾勒出藝術(shù)創(chuàng)作持續(xù)不斷的藝脈。并以世界變幻的近幾十年，自身經(jīng)歷和藝術(shù)創(chuàng)作揭示出歷史、社會(huì)、未來的藝術(shù)斷裂與碎片的多元文化的視覺景觀。從1996年上海美術(shù)館《藝術(shù)的對話》與瑞士藝術(shù)家的雙個(gè)展，至今以《藝術(shù)地理》《漫步江湖》《江湖泛舟》三個(gè)展覽，持續(xù)以視覺藝術(shù)，再現(xiàn)人與自然的境遇，與藝術(shù)原發(fā)性問題，以《宇宙的蝸牛和戲謔的風(fēng)景》《寓言》《謎·湖》《1/2》《次九》《長亭外·井士劍》等個(gè)展，關(guān)注藝術(shù)創(chuàng)作的邏輯、意志、混合語法等要素，對繪畫的時(shí)間空間進(jìn)行視覺回應(yīng)與藝術(shù)實(shí)踐。

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關(guān)于畫廊?|?ABOUT US

阿拉里奧畫廊自1989年創(chuàng)立至今，分別于韓國天安、首爾和上海擁有其支點(diǎn)畫廊。在過去的三十年間，阿拉里奧畫廊始終致力于關(guān)注與推廣亞洲與國際藝術(shù)家，豐富其藝術(shù)家名單，并長期培養(yǎng)支持年輕藝術(shù)家。其代理的五十余位藝術(shù)家來自韓、日、中、印和東南亞地區(qū)各國，涵蓋自20世紀(jì)70年代至今的實(shí)驗(yàn)藝術(shù)先鋒，創(chuàng)作門類包括視覺藝術(shù)、繪畫、雕塑、影像以及裝置等眾多藝術(shù)類別，突出展現(xiàn)亞洲地區(qū)令人矚目的社會(huì)歷史文化。

自2005年入駐北京798藝術(shù)區(qū)起，阿拉里奧通過展示亞洲地區(qū)極具代表性的優(yōu)秀藝術(shù)家，迅速成為中國當(dāng)代藝術(shù)發(fā)展的重要樞紐。2014年8月，上海徐家匯衡山坊館正式開館，2017年7月遷址上海西岸，與來自中國和海外的藝術(shù)家一道為中國藝術(shù)舞臺(tái)的多元性注入活力，繼續(xù)作為中國當(dāng)代藝術(shù)的先驅(qū)力量而存在。

2022年，由日本藝術(shù)家名和晃平及其SANDWICH工作室傾力打造的上海新空間落址西岸國際傳媒港，集當(dāng)代先鋒藝術(shù)、國際限量藝術(shù)衍生品、收藏級家具設(shè)計(jì)、潮流時(shí)裝快閃與精品咖啡品牌為一體，致力于打造一個(gè)當(dāng)代都市長效生活方式的策展式藝術(shù)商業(yè)復(fù)合空間。

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