現(xiàn)象——周憲耀藝術(shù)展
Phenomenon ——Zhou Xianyao Art Exhibition
學(xué)術(shù)主持：楊衛(wèi)
Academic Host: Yang Wei
策展人：李青林
Curator: Li Qinglin
策劃編輯/王鑫
Planning Editor: Wang Xin
翻譯/崔鵬
Translation: Cui Peng
設(shè)計(jì)/楊明月
Design: Yang Mingyue
攝影/郭德昌
Photographer/Guo Dechang
主辦方：北方抽象
Organizer: Northern Abstraction
承辦方：克羅里亞美術(shù)館
Undertaker: Cloria Art Museum
媒體支持：雅昌藝術(shù)網(wǎng)、庫(kù)藝術(shù)、阿特網(wǎng)
Media Support: Artron.net, KuArt, CCARTD
開幕時(shí)間：2023年9月30日 上午10時(shí)
Opening Time: September 30, 2023 (10:00 a.m.)
展覽時(shí)間：2023年9月30日-10月30日
Exhibition Time: September 30, 2023 to October 30, 2023
展覽地點(diǎn)：大連金石灘美術(shù)館（1號(hào)館）
Exhibition Venue: Dalian Jinshitan Museum of Fine Arts (Hall 1)

認(rèn)真的“壞畫”

——關(guān)于周憲耀的藝術(shù)

自現(xiàn)代藝術(shù)從文學(xué)等敘事的附庸中解放出來(lái)，藝術(shù)便呈現(xiàn)出了前所未有的豐富性。其中，以“達(dá)達(dá)主義”掀起的反藝術(shù)思潮，也被納入藝術(shù)發(fā)展的必然邏輯，得到了長(zhǎng)足發(fā)展。最典型的例子，就是波普藝術(shù)的誕生，把非藝術(shù)的元素作為藝術(shù)進(jìn)行表達(dá)，漸成創(chuàng)作風(fēng)尚，影響了20世紀(jì)60年代以來(lái)當(dāng)代藝術(shù)的發(fā)展。而在這個(gè)發(fā)展軌跡中，與波普藝術(shù)多取用現(xiàn)成品和流行符號(hào)不同的是，還有一條藝術(shù)線索，是以繪畫本身來(lái)解構(gòu)和破壞繪畫，此被批評(píng)界稱為“壞畫”。

所謂“壞畫”，不是指畫壞的畫，而是指一種創(chuàng)作的立場(chǎng)和態(tài)度，帶有某種玩世不恭的意味，包含“壞蛋”的意思。它主要源于北歐和東歐，以德國(guó)藝術(shù)家維爾納·巴特納（Werner Büttner）、馬丁·基彭博格（Martin Kippenberger）、阿爾伯特·奧倫（Albert Oehlen）等人為代表。90年代以后，中國(guó)藝術(shù)家也開始關(guān)注時(shí)易世變的社會(huì)形態(tài)，將動(dòng)蕩不安和支離破碎的現(xiàn)實(shí)納入藝術(shù)觀念，加以戲謔性的表達(dá)，由此催生出一種中國(guó)式的“壞畫”。藝術(shù)家周憲耀就是承接了這樣一條創(chuàng)作路徑。

周憲耀80年代開始學(xué)畫，受當(dāng)時(shí)“新潮美術(shù)”的影響，他早期作品借鑒了后印象派和表現(xiàn)主義的諸多風(fēng)格，一開始就具有某種現(xiàn)代派的創(chuàng)作觀念，如畫面人物的造型夸張變形，筆觸粗獷豪放，肌理厚重斑斕，色彩主觀臆斷，等等。這些具有現(xiàn)代主義意識(shí)的審美趣味，被周憲耀吸納成自己的藝術(shù)思想，由此奠定了他的語(yǔ)言基調(diào)。此后，被時(shí)代潮流裹挾，周憲耀曾下海經(jīng)商，期間經(jīng)歷商海沉浮、人事滄桑，使他對(duì)社會(huì)、對(duì)人性等，都有了更加深切的體會(huì)。因而，當(dāng)周憲耀于新世紀(jì)再度回歸畫壇，重新拿起畫筆時(shí)，他的內(nèi)心早已經(jīng)千瘡百孔。故此，用畫筆彌補(bǔ)內(nèi)心的缺乏，表現(xiàn)社會(huì)的跌巖，就成了周憲耀藝術(shù)創(chuàng)作的核心內(nèi)容。

與之前關(guān)注人體等藝術(shù)題材截然不同，周憲耀后來(lái)的創(chuàng)作更加側(cè)重于社會(huì)性表達(dá)。這當(dāng)然源于他的現(xiàn)實(shí)體驗(yàn)，即多年的社會(huì)參與和生活觀察，使他看到了現(xiàn)實(shí)生活中太多黑白混淆、不明不暗的事情，尤其是社會(huì)變遷帶來(lái)的精神迷失與情感割裂，給他留下了揮之不去的心理陰影。因此，用畫筆渲泄內(nèi)心的憤懣，表達(dá)對(duì)現(xiàn)實(shí)和人生的關(guān)愛與同情，便成了周憲耀關(guān)注現(xiàn)實(shí)的人文視角。但是，與許多藝術(shù)家關(guān)注現(xiàn)實(shí)的表現(xiàn)方式不同，周憲耀對(duì)現(xiàn)實(shí)的觀照，除了基于個(gè)人化的體驗(yàn)，還有對(duì)語(yǔ)言探索的興趣。這使得周憲耀創(chuàng)作的繪畫作品，不只是為我們留下了現(xiàn)實(shí)社會(huì)的時(shí)代圖景，更為重要的是，銘刻了穿越這個(gè)時(shí)代的心理印痕。

周憲耀的近期作品主要分為兩類：一類是關(guān)于日常事物，如室內(nèi)凝固的靜謐空間，如斑斕陳舊的桌椅板凳等；一類涉及人生處境，如一字排開的男女群像，如躺臥在荊棘密布中的孤獨(dú)個(gè)體等。這兩類作品看似題材不同，但在周憲耀具有強(qiáng)烈表現(xiàn)意味的語(yǔ)言統(tǒng)籌下，卻彼此關(guān)聯(lián)，有機(jī)地融為一體，均透出一股飽經(jīng)風(fēng)霜、形影相吊的意象。顯然，這種蒼涼感和孤獨(dú)感，正是當(dāng)代人的生存處境，也是當(dāng)代人的群體表情。但有意思的是，對(duì)于這種當(dāng)代人的集體命運(yùn)，周憲耀不是以宏大敘事加以概括，而是通過語(yǔ)言的抽象，投以個(gè)人化的藝術(shù)觀照。這使得周憲耀的作品，剝離了現(xiàn)實(shí)表面的光怪陸離，更為深邃，也更具人性的溫度。

毫無(wú)疑問，經(jīng)過物質(zhì)化的浸泡與商品化的沖擊之后，當(dāng)代人的生存空間早已經(jīng)被異化，不再是原來(lái)的人與自然的單純關(guān)系了，而是與各種現(xiàn)實(shí)利益和物質(zhì)欲望糾纏在一起，變得越來(lái)越晦暗不明。因此，當(dāng)代藝術(shù)才要批判現(xiàn)實(shí)，為的是洗滌污濁的現(xiàn)實(shí)，喚醒沉睡的人性。周憲耀正是秉承了這樣一種創(chuàng)作理念，他以一種極具戲謔性的表現(xiàn)語(yǔ)言，來(lái)揭示現(xiàn)實(shí)社會(huì)的掠影浮光，就像魯迅用文學(xué)作品撕開傷疤一樣，其實(shí)，恰恰是為了喚醒人的本質(zhì)存在，讓人們能夠從中獲得自我的警醒。

文∕楊衛(wèi)
2023.8.15于北京通州

Serious "Bad Painting"
——On the Art of Zhou Xianyao

By Yang Wei

Since modern art broke free from its narrative dependence on literature and other forms, it has presented an unprecedented richness. Among them, the anti-art trend sparked by "Dadaism" has also been incorporated into the inevitable logic of artistic development, and has made considerable progress. The most typical example is the birth of Pop Art, which expresses non-artistic elements as art, gradually becoming a creative trend and influencing the development of contemporary art since the 1960s. In this developmental trajectory, there is also an artistic clue that differs from Pop Art's frequent use of ready-made products and popular symbols, which is to deconstruct and destroy painting with painting itself. This has been criticized by the art world as "Bad Painting."

The so-called "Bad Painting" does not refer to poorly painted paintings, but rather a creative stance and attitude that carries a certain sense of cynicism and includes the meaning of "bad egg." It originated mainly in Northern and Eastern Europe and is represented by German artists such as Werner Büttner, Martin Kippenberger, and Albert Oehlen. After the 1990s, Chinese artists also began to pay attention to the rapidly changing social forms and incorporate the turbulent and fragmented reality into their artistic concepts, expressing it in a playful manner, thus giving birth to a Chinese-style "Bad Painting." Artist Zhou Xianyao is one who has continued down this creative path.

Zhou Xianyao began studying painting in the 1980s and was influenced by the "New Wave Art" of the time. His early works drew on many styles of Post-Impressionism and Expressionism, and from the beginning, he had a modernist creative concept, such as the exaggerated and distorted figures, bold and rough brushstrokes, thick and colorful textures, and subjective and arbitrary colors. These aesthetic tastes with modernist consciousness were absorbed by Zhou Xianyao into his own artistic thinking, laying the foundation for his artistic language. Later, swept up by the trend of the times, Zhou Xianyao went into business for a while, experiencing the ups and downs of the business world and the vicissitudes of personnel, which gave him a deeper understanding of society and human nature. Therefore, when Zhou Xianyao returned to the art world and picked up his brush again in the new century, his inner world was already full of wounds. As a result, using his brush to make up for his inner lack and express the social upheavals became the core content of Zhou Xianyao's artistic creation.

Unlike his previous focus on human body and other art themes, Zhou Xianyao's later works are more focused on social expression. This is, of course, due to his real-life experiences, years of social involvement and observation, which made him see too many things in real life that are mixed in black and white and unclear, especially the spiritual confusion and emotional detachment brought about by social changes, leaving him with indelible psychological shadows. Therefore, using his brush to vent his anger and express his love and sympathy for reality and life has become Zhou Xianyao's humanistic perspective on reality. However, unlike many artists who focus on reality, Zhou Xianyao's observation of reality is not only based on personal experience, but also on his interest in exploring language. This makes Zhou Xianyao's paintings not only leave us with a picture of the era of contemporary society but, more importantly, engraves the psychological imprints that have passed through this era.

Zhou Xianyao's recent works can be mainly divided into two categories: one is about daily things, such as the static space of indoor solidification, such as colorful and old chairs and stools; the other involves life situations, such as rows of men and women, and lonely individuals lying in thorny bushes. These two types of works seem to have different themes but, under the language coordination with strong expressive meaning of Zhou Xianyao, they are interrelated and organically integrated, all revealing an image of weather-beaten and shadow-dwelling. Obviously, this sense of desolation and loneliness is the contemporary human survival situation and the collective expression of contemporary people. However, interestingly, Zhou Xianyao does not summarize this collective destiny of contemporary people with grand narratives but, through the abstraction of language, invests it with a personalized artistic vision. This makes Zhou Xianyao's works more profound and more imbued with human warmth, stripped of the bizarre surface of reality.

There is no doubt that after the immersion of materialization and the impact of commodification, contemporary human living space has been alienated, no longer the simple relationship between human and nature, but entangled with various real interests and material desires, becoming increasingly obscure. Therefore, contemporary art criticizes reality in order to cleanse the polluted reality and awaken the sleeping humanity. Zhou Xianyao adheres to such a creative concept. He uses a highly satirical language to reveal the fleeting shadows of contemporary society, just as Lu Xun used literary works to tear open wounds. In fact, it is precisely to awaken the essence of human existence and to allow people to gain self-awareness from it.

August 15, 2023 in Tongzhou, Beijing.

墜落的春風(fēng)1? 2022? 布面油畫? 200×150cm

墜落的春風(fēng)2? 2022??布面油畫??200×150cm

春風(fēng)? 2023??布面油畫? 150×120cm

升起月光? 2023??布面油畫??150×120 cm

醒不了的時(shí)光? 2022??布面油畫? 150×120cm

現(xiàn)象——那些備受的主義，那些遙遠(yuǎn)的河流

文/李青林

現(xiàn)象——生命的象征和世界相連的紐帶；思考這個(gè)現(xiàn)象是黑色的現(xiàn)實(shí)，光在哪里……而心靈有了 “光” 促使他在自我孤獨(dú)的思考里呈現(xiàn)著自己思維的脈絡(luò)，而不再困惑與迷茫。

周憲耀的作品闡述的是這個(gè)時(shí)代與社會(huì)現(xiàn)象的本質(zhì)及藝術(shù)本質(zhì)和本源思考的問題。藝術(shù)光之再現(xiàn)，旨在以自由自我之光閃耀幻象之前；憑借時(shí)間與現(xiàn)實(shí)探索生命和生活狀態(tài)以及對(duì)自然環(huán)境社會(huì)的關(guān)注與思考。

通過藝術(shù)語(yǔ)言，引發(fā)我們更加珍視人與自然的和諧共生的關(guān)系；重新塑造藝術(shù)生命再現(xiàn)意義的那些內(nèi)心世界的心聲。

藝術(shù)世界是你的，也是我的；共同再現(xiàn)著自己自由的維度，思考和渴望每個(gè)藝術(shù)創(chuàng)作者的渴求于共存。通過視覺并傳達(dá)著每個(gè)藝術(shù)創(chuàng)作者共有自我獨(dú)特的微觀世界。

周憲耀這次展覽的藝術(shù)形式是多元與多維的，展示的是生命的脆弱、人性的關(guān)懷、復(fù)蘇與本源的力量，以及希望的渴望曙光。

他的藝術(shù)成長(zhǎng)也是他對(duì)這個(gè)社會(huì)和獨(dú)特自我的認(rèn)知，經(jīng)驗(yàn)與思考后的思考。文化與藝術(shù)是共融的，更是這個(gè)時(shí)代與潮流和當(dāng)下的。他對(duì)藝術(shù)的態(tài)度也是他的人生，更是一種生活波普的一種狀態(tài)。指向的是生命本體覺知的自省變相現(xiàn)象的流逝。

在這樣一種時(shí)代思潮變遷的藝術(shù)潮汐下，感知現(xiàn)象里從新覺照個(gè)體生命的原本意義；是時(shí)代的，是社會(huì)的，是自我與孤獨(dú)，是如此發(fā)現(xiàn)于自我……所有周邊人們的關(guān)系和我渡于人，人渡于我的現(xiàn)象的現(xiàn)象，存在嗎……

——太陽(yáng)在昨夜升起

我從銀河的對(duì)岸尋找銀河的影子

我在太陽(yáng)的黑夜里尋找太陽(yáng)的星辰

太陽(yáng)，現(xiàn)象存在嗎

那些備受的主義

太陽(yáng)的兒子

星辰遙遠(yuǎn)

我在太陽(yáng)的黎明里升起黎明前的太陽(yáng)

周憲耀作品中的 “現(xiàn)象” 存在于具體的視覺空間之中。這種視覺空間是東西方文化藝術(shù)與自我的表達(dá)，它是時(shí)間的，是現(xiàn)象的，是維度與思考后的思考；是遙遠(yuǎn)的河流，是星辰，是輪回的，如真如幻的 “現(xiàn)象與空間” ，是作者對(duì)時(shí)代潮，當(dāng)下的，思考——你傾訴嗎？

周憲耀的繪畫是對(duì)現(xiàn)當(dāng)代藝術(shù)思考真實(shí)的視覺感受，更是他對(duì)藝術(shù)以及深切的人觀念感受逐漸走向現(xiàn)當(dāng)代和抽象的新概念。

2023 8 15于大連金石灘

尋找月光河? 2022??布面油畫??150×120 cm

為什么有風(fēng)? 2022??紙本油畫? 70×54cm

有郵票的遙遠(yuǎn)? 2022??紙本油畫? 70×50cm

江山1? 2022??布面油畫? 120x90cm

江山2? 2022??布面油畫? 120x90cm

Phenomenon
—Those who are highly idealistic,Those distant rivers.

By Li Qinglin

Phenomenon — the symbol of life and the link between the world; contemplating this phenomenon is a black reality, where is the light... but the soul has a "light" that prompts it to present the train of thought in its own self-solitary thinking, no longer confused and perplexed.Zhou Xianyao's work expounds the essence of the era and social phenomena, as well as the problems of artistic essence and fundamental thinking. The reproduction of the light of art aims to shine with the light of freedom and self before the illusion; by exploring life and living conditions as well as focusing on and contemplating the natural environment and society through time and reality.Through the language of art, it inspires us to cherish even more the harmonious coexistence between human beings and nature; it reshapes the inner voice of those who give meaning to the reproduction of artistic life.The world of art belongs to you and me; together, we reproduce our own dimensions of freedom, thinking and longing for the desires of every artistic creator to coexist. Through visual communication, each artistic creator conveys their unique microcosmic world.The art form of Zhou Xianyao's exhibition is diverse and multi-dimensional, showcasing the fragility of life, human care, the power of recovery and origin, as well as the longing for hope and dawn.His artistic growth is also his understanding of this society and unique self, through experience and reflection. Culture and art are not only integrated, but also represent the current era and trends. His attitude towards art is not only a part of his life, but also a state of living pop culture. It points to the introspective phenomenon of the passing of life's essence.In the artistic tide of this era's changing trends, the perception of phenomena sheds new light on the original meaning of individual life; it is of the times, of society, of self and loneliness, and is discovered within oneself. Do the relationships between people and the phenomena that pass between them exist?

---The sun rose last night,I searched for the shadow of the Milky Way from the opposite bank,I searched for the stars of the sun in the black night of the sun,Sun, does the phenomenon exist?Those popular beliefs.The son of the sun,The stars are distant,I rise in the dawn of the sun before dawn.

The "phenomena" in Zhou Xianyao's works exist in a specific visual space. This visual space is an expression of Eastern and Western cultural art and the self. It is time, phenomenon, dimension and thoughtful reflection. It is a distant river, stars, and a cycle of phenomena and space that is like a mirage. It is the author's reflection on the current era and trends. Will you share your thoughts?Zhou Xianyao's painting is a true visual experience of his contemplation of contemporary art. It is also his deep understanding of art and human concepts that gradually move towards contemporary and abstract new concepts.
August 15, 2023 at Jinshitan, Dalian.