?以下排名不分先后?

童雁汝南肖像畫

——栗憲庭?●

童雁汝南看似帶有表現(xiàn)意味的油畫肖像，實際借用的是中國傳統(tǒng)山水畫的筆觸意味，仔細看他畫的每一幅肖像，你會發(fā)現(xiàn)它們都隱藏著一些中國山水畫的圖形因素，以及對傳統(tǒng)與當(dāng)代關(guān)系的關(guān)注，我想這大概是這個展覽的一個主要看點。

——栗憲庭，譽為“中國當(dāng)代藝術(shù)教父”。摘自《十年一劍》

——Li Xianting●

Tong Yanrunan tends to create oil portraits that seem expressive. Actually he learns from the strokes of traditional Chinese landscape painting. When looking closely at every portrait he paints, you will find that there are some graphic elements hidden. And the concern for relationships between tradition and contemporary could be a major attraction of this exhibition.

——Li Xianting, known as "Godfather of Contemporary Chinese Art". Excerpt from “A Sword in Ten Years”

童雁汝南肖像畫

童雁汝南肖像畫

——高名潞?●

這個想法就跟“意派”的“不是之是”有關(guān)，但“不是之是”不是“不似之似”。因為 “似”還是從再現(xiàn)和對應(yīng)的二元角度出發(fā)，而“是”乃是言外和象外的東西，它是另類的東西，但這個另類又最能把握住整一性。這個是什么東西呢，就很難想象了。我為什么說整一性，所謂整一性不是一個干巴巴的概念，比如說，人的形狀有幾種，但是具體到這個人，我不強調(diào)他的個體的那種特別極端化的那種特點，因為每個人絕對都不一樣的。

——高名潞，美國匹茲堡大學(xué)教授、策展人。摘自《與高名潞先生談話》

——Gao Minglu?●

This is just one of my thought, which is relating to the "seemingly wrong truth" in Yipai. But the "seemingly wrong truth” is not the "unlikely similarity". Because the "similarity" is still from the dual angle of reproduction and contrast, but the "truth" is something beyond the word and the image, it is something unique which can grasp the synthesis. So it is difficult to imagine what it is on earth. why do I say synthesis, synthesis is not something dull and dry, but something ,for example, there are several sizes of people, but when it comes to one person, I won't emphasize the individual and extreme character, because everyone is totally different.

——Gao Minglu,?professor of the University of Pittsburgh, USA; Curator.?Excerpt from “the Conversation with Gao Minglu”

童雁汝南肖像畫

童雁汝南肖像畫

——范迪安?●

肖像藝術(shù)在西方現(xiàn)代藝術(shù)中被研究得很透徹。從弗朗西斯·培根開始，肖像便成為一門系統(tǒng)、新穎，充滿現(xiàn)代性的課題，后來到費欣，到格哈德·里希特等人的研究，包括一些中國的肖像畫，德國的表現(xiàn)主義，意大利的“3C”（注：指桑德羅·齊亞、恩佐·庫奇、弗朗西斯科?克萊門特）等，肖像藝術(shù)由此演變出諸多的語言表達類型，可貴的是，童雁汝南同前人相比，已構(gòu)建出獨有的語言表達方式，這將成為他在肖像藝術(shù)語言體系上的專利。

——范迪安，中央美術(shù)學(xué)院院長、中國美協(xié)主席。摘自《庖丁解?！方袢彰佬g(shù)館研討會發(fā)言

——Fan Di'an?●

The portrait has been deeply studied in the series of western modern arts. We witnessed that portrait had become a systemic, new and modern subject. There are many language expressions belonging to the system of portraits, due to the researches of Fitchin, Gerhard Richter, some Chinese portrait painters, German expressionism and Italian“three Cs” (refers to artists Sandro Chia, Enzo Cucchi, Francesco Clemente), etc.. What valuable is that Tong Yanrunan has constructed a different way of language expression from history, which will become a patent of his language system.

——Fan Di'an: the dean of the Central Academy of Fine Arts, the chairman of the Chinese Artists Association, the curator of the Chinese National Pavilion for the 50th & 51st Venice Biennale. Excerpt from the speech on the symposium of “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

童雁汝南肖像畫

童雁汝南肖像畫

——迪特·戎特?●

與此同時，這些深深植根于中國古老繪畫傳統(tǒng)的畫像是當(dāng)代和新藝術(shù)的見證。童先生將油畫藝術(shù)手法和水墨畫藝術(shù)手法轉(zhuǎn)化為新的藝術(shù)共生體，其眼神的描繪是最重要的藝術(shù)表現(xiàn)。童先生的肖像畫雖然都是以系列的方式進行創(chuàng)作，但每幅作品中人物神韻的差異仍是突出的。在不同神韻的人物外表下，又呈現(xiàn)了不謀而同的藝術(shù)家體驗。雖然這些作品看上去溫和細微卻并非沉默無聲，事實上所有的畫作活力洋溢、激動人心，它們是運動著的繪畫藝術(shù)。

——迪特·戎特，原維也納現(xiàn)代美術(shù)館、德國國立波恩美術(shù)館館長。摘自《童雁汝南：直面》

——Dieter Ronte●

Meanwhile, these portrait paintings, deeply rooted in the ancient Chinese painting tradition are testimonies to contemporary and modern art styles.

Mr. Tong has transformed the art of oil painting and ink painting techniques into a new artistic symbiosis, of which the eyes depiction is the most important artistic expression. Although Tong's portraits are created in a series, the differences between the characters in each work are still outstanding; they represent the artist similar and coincidental experiences. At first sight, these works look gentle and subtle, but people can find that all the paintings are vibrant and exciting by moving the art of painting.

——Dieter Ronte, former art historian, original curator of the Vienna Museum of Modern Art and National Museum in Bonn, Germany. Excerpt from?"Tong Yanrunan: Face to Face"

童雁汝南肖像畫

童雁汝南肖像畫

——賈方舟?●

大家可能也會發(fā)現(xiàn)同一個形象，他會同時畫兩三張，他會在同一個對象中捕捉不同的東西。所以我覺得他的畫更適合叫作“寫意”，“寫意油畫”這個概念更適合童雁汝南。他跟西方的表現(xiàn)主義不一樣，這是中國式的一種表現(xiàn)。他更注重表現(xiàn)性，一種有修養(yǎng)的表現(xiàn)，而非神經(jīng)質(zhì)的表現(xiàn)，這就是文人寫意畫的特點。

——賈方舟，著名策展人、中國美術(shù)批評家年會名譽主席。摘自《庖丁解?！方袢彰佬g(shù)館研討會發(fā)言

——Jia Fangzhou?●

Everybody may notice one image: he pains two or three pieces of works at the same time, as he is catching something different in one object, so I would rather call his painting as “freehand brushwork”, and the concept “freehand brushwork oil painting” is more suitable for Tong Yanrunan. Unlike the western expressionism, his painting is a kind of expression of Chinese style. He attaches more importance to representation: a kind of cultivated expression, but not neurotic expression, and this is right the feature of humane freehand brushwork.

——Jia Fangzhou, famous exhibition curator,?honorary chairman of?The?China Annual Art Critics Assembly. Excerpt from the speech on the symposium of “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

童雁汝南肖像畫

童雁汝南肖像畫

——徐里??●

作為一名青年藝術(shù)家，童雁汝南在自己的藝術(shù)實踐中將中國傳統(tǒng)繪畫中的中國山水精神與西方油畫創(chuàng)作相融合，進行有益探索。在創(chuàng)作出一批富有中國元素又具備西方繪畫強烈表現(xiàn)力優(yōu)秀作品的同時，形成了自己特有的繪畫語言，可喜可賀！事實上，伴隨著中國改革開放四十周年發(fā)展進程，當(dāng)代中國藝術(shù)又面臨著一個再出發(fā)的重要時間節(jié)點。我以為，童雁汝南在藝術(shù)創(chuàng)作中所表現(xiàn)的守正創(chuàng)新精神恰恰是與之相吻合的。

——徐里，中國美協(xié)分黨組書記。摘自《中國美協(xié)的賀信》

——Xu Li?●

As a young artist, Tong YanRunan integrates Chinese landscape spirits of traditional Chinese paintings with western oil paintings in his own artistic practice and makes a beneficial exploration. He creates a group of excellent works with affluent Chinese elements and strong expressive force of western painting, while forms his own unique painting language. Congratulations! In fact, with the development course of the 40th?anniversary of China’s reform and opening up, contemporary Chinese art is facing an important stage to start again. In my opinion, Tong’s spirit of conservative innovation in artistic creation is exactly what that means.

——Xu Li, Secretary of Sub Party Group of China Artists Association. Excerpt from “Congratulations from China Artists Association”

童雁汝南肖像畫

童雁汝南肖像畫

——陳丹青?●

他畫得非常好，很成熟，有自己的風(fēng)格。我當(dāng)時非常高興的是，他可以到莫蘭迪的家鄉(xiāng)去看畫，青年時期的我可沒有這樣的機遇與境遇。可是這位童雁汝南，他做到了，我很羨慕。而今天他帶來一個更令我高興的消息，他最近又在博洛尼亞待了一個月，為莫蘭迪的研究者、研究館的館長畫了像，還和莫蘭迪的畫作一道辦了一個對比展，試圖找到他和莫蘭迪之間的聯(lián)系。青年藝術(shù)家能走出國門，到世界上其他國家去和這些國家著名的藝術(shù)家一起辦畫展，這是中國藝術(shù)巨大的進步。

——陳丹青，著名畫家、作家。摘自講座《陳丹青談基里科與莫蘭迪》

——Chen Danqing?●

He paints very well, mature, and has his own style. I was very happy at the time that he could go to Morandi’s hometown to see his paintings which I could not have such opportunities and circumstances to see in my youth. But this young boy Tong Yanrunan, he did, I am very envious. Today, he brings a message that makes me even happier. He recently went to Bologna for a month and drew some portraits for Morandi’s researchers and curators. And he held a contrast exhibition with Morandi’s works after that, trying to find the connection between him and Morandi. Young artists can go abroad and go to other countries in the world to organize exhibitions with other famous artists. This is a huge advancement in Chinese art.

——Chen Danqing, famous artist, literary critic, writer. Excerpt from speech "Chen Danqing Talk About Giorgio de Chirico and Giorgio Morandi"

童雁汝南肖像畫

童雁汝南肖像畫

——皮道堅?●

童雁汝南的創(chuàng)作是行為的意義。因為他用25年做一件事情，這一件事我們在當(dāng)代引進來說，從當(dāng)代藝術(shù)來說我們就考慮有意義沒有意義，還有對一般的公眾來說，你的肖像是我能夠接受的，汝南和我講過，他把女孩兒畫哭了，類似于他這樣的行為，實際上是一種挑戰(zhàn)，是一種消解，挑戰(zhàn)世俗的東西挑戰(zhàn)對意義和無意義的認知，挑戰(zhàn)有用和無用的認知，同時也挑戰(zhàn)公眾對美與丑的認知，從這樣一種是他修行式、苦僧式的，他的規(guī)模、體量、時間跨度都有行為的意義，它是跨國界、跨種族、跨文化的多重身份的年齡性別這樣來做這個事情，我覺得有意義。

——皮道堅 Pi Daojian，中國美術(shù)家協(xié)會策展委員會副主任、著名批評家。

摘自《“象可像，非常象”——童雁汝南“肖像系列”背后的方法論研討會》廣東美術(shù)館研討會發(fā)言

童雁汝南肖像畫

童雁汝南肖像畫

——弗拉米尼奧·瓜爾多尼?●

童雁汝南選擇了一個穩(wěn)定的結(jié)構(gòu)，置身于畫外，基于所有相同的非宏大的尺寸，基于人像姿勢的正面性，基于平衡人物形象與背景之間的關(guān)系?？偠灾?，他選擇的是徹底的去語境化?；谛は駝?chuàng)作的基本規(guī)則，他試圖通過一系列的肖像畫捕捉一種全世界通用的語言，理論上是無窮無限的，因為出于某些原因一個人的肖像是值得被紀念的。但如果我們深入研究會發(fā)現(xiàn)，藝術(shù)家自身的情緒狀態(tài)甚至是緊張感才是肖像畫本身，培根把它定義為“氣場”，他認為這是肖像畫唯一被信賴的表達方式。

——弗拉明奧·古爾多尼，意大利藝術(shù)史學(xué)家、評論家。摘自《時間的形狀—莫蘭迪和童雁汝南作品展》

——Flaminio Gualdoni?●

Tong Yanrunan choose a stable structure, where he is a beholder, on the basis of all the same non-major size, the frontal pose of the character and the relationship between the character and the background. All in all, his paintings are featured by being completely de-contextualized. In accordance with the basic rules of creation, he attempts to capture a universal language through a series of portraits, theoretically infinite, because a person's portrait is worthy of being commemorated to some degree. But with development of the study, we will find that the emotional state and the tension of the artist create the portrait. Bacon defines it as the "aura", which he considers to be the only trusted way in portraits.

——Flaminio Gourdoni,?Italian art historian and critic. Excerpt from "the Shape of Time-Exhibition of Works of Morandi and Tong Yanrunan "

——弗拉米尼奧·瓜爾多尼?●

藝術(shù)家的主要作品在于闡明行為的先決條件，在于解釋對肖像本身認知過程中的誤會和對話，同時，消解偏見和模棱兩可的印象。在畫布上，童雁汝南是無可爭議的大師，他富有表達性的張力，他的藝術(shù)抱負，是致力于一生去凝練出他的繪畫，不是‘一張臉’,而是‘臉’的概念。

——弗拉明奧·古爾多尼，意大利藝術(shù)史學(xué)家、評論家。摘自《時間的形狀—莫蘭迪和童雁汝南作品展》

童雁汝南肖像畫

童雁汝南肖像畫

童雁汝南肖像畫

童雁汝南肖像畫

童雁汝南肖像畫

——魯虹??●

就像美國包裝藝術(shù)家克里斯托克做作品《包裹德國國會大廈》一樣，童雁汝南的人物系列其實是一個系統(tǒng)工程，也由于在他的每一個系列中都有特定的文化含義，故我們決不能從純風(fēng)格的意義上理解他的相關(guān)作品！

——魯虹，合美術(shù)館執(zhí)行館長。摘自《傳統(tǒng)與當(dāng)代——童雁汝南繪畫觀念的啟示》武漢美術(shù)館研討會發(fā)言

——Lu Hong?●

Just like “Wrapped Reichstag”, an artistic work from Crystalker, American artist, the character series of Tong Yanrunan is actually a systematic project. Because there are specific cultural meanings in each series of his works, we can never understand his works only in the sense of pure style.

——Lu Hong, executive crator of United Art Museum. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity, Enlightenment of Painting Concepts of Tong Yanrunan”

童雁汝南肖像畫

童雁汝南肖像畫

——陸蓉之??●

我覺得他畫肖像有更大于肖像的意義，其實他是一種對時代的觀看與記錄的方法，在他的肖像里面他不在乎是不是很精確的去記錄了這個人存在的面貌，更多的是反映這個時代在互聯(lián)網(wǎng)到物聯(lián)網(wǎng)迅速變化和信息傳播，造成人與人之間很多觀看已經(jīng)超越了我們眼睛的觀看

——陸蓉之，譽為中國策展人之母。摘自《傳統(tǒng)與當(dāng)代——童雁汝南繪畫觀念的啟示》武漢美術(shù)館研討會發(fā)言

——Victoria Yung-Chih Lu?●

I think portraits made by him have more significance than portraits themselves. In fact, he represents a way of viewing and recording the times. He doesn’t care whether he records the appearance of this person accurately or not. More importantly, he reflects the rapid changes and information dissemination from the Internet to the internet of things in this era. Thus, many ways of viewing among people have surpassed our visual appreciating.

——Victoria Yung-Chih Lu, Known as the mother of Chinese curators. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity, Enlightenment of Painting Concepts of Tong Yanrunan”

童雁汝南簡介

童雁汝南，意大利威尼斯美術(shù)學(xué)院、復(fù)旦大學(xué)特聘教授

20余年如一日修行式、面對面的肖像藝術(shù)創(chuàng)作，來闡述中國山水精神，是對虛擬時代人類整體反思，在世界藝術(shù)領(lǐng)域獨樹一幟。數(shù)位國家元首、近百位美術(shù)館館長等世界名人為其做模特

參加威尼斯、庫里蒂巴雙年展，在意大利威尼斯奎里尼斯坦帕利亞基金會博物館、德國哈根國立歐斯特豪斯美術(shù)館等舉辦十多次個展，及法國大皇宮國家博物館、東京都美術(shù)館百次學(xué)術(shù)展；作品被莫斯科現(xiàn)代藝術(shù)博物館、古根海姆基金、中國美術(shù)館收藏；獲國家貢獻獎、國家藝術(shù)基金。

主要個展：

2022年 ?FACE TO FACE（圣馬力諾國立現(xiàn)代藝術(shù)博物館）

2021年 ?FACE TO FACE|直面（廣東美術(shù)館）

2020年? FACE TO FACE（德國哈根國立歐斯特豪斯美術(shù)館）

2019年? FACE TO FACE（武漢美術(shù)館）

時間的形狀—莫蘭迪和童雁汝南（米蘭G.A.M.）

2018年? FACE TO FACE（威尼斯奎里斯坦帕利亞基金會博物館）

2017年? 時間的形狀—莫蘭迪和童雁汝南（博洛尼亞G.A.M.）

FACE TO FACE（瑞士洛迦諾達芬奇藝術(shù)中心）

2015年? FACE TO FACE（德國波恩當(dāng)代藝術(shù)館）

FACE TO FACE（米蘭藝術(shù)與科技博物館）

2013年? 庖丁解牛（北京今日美術(shù)館）

2008年? about face（新加坡Osage美術(shù)館）

2006年? 像中之像（香港奧沙當(dāng)代空間）

主要收藏：

莫斯科現(xiàn)代藝術(shù)博物館，古根海姆基金，中國美術(shù)館，上海美術(shù)館，中國國家會展中心，浙江美術(shù)館，中國美院美術(shù)館，湖北美術(shù)館、武漢美術(shù)館，北京今日美術(shù)館，上海喜馬拉雅美術(shù)館，上海昊美術(shù)館，英國王室，丹麥王室，沙特阿拉伯王室。