Spiritual Transformation

来源: iapa.cafa.edu.cn 时间:

化 物——祝延存作品展
Spiritual Transformation
按出场顺序依次为:化物策展人/美学博士 杨震先生、中国艺术研究院副院长/教授/艺术家 谭平先生、中央美术学院油画系第五工作室教授/艺术家 孟禄丁先生、中央戏剧学院教师/艺术家 张慧先生、艺术家 张方白、艺术家 宋永红、艺术家兼策展人 秦思源、策展人 何畏

Preface for “Spiritual Transformation”
By Yang Zhen

Where would Chinese contemporary art go: could art still find its own direction under the coercion of two alienating strength of capital and power? In the post-art and post-historical contexts of “the death of author” and “the end of art”, how could artists still guarantee the necessity of their existence and the originality of their art? After the group of contemporary Chinese artists have conducted excessive exploitation of traditional cultural symbols and modern commercial and political signs, how could they continue to exert their own “Chinese nature” and “contemporary features” as well as the “international character” based on the above two? With his many years of silent and persistent efforts, Zhu Yancun has responded to the above three challenges, and made progress with his own answer:


I. From Humanism to Life Concerns
The enchantment of Zhu Yancun’s painting with natural materials, does not lie in the material itself, but with the reason that he never creates for the material’s sake, as he did not seek them with materials, instead he naturally finds the language tailored for himself with his consistent temperament of philosopher, sensitivity of artist and continuous humanism, thus he creates this kind of language with a strong vitality.

II. From Bystander to Presence
There is a kind of undemonstrative “contemporary feature” in Zhu Yancun’s work, the key lies in their temporal feature: forms are no longer eternal, and colors are allowed to ferment, they belong to a folding process, and meanwhile they are open to a changing continuation; they are not the perfect tense, but the continuous tense; from intra-field to outer-field, communicating between art and non-art, thus endowing more things with artistic nature while restoring more original vitality to art, so that they are the arts of intervention rather than those of separation. They are arts o