王文聃丨消逝的线The dying of the line

消逝 丨 王文聃 丨 艺术

使命赋予了他艺术灵魂

一直间的突破变成了他个人的代名词

The mission gave him the soul of art

The constant breakthrough has become a personal pronoun for him

撰文丨段文亮

排版丨SINCE

信息时代的快速发展，对于所有艺术从业者来言都将是一个好的机遇与挑战，艺术从这一刻也不再是封闭式传播，揭开了神秘的面纱之后，各色的美术馆慢慢渡步于大众的生活之中。同时更多媒体与平台为青年艺术家的成长提供了便利，逐渐被人们熟知，不过其中也是存在一丝争议，由于古典艺术家的数量太少，美术馆数量的剧增，不少美术馆为了维持所谓的艺术性和避免的空场，但又由于资金的不足，开始不断地推出青年艺术家。不得不说这些被推出的青年艺术家们是赶上了时代，我看过很多青年艺术家的作品，过于粗糙，但其中的也有一些确实不错的作品，我想最终能一直存留下去的，坚持艺术的，也该是这些人。

With the rapid development of the information age, it will be a good opportunity and challenge for all the practitioners of art. From this moment on, art is no longer a closed communication. After the mysterious veil is lifted, all kinds of art galleries are gradually stepping into the public life.More multimedia and platform at the same time provides the convenience for the growth of the young artists, gradually known by people, but there is also some controversy, because too few classical artists, art gallery, a surge in quantity, many art gallery in order to maintain the so-called artistic quality and avoid open stoping, but again hesitant insufficient funds, began to constantly introduce young artist, have to say that these are the young artists is to catch up with The Times, I have seen a lot of young artists, too rough, but there are some really good work, I would like to eventually have been kept down, insist on art, and it is these people.

@在工作室的王文聃

今天我想来说一下西安的一位青年艺术家，王文聃。我有幸为其策过一次个展，那时候我刚回到西安一年时间，身边朋友多为70后艺术家，很少接触到80.90后年轻艺术家，我也在试图努力的寻找着，希望在西安，可以发现优秀的青年艺术家。说来也巧，一次不巧的展览我到达现场，不巧的相识，那时淡聊了几句，并未深入了解他的作品，他随口告我有空去他工作室一起喝茶聊天，想必当时他也不知我是何人。说者无意，听者有心，过些天我正纠结为其他艺术家准备策划的个展，心中有些许不悦便想找人聊聊天，打了电话预约后便前往了王文聃的工作室，这又是一个不巧的开始，却让我有所震惊，走进王文聃的工作室看到他作品的那一刻我动摇了，不曾想到一位80后艺术家作品会有如此高的完整度，当然这个完整度是我内心的一个衡量标准。马蒙泰尔曾说过“艺术需要证人”，而那一刻我决定做王文聃作品的证人，索性我放弃了前面的一个展览，直接提出为其策划一场展览的建议，从提出到确定再到展览顺利开幕，不到一月时间，能如此快速，也足以证明他的作品从量（质量与数量）上面的一个高度。

Today I want to talk about a young artist in xi 'an, wang wen Dan.I was lucky enough to plan a solo exhibition for him. At that time, I had just returned to xi 'an for one year. Most of my friends were artists born in the 1970s, and I seldom met young artists born in the 1980s.As it happens, I arrived at the scene of an unfortunate exhibition and met him. Unfortunately, I had a brief chat with him at that time, but I didn't have a deep understanding of his works. He casually told me that I was free to go to his studio to have a chat with him over tea.Speaker has no intention, the listener intentional, some day I'm entangled with a solo exhibition for other artists, in the heart a little uncomfortable and want to find someone to chat, after it was called the reservation to the wang wen Dan studio, this is the beginning of a sorry, but let me be shocked, walked into the studio to see his works of wang wen Dan the moment I have shaken, never thought that after a 80 artists can have such a high integrity, the integrity of course is a measure of the inside of me.Mamun thayer said "art need to witness", and at that moment I decided to do the works of wang wen Dan witnesses, I simply gave up in front of an exhibition, suggest an exhibition for its planning directly, from put forward to determine the exhibition opening, less than a month of time, can be so fast, is enough to prove his works from the amount (quantity and quality) of the above a height.

@展览海报，2018，六公里美术馆

记得展览开幕前夕，我时常会一个人坐在展馆地上，仔细的来打量王文聃的作品，不时有一刻，它会把你拉回现代主义的开端时期，让你感受到保罗·西涅克的灵魂，但王文聃的作品又不属于印象派，又与西涅克的画面有着千差万别，我本想把他和其他艺术家再做些对比，但确实不好在大脑中寻找出更多类似的艺术家。Remember exhibition in eve, I often a person sitting in the pavilion will be on the ground, look carefully to the works of wang wen Dan, from time to time for a moment, it will take you back to the beginning period of modernism, let you feel the soul of Paul west snake, but wang wen Dan works do not belong to the impressionist, and west snake pictures are from different planets, I wanted to leave him and other artists to do some comparison, but really bad in the brain to find out more of the same artists.

@ 工作室的角落，116X146cm，布面丙烯，2016，王文聃

王文聃的作品不独特，但又难于模仿，此次为了写他，为了避免之前某些事件的影响，我特地翻阅了不少资料，国内外有关于线的艺术家，查阅了中国美术学院的纤维艺术系、日本的盐田千春、欧美的纽曼等众多艺术家的资料与作品，不过感觉作品间并未存在冲突，唯一心中有些担忧是来自波士顿K2W画廊的经理人前些日子对我的告知，曾在芝加哥一次展览看到有些类似的作品，但直至目前，我仍然没有查到和看到相关资料，也只能从心中祈祷，只是单独的某一张画色彩、表现有些相似罢了。wang wen Dan works is not unique but difficult to imitate, this in order to write him, in order to avoid the influence of certain events before, I looked through a lot of information, especially about line of artists at home and abroad, looked at the China academy of fine arts of fiber art, yantian thousand spring in Japan, Europe and the United States of Newman and other materials of numerous artists and works, but the feeling did not exist conflicts between works, some fear is the only heart from Boston K2W gallery manager told to me the other day, had some similar to see an exhibition in Chicago, but until now, I still don't see and check the related information, also can pray from your heart,Just a single painting color, some similar performance.

@教堂系列6，130X195cm，布面丙烯，2016

从作品我想可能会多说一些，王文聃的作品从目前我看来，大致可以分为早期直线、中期曲线和近期抽象三个阶段，而且这三个阶段跨度都仅仅只在10年之内。早期用直线，硬，特别的硬，那是他从大学时期一直延续出来的作品，《乡村系列》和《宗教系列》可以算是他一直持续创作的代表性作品。可以从王文聃的作品中感受到，他的画面似乎没有存在对于古典东西的继承，更多是受现代艺术的影响，很多不懂画的人会认为他的作品属于抽象，但并不然，他的作品我看来更为意象，不是那么具象，也不是那么抽象。前期是更多偏为具象，直至现在的抽象，王文聃是在一点点褪去记忆的感知，逐渐走入自己内心的最深处。I think I may say more about wang wendan's works. From my point of view, wang wendan's works can be roughly divided into three stages: early straight line, middle curve and recent abstraction, and these three stages span only within 10 years.The early use of straight line, hard, especially hard, that is his work from the university has been continued, "village series" and "religious series" can be regarded as his early masterpiece.It can be seen from wang wendan's works that his pictures seem to have no inheritance of classical things and are more influenced by modern art. Many people who do not understand painting will think his works are abstract. However, his works are more imagistic, not so concrete and not so abstract.The early stage is more for the concrete, until now the abstract, wang wen Dan is in a little bit fade the perception of memory, gradually into his heart of the deepest.

@乡村系列—原野，布面丙烯，90X120cm，2016，王文聃

乡村系列是王文聃2014年到现在一直持续创作的系列作品，可以看到他作品中一点点的改变，从直线到曲线，但一直有型，不过这个型在一点点消逝，消逝的不是画面，而是在城市生活中的冲击下对于乡村的记忆不间断的模煳。Village series is wang wen Dan 2014 continued to create a series of works, we can see his works a little bit of change, from a straight line to the curve, but there has always been, but this model in a little bit dies, the dying of the light is not a picture, but under the impact of city life to country of continuous fuzzy memory.

@教堂系列3，195x130cm，布面丙烯，2014，王文聃

乡村系列说是对于自我故乡的一种记忆描绘的话，那么教堂系列我认为是王文聃在学习西方艺术文化时对于西方的一个象征式记忆，哥特式教堂，让人又回想起了莫奈，又回想起了印象派。他的作品前期的确还有点印象派的影子。走出室内，感受自然的光，一切可朽之物皆会消逝，而永恒常在。教堂正是朝向永恒的建筑。

Country series is for self hometown depicting a memory, so wang wen is the church series I think Dan in learning western art and culture for a symbol of the western type memory, gothic cathedrals, and recall the monet, and recall the impressionist, at this time, his work has the shadow of the impressionist.Go out of the room and feel the light of nature. Everything that is rotten will fade away, and eternity will always be there.The church is a building that is oriented towards eternity.

@静谧，布面丙烯，90x120cm，2017，王文聃

我喜欢Adam Hurst的大提琴，他容易将人带回安静的记忆之中，王文聃的作品亦是如此。随着是时间的增长，消逝的记忆让画面的具象表达逐渐消逝，也让王文聃的作品逐渐走入另外一个阶段。线从硬到软，从直到曲。而这个转变并不只是简单的线条变化，也代表着王文聃对于意识、对于作品的成长。此时他褪去了刚步入社会时的稚嫩，走向了成熟。

I like Adam Hurst's cello. He is easy to bring people back to a quiet memory. Wang wendan's works are the same.With the increase of time, the vanishing memory makes the figurative expression of the picture fade away gradually, and also makes wang wendan's works gradually enter another stage.The line runs from hard to soft, from crooked to crooked.This transformation is not only a simple line change, but also represents the growth of wang wendan's consciousness and works.At this time, he shed the immature when he just stepped into the society, towards maturity.

@紫与白的诉说，90X120cm，布面丙烯，2019，王文聃

“人的认识不是直线,而是无限地近似于一串圆圈、 近似于螺旋的曲线.这一曲线的任何一个片断、碎片、小段都能被变成独立的完整的直线,而这条直线能把人们引到泥坑中去。” 似乎王文聃也明白了这个道理，我有时会调侃戏称，他笔下的作品从树转变成了杂草，思绪完全吞噬了记忆，现在他的思考，更加富有高度。

"Human cognition is not a straight line, but an infinite series of curves which are approximated by circles and spirals. Any fragment, fragment, or fragment of this curve can be transformed into an independent and complete line, and this line can lead people to the mud pit."It seems that wang wendan also understands this truth. I sometimes joke that his works have changed from trees to weeds, and his thoughts have completely swallowed his memory. Now his thinking is even richer and higher.

@ 舞动系列2 ，90X120cm，布面丙烯，2019，王文聃

2018年开始，王文聃的作品尝试性的走入抽象，这似乎并不太符合以往中国艺术家的方向，中国更多的艺术家是一直在做“加法”，希望能让画面更加饱满，给人们一个透不过气的感觉，当然这是中国艺术家共同能感受到的事物，多是个中国特有的产物，“城市里，景点，人多、车多”。Beginning in 2018, the works of wang wen Dan tentative into abstract, it seems not too conforms to the direction of the Chinese artists, China is more and more artists have been doing "addition", hope to be able to make the picture more full, give people a breath of feeling, of course this is a Chinese artist can feel things together, more is a unique product in China, "cities, scenic spots, car".

@最后一根稻草，90X120cm，布面丙烯，2019，王文聃

王文聃画面的减法开始了，我并不惊奇，这不突然，从直线变曲线已经开始逐渐有了减法现象存在，只是到了抽象时期，更加明显。日常对于哲学的学习和思考在这个时候也深深影响着王文聃的创作。The subtraction of wang wen's image began, I am not surprised, this is not suddenly, from the straight line curve has begun to gradually have the phenomenon of subtraction, only to the abstract period, more obvious.Learning and daily thinking in philosophy also influenced wang wendan's creation at this time.

@不朽的灵魂， 90X120cm，布面丙烯，2019，王文聃

@凋谢的玫瑰，90X120cm，布面丙烯，2019 ，王文聃

@墙里墙外，130X195cm，布面丙烯，2019，王文聃

@筑巢，90x120cm，布面丙烯 2018，王文聃

王文聃的新抽象作品中不乏非常优秀的作品，抽象艺术虽说对当代中国艺术的生态多样性不可或缺，但在中国始终是处于边缘。王文聃是在挑战自己，也是挑战着整个中国艺术市场。在西方现代主义、本土艺术传统和中国社会文化当代性的三元张力中,中国抽象艺术独树一帜,成为艺术界的一道独特景观,但也存在着一些亟需研究的问题，而王文聃的作品在其中却又是一种新景观。较之于写实绘画的丰富多样性,抽象绘画很容易类型化与重复。因此,王文聃作品也同时提出着某种视觉形而上学的观念问题。我的理解，王文聃线的关键词，是消逝。There are some excellent works in wang wendan's new abstract works. Although abstract art is indispensable to the ecological diversity of contemporary Chinese art, it is always on the edge in China.Wang is challenging himself and the entire Chinese art market.In the triad of western modernism, local artistic tradition and Chinese social and cultural modernity, Chinese abstract art stands out as a unique landscape in the art world, but there are some problems that need to be studied, and wang wendan's works are a new landscape.Compared with the rich diversity of realistic painting, abstract painting is easy to be typed and repeated.Therefore, wang wendan's works also put forward some problems of visual metaphysics.My understanding, wang wen the key word of the line, is to disappear.

段文亮

2020.03.16

关 于 艺 术 家

王文聃丨WANG WENDAN

现居住于西安。青年艺术家，大学教师。

个展

2014年9月“小聃说”王文聃个人油画作品展。 西安

2019年5月第二次“小聃说”王文聃个人油画展。西安

2019年7月“线的诉说”王文聃 个人作品展。 西安

部分展览

2020年

3月参展“24小时丨艺术记录”艺术展

1月参展“大美秦岭—写意终南”油画展。

2019年

10月参展艺术外滩浦西馆“图像的租赁”开馆展。

9月参展“陕西省首届写意油画作品展”

9月参展“首届艺术对话展‘秋水共长天’”。

8月参展“2019—症状空间：野进”当代艺术展。

6月参展“历史的个体症状“猎质西安当代艺术展。

...

作品收藏

崔振宽美术馆、睿中心、十八度灰艺术馆、子归茶舍、南京国际美展组委会、中国油画学会、三为艺术、西安文理学院、个人收藏。

关 于 作 者

段文亮丨DUAN WENLIANG

现主要工作于西安，北京。当代艺术家、艺术评论人、策展人。西安十加艺术团体创始人，现常驻西安、北京。

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