北京时代美术馆：2010青年批评家推荐词系列

邓猗夫

Recommendation for Deng Yifu

邓猗夫以迷彩图案为基础，演绎出了一套视觉的格式塔游戏，并把它建立在对我们的学院艺术传统的反思之上。

——鲍栋

Based on the camouflage patterns, Deng Yifu provides us a visual gestalt game and establishes it on our reflection on the tradition of academic arts.

--Bao Dong

葛磊

Recommendation for Ge Lei

在葛磊对手语的使用中，包含着对我们自身语言经验的反思，以及对语言与存在关系的理解——我们如何去面对不同“世界”之间的交流可能。

—鲍栋

The use of sign language by Ge Lei indicates our reflection on language experience and understanding of the relationship between language and existence—how to face the possibility of communication between different “worlds”.

-- Bao Dong

沈怡

Recommendation for Shen Yi

沈怡在日常生活中找到了一个想象力的突破口，把我们从日常经验的囚牢中解放了出来，使每一次当下都获得了重新被理解的可能。

—鲍栋

Finding a breakthrough of imagination in the daily life, Shen Yi sets us free from the prison of daily experience and makes the re-understanding of every moment possible.

-- Bao Dong

俸正泉

Recommendation for Feng Zhengquan

已经从卡通趣味中摆脱出来的俸正泉逐渐开始了对绘画视觉经验的反观，他把绘画的表征对象与表征手段同时呈现在了画布上，形成了一种视觉表征的辩证关系。

—鲍栋

No longer being interested in cartoon style, Feng Zhengquan is starting to reflect on the visual experience of painting. He presents both representation object and representation method of painting at the same time, thus forming a dialectical relationship of visual representation.

--Bao Dong

陈彧君

Recommendation for Chen Yujun

遭遇现代性的中国东南地域乃至东南亚，源远流长的原有地域文化被冲击和肢解的支离破碎。作为生长于这片土地的艺术家，陈彧君一方面接受这早已成为全球化图景的文化事实，另一方面又不愿放弃追根溯源的努力。于是，他通过绘画、装置等手段，来廓清东南亚的当代文化地界。在这个过程中，现代性的普世影响力同当地的特定文脉产生了非常复杂的交织、衍生关系，并在他的作品中表征为一个个视觉迷宫。他在追根溯源的过程中，不断的遭遇文化解码和再造、精神祛魅和赋魅，并在此基础上让解密和再造成为一种在当代进行文化自我塑型的手段。

—杜曦云

While confronting the challenge of modernity, the originally long-standing regional cultures in Southeast China and even in Southeast Asia are now greatly impacted and becoming fragmented. As a local artist, Chen Yujun has accepted this cultural fact which has already been a globalization view on one hand, and is not willing to stop striving for the cultural origins on the other hand. So he tries to clear the modern cultural boundary in Southeast Asia by means of painting and decoration. During the process, modern universal influence and specific local context are complicatedly inter-related and become derivative, representing a variety of visual mazes in his work. And during his process of striving for the cultural origins, he constantly encounters the cultural decode and reconstruction and spiritual disenchantment and enchantment as well, making decryption and reconstruction a means of cultural self formation in modern times.

--Du Xiyun

康妮

Recommendation for Kang Ni

康妮的作品注重“绘画性”：与所画之物对话，然后将其抽离图像性而凭借胸中意象重新创造在画布之上，从而使所画之物的精神性呈现出来。同时，康妮对色彩语言的整体性有着相对深入的理解与把握，细密的笔触使得她的作品带有无法复制的手工性，确保了绘画从体验到图式的唯一性。不过，她所期望的沉静、温暖、古典的气韵，在现阶段由于对绘画语言的精雕细琢而无法得以淋漓尽致的呈现。

—杜曦云

Kang Ni’s work pays much attention to “the drawing nature”. She likes to “talk” with the objects she paints, and then extract their actual images and re-create them according to the images in her mind in order to present their spirits. At the same time, Kang Ni has a relatively deep understanding and good mastery of the integrity of color language, and the subtle style of drawing makes her work a unique handicraft, making sure the uniqueness of her painting ranging from the experience to the pattern. The calm, warm and classical tone that she always expects, however, could not be fully presented right now due to her accurate description of the painting language.

--Du Xiyun