王海元

Recommendation for Wang Haiyuan

王海元在2004-2009年间持续拍摄青海的一位哑巴、智障者小路（路建业），我在长时段的原始录像素材中，仅看到过一次路建业试图放飞他自己制作的风筝，但是放飞失败，为他热情的破灭预作了伏笔。《小路的风筝》是一部具有观念色彩的纪录片，真实纪录路建业在2004-2009年间的状态变化。路建业后天的生理缺陷，反而使得他的表情和动作比正常人更加自然生动。王海元在剪辑中非常重视对路建业数种习惯性动作的呈现，因为动作是路建业急切表达内心的最佳方式。路建业5年间的动作转变，显示出他从最初的理想满怀到最后热情尽失的过程。王海元的作品提示出：社会中不正常的人的毁灭，并不是由于他们走向了虚无主义，而是社会没有提供坚固的价值和信念给他们，路建业是一件牺牲品，他没有活在我们的社会中。

—段君

Wang Haiyuan kept on filming Xiao Lu (Lu Jianye), a dummy and mentally retarded person lived in Qinghai from 2004 to 2009. In the long original video material, I see only once that Lu Jianye tried to fly a kite made by himself, but failed in the end, which served as a foreshadow for his disillusioned passion. Xiao Lu’s Kite, a documentary with concept, records Lu Jianye’s changes from 2004 to 2009 authentically. His physiological defects make his facial expressions and actions even more natural and vivid. While editing the video, Yang Haiyuan pays much attention to the presentation of Lu Jianye’s various habitual movements, for movements are the best ways for Lu Jianye to express his feeling. The change of the movement in the past five years indicates the process that at first, he was full of hope, but gradually, the hope disappeared. Wang Haiyuan’s work suggests that the ruin of the abnormal people in our society is not because they themselves adopt the nihilism, but because the society does not provide them concrete values and belief. And from this point of view, Lu Jianye is anything but a sacrifice that does not truly live in our society.

--Duan Jun

杨健

Recommendation for Yang Jian

《来自文革时代的歌》（录像）是杨健偶然在厦门中山公园录下的，片中的老人旁若无人地唱着文革时代的歌曲。对未曾经历文革的青年人来说，理解文革的疯狂显然是很困难的事情。选择杨健《来自文革时代的歌》参加《2010青年批评家提名展》的原因在于，我觉得当前无论是在艺术界、批评界，还是在生活界，青年与长者之间缺乏沟通和理解。尽管我对人与人之间的沟通和理解并不抱很大的希望，因为我崇尚存在主义的名言——他人即地狱，所以《来自文革时代的歌曲》实际上还是与我的主张具有一致性：人应该得到自由，如果在文明社会中找不到无拘无束的人身自由，那还是去追求自由的心灵世界吧。

—段君

Songs from the Times of Cultural Revolution (a video) was recorded by Yang Jian in Zhongshan Park in Xiamen accidentally, in which the old men were singing songs from the times of Cultural Revolution as if no one else was there. Obviously it is difficult for the youths who do not experience the Cultural Revolution to understand the fever at that time, therefore I recommend this video to be presented in 2010 Nomination Art Exhibition for Young Critics. The reason lies in that I feel at present there is a lack of necessary communication and understanding between the youths and the old men, in the field of arts and critics as well as in our daily life. Actually I advocate a famous saying of existentialism: “Hell is other people.”, so I do not have much hope for the inter-personal communication and understanding. Viewing from this point, Songs from the Times of Cultural Revolution is consistent with my opinion: human beings need freedom. And if we cannot find unconstrained individual freedom, let us just pursue a free mind.

--Duan Jun

尹朝阳的绘画能激发批评家的诗意，但当批评家描述尹朝阳作品的文字并不足够诗意、但又试图达到诗意的时候，文字反而给人以东施效颦的感觉。我知道尹朝阳对毛泽东保留敬意，我既不同意对该敬意表示反对的做法，也不同意批评家为该敬意进行的辩护，尹朝阳对毛泽东的敬意出自他个人的经历和情感，无可厚非。我认同尹朝阳的绘画，是因为他的绘画或画面所具有的强度。记得最近一次我的赞叹，是看到他2007年用转圈的方法画的佛像，佛在巨大的漩涡中更加平和镇定。尹朝阳的绘画是能量从内部的喷涌，尤其是渗血的人，让我觉得渗血的人

是人的真正面目。

段君

2010年5月11日

Yin Chaoyang’s painting can make critics poetic. When critics describe that the words in the paintings are not poetic enough but tries to be poetic as well, their description looks like an imitation of Yin Chaoyang’s words. I know Yin Chaoyang still respects Mao Zedong, and I do not think it is sensible enough either to oppose or defense that respect. I only feel natural for Yin Chaoyang’s respect due to his own experience and emotion. I identify with Yin Chaoyang’s painting because of the intensity. Recently I saw a figure of Bhddha painted by him by a method of circling in 2007, in which the Buddha looks even more placid and calm in a huge whirlpool. And this painting made me admired. Yin Chaoyang’s painting is like a sprout of energy from inside, and I personally prefer the image of people with their blood oozing from the wound, which I think is the real features of human beings.

Duan Jun

May 11, 2010

张耒

Recommendation for Zhang Lei

张耒绘画中最打动我的是他作品中的忧伤感，造成忧伤的原因可能是他在画中营造了很好的时空距离：即便画的是眼前景物，却也仿佛离现世很远。所以他不是一个为了影像而影像的影像画家，也不是一个为了把画面画虚而画虚的画家，他画虚是为了制造时空的距离感。我一直认为影像绘画作为一种视觉特性有其合理性的存在基础，但前提是画家必须要考虑清楚：为什么要画虚？张耒以前画过一批《永不消失的灵光》，其中一部分画的是清末民初的旧照片，他试图固定住灵光、固定住时间的即时即刻，由此可见，他的作品是在讨论绘画与时代的关系，更具体而言，他讨论的是绘画是否还留得住转瞬即逝的视觉与情绪？

—段君

It is the sense of grief in Zhang Lei’s painting that touches me most, and the cause of the grief may be the creation of the excellent space-time distance in his painting: the objects seem far away from the secular life even though they are just before your eyes. Therefore his purpose is not just to present the images, and he will not pursue emptification on purpose -- only to create the space-time distance. As far as I’m concerned, the photographic panting, as a visual characteristic, has a reasonable ground for its existence, while the premise of which is that the painter must consider this question: why emptification? Zhang Lei used to paint a series of paintings called Halo Never Disappears, some of which are paintings of some old photos in late Qing Dynasty and Early Republic of China. In these paintings, Zhang Lei ties to fix the halo and time. So we can see that he wants to discuss the relationship between the paintings and times through his works, or more concretely, discuss the question that if the painting can make the passing vision and emotion stay forever.

--Duan Jun

向京

Recommendation for Xiang Jing

向京以极度细腻的雕塑手感与绘画性着色手法，赋予传统雕塑语言以全新的表达力，将处于特定状态下、符号化的女人，尤其青春期少女，塑造为一种精神自足的观念表达，在保持艺术感官感染力的同时，实现了再现性写实雕塑向主观化表达的当代转向。她的作品，在叙述结构上打破自身封闭性，通过所塑造人物的动态与环境处所关系，形成第三方在场状态，实现了作品语义在观看时的开放性。应该说，向京的作品在符号表述、语言表达、结构表现三个层面上，实现了对传统雕塑的改造与转换，是将传统技术化艺术推向当代的成功典范之一。

——杭春晓

Xiang Jing endows the traditional sculpture language with brand new expression ability with an extremely subtle style and a painting coloring method, and makes symbolized women in a certain status, especially the adolescent girls, a concept expression with spiritual self-sufficiency. Therefore, her works manages to maintain the appeal of artistic sensory and indicates the modern trend from the reproductive realism sculpture to the subjective expression. Her sculpture breaks the closure of the narrative structure and forms a situation of a third party’s presence through creating the relationship between the dynamic state of the people and the environment they live in, thus attaining the openness of semantics when the audiences view her works. And it is reasonable to say that Xiang Jing’s works realize the reformation and transformation of the traditional sculptures from three levels of notation, language expression and structure manifestation, and can be viewed as one of the examples that make the traditional arts being accepted by modern viewers.

--Hang Chunxiao

黎薇

Recommendation for Li Wei

黎薇的雕塑具有一种表达的干净与直接，没有多余的修辞。她将所有精力集中在具有病痛感的少女身上，或许是出于一种自我体验的痛感，她习惯放大此类病痛的因素，从造型、着色乃至细节处理上强化这一主观经验，从而将所有语言细节直接呈现为视觉上对于观者的侵略与触动，并以此形成她试图表达的某种不安、紧张，抑或怀疑的精神质地。就此而言，相对很多年轻艺术家追求所谓意图表达的流行图像，黎薇向我们再次表明了艺术的魅力，并非形式上的花哨，而是源于一种视觉上的干净、直接。

——杭春晓

Li Wei’s sculptures are clear, direct and simple and focus on the description of delicate young girls. Perhaps according to her own experience, she is used to amplifying the elements of ailment and strengthening this subjective experience through the sculpting, coloring and treatment of details, thus making all the language details a presentation of visual invasion and touching of the viewers, and expressing such emotions as uneasiness, nervousness or suspicion that she always desires. And in this respect, compared to many young artists who prefer to pursue the popular images of the so-called intension, Li Wei shows us the glamour of art, which does not originates from a fancy form, but from a clear and direct vision.

--Hang Chunxiao