俗姓王

Recommendation for “Family Name Wang”

在“艺术国际”网站开通之际，就有一个网名为“俗姓王”的人每天在干着一件同样的事：取、展、览、揉、烧，同一份报纸；然后化灰、合水、调匀；最后画成一张佛像；一年365天，从没有停断。你会很好奇，“他”居然没有外出过？没有厌烦过？没有无聊过？这个人除了每天提供一套反映这个过程的照片之外，从没有留下过任何文字。我们甚至不知道这个人到底叫什么，住在哪里？这是一件只能发生在网络时代的事情。一件毫无意义的行为，由于顽固的、偏执狂式的坚持，成为了一个耐人寻味的“过程”。每天发生在某个偶然时段中的时间“点”被链接成“线”，进而具有了一种体现在时间性之中的形式感，并最终将“无意”变成“有意”，从中体现出了作者的价值判断。

—吴鸿

When the website of “Art International” opens to the public, people can watch on line every day that a man nicknamed “Family Name Wang” doing the same thing: fetching, unfolding, reading, rubbing and burning the same newspaper and then mixing the paper ash with water and painting an image of the Buddha at last, which he does all year through without a stop. You may be very curious about why he needn’t go out and why he even never gets bored. The man leaves nothing but a few photos showing this process. We even do not know what his name is and where he lives. This is something that can only happen in a cyber age. A seemingly meaningless behavior becomes a “process” that provides much food for thought due to the stubborn and intolerant insistence. The time “points” happened accidentally in a certain period are linked to a whole “line”, endowed with visuality reflected in timeliness. Finally the “meaningless” becomes “meaningful”, thus reflecting the artist’s values.

--Wu Hong

管勇

Recommendation for Guan Yong

管勇在70画家中无疑是特别的，他仍然强调历史性的宏观话题，带有公众精英的乌托邦情怀，而非70画家通常的自我化话题。他的画面，通常以对知识分子的反思为出发点，具有一种对文化形成历史的追问意识。黑衣红围巾、布幔钢笔以及零碎的书籍，带着一种沉重的宗教感，管勇试图用图像思考急剧变革的中国，及其背后的历史成因。从某种意义上说，管勇的画面呈现出一种设问的修辞结构：往往通过图像的组合形成问题，并借助图像表达的象征意味隐喻他的认知结果。如果说，管勇的图像运用有着与60画家接近的宏观话题意识，从而形成了他在70画家中的独特性。但他在表达这种意图的方式上，与60画家有所不同。60画家用以表意的图像多具直接性，符号与语义指向的连接明确，其理性思考带有激情表达的成分。而管勇对相似问题的思考，则往往不具备答案的确定性，更多呈现出独立的、自我的审思过程，其理性思考具有冷静的沉郁，或者说自我的情绪。在这一点上，管勇无疑运用了70自我化的视角完成了与60画家相似的社会思考。这便使得他的作品，在60话题与70视角中获得了独特的表述角度与价值。

——吴鸿

Undoubtedly Guan Yong is very unique among the painters born in the 1970s, for he still emphasizes the historically macroscopic topic with the Utopia feelings of the public elite instead of the personal topic preferred by the ordinary painters born in the 1970s. His paintings start from the reflection on the intellectuals and have a sense of questioning concerning the history of cultural formation. Guan Yong tries to use the images, such as the black coat, red scarf, curtains, pens and some books with a religious atmosphere, to deliberate on the dramatically changing China and the historical reason behind the change. To a certain extent, the paintings of Guan Yong present a rhetoric structure of questioning, i.e. to raise a question through the combination of images and to indicate his cognitive outcome through the symbol of the image representation. Perhaps we can say that Guan Yong’s application of images reflects the sense of macroscopic topics which are preferred by the painters born in the 1960s, thus forming his uniqueness among those painters born in the 1970s. But he is different from the painters born in 1960s concerning the way of expressing his intentions. The images used by the painters born in the 1960s are direct, the connection between the symbol and the semantic orientation being clear and their rational thought showing an element of passionate expression. While Guan Yong’s thinking of the similar questions will not provide a definite answer and only present an independent reflection on himself. His rational thinking is endowed with a calm depression and an emotion of egoism. At this point, Guan Yong certainly completes his reflection on the society the same as that of the painters born in the 1960s through a visual angle of personalization which is very popular among the painters born in the 1970s. All of these offer his works a unique angle of expression and value through the topics of the painters born in the 1960s and the visual angles of the painters born in the 1970s.

--Wu Hong

陈卫群

Recommendation for Chen Weiqun

陈卫群的《静物》在水果、蔬菜、器物上画上水粉，形成了物体绘画，造成了一种立体雕塑的效果，将绘画的本质深入到物品上，而不是像传统那样，仅仅把画布、纸张或墙壁看作一个平面、一种质地，在上面画上图像。陈卫群则是画出物品本身的质地，力图造成一种视觉错觉、一种绘画与自然对象关系的质疑，观众面对的是绘画？还是物品？而物品如何又被转换成艺术？等等，这就提出了他对绘画与艺术之间关系的独特理解，最终又以图片的形式将这一思考表现出来，显示了艺术的层层相扣的递进关系。

In Chen Weiqun’s Still Life, the fruits, vegetables and vessels are all painted with the gouache to form a drawing of objects, attaining the effect of three-dimensional sculpture. The traditional drawing is only to view the canvas, paper or walls as a surface and texture, and to paint images on them, while Chen Weiqun reflects the texture of the objects of the painting and tries to create a visual misconception and raise a question concerning the relationship between the painting and the natural objects: do the viewers face a painting or an object? How to transfer objects to art?... This shows his unique understanding of the relationship between the painting and the art, and expresses his thinking through his paintings, thus presenting the progressive relation of the art.

关矢

Recommendation for Guan Shi

关矢的这组作品是他在甘肃白银经过三个多月的调研、访谈、选题之后拍摄的作品。它们不单单是图像的呈现，而是揭示了图像背后的社会变迁、经济兴衰。这样就赋予了图像更深刻的内容和文本性价值，因此这样的视觉图像就具有了言说的强大功能，而非静止的视觉观看。关矢的特点就是希望寻找生活中的图像故事，以此来阐述自己对社会问题的立场判别。

The works of Guan Shi are completed after three months’ research and investigation, interview and topic selection. It is not only the presentation of images, but also the revelation of the rise and fall of society and economy behind the images, which endows the images with profound context and textual value. Therefore the visual images not only can be watched statically, but also have a powerful function of expressing. The characteristics of Guan Shi’s works are to find the stories of images in the daily life and elaborate his judgment of the social problems.

吴梦诗

Recommendation for Wu Mengshi

吴梦诗正如她的名字所寓意的那样，喜欢想象，喜欢做出没有关联的东西，给人一种惊讶或期待。这也是新一代年轻人看待事物的特殊性所致，他们喜欢个性，也喜欢尝试试验，在试验中获得的快乐是无法用常规的言语表述的。这种先天的好奇态度使得吴梦诗像轻快的飞艇，自由畅想，没有局限，让自己脑海里飞奔的奇思妙想化为可触摸、可视觉的奇观。年轻是否是一笔财富，关键在于能不能敢于想象、敢于尝试。对于吴梦诗，我们鼓励再鼓励。

Just as her name indicates, Wu Mengshi likes to imagine and create works without inner connection, which makes viewers surprise and expect. This is also results from the uniqueness of the new generation who like unique individuality and experiments. They will attain much happiness through the experiment that cannot be expressed by language. The born curiosity makes Wu Mengshi a lively aero boat. She can imagine freely and makes her unusual but wonderful thinking become works that can be touched and viewed. If you dare to imagine and experiment, then youth is a treasure for you. So let us highly encourage Wu Mengshi.

张欣、唐然

Recommendation for Zhang Xin and Tang Ran

张欣和唐然作为组合，面对诸多的艺术样式，试图扩展艺术表现的媒介，并使之鲜活起来。感觉从来都是艺术上的一道难题，即便是成熟的艺术家也为之绞尽脑汁。张欣和唐然在发现新感觉、尝试新体验方面小试刀锋，将坚硬抽离，将物质结构软化，给人以瞬间启悟的感受，事实上也将艺术的认识陌生化，不以艺术的固有范畴为准绳。所以，如何再再实验新材料、转换新方法依然是艺术的入手点。

Facing various styles of arts, Zhang Xin and Tang Ran, as partners, try to extent the media of artistic expression and make it alive. Sensation has been a hard nut to crack even for those mature artists, while Zhang Xin and Tang Ran make every effort to fine the new sensation and try new experience. They take out the toughness and soften the material structure, making people feel enlightened in an instant. Actually they also defamiliarize the perception of art and do not measure the art by inherent rules. Therefore, how to experiment new material and find new methods are still the point for them to set about.

张小涛

Recommendation for Zhang Xiaotao

张小涛在2009年末与北京艺术区的其他艺术家一道做了一件非常有意义的事情，就是在北京大规模拆除艺术工作室、侵害了艺术家的法律权利的时候，他们共同倡议发起“暖冬”计划。这是一次超越了艺术自身的事件，其意义是又再次地唤醒人们关注生存的环境、社会的发展进程以及法律维权意识。艺术在这里并不是最重要的，但艺术家可以赋予自身的行动以艺术的方式，这样就在合情合法有趣的行为中述说了自己的价值诉求和对社会问题的审判。

At the end of 2009, Zhang Xiaotao did something extremely meaningful with other artists in Beijing: to initiate a plan called “Warm Winter” together when a great deal of art studios were pulled down and the legal rights of the artists were infringed. This is an event that surpasses the art itself, the meaning of which is to ask the general public to pay attention once again to the living environment, the course of the social development and the consciousness of protecting legal rights. Here art is not the most important, but the artists can endow their action with the artistic methods, thus stating their appeal for the values and judgment of the social problems in a proper way.

宋昱霖

Recommendation for Song Yulin

宋昱霖是一位有着极强自我主体性的艺术家。她的绘画从人物头像开始，学院派的描绘“完成”以后，再通过各种细小的线条组成网络，数遍覆盖原有画面，最终的结果便是隐约可见的人物与线条网络的综合体。她的绘画既是一种自我否定，也是一种自我确认，恰如自己说到的那样，“破坏的过程其实就是确定自我的过程”，“作为一个艺术家，画画这一种行为本身就是在确认”。

——盛葳

Song Yulin is an artist with strong subjectivity. Her painting of figures starts from the head picture, and after the portrayal with a style of academism, she will from a net of various slender lines and covers the original painting. Therefore what the viewers see at last is a faint mixture of the figure and the net made of lines. Her painting is both self-denial and self-verification. Just as she states by herself: “the process of destruction is also the process of self-verification”, and “as an artist, painting itself is one kind of verification.”

--Sheng Rui

王思顺

Recommendation for Wang Sishun

王思顺的主要关注点是包括装置艺术在内的综合媒介。《合金》是王思顺较早的作品之一，从此时开始，他将物质及其不同存在形态之间的关系转化作为自己创作的核心，并在其后的实验中逐步加入对包括“流通”在内的社会规则的讨论，以不确定的未来为目标。此外，时空及其转换同样是王思顺的主要议题，在《无题》、《重影》等作品中，完整地体现出这一点。

——盛葳

The main focus of Wang Sishun is the comprehensive media including the installation art. The Alloy is one of Wang Sishun’s early works, and since then, he has placed the substance and the change of the substance between different forms in the center of his creation, and gradually added to the discussion of social rules including the concept of “circulation” during the experiments later on, with the uncertain future as his aim. Besides, time and space and their transition is also the main topic of Wang Sishun, which is wholly presented in the works named Untitled and Double Image.

--Sheng Rui