展览“吴杉：绵延”在盒子美术馆开展

展览海报

展览：“吴杉：绵延”
艺术家：吴杉
策展人：冀然，邓芷婷
学术主持：周力，陈海涛
主办单位：盒子美术馆
统筹：广州美术学院油画系策划组
顾问：中山大学艺术文化创新与发展研究中心
支持：站台中国当代艺术机构
展期：2022.04.29-2022.07.03
地址：盒子美术馆，佛山市顺德区顺峰山公园（南门）

Exhibition Title:Wu Shan：Duration
Artist: Wu Shan
Curator：Ji Ran , Deng Zhiting
Academic Director：Zhou Li ，Chen Haitao
Organizer: Boxes Art Museum
Coordinator: Oil Painting Department Curatorial Group of Guangzhou Academy of Fine Arts
Consultant: Institute of Art and Culture Innovation Research and Development, Sun Yat-sen University
Supporting：Platform China Contemporary Institute
Exhibition Duration: 2022.04.29-2022.07.03
Address: Boxes Art Museum, Shunfeng Mountain Park（South Gate）, Shunde District, Foshan City.

线条是吴杉认知世界，并让世界在他的观察模式下祛魅的方式。在那如丝般的线条中，我们仿佛感受不到艺术家的意图，这些线无目的、无快慢、无图案地流动着，迫使观者必须走到足够近距离才能够看清它们的走势和趋向。因此，他的抽象图式并不使人产生晕眩、错位、崇高等经典的美学感受，而是提供给观者一个气定神闲的，从画面“规定”好的距离沉着冷静、一览无余的观看体验。这些线条也仅仅在那些可以驻足凝视的观者眼前开始变化，达到绝对凝练的状态，以展现观者自身并不存在于其中的空间图景。由线分割而成的空间仿佛成为了画面形式的“馈赠”，它们是作为艺术家在创作中的无目的的合目的性而存在，它们在收缩、内化、封闭的过程中，产生了观看角度的扩张，并呈现了观看本身、视点置于外部的层次感。

线条也是他保持专注的“工具”，亦是创作中“专注性”的结果。专注性的凝聚构成了那一幅幅封闭线条所形成的画面，由线条所交织形式和块面被附上了时间，而在时间的绵延之间，空间自然显露。这些线是那么的轻盈，却又那么的“繁复”。轻是轻在线条的冷静、高古、沉着与游丝般的笔触；而“繁”则体现在不断变换的视角、不停转化的方位，以及块面之间相互挤压、交融、调和所形成的统一性。从方法论上讲，这的确是立体主义的，但吴杉却不仅停留在立体主义。与其把他的作品归类到某种主义，毋宁说是画面上的线条自发的让艺术家徘徊在那个激情与踌躇并存的时代。在那里，他把宁静、优雅、内敛，最重要的是把安全感放置在每一根线条上，在线与线细微的差异中，缓缓地向“未来”进发，也慢慢地向“过去”告别。延绵而悠长的告别是如此之轻，以至于观者难以察觉其中所变。诚然，抽象艺术是献给有准备的观者，而他在用线条封闭画面图式的同时，也进一步划定了观者的范围。这样一种反传播、反重复的方式简直太不现代了。于是，矛盾就从作品的内涵和外延之间延展开来，它是那么的现代，又那么的前现代。他在这些常人难以察觉的矛盾之间，找到了属于自身的、独特的“现代”。

在艺术家早期的作品中，我们可以从视错觉关联到素描所形成的图式的具体所指，它们似山川、似园林、似石碑、似江河。到了近几年的创作，先是纸本设色的退场，少了体块上附着的色彩斑斓，然后体积感也逐渐淡化，那些代表着明暗的细密排线下沉到体积本身，消失不见。线描越来越精炼，线条也愈发纯粹，呈现出一种峰回路转的自信与挺拔。与此同时，线本身也在发生变化，在中早期还有一些急停、急转，似皴法的力透纸背，而现在的线少有锋利之感，线条在柔和、平缓的转折中悠然自得。这些线的丰富性不啻于形状的多样性，也在于同一根线条中的品质和内容在意想不到的变化中展开。如果说抽象图式也有等级之分，他的创作则是历经了形式抽象到纯粹抽象的历程。线条从物的边缘出发，腾空而起，吸附在纯净思维的地平线上。在这个演化过程中，线终究退回到了线本身。这一点，也可以从作品的标题上看出端倪，“四块玉”“朝元歌”“上京马”“一江风”虽道不明与画面本身的具体图式关联，但却把思想背景置于昆曲的缠绵婉转、柔漫悠远的张力之间。

从纸本到大漆，是艺术家到中年时对于媒介、质感和线条成熟把控的升维。蕴含在大漆里的古典、温润与幽静，离不开它那制作中的缓慢流程和独特的材质魅力。线条上的“轻”与大漆中的“慢”在他的创作中不期而遇，大漆的装饰、优雅与刻板的审美和轻快、律动的线描形成了既矛盾又统一的审美观照。蜿蜒的线描如抽丝般渐渐地剥下大漆的装饰感所带来的世俗性，仅留下纯粹的与线条相契合的古老魅力，让线条更隐蔽、也更灵性。在传统的大漆工艺制作中，如遇温度、湿度等自然因素的不确定性，往往会重制以修正这些不合预期的画面，而吴杉却会将这些“意外”保留。如果说线描是经验、心境以及岁月的积累，在封闭的图式完成之前，它代表着一种可预见的不确定性，那么层叠上自然因素的不确定之后，便夹杂了时间与空间的可塑性，使它拥有了独特的文化内核，抽离了传统大漆的审美惯性。

至此，他笔下的线不再形似于物，因为它所指万物；不再依附于空间，因为它，空间才得以解蔽；不再求助于色彩，它与大漆浸润、融汇、合而为一。线条在他的笔下既是形式，也是内容，而要领会其中深意，则须翻开那色彩的“封面”细细品读。留存在创作中的诸多对立统一并非刻意为之，而是他的创作手法和观察方式使矛盾置于思想本源，并把多重的二元性纯净地跃然纸上。

文-冀然

Lines are Wu Shan’s way of understanding and disenchanting the world in his mode of observation. In the silk-like lines, we can’t seem to feel the artist’s intention. These lines flow without purpose, speed, or pattern, forcing the viewer to get close enough to see their trends. Therefore, his abstract schemas do not make people feel dizzy, dislocated, sublime and other classic aesthetic feelings, but provide the viewer with a calm and unobstructed viewing experience from a "prescribed" distance from the picture. These lines only begin to change in front of the viewers who can stop and stare, reaching a state of absolute condensedness, so as to show the spatial picture in which the viewers themselves do not exist. The space divided by lines seems to be the "gift" of the picture form. They exist as the purposeless purposefulness of the artist’s creation. In the process of shrinking, internalizing and closing, they generate the expansion of viewing angles, and presents the layering of viewing itself and the viewpoint placed outside.

Lines are also his "tools" for maintaining focus, and are also the result of "focusness" in his creation. Concentration of focusness constitutes the pictures formed by closed lines, forms and blocks are intertwined by lines and attached by time, and between the duree of time, the space is naturally revealed. These lines are so light, yet so "complex". Lightness refers to the calm, ancient, composed and hairspring-like brushstrokes of the lines; while the "complex" is reflected in the constantly changing perspective, the constantly transforming orientation, and the unity formed by the mutual extrusion, blending and reconciliation of the blocks. From a methodological point of view, it is indeed cubism, but Wu Shan does not only stay in cubism. Rather than classifying his works into a certain doctrine, it is rather the lines on the picture that spontaneously make the artist wander in that time of coexistence of passion and hesitation. There, he put serenity, elegance, restraint, and most importantly, the sense of security on every line, and in the subtle differences between lines, he slowly move towards the "future" and bid farewell to the "past". The long farewell is so light that it is difficult for the viewer to perceive what has changed. It is true that abstract art is dedicated to the prepared viewer, and while closing the picture schema with lines, he also further delimits the viewer’s scope. Such an anti-propagation, anti-repetition approach is simply too unmodern. Therefore, the contradiction extends from the connotation and extension of the work, which is so modern and so pre-modern. He found his own and unique "modern" among these contradictions that are difficult to detect by ordinary people.

In the artist’s early works, we can relate the visual illusion to the specific reference of the schemas formed by the sketches, which are like mountains and rivers, gardens, stele, and rivers. In recent years, in his creation of works, firstly, the coloring on paper was withdrawn, and the colorful colors attached to the body blocks were lost, and then the sense of volume gradually faded. Those fine lines representing light and shade sank into the volume itself and disappeared. The line drawing is becoming more and more refined, and the lines are becoming more and more pure, showing a kind of self-confidence and uprightness with twists and turns.

At the same time, the line itself is also changing. In the middle and early stages of creation, there were some sudden stops and sharp turns, which like penetrating the back of the paper in wrinkle method, but now the lines are less sharp, and the lines are leisurely in soft and gentle transitions. The richness of these lines is not only the diversity of shapes, but also the quality and content of the same line unfolding in unexpected variations. If there are levels of abstract schemas, his creations have gone through a process from formal abstraction to pure abstraction. Lines start from the edge of things, rise into the sky, and stick to the horizon of pure thinking. In this evolutionary process, the line eventually regressed to the line itself. This point can also be seen from the title of the work. Although "Sikuaiyu", "Chaoyuange", "Shangjingma" and "Yijiangfeng" are unclear to say how they related to the specific schema of the picture itself, they places the ideological background between the lingering and gentle, soft and distant tension of Kunqu Opera.

From paper to lacquer, it is an upgrade of the artist’s mature control of medium, texture and line in his middle age. The classicism, warmth and serenity contained in the lacquer are inseparable from its slow production process and unique material charm. The "light" in the lines and the "slow" in the lacquer meet unexpectedly in his creations. The decoration and elegance of lacquer, the inflexible aesthetic, the brisk and rhythmic line drawing form a contradictory yet unified aesthetic picture.The sinuous line drawing gradually peels off the worldliness brought by the decorative sense of the lacquer, leaving only the pure ancient charm that fits the line, making the line more hidden and more spiritual. In the traditional lacquer production process, in case of uncertainty of natural factors such as temperature and humidity, it is often remade to correct these unexpected pictures, but Wu Shan will keep these "accidents". If the line drawing is the accumulation of experience, mood and years, before the closed schema is completed, it represents a predictable uncertainty, then after the uncertainty of natural factors is layered, the plasticity of time and space is mixed, so that it has a unique cultural core and is separated from the aesthetic inertia of traditional lacquer.

So far, the line in his brush no longer resembles objects, because it refer to all things; it no longer attach to space, because of it, space can be unmasked; no longer rely on color, it infiltrates, merges, and fuses with lacquer. Lines are both form and content in his brush, and to understand the deep meaning, one must open the "cover" of color and read it carefully. The unity of opposites that remains in his creations is not intentional, but his creative techniques and observation methods place the contradictions at the source of his thoughts, and bring multiple dualities to the surface of the paper.

Ji Ran

-展览现场-

- 部分作品

吴杉《奉春时》，大漆、麻、木板，60cm×50cm，2020

吴杉，《风入松》大漆、麻、木板 ,80x60cm,2018-2021

吴杉，《寨儿令》大漆、麻、木板 ,80x60cm,2021

吴杉《秋夜月》，大漆、麻、木板，80cm×60cm，2021

吴杉，《三叠引》大漆、麻、木板 ,120cm×80cm,2020(1)

吴杉，《仙吕宫》大漆、麻、木板 ,60cm×50cm,2021

艺术家简介
Artist Profile

吴杉
1960年生于中国杭州，现今60岁
1982年毕业于浙江美术学院油画系
1983-1986年就读于美国芝加哥艺术学院研究院,获硕士学位
1988年在芝加哥中国艺术中心担任策展人
2006年回国，现为中国美术学院中德艺术研究生院教授

国际化的学术背景和艺术履历，简练的、理性与感性交杂平衡的画面语言，中国传统的材料基础的融合，让他成为中国当代抽象艺术的先锋之一。艺术家基于大漆材料本身的审美属性，在制作的缓慢和重叠当中，发掘自己的线条审美的这种韵律和语言。

曾在中国美术馆、浙江美术馆、南京艺术学院美术馆、劳伦斯珀林画廊、美国芝加哥艺术学院、美国威斯康新州马修弗德新视觉美术馆、芝加哥东西方现代画廊、印地安那州南本德美术馆、美国伊利诺州怀斯立洋大学、MERWIN画廊、芝加哥海德公园艺术中心等中外各大画廊和美术馆举办展览。

- 策展人介绍 -

冀然
Ji Ran
冀然，策展人、写作者。曾策划“洞察之律”王蓬个展、“流动的间隔”金亚楠个展、“极·光”荷兰黑点艺术小组展、巴黎Oberkampf画廊“Peinture peinture”展、巴黎B&B画廊 “Paris photographie” 等多个展览。文章散见《美术学报》《新美术馆学》《画刊》《华侨城盒子美术馆年鉴》等刊物。
Ji Ran, Curator, writer. He has curated exhibitions such as “The Law of Perspective” Wang Peng solo exhibition, “The interval in flux” Jin Yanan solo exhibition, “Unlimited Light”Macular Art Collective, “Peinture peinture” Rue Oberkampf, Paris, “Paris photographie”The Gallery B&B, Paris. Articles are published in journals such as Art Journal , New Art Museum Studies, Art Monthly, OCT Boxes Art Museum Ⅰ, and so on.

邓芷婷Deng Zhiting
盒子美术馆策展人，写作者，艺术类翻译，硕士毕业于英国利兹大学。她近期的研究方向为以现当代艺术史为基础，关注女性身份觉知与哲学。曾策划“林铮、潘泽嘉：第二自我”、“吴卓钊、黄逸哲：相对次序”“马雯怡：旋转木马”等展览。
Curator of the Boxes Art Museum, writer, art translator. MA graduate from University of Leeds, UK. Her recent research based on modern contemporary art history, focusing on female identity awareness and philosophy. She has curated exhibitions such as "Lin Zheng, Pan Zegia: Alter-ego”, "Wu Zhuozhao, Huang Yizhe: Relative Order" and "Ma Wenyi: Merry-go-round".

-美术馆简介-

盒子美术馆
盒子美术馆是由广东顺德华侨城全资建设，委托广州美术学院油画系策划组运营管理的非营利公益性机构。华侨城盒子美术馆由范勃担任馆长，周力担任艺术总监，刘可担任执行馆长，正式开馆日期为2017年9月28日。美术馆坐落在顺德区顺峰山公园内，包括四个标准的室内展厅和室外公共展览空间。美术馆致力于整合地区及国际资源，呈现出国际化高水准的艺术样态；并依托美术学院研究与教学平台、顺德当地的传统特点和现代化发展，将艺术展示、公共交流和本地文化结合在一起，促进本土的、社会的、国际的艺术实践与文化产生。

Boxes Art Museum
Boxes Art Museum is built and financed by the OCT Group, a non-profit public organization operated and managed by the Curatorial Group of the Oil Painting Department at the Guangzhou Academy of Fine Arts. OCT Boxes Art Museum has invited Fan Bo to serve as Museum Director, Zhou Li to serve as Artistic Director, and Liu Ke to serve as Executive Museum Director. Boxes Art Museum’s official opening was on September 28, 2017. It is located in the Shunfeng Mountain Park in Guangzhou’s Shunde District, and consists of four standard exhibition halls and outdoor public exhibition spaces. The museum strives to integrate regional and international resources in manifesting cultural activities of the highest caliber, and draws resources from the Guangzhou Academy of Fine Arts as an integrated research and educational platform. Boxes Art Museum combines Shunde’s local strengths with contemporary development strategies, uniting art exhibitions, public discourse and local culture in fostering new directions for local and international art practices and cultural production.