【艺·凯旋画廊】方力钧最新个展 | 展览现场

2014，122x163cm，木刻版画，2014年

方力钧的版画发展之路和中国当代艺术的发展进程有着密切的关联，清晰地呈现出了如下四个时期：一、朦胧期（1982—1984）；二、沉寂期（1985—1994）；三、觉醒期（1995—1998）；四、突破期（1999年至今）。本次展览由策展人冀少峰策划，将呈现方力钧艺术生涯中1999年至今突破期的20余件版画代表作品。

A close study of the evolution of Fang Lijun’s woodcut art readily indicates that it is closely related to the development of contemporary Chinese art. The evolution of Fang Lijun’s woodcut art consists of four distinct stages: the Germination Stage (1982-1984); the Developing Stage (1985-1994); the Awakening Stage (1995-1998); the Breakthrough Stage (1999-present). This Exhibition was curated by Ji Shaofeng, and will present more than 20 representative Woodcut from the breakthrough Stage (1999-present) of Fang Lijun's art career.

2013-2015，122x163cm，木刻版画，2015年

阅读方力钧的版画，需要放弃、清空、归零对版画的认知和已有版画的语词，进而以一种当代艺术的体系制度来直面其版画所带来的颠覆性挑战和观念的变革。这不仅是一种革命性的突破，亦是中国社会政治经济文化结构急剧转型的一个特征，是社会转型之痛，思维表达之困，致使社会普遍所弥漫着的焦虑的生存体验。

To properly understand Fang Lijun’s woodcuts, one must relinquish their existing cognition of woodcuts, and view Fang’s subversive and fundamentally revolutionary woodcuts from the perspective of contemporary art. This not only is a revolutionary breakthrough, but also embodies the rapid transformation of China’s social, political, economic and cultural structure. It reveals the pain point of social transformation and the difficulty of expressing thoughts; it leads to mounting anxiety over existence.

2020，40x60cm，木刻版画，2020年

阅读其版画，可以深度体察出其人品、学问、才情、思想及人格、精神与追求，向阅读者充分展示在当代艺术发展进程中一个实践者的精神记录、人生历程和艺术史足迹。他带来的不仅仅是关于版画的新观念、新思想、新表达，还是一种解放的人性与人性的解放。这才是其版画的深刻意义所在。

His woodcuts are an accurate portrayal of his moral standing, scholarship, talent, thinking, personality, mind and pursuit. They serve as a record of Fang Lijun’s thoughts, life and artistic endeavors as a practitioner of contemporary Chinese art. What he brought is not limited to new concepts, ideas and expressions about woodcuts. His ultimate goal is to show humanity as it is and its emancipation. These are what underlie his woodcuts.

2020，40x60cm，木刻版画，2020年

方力钧的版画在当代艺术领域里扮演着越来越重要的角色，洋溢着一种热情、激情的力量。在为阅读者提供着一个又一个丰富的人文精神图景时，他的巨幅版画约从1996年始，尺幅越来越大，大约从1999年始，巨幅版画如爆炸般接连不断地问世。他那为当代艺术所熟悉的符号形象，时而显露于图像中，时而又隐匿于图像外，但视觉图像无时不透出他对人类生存境遇的关怀与善意，他对生命和心境的透彻把握，而生命的脆弱与顽强时常处于激变的社会变革中。他的图像又是一个个现代悲剧，充斥着乌托邦幻想，跌跌撞撞、挣扎前行。他所精心编织的视觉图景，虽然并不是阅读者应该看到的真实，但视觉图景中人物的遭遇，恰恰又是现实社会中人的遭遇。当我们有勇气直面贫穷、绝望、恐惧和死亡时，亦会发现闪耀于图像间的苦难、坚韧、怜悯、不屈和希望。

Fang Lijun’s woodcuts play an increasingly important role in the field of contemporary art, brimming with enthusiasm and passion. While providing readers with pictures of rich humanistic spirit, he preferred large-scale prints, the first one of which emerged in 1996, but later the scale he chose became larger and larger. Since about 1999, his huge woodcuts have come out in large numbers. His symbolic image, which is familiar to the contemporary art world, is sometimes exposed in the pictures and sometimes hidden in the pictures. However, the visual image always reveals his concern and goodwill for the living conditions of human beings and his thorough grasp of life and mood. The fragility and tenacity of life are often in the midst of drastic social changes. His images refer to the pathetic modern people, who are full of Utopian fantasies, stumbling and struggling forward. Although his carefully woven visual picture is not the truth that readers should see, what happened to the characters in the visual picture is exactly what happened to people in the real society. When we have the courage to face poverty, despair, fear and death, we will also find suffering, tenacity, compassion, unyieldingness and hope in the pictures.