王长明 WANG CHANGMING
中国当代艺术家，江苏无锡人，现居北京无锡。致力于当代艺术视觉领域的实验与创作，作品涉及绘画装置雕塑。曾参加广州三年展、新疆双年展、第 27 届亚洲国际当代艺术展、 [ 多瑙河对话 ]欧洲当代艺术展等一系列国内外重要的当代艺术展览。
Chinese contemporary artist, born in Wuxi, Jiangsu Province, now living in Wuxi, Beijing. He is committed to the experiment and creation in the visual field of contemporary art, and his works involve painting, installation and sculpture. He has participated in a series of important contemporary art exhibitions at home and abroad, such as the Guangzhou Triennial, the Xinjiang Biennale, the 27th Asian International Contemporary Art Exhibition, "Danube Dialogue" European Contemporary Art Exhibition.
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这个绘画计划很早就做了文案，只是不晓得什么时候能实施，没料到在三年的″封控"期间，实施这个计划的愿望异常强烈，也许这就是所谓的"时机成熟"了。这个绘画计划我谓之"21世纪的当代艺术家临摹12世纪的中国传统绘画"，范围以宋画为限，可以无限延续。任何风格主义流派都自带自律性及限制性，包括像《千里江山图》这类经典绘画作品，排他性特别强。格林伯格:传统与创新的辩证法具体体现在趣味满足和期待视野，以及游戏的高度严肃性之中。假如没有由传统构成的期待视野，那么也就没有趣味的满足可言。换句话说，如果没有传统，那么就没有可资期待的视野，人们也就无法从趣味上对艺术品进行判断，于是不得不引进新的游戏规则。格林伯格的观点于我创作《千里江山图》是有启发的，在于试图通过触摸中国传统绘画的精髓，悟其道，构筑具有时效性及当代性特质的艺术语境~也就是期待视野。二维平面性且扁平化视感，画面呈现的只是些人造物的替身(建筑材料影像:玻璃+马赛克)叠堆的痕迹，即由具物性意义的物的替身(影像)构建了21世纪的山水景观~千里江山图。在这个系统逻辑里，所有与文学共享的叙事性与雕塑装置共享的立体的形式刻画等被从绘画中排除出去。可辨认的现实，因它们存在于三维空间中也被排除。而对一个可辨认的现实用最简单的暗示就足以唤起那类空间的联想……这样就使绘画空间与二维性相隔绝，而二维性正是绘画作为一种独立艺术的保证。
This painting plan has been in the works for a long time, but I didn't know when it would be implemented. Unexpectedly, during the three-year "lockdown" period, the desire to implement this plan became extremely strong. Perhaps this is what they call "the right time". I refer to this painting plan as "Contemporary Artists of the 21st Century Copying Traditional Chinese Painting of the 12th Century." The scope is limited to Song Dynasty paintings, but it can be extended indefinitely. Any stylistic school comes with self-discipline and limitations, including classic paintings like "Qianli Jiangshan Tu" which have a particularly strong exclusivity. Greenberg: The dialectics of tradition and innovation are specifically reflected in the satisfaction of interest and the expectation of perspective, as well as the high seriousness of games. If there is no perspective formed by tradition, then there is no satisfaction of interest. In other words, without tradition, there is no perspective to expect, and people cannot judge artworks based on interest. Therefore, new rules of the game have to be introduced. Greenberg's viewpoint has inspired my creation of "Qianli Jiangshan Tu", attempting to touch the essence of traditional Chinese painting, comprehend its path, and construct an artistic context with timeliness and contemporaneity - that is, the perspective to expect. The two-dimensional and flattened visual perception presents only the traces of surrogates of man-made objects (architectural material images: glass + mosaic), which have constructed the 21st-century landscape of "Qianli Jiangshan Tu". In this logical system, all the narrative shared with literature and the three-dimensional form representation shared with sculpture installations are excluded from painting. Recognizable realities are also excluded because they exist in three-dimensional space. And a simple hint is enough to evoke the association with that kind of space for a recognizable reality... This isolates the painting space from the two-dimensionality, and two-dimensionality is precisely the guarantee of painting as an independent art.
Wang Changming, 2023, working in Beijing studio.
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