艺术家：秦晋、付智明、谢郴安、曾曦

Artists: Qin Jin, Fu Zhiming, Xie Chenan, Zeng Xi

展览时间：2024年8月20日至9月10日

开幕时间：2024年9月3日（星期二）上午10:00

研讨会时间：2024年9月3日（星期二）下午2:30

Exhibition period: August 20 to September 10, 2024

Opening time: 10:00 am, Tuesday, September 3, 2024

Seminar Time: 2:30 pm, Tuesday, September 3, 2024

总策展：范勃

执行策展：立博平台,立博官网油画系策展组

研讨会学术主持：胡斌

学术支持：陈靖莎、陈国辉、冀然

地点：大学城美术馆，-1、1、2、3、4号展厅

Chief Curator: Fan Bo

Executive Curator: Guangzhou Academy of Fine Arts Oil Painting Department Curatorial Team

Symposium Academic Host: Hu Bin

Academic Support: ChenJingsha,Chen Guohui,Ji Ran

Venue: University City Art Museum, -1, 1, 2, 3, 4,No.Gallery

展览前言：

本次展览旨在搭建油画系艺术实践与理论构建的平台，同时，也为青年教师们提供宝贵的展示空间。油画系的青年教师们在教学与研究中不断追求卓越，他们不仅承担着快节奏的教学任务，同时也致力于提升自身的教学技巧和教研能力。教师们通过保持反思和实验精神，积极地将个人的专业发展与立博平台,立博官网的新时代发展相结合。本次展览是青年教师系列研究的首展，由秦晋、付智明、谢郴安以及曾曦四位艺术家的个展构成。

秦晋拥有娴熟的、多元化的创作技巧，无论是小说艺术、影像、行为，还是装置、摄影与绘画，她总是能够自由切换，并表达自如。凯伦.史密斯（Karen Smith）曾用“静水流深”来形容她的作品，并指出其作品中所包含的反思性，以及深度与广度。秦晋作为油画系的一名教师，恰如其分、潜移默化地影响着身边的同学们，去思考艺术创作中的多维表达。

她的创作呈现出细腻、温暖，但时而也带有残忍，甚至蚀骨般的感受。本次展览名为“舌上箴言”，几乎囊括了艺术家所有的影像作品，并包含绘画、装置等其他艺术形式。同名新作《舌上箴言》为双频影像加互动装置的结构，这件作品沿用了艺术家以往的表达手法，双频呈现出一种矛盾、冲突，且诡异的场域氛围，同时，还加入了装置和“互动”墙绘。除了上述作品之外，还有《广州黑特》与《小男孩》两件新作。前者为影像装置，该作品使人联想起艺术家的早期作品《看房》和《新编故事园地》系列，她在影像叙事中独有的在地性与质朴幽默得到了延续与提升。

“一年一吨”是付智明艺术创作的具体写照，在这个时间单位与重量单位之间，艺术家用油画材料建构起了它们的链接。“行走在雨的缝隙”是本次展览的主题，在展览的场域中，艺术家画作的构成正如“雨水”一般，那种无机、无序的感官在“侵袭”着身体，组成“行走在雨的缝隙”中的具身体验。提起付智明的作品，往往都会使人联想到“重量”以及“厚度”。然而，这些具有代表性的名词却是由过程塑造的视觉表征，并非艺术家有意制造的视觉结果。

在本次展览中，他用“雨水”来揭示和呈现在“重量”之下的多重辩证关系。他善用铲刀一类的工具作画，当此类工具从画布上掠过，留下的仅是纯粹的体积与色彩，传统的油画笔触、细腻与形式均不复存在。这是艺术家在向传统绘画发出挑战，同时，也试图不断地完善自身艺术语言的过程。艺术家的创作亦可反馈到教学之中，随着现代教育的发展，艺术的表现形式和方法愈加多样，传统的美术教育模式已不再满足现代的教育教学需求。付智明的创作展示了当代油画语言和风格形态的多样化以及油画观念的多元化，这一点同样也提醒着同学们在创作中发现新思维与新表达。

日常生活，特别是亲身经历和体验的生活化场景，是谢郴安作画时的重要参考，也是其创作的灵感来源。他时常保持着对周遭的敏锐观察，并用相机记录下那些具有收藏价值的“凝固的瞬间”。他的创作方式是先勾勒草图，再寻找生活中的素材。当然，平日的积累也是创作素材的重要来源。在他的作品中，画面中的场景往往是经过理念化的重构，并非对现实的直接“临摹”。素材与理念中的构图在创作的过程中不断地进行深度融合，这样一种创作方式在他的群像作品中更为突出。在群像的空间中，无论是场景还是人物，均在创作主题下的场域中达到了一种平衡与统一。

“隐喻的生活”正是他系列作品的直观反映，也是本次展览的主题。相较于传统油画中的专注性，他的作品有着明显的不同。一般而言，前者往往是以否定观众的在场，使画面场景形成封闭式的空间得以造就专注性的聚力；而后者却在具有统一性的场景之中，通过安排特殊角色与观者的视线交流，从而提示画面中的场景与观者所具有的高度文化关联。可以看到，艺术家将专注性一分为二，画面特质均在内部建构统一，继而通过特殊角色把专注性进行传递。而这一点，正如艺术家所强调的当下写实油画的创作路径，需要结合民族情感与民族经验，进行在地化的思考与延伸。

早在2017年左右，曾曦把创作的重心放置在镜面不锈钢、亚克力透明板、各式透镜以及玻璃等材质的研究上，开启了名为“视网膜”系列作品的创作。这些具有光学性质的材料在艺术家的手中变换、转译、演化，进而形成了具有个人特色的艺术表达。然而，研究材料并不是艺术家的最终目的，他通过材料的不同特性与创作中的偶发性来揭示，抑或质疑视错觉的存在与虚无。

“复调的剧场性——曾曦的‘后视觉’探索”是本次展览的主题，该命题也揭示了艺术家从对视觉性的研究中逐渐脱离，进入到“后视觉”的创作之中。他在该系列的构建过程中强调“重复性”，用“重复”结合早期研究搭建起了更加精确的艺术语言。他的创作虽然根植于对材料的研究，然而掌握材料仅是创作的门槛和基本要求，材料本身并不能直接成为主题，这一点对于教学、对于培养同学们的系统性思维也尤为重要。

本次展览是艺术家们生涯中的重要节点。四位艺术家的个展均具有独特的作品气质与艺术表达，但仍可以发现一些潜藏在展览之中的共性，现场感与在地性在四个展览之中均得到了不同程度的延伸。从某一方面而言，这也反映了在当代艺术的异质性之下，对于地区、地域，乃至民族与国家的共同思考，并把这种思考融入艺术的创作与艺术语言的构建之中。

四位艺术家创作手法和思维方式的多元化，反映了油画系，乃至立博平台,立博官网兼容并蓄、博采众长的大格局与大气象。油画系为青年教师搭建的展示、交流与传播的平台也呈现出院系对青年教师创作与教学的关注与重视。因为未来属于青年。

立博平台,立博官网油画系策划组

2024年8月

This exhibition is designed to create a platform for the development of art practice and theoretical frameworks within the Oil Painting Department, while also offering a valuable showcase for young faculty members. These young educators are dedicated to excellence in both teaching and research, juggling the demands of a rigorous teaching schedule while simultaneously honing their pedagogical skills and research capabilities. They maintain a reflective and experimental spirit, actively integrating their professional growth with the evolving landscape of the Guangzhou Academy of Fine Arts. This inaugural exhibition in the young faculty research series features solo presentations by four artists: Qin Jin, Fu Zhiming, Xie Chen'an, and Zeng Xi.

Qin Jin is known for her mastery of diverse creative techniques, seamlessly transitioning between narrative art, video, performance, installation, photography, and painting. Karen Smith has described her work as "still waters running deep," highlighting the reflective nature and the profound depth and breadth of her creations. As a faculty member in the Oil Painting Department, Qin Jin subtly influences her students to explore multidimensional expressions in artistic creation.

Her work is characterized by delicacy and warmth, yet it can also be harsh and deeply affecting. The exhibition, titled "Oracles on the Tongue," encompasses all of the artist's video works, as well as paintings and installations. The new piece of the same name, "Oracles on the Tongue," is a dual-frequency video coupled with an interactive installation. This work continues the artist's signature style, presenting a contradictory and eerie atmosphere, enhanced by installation and interactive mural. Other new works include "Guangzhou Black Special" and "Little Boy," with the former being a video installation that evokes memories of her earlier work "House Viewing" and "Old Tales Retold" showcasing her unique local perspective and simple humor.

Fu Zhiming's artistic creation is epitomized by the phrase "A Ton a Year," where he forges a connection between time and weight using oil painting materials. The theme of his exhibition, "Walking in the Rain's Interstices," is reflected in the composition of his paintings, which, like rain, offer an inorganic and disorderly sensory experience that envelops the viewer. His works are often associated with "weight" and "thickness," which are visual manifestations shaped by the creative process rather than intentional outcomes.

In this exhibition, he uses the metaphor of "rain" to reveal the multifaceted dialectical relationships beneath the concept of "weight." His use of tools like spatulas leaves behind pure volumes and colors on the canvas, eschewing traditional brushstrokes, delicacy, and form. This challenges traditional painting while also refining his artistic language. His approach to creation also informs his teaching, reflecting the need for diverse artistic expressions and methods in modern education, moving beyond traditional art education models.

Xie Chen'an draws heavily from everyday life, particularly personal experiences and scenes, which serve as both reference and inspiration for his work. He maintains a keen observational eye, capturing valuable "frozen moments" with his camera. His creative process begins with sketching and then sourcing materials from life, with daily accumulation being a crucial source of inspiration. His works often reconstruct scenes conceptually rather than replicating reality directly. The integration of materials and conceptual compositions deepens throughout the creative process, especially in his group portraits where scenes and characters achieve harmony and unity within the thematic framework.

"Metaphorical Life" is a direct reflection of his series and the theme of the exhibition. His approach differs significantly from traditional oil painting, which often negates the viewer's presence to create a focused, closed space. In contrast, his works establish a unified scene and engage the viewer through the interaction of special characters and the viewer's gaze, suggesting a profound cultural connection between the depicted scene and the audience. This division of focus within the artwork, as emphasized by the artist, reflects the path of contemporary realistic oil painting, which must incorporate national sentiment and experience for localized contemplation and expansion.

Around 2017, Zeng Xi shifted his creative focus to the study of optical materials such as mirror stainless steel, acrylic panels, various lenses, and glass, initiating the "Retinal" series. These materials, with their optical properties, are transformed and interpreted by the artist, resulting in a distinctive artistic expression. However, the study of materials is not the end goal; instead, he uses their unique characteristics and the contingencies of creation to explore or question the existence of visual illusions and nothingness.

"Polyphonic Theatricality—Zeng Xi's Post-Visual Exploration" is the theme of his exhibition, indicating the artist's transition from visual studies to "post-visual" creation. He emphasizes "repetition" in the series, combining it with early research to construct a more precise artistic language. Although his creations are rooted in material studies, mastery of materials is merely the threshold and a basic requirement; materials themselves should not directly become the theme. This principle is crucial for teaching and nurturing students' systematic thinking.

This exhibition marks a significant milestone in the artists' careers. Each of the four solo exhibitions showcases unique artistic qualities and expressions, yet they share common threads, such as a sense of place and locality, which are extended in varying degrees throughout the exhibitions. This reflects the collective contemplation of regions, localities, and even nations and states within the heterogeneity of contemporary art, integrating these considerations into artistic creation and language.

The diversity of creative techniques and thought processes among the four artists reflects the inclusive and comprehensive vision of the Oil Painting Department and Guangzhou Academy of Fine Arts. The platform provided for young teachers to display, communicate, and disseminate their work demonstrates the department's attention and emphasis on the creation and teaching of young faculty. The future belongs to the youth.

Guangzhou Academy of Fine Arts Oil Painting Department Planning Group

August 2024