9.6多伦上演：舒勇木子美泡泡乳房管勇红宝书钢笔鲜血周朝民谣吉他
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最后更新：2007/09/06 04:58:57 by
最近上海当代艺术博览会期间，展览非常多，大家都蛮辛苦蛮累的，在朱屺瞻艺术馆举办北京BS1美术馆提名展的，同时，上海多伦现代美术馆也为大家准备好了现居北京的天津艺术家管勇和广东艺术家舒勇的两个精彩个展，管勇的作品视觉冲击力特别大，舒勇在泡泡系列油画之后又对中国传统神话故事进行了深入挖掘，希望这两位个性鲜明的艺术家个展能够获得大家的认同和支持。
我们定于明天(9月6日）下午4点在多伦现代美术馆（多伦路27号近四川北路口）一楼举行“中国神话——舒勇个展”和“谁的新时代——管勇个展”新闻媒体发布会，希望诸位能够前来采访，如果您有时间，也希望能够留下来和艺术家一起共进晚餐并参加7点以后在多伦现代美术馆举行的开幕酒会。
开幕酒会定于9月6日晚上7点在多伦现代美术馆举行，届时北京的很多艺术家和策展人都会过来捧场，赵半狄、安迪排行榜等艺术家的朋友们也会来到现场和大家互动交流。
需要更多两个展览的图片可联系我，谢谢您长期以来对上海多伦现代美术馆和朱屺瞻艺术馆的支持。
当天晚上8点起，我们还将举行一场上海吉他英雄周朝的民谣演出，希望大家前来欢聚
我们定于明天(9月6日）下午4点在多伦现代美术馆（多伦路27号近四川北路口）一楼举行“中国神话——舒勇个展”和“谁的新时代——管勇个展”新闻媒体发布会，希望诸位能够前来采访，如果您有时间，也希望能够留下来和艺术家一起共进晚餐并参加7点以后在多伦现代美术馆举行的开幕酒会。
开幕酒会定于9月6日晚上7点在多伦现代美术馆举行，届时北京的很多艺术家和策展人都会过来捧场，赵半狄、安迪排行榜等艺术家的朋友们也会来到现场和大家互动交流。
需要更多两个展览的图片可联系我，谢谢您长期以来对上海多伦现代美术馆和朱屺瞻艺术馆的支持。
当天晚上8点起，我们还将举行一场上海吉他英雄周朝的民谣演出，希望大家前来欢聚
2007.9.6上海多伦举办中国神话——舒勇油画个展
2007年9月6日晚7点，由艾未未策划、赵树林学术主持的舒勇——《舒勇。中国制造》系列展之“中国神话——舒勇油画个展”在上海多伦现代美术馆隆重举行，在《中国神话》这组系列油画作品中,可以感觉到我们习以为常的东方审美与东方智慧，被舒勇用透亮而绚烂的“泡泡”激活。在“泡泡”营造的异样意境中，将早已退化成为我们家居日常摆设物品的各种神话人物唤醒，随之这些神话故事也被我们重新重视。
这些神话故事和人物，是中国几千年以来中国文化和智慧以及哲学等多方面最直接的形象载体。这些形象的形态以及演变的过程，就是中国审美的直观形态和社会审美发展演变的过程。这是属于我们的宝贵文化财富。然而在西方文化的冲击下，使得我们对这些财富视而不见，甚至遗忘。舒勇以他惯用和迷恋的“泡泡”为介质，用行为、观念和油画相互合作的方法将这种文化定格和引入到当下。当我们将这些图式放到中国当代的现实语境中时，这些中国古代神话暗合了中国时下的某些状态,即中国在这些年的发展过程中，中国正在国际社会中用西方人没有办法看得明白，甚至有些匪夷所思的方式创造着新的神话和奇迹。
这种中国神话对大部分西方人来说就象一个谜。谜一样的中国，谜一样的神话。显然也正是这样的谜，让中国具有了神秘的力量和无穷的魅力。我相信阅读舒勇这批作品的西方人，也包括忽视和遗忘中国传统文化的中国人，他们的阅读过程就是一个对中国文化、经济、政治、宗教揭谜和追根溯源的过程。或许这些谜永远让他们似懂非懂，但是，当有一天他们可以接近谜底的时候，也将必然不再难以理解中国神话以及正在创造和发生的神话。在这里舒勇的“泡泡”神话般地成为一把奇特的钥匙，开启了一个被我们封存已久的知识空间。这个空间有我们用之不尽、取之不竭的财富。
此次系列展由四部分组成：《舒勇》、《。》、《中国神话》、《制造事端》。近二十年来中国社会发生了巨大的变化，这是个特殊而有魅力的时期，正是在这个时期，作为先锋艺术家，舒勇与大部分艺术家的不同就是，他一直都用当代艺术积极地参与到当下中国社会生活中，并试图用艺术改造和创造着新的生活方式。他为当代艺术走入中国主流社会生活，进入当下，提供了有效的方法和观念。他和Z/F、企业、媒体等各界的各种合作，向我们展示了当代艺术的新方向和新可能。中国当代社会就是舒勇进行艺术实验的直接场所。因为这样的艺术探索让舒勇和中国当下社会生活发生了最为紧密和直接的关系。这也使得舒勇和他的艺术成为中国最为本土的制造，成为真正的“中国制造”。
本次在多伦的展览时间为2007年9月6日至19日。
具体展览信息如下：
第一部分：《舒勇》，2007年9月22日——10月8日，北京，尚元素艺术馆，主要以文献为主，展示介绍舒勇的艺术生活状态以及创作观念。
第二部分：《。》，2007年9月4日——9月20日，上海东廊画廊，主要展出舒勇“泡泡”系列作品，如《泡女郎》、《办公室里的泡泡》、《光荣与梦想》、《延安5.23》、《汽车小康之梦》等。
第三部分：《中国神话》，2007年9月6日——9月19日，上海多伦现代美术馆，展出舒勇近期油画系列《中国神话》。
第四部分：《制造事端》，2007年10月12日——10月28日，北京皇城艺术馆，主要展出舒勇与Z/F、企业、媒体互动中而产生艺术事件或社会事件的作品，同时并置展示各种媒体报道。
2007年9月6日晚7点，由艾未未策划、赵树林学术主持的舒勇——《舒勇。中国制造》系列展之“中国神话——舒勇油画个展”在上海多伦现代美术馆隆重举行，在《中国神话》这组系列油画作品中,可以感觉到我们习以为常的东方审美与东方智慧，被舒勇用透亮而绚烂的“泡泡”激活。在“泡泡”营造的异样意境中，将早已退化成为我们家居日常摆设物品的各种神话人物唤醒，随之这些神话故事也被我们重新重视。
这些神话故事和人物，是中国几千年以来中国文化和智慧以及哲学等多方面最直接的形象载体。这些形象的形态以及演变的过程，就是中国审美的直观形态和社会审美发展演变的过程。这是属于我们的宝贵文化财富。然而在西方文化的冲击下，使得我们对这些财富视而不见，甚至遗忘。舒勇以他惯用和迷恋的“泡泡”为介质，用行为、观念和油画相互合作的方法将这种文化定格和引入到当下。当我们将这些图式放到中国当代的现实语境中时，这些中国古代神话暗合了中国时下的某些状态,即中国在这些年的发展过程中，中国正在国际社会中用西方人没有办法看得明白，甚至有些匪夷所思的方式创造着新的神话和奇迹。
这种中国神话对大部分西方人来说就象一个谜。谜一样的中国，谜一样的神话。显然也正是这样的谜，让中国具有了神秘的力量和无穷的魅力。我相信阅读舒勇这批作品的西方人，也包括忽视和遗忘中国传统文化的中国人，他们的阅读过程就是一个对中国文化、经济、政治、宗教揭谜和追根溯源的过程。或许这些谜永远让他们似懂非懂，但是，当有一天他们可以接近谜底的时候，也将必然不再难以理解中国神话以及正在创造和发生的神话。在这里舒勇的“泡泡”神话般地成为一把奇特的钥匙，开启了一个被我们封存已久的知识空间。这个空间有我们用之不尽、取之不竭的财富。
此次系列展由四部分组成：《舒勇》、《。》、《中国神话》、《制造事端》。近二十年来中国社会发生了巨大的变化，这是个特殊而有魅力的时期，正是在这个时期，作为先锋艺术家，舒勇与大部分艺术家的不同就是，他一直都用当代艺术积极地参与到当下中国社会生活中，并试图用艺术改造和创造着新的生活方式。他为当代艺术走入中国主流社会生活，进入当下，提供了有效的方法和观念。他和Z/F、企业、媒体等各界的各种合作，向我们展示了当代艺术的新方向和新可能。中国当代社会就是舒勇进行艺术实验的直接场所。因为这样的艺术探索让舒勇和中国当下社会生活发生了最为紧密和直接的关系。这也使得舒勇和他的艺术成为中国最为本土的制造，成为真正的“中国制造”。
本次在多伦的展览时间为2007年9月6日至19日。
具体展览信息如下：
第一部分：《舒勇》，2007年9月22日——10月8日，北京，尚元素艺术馆，主要以文献为主，展示介绍舒勇的艺术生活状态以及创作观念。
第二部分：《。》，2007年9月4日——9月20日，上海东廊画廊，主要展出舒勇“泡泡”系列作品，如《泡女郎》、《办公室里的泡泡》、《光荣与梦想》、《延安5.23》、《汽车小康之梦》等。
第三部分：《中国神话》，2007年9月6日——9月19日，上海多伦现代美术馆，展出舒勇近期油画系列《中国神话》。
第四部分：《制造事端》，2007年10月12日——10月28日，北京皇城艺术馆，主要展出舒勇与Z/F、企业、媒体互动中而产生艺术事件或社会事件的作品，同时并置展示各种媒体报道。
“泡泡”是把钥匙
艾未未
在《中国神话》这组系列油画作品中,可以感觉到我们习以为常的东方审美与东方智慧，被舒勇用透亮而绚烂的“泡泡”激活。在“泡泡”营造的异样意境中，将早已退化成为我们家居日常摆设物品的各种神话人物唤醒，随之这些神话故事也被我们重新重视。
实际上这些神话故事和人物，是中国几千年以来中国文化和智慧以及哲学等多方面最直接的形象载体。这些形象的形态以及演变的过程，就是中国审美的直观形态和社会审美发展演变的过程。这是属于我们的宝贵文化财富。然而在西方文化的冲击下，使得我们对这些财富视而不见，甚至遗忘。舒勇以他惯用和迷恋的“泡泡”为介质，用行为、观念和油画相互合作的方法将这种文化定格和引入到当下。当我们将这些图式放到中国当代的现实语境中时，这些中国古代神话暗合了中国时下的某些状态,即中国在这些年的发展过程中，中国正在国际社会中用西方人没有办法看得明白，甚至有些匪夷所思的方式创造着新的神话和奇迹。
这种中国神话对大部分西方人来说就象一个谜。谜一样的中国，谜一样的神话。显然也正是这样的谜，让中国具有了神秘的力量和无穷的魅力。我相信阅读舒勇这批作品的西方人，也包括忽视和遗忘中国传统文化的中国人，他们的阅读过程就是一个对中国文化、经济、政治、宗教揭谜和追根溯源的过程。或许这些谜永远让他们似懂非懂，但是，当有一天他们可以接近谜底的时候，也将必然不再难以理解中国神话以及正在创造和发生的神话。在这里舒勇的“泡泡”神话般地成为一把奇特的钥匙，开启了一个被我们封存已久的知识空间。这个空间有我们用之不尽、取之不竭的财富。
“Bubble”is the Key
Ai Weiwei
In the series oil painting works Chinese Mythology, we can feel that the oriental aesthetics and wisdom we are familiar with are activated by Shu Yong's bright and gorgeous "bubbles". In such a different and strange realm created by bubbles, various mythological figures who had already been reduced to our daily decorations are waken up, and those mythologies are again reviewed and recognized by us.
Actually these mythologies and figures have always been the most direct image carriers of Chinese culture, wisdom and philosophy for thousands of years. The form and evolution process of these images are right the intuitive form of Chinese aesthetics and evolution process of social aesthetics. They are our precious cultural wealth. However, as impacted by western cultures, we turned a blind eye to these wealth and even forgot them. With "bubbles"he is used to and fascinated about as the medium, Shu Yong fixs and introduces this culture to current society in the way of combining performances, concepts and oil paintings. When we locate these graphics in contemporary Chinese context, we find that these Chinese ancient mythologies are just in coincidence with some status of current China, that is in years of development, China has been creating new mythologies and miracles in this international society in a way unimaginable and intangible to the westerners.
Such kind of Chinese mythology seems to be a puzzle to most of the westerners, mysterious China and mysterious mythology. Obviously just this puzzle offers mysterious powers and endless charm to China. I believe that viewers of these works, including westerners and Chinese who have neglected and forgetten traditional Chinese culture, will experience a process of exploring and tracing back Chinese culture, economy, politics and religions. Maybe they can never clearly understand these puzzles, but one day it will not be hard for them to understand Chinese mythologies and mythologies being created when they are close enough to the answers. Here Shu Yong's "bubble" become a special key to a knowledge space having been sealed up by us for long, where we may find exhaustless wealth.
艾未未
在《中国神话》这组系列油画作品中,可以感觉到我们习以为常的东方审美与东方智慧，被舒勇用透亮而绚烂的“泡泡”激活。在“泡泡”营造的异样意境中，将早已退化成为我们家居日常摆设物品的各种神话人物唤醒，随之这些神话故事也被我们重新重视。
实际上这些神话故事和人物，是中国几千年以来中国文化和智慧以及哲学等多方面最直接的形象载体。这些形象的形态以及演变的过程，就是中国审美的直观形态和社会审美发展演变的过程。这是属于我们的宝贵文化财富。然而在西方文化的冲击下，使得我们对这些财富视而不见，甚至遗忘。舒勇以他惯用和迷恋的“泡泡”为介质，用行为、观念和油画相互合作的方法将这种文化定格和引入到当下。当我们将这些图式放到中国当代的现实语境中时，这些中国古代神话暗合了中国时下的某些状态,即中国在这些年的发展过程中，中国正在国际社会中用西方人没有办法看得明白，甚至有些匪夷所思的方式创造着新的神话和奇迹。
这种中国神话对大部分西方人来说就象一个谜。谜一样的中国，谜一样的神话。显然也正是这样的谜，让中国具有了神秘的力量和无穷的魅力。我相信阅读舒勇这批作品的西方人，也包括忽视和遗忘中国传统文化的中国人，他们的阅读过程就是一个对中国文化、经济、政治、宗教揭谜和追根溯源的过程。或许这些谜永远让他们似懂非懂，但是，当有一天他们可以接近谜底的时候，也将必然不再难以理解中国神话以及正在创造和发生的神话。在这里舒勇的“泡泡”神话般地成为一把奇特的钥匙，开启了一个被我们封存已久的知识空间。这个空间有我们用之不尽、取之不竭的财富。
“Bubble”is the Key
Ai Weiwei
In the series oil painting works Chinese Mythology, we can feel that the oriental aesthetics and wisdom we are familiar with are activated by Shu Yong's bright and gorgeous "bubbles". In such a different and strange realm created by bubbles, various mythological figures who had already been reduced to our daily decorations are waken up, and those mythologies are again reviewed and recognized by us.
Actually these mythologies and figures have always been the most direct image carriers of Chinese culture, wisdom and philosophy for thousands of years. The form and evolution process of these images are right the intuitive form of Chinese aesthetics and evolution process of social aesthetics. They are our precious cultural wealth. However, as impacted by western cultures, we turned a blind eye to these wealth and even forgot them. With "bubbles"he is used to and fascinated about as the medium, Shu Yong fixs and introduces this culture to current society in the way of combining performances, concepts and oil paintings. When we locate these graphics in contemporary Chinese context, we find that these Chinese ancient mythologies are just in coincidence with some status of current China, that is in years of development, China has been creating new mythologies and miracles in this international society in a way unimaginable and intangible to the westerners.
Such kind of Chinese mythology seems to be a puzzle to most of the westerners, mysterious China and mysterious mythology. Obviously just this puzzle offers mysterious powers and endless charm to China. I believe that viewers of these works, including westerners and Chinese who have neglected and forgetten traditional Chinese culture, will experience a process of exploring and tracing back Chinese culture, economy, politics and religions. Maybe they can never clearly understand these puzzles, but one day it will not be hard for them to understand Chinese mythologies and mythologies being created when they are close enough to the answers. Here Shu Yong's "bubble" become a special key to a knowledge space having been sealed up by us for long, where we may find exhaustless wealth.
现实的神话
赵树林
绘画的危机早已经是不争的事实。早在上世纪九十年代初已经开始行为艺术创作的舒勇，他心中，或者说每一个艺术家心中都有绘画的情结。谁走上艺术这条路不是从学画画开始的呢？舒勇在刚接触美术的时候，很迷恋于绘画的具象能力，或者是它的形象性，在刚接触当代艺术的时候他喜欢绘画的表现主义能力，或单纯追求一种形式主义的美感。舒勇最近创作的《中国神话》系列，一方面说明舒勇在试图通过作品消解“当代艺术圈”对他的误会；另一方面，也正是用这种方式显示自己的传统艺术家气质。他把自己的创作变成调侃对象。
在《中国神话》系列里，舒勇选择了那些广为大众知晓的传统神话形象与“泡泡”组合。猪八戒、鲤鱼跳龙门、八仙过海、五谷丰登等东方神话传说被置放在一片“泡泡”的世界里，如梦似幻。“泡泡”在这些场景里取代了以往的云雾缭绕，使得那些神话形象以一种更为绚烂和虚无的方式出现。“泡泡”里带着各种形象所有的渴望与梦境，清晰地浮现在画面上，并放大和进入到我们的文化经验中。这些梦境承载着那些神话形象背后的缔造者们的美好愿望，谁创造了这些形象？不言而喻，是整个社会，而且还继续年复一年、日复一日地给这些神话形象添加新的意义。舒勇在画中用结实的陶瓷感来表现那些神话形象，与缥缈的“泡泡”形成鲜明的对比。社会是现实的，厚重的。这个社会要求的东西太多，“泡泡”不断地滋生、承载，然而“泡泡”终究还是会毁灭，身上背负的整个社会的希望也随之破灭，而所谓的“神话”也不可能实现，神话终究是神话而已。中国神话，这样一个宏大的题目，但是舒勇却用他自有的戏谑方式，巧妙地转换了这种沉重，在有限的画面里将这个命题发挥得淋漓尽致。中国神话可以是过去现在还有未来，但是神话中的形象本体却没有变化。代表了过去现在未来的人们，他们试图用层层云雾将自己升腾。但如果发现这些云雾只是虚幻的“泡泡”，那又该是一种怎样的情形？舒勇看到了神话背后的不可能性，也看到了整个社会的欲望。舒勇用他的“泡泡”，又一次给观者灌输着他的智慧，有点隔岸观火的恶作剧，告诫着社会欲望的虚幻性。舒勇的“泡泡”没有故作高深，它们用一种近乎浅显的语言讲述着最基本的大道理，而这些道理却是现在社会所丧失掉的。
《中国神话》系列，是舒勇先通过场景的布置然后抓拍，再根据照片绘制的。因此，作品的观念意义远远凌驾于作品运用技法的绘制意义之上。它还是延续舒勇一贯的风格，社会给予他启迪的，他给予社会一个启迪。
Mythology in Reality
Zhao shulin
The crisis of painting has already been undeniable. Shu Yong began his art creation early in the 1990s and deep in his heart, or say in every artist, there is a complex of painting. When first getting in touch with fine arts, Shu Yong was quite fascinate about the representing ability or the visualization of painting. When first into contemporary art, he found his love in expressing ability of painting or pure pursue of a formalistic aesthetics. In his recent works Chinese Mythology Series, SHU Yong tries to clear up misunderstanding towards him from “contemporary art circles”, while show his own temperament of a traditional artist in this way.
In Chinese Mythology series, Shu Yong chooses a combination between those traditional mythologies people are familiar with and bubbles. Oriental mythologies like Pig Bajie, A Carp Leaping over the Dragon's Gate, Eight Immortals Crossing the Sea and A Bumper Harvest are located in a bubble world dreamingly. In these scenes bubbles replace former clouds and mists to to show those mythological images in a more gorgeous and nihilistic way. All desires and dreams of all images are carried by bubbles and emerge clear on the pictures and then enter into our cultural experiences. These dreams show nice wishes of their creators behind those mythological images. So who created these images? Obviously it is the whole society that created them and adds new meanings to them day after day. Shu Yong tries to present those mythological images through solid porcelain materials as clearly compared with those visionary bubbles. The society is realistic and burdened and requires too many things. Bubbles grow and increase continuously, but they will finally be destroyed, with the hope of the society they carried collapsing as well. Then the so-called “mythology” will never come true.
Chinese Mythology, though a significant theme, SHU Yong managed to smartly convert this heaviness and elaborate it in a limited image in his own joking way. Subjects in Chinese mythology never change no matter what Chinese mythology was, is and will be. They represent people in the past, at present and in the future who are trying to elevate themselves through layers of clouds and mists. However, what if they find that these clouds and mists are only visionary bubbles? Shu Yong sees the impossibility behind the mythology and the desire of the whole society, then indifferently, he uses his bubbles again to show his wisdom to the viewers and warn them of the visionary nature of social desires. He doesn’t pretend to be profound via these bubbles and then tell some basic truths already lost in current society in a simple language.he series of Chinese Mythology was painted according to photos he took after some scenery settings. Therefore, the conceptual meaning of the works is far outstriping the painting meaning of works. It is an extension to his consistent style that the society inspires him and vice versa.
赵树林
绘画的危机早已经是不争的事实。早在上世纪九十年代初已经开始行为艺术创作的舒勇，他心中，或者说每一个艺术家心中都有绘画的情结。谁走上艺术这条路不是从学画画开始的呢？舒勇在刚接触美术的时候，很迷恋于绘画的具象能力，或者是它的形象性，在刚接触当代艺术的时候他喜欢绘画的表现主义能力，或单纯追求一种形式主义的美感。舒勇最近创作的《中国神话》系列，一方面说明舒勇在试图通过作品消解“当代艺术圈”对他的误会；另一方面，也正是用这种方式显示自己的传统艺术家气质。他把自己的创作变成调侃对象。
在《中国神话》系列里，舒勇选择了那些广为大众知晓的传统神话形象与“泡泡”组合。猪八戒、鲤鱼跳龙门、八仙过海、五谷丰登等东方神话传说被置放在一片“泡泡”的世界里，如梦似幻。“泡泡”在这些场景里取代了以往的云雾缭绕，使得那些神话形象以一种更为绚烂和虚无的方式出现。“泡泡”里带着各种形象所有的渴望与梦境，清晰地浮现在画面上，并放大和进入到我们的文化经验中。这些梦境承载着那些神话形象背后的缔造者们的美好愿望，谁创造了这些形象？不言而喻，是整个社会，而且还继续年复一年、日复一日地给这些神话形象添加新的意义。舒勇在画中用结实的陶瓷感来表现那些神话形象，与缥缈的“泡泡”形成鲜明的对比。社会是现实的，厚重的。这个社会要求的东西太多，“泡泡”不断地滋生、承载，然而“泡泡”终究还是会毁灭，身上背负的整个社会的希望也随之破灭，而所谓的“神话”也不可能实现，神话终究是神话而已。中国神话，这样一个宏大的题目，但是舒勇却用他自有的戏谑方式，巧妙地转换了这种沉重，在有限的画面里将这个命题发挥得淋漓尽致。中国神话可以是过去现在还有未来，但是神话中的形象本体却没有变化。代表了过去现在未来的人们，他们试图用层层云雾将自己升腾。但如果发现这些云雾只是虚幻的“泡泡”，那又该是一种怎样的情形？舒勇看到了神话背后的不可能性，也看到了整个社会的欲望。舒勇用他的“泡泡”，又一次给观者灌输着他的智慧，有点隔岸观火的恶作剧，告诫着社会欲望的虚幻性。舒勇的“泡泡”没有故作高深，它们用一种近乎浅显的语言讲述着最基本的大道理，而这些道理却是现在社会所丧失掉的。
《中国神话》系列，是舒勇先通过场景的布置然后抓拍，再根据照片绘制的。因此，作品的观念意义远远凌驾于作品运用技法的绘制意义之上。它还是延续舒勇一贯的风格，社会给予他启迪的，他给予社会一个启迪。
Mythology in Reality
Zhao shulin
The crisis of painting has already been undeniable. Shu Yong began his art creation early in the 1990s and deep in his heart, or say in every artist, there is a complex of painting. When first getting in touch with fine arts, Shu Yong was quite fascinate about the representing ability or the visualization of painting. When first into contemporary art, he found his love in expressing ability of painting or pure pursue of a formalistic aesthetics. In his recent works Chinese Mythology Series, SHU Yong tries to clear up misunderstanding towards him from “contemporary art circles”, while show his own temperament of a traditional artist in this way.
In Chinese Mythology series, Shu Yong chooses a combination between those traditional mythologies people are familiar with and bubbles. Oriental mythologies like Pig Bajie, A Carp Leaping over the Dragon's Gate, Eight Immortals Crossing the Sea and A Bumper Harvest are located in a bubble world dreamingly. In these scenes bubbles replace former clouds and mists to to show those mythological images in a more gorgeous and nihilistic way. All desires and dreams of all images are carried by bubbles and emerge clear on the pictures and then enter into our cultural experiences. These dreams show nice wishes of their creators behind those mythological images. So who created these images? Obviously it is the whole society that created them and adds new meanings to them day after day. Shu Yong tries to present those mythological images through solid porcelain materials as clearly compared with those visionary bubbles. The society is realistic and burdened and requires too many things. Bubbles grow and increase continuously, but they will finally be destroyed, with the hope of the society they carried collapsing as well. Then the so-called “mythology” will never come true.
Chinese Mythology, though a significant theme, SHU Yong managed to smartly convert this heaviness and elaborate it in a limited image in his own joking way. Subjects in Chinese mythology never change no matter what Chinese mythology was, is and will be. They represent people in the past, at present and in the future who are trying to elevate themselves through layers of clouds and mists. However, what if they find that these clouds and mists are only visionary bubbles? Shu Yong sees the impossibility behind the mythology and the desire of the whole society, then indifferently, he uses his bubbles again to show his wisdom to the viewers and warn them of the visionary nature of social desires. He doesn’t pretend to be profound via these bubbles and then tell some basic truths already lost in current society in a simple language.he series of Chinese Mythology was painted according to photos he took after some scenery settings. Therefore, the conceptual meaning of the works is far outstriping the painting meaning of works. It is an extension to his consistent style that the society inspires him and vice versa.
现实的神话
赵树林
绘画的危机早已经是不争的事实。早在上世纪九十年代初已经开始行为艺术创作的舒勇，他心中，或者说每一个艺术家心中都有绘画的情结。谁走上艺术这条路不是从学画画开始的呢？舒勇在刚接触美术的时候，很迷恋于绘画的具象能力，或者是它的形象性，在刚接触当代艺术的时候他喜欢绘画的表现主义能力，或单纯追求一种形式主义的美感。舒勇最近创作的《中国神话》系列，一方面说明舒勇在试图通过作品消解“当代艺术圈”对他的误会；另一方面，也正是用这种方式显示自己的传统艺术家气质。他把自己的创作变成调侃对象。
在《中国神话》系列里，舒勇选择了那些广为大众知晓的传统神话形象与“泡泡”组合。猪八戒、鲤鱼跳龙门、八仙过海、五谷丰登等东方神话传说被置放在一片“泡泡”的世界里，如梦似幻。“泡泡”在这些场景里取代了以往的云雾缭绕，使得那些神话形象以一种更为绚烂和虚无的方式出现。“泡泡”里带着各种形象所有的渴望与梦境，清晰地浮现在画面上，并放大和进入到我们的文化经验中。这些梦境承载着那些神话形象背后的缔造者们的美好愿望，谁创造了这些形象？不言而喻，是整个社会，而且还继续年复一年、日复一日地给这些神话形象添加新的意义。舒勇在画中用结实的陶瓷感来表现那些神话形象，与缥缈的“泡泡”形成鲜明的对比。社会是现实的，厚重的。这个社会要求的东西太多，“泡泡”不断地滋生、承载，然而“泡泡”终究还是会毁灭，身上背负的整个社会的希望也随之破灭，而所谓的“神话”也不可能实现，神话终究是神话而已。中国神话，这样一个宏大的题目，但是舒勇却用他自有的戏谑方式，巧妙地转换了这种沉重，在有限的画面里将这个命题发挥得淋漓尽致。中国神话可以是过去现在还有未来，但是神话中的形象本体却没有变化。代表了过去现在未来的人们，他们试图用层层云雾将自己升腾。但如果发现这些云雾只是虚幻的“泡泡”，那又该是一种怎样的情形？舒勇看到了神话背后的不可能性，也看到了整个社会的欲望。舒勇用他的“泡泡”，又一次给观者灌输着他的智慧，有点隔岸观火的恶作剧，告诫着社会欲望的虚幻性。舒勇的“泡泡”没有故作高深，它们用一种近乎浅显的语言讲述着最基本的大道理，而这些道理却是现在社会所丧失掉的。
《中国神话》系列，是舒勇先通过场景的布置然后抓拍，再根据照片绘制的。因此，作品的观念意义远远凌驾于作品运用技法的绘制意义之上。它还是延续舒勇一贯的风格，社会给予他启迪的，他给予社会一个启迪。
Mythology in Reality
Zhao shulin
The crisis of painting has already been undeniable. Shu Yong began his art creation early in the 1990s and deep in his heart, or say in every artist, there is a complex of painting. When first getting in touch with fine arts, Shu Yong was quite fascinate about the representing ability or the visualization of painting. When first into contemporary art, he found his love in expressing ability of painting or pure pursue of a formalistic aesthetics. In his recent works Chinese Mythology Series, SHU Yong tries to clear up misunderstanding towards him from “contemporary art circles”, while show his own temperament of a traditional artist in this way.
In Chinese Mythology series, Shu Yong chooses a combination between those traditional mythologies people are familiar with and bubbles. Oriental mythologies like Pig Bajie, A Carp Leaping over the Dragon's Gate, Eight Immortals Crossing the Sea and A Bumper Harvest are located in a bubble world dreamingly. In these scenes bubbles replace former clouds and mists to to show those mythological images in a more gorgeous and nihilistic way. All desires and dreams of all images are carried by bubbles and emerge clear on the pictures and then enter into our cultural experiences. These dreams show nice wishes of their creators behind those mythological images. So who created these images? Obviously it is the whole society that created them and adds new meanings to them day after day. Shu Yong tries to present those mythological images through solid porcelain materials as clearly compared with those visionary bubbles. The society is realistic and burdened and requires too many things. Bubbles grow and increase continuously, but they will finally be destroyed, with the hope of the society they carried collapsing as well. Then the so-called “mythology” will never come true.
Chinese Mythology, though a significant theme, SHU Yong managed to smartly convert this heaviness and elaborate it in a limited image in his own joking way. Subjects in Chinese mythology never change no matter what Chinese mythology was, is and will be. They represent people in the past, at present and in the future who are trying to elevate themselves through layers of clouds and mists. However, what if they find that these clouds and mists are only visionary bubbles? Shu Yong sees the impossibility behind the mythology and the desire of the whole society, then indifferently, he uses his bubbles again to show his wisdom to the viewers and warn them of the visionary nature of social desires. He doesn’t pretend to be profound via these bubbles and then tell some basic truths already lost in current society in a simple language.he series of Chinese Mythology was painted according to photos he took after some scenery settings. Therefore, the conceptual meaning of the works is far outstriping the painting meaning of works. It is an extension to his consistent style that the society inspires him and vice versa.
赵树林
绘画的危机早已经是不争的事实。早在上世纪九十年代初已经开始行为艺术创作的舒勇，他心中，或者说每一个艺术家心中都有绘画的情结。谁走上艺术这条路不是从学画画开始的呢？舒勇在刚接触美术的时候，很迷恋于绘画的具象能力，或者是它的形象性，在刚接触当代艺术的时候他喜欢绘画的表现主义能力，或单纯追求一种形式主义的美感。舒勇最近创作的《中国神话》系列，一方面说明舒勇在试图通过作品消解“当代艺术圈”对他的误会；另一方面，也正是用这种方式显示自己的传统艺术家气质。他把自己的创作变成调侃对象。
在《中国神话》系列里，舒勇选择了那些广为大众知晓的传统神话形象与“泡泡”组合。猪八戒、鲤鱼跳龙门、八仙过海、五谷丰登等东方神话传说被置放在一片“泡泡”的世界里，如梦似幻。“泡泡”在这些场景里取代了以往的云雾缭绕，使得那些神话形象以一种更为绚烂和虚无的方式出现。“泡泡”里带着各种形象所有的渴望与梦境，清晰地浮现在画面上，并放大和进入到我们的文化经验中。这些梦境承载着那些神话形象背后的缔造者们的美好愿望，谁创造了这些形象？不言而喻，是整个社会，而且还继续年复一年、日复一日地给这些神话形象添加新的意义。舒勇在画中用结实的陶瓷感来表现那些神话形象，与缥缈的“泡泡”形成鲜明的对比。社会是现实的，厚重的。这个社会要求的东西太多，“泡泡”不断地滋生、承载，然而“泡泡”终究还是会毁灭，身上背负的整个社会的希望也随之破灭，而所谓的“神话”也不可能实现，神话终究是神话而已。中国神话，这样一个宏大的题目，但是舒勇却用他自有的戏谑方式，巧妙地转换了这种沉重，在有限的画面里将这个命题发挥得淋漓尽致。中国神话可以是过去现在还有未来，但是神话中的形象本体却没有变化。代表了过去现在未来的人们，他们试图用层层云雾将自己升腾。但如果发现这些云雾只是虚幻的“泡泡”，那又该是一种怎样的情形？舒勇看到了神话背后的不可能性，也看到了整个社会的欲望。舒勇用他的“泡泡”，又一次给观者灌输着他的智慧，有点隔岸观火的恶作剧，告诫着社会欲望的虚幻性。舒勇的“泡泡”没有故作高深，它们用一种近乎浅显的语言讲述着最基本的大道理，而这些道理却是现在社会所丧失掉的。
《中国神话》系列，是舒勇先通过场景的布置然后抓拍，再根据照片绘制的。因此，作品的观念意义远远凌驾于作品运用技法的绘制意义之上。它还是延续舒勇一贯的风格，社会给予他启迪的，他给予社会一个启迪。
Mythology in Reality
Zhao shulin
The crisis of painting has already been undeniable. Shu Yong began his art creation early in the 1990s and deep in his heart, or say in every artist, there is a complex of painting. When first getting in touch with fine arts, Shu Yong was quite fascinate about the representing ability or the visualization of painting. When first into contemporary art, he found his love in expressing ability of painting or pure pursue of a formalistic aesthetics. In his recent works Chinese Mythology Series, SHU Yong tries to clear up misunderstanding towards him from “contemporary art circles”, while show his own temperament of a traditional artist in this way.
In Chinese Mythology series, Shu Yong chooses a combination between those traditional mythologies people are familiar with and bubbles. Oriental mythologies like Pig Bajie, A Carp Leaping over the Dragon's Gate, Eight Immortals Crossing the Sea and A Bumper Harvest are located in a bubble world dreamingly. In these scenes bubbles replace former clouds and mists to to show those mythological images in a more gorgeous and nihilistic way. All desires and dreams of all images are carried by bubbles and emerge clear on the pictures and then enter into our cultural experiences. These dreams show nice wishes of their creators behind those mythological images. So who created these images? Obviously it is the whole society that created them and adds new meanings to them day after day. Shu Yong tries to present those mythological images through solid porcelain materials as clearly compared with those visionary bubbles. The society is realistic and burdened and requires too many things. Bubbles grow and increase continuously, but they will finally be destroyed, with the hope of the society they carried collapsing as well. Then the so-called “mythology” will never come true.
Chinese Mythology, though a significant theme, SHU Yong managed to smartly convert this heaviness and elaborate it in a limited image in his own joking way. Subjects in Chinese mythology never change no matter what Chinese mythology was, is and will be. They represent people in the past, at present and in the future who are trying to elevate themselves through layers of clouds and mists. However, what if they find that these clouds and mists are only visionary bubbles? Shu Yong sees the impossibility behind the mythology and the desire of the whole society, then indifferently, he uses his bubbles again to show his wisdom to the viewers and warn them of the visionary nature of social desires. He doesn’t pretend to be profound via these bubbles and then tell some basic truths already lost in current society in a simple language.he series of Chinese Mythology was painted according to photos he took after some scenery settings. Therefore, the conceptual meaning of the works is far outstriping the painting meaning of works. It is an extension to his consistent style that the society inspires him and vice versa.
当世俗遇到前卫
李道柳
对于舒勇这位在当代艺术界混迹多年而又不仰仗艺术谋生的艺术家来说，他给外界的感觉一直是出人意料的炒作和习以为常的不务正业。而对于大多数人来说，这位身份复杂的前卫艺术家的身上“媒体炒作”是其标签，因此当被定格为善于制造各种噱头的舒勇终于向公众展示其《中国神话》作品时，多多少少还是让人感觉有些错愕。在这组作品中，舒勇没有采用离经叛道的做法，而是直接挪用了传统的世俗题材，这对于喜欢前卫的艺术家来说似乎是一种冒险，不过这恰好暗合舒勇所一贯宣称的“世俗是一种力量”的观点。正如我们可以看到的，具像得近乎民间工艺现成品的八仙过海，以及鲤鱼跳龙门等图案以一种俗不可耐的方式展现出来。虽然神话本身就是荒诞不经的，但中国传统文化长期形成了一种约定俗成的美好愿望的心理暗示。因此在这样的思维和语境下，当舒勇将其近乎顶礼膜拜的符号“泡泡”与神话题材以一种奇妙的方式结合在一起，这为本身已经不再荒诞不经的神话题材赋予了一种怪诞的感觉。显然，《中国神话》是其“泡泡绘画”逻辑上一种自然的延伸，他以故事新绘的方式为我们解读了另一个荒诞语境下的世俗愿望。对于舒勇来说，泡泡是绚烂的，也是最容易幻灭的。当最前卫的艺术家遇到最世俗的题材时，我们不自觉地发现世俗不再是世俗，神话不再是神话。
When Commonness Encounters Avant-garde
Li Daoliu
Shu Yong, an artist having engaged in contemporary art circles for years but not made a living by art, is always associated with unexpected hypes and familiar neglect of his own job in people's mind. For most people, this avant-garde artist with a complex identification labels himself with "media hypes". Therefore, when Shu Yong who is regarded to be good at making hypes finally showed his works Chinese Mythology to the public, people more or less felt a little astonishment. In this group of works, Shu Yong did not take the way against orthodoxy, but directly reused traditional common themes to create oil paintings. It seems to be a kind of risk-taking for an avant-garde artist, but it is just in accordance with the point of view that "Commonness is a kind of power" Shu Yong used to claim. Just as what we see, representational patterns like Eight Immortals Crossing the Sea and A Carp Leaping over the Dragon's Gate are presented in a vulgar way. Though the mythology itself is ridiculous, traditional Chinese culture has formed a psychological hint to an established nice dream for long. Therefore in such a thinking and context, when Shu Yong combines his highly worshiped "bubble" symbol with mythological themes in a strange way, it brings a kind of ridiculous feelings to mythological themes that are not ridiculous any more. Obviously, Chinese Mythology is a natural extension logically to Bubble Painting. He explains to us another common wish in a ridiculous context in a re-narrating way. For Shu Yong, bubbles are flowery but easiest to vanish. When the most avant-garde artist encounters the most common themes, we will unconsciously find that commonness is no longer commonness while mythology is no longer mythology.
幸福象“泡泡”一样
高 岭
看舒勇的艺术创作，有一个非常重要的切入点，或者说有一个非常重要的语言特征，那就是他对肥皂泡泡的大量使用。在他的一系列行为艺术和摄影作品中，我们都能看到他的泡泡四处飘散。就连他最近半年创作的倍受关注也饱受争议的乳房雕塑，也是他泡泡形象在人体上的一种转译。如今，我们惊讶地发现，舒勇竟然用了一年的时间，创作了一批油画，而且画面上竟然还是充溢着他所钟爱的泡泡形象。
在这批他称之为《中国神话》的系列平面作品中，“泡泡”与中国古代民间流传甚广的祈求祝福的神话故事有了最为亲密的结合，让人耳目一新。之所以说舒勇的油画有新意是因为，以往表现诸如“八仙过海”、“五谷丰登”、“喜结良缘”、“望子成龙”等等题材时，都是直接用某种艺术形式，比如彩墨、木版、扑灰年画等绘画形式，或者陶瓷、木头、竹子等雕塑形式。到了舒勇这里，他并没有直接用油画自身所擅长的语言技巧去表现这些传统神话和祈福故事，而是将这些神话和故事的人物形象转换成民间彩色刻瓷的形式，被安置在一种类似瑶池一般虚幻神秘的水面上。这样，原本是古人为了表达理想和愿望而想象性地臆造出来的神仙灵异形象，被以瓷偶化的方式剥离开其被臆造的具体情境，置换到一种全新的水世界里。
舒勇的绘画创作仅就这种巧妙的人物形象的载体转换和空间置换，就足以显示出他对中国神话的一种别样的理解和表现姿态来了。可我们更加欣喜地看到，他又进一步地把他独特的泡泡符号运用到画面中来，从而形成了瓷偶形象加水面加水泡泡这三重画面形象的组合，因而也在画面的含义上形成了三层逻辑递进的关系。首先，将人物形象表现得瓷偶化，意在神话人物和民间传说的想象性、主观化和脆弱化；其次，柔弱无边、难以把握的水世界增加了人物故事的虚幻性和不确定性；最后，水泡泡的堆积和飘散，还有它们发出的神秘光泽，以更加强烈的形式向人们提示，眼前的幸福祈愿的虚幻性和短暂性。
从表面上看，舒勇的画似乎讲述的是中国传统神话故事的虚幻性，而如果我们联系他十年来一系列艺术创作活动，就会更加深入地领会到，这一次他也不例外地意在当代中国的社会现实。“泡泡”是他对当下中国社会到处充斥着的物质化欲望和快乐幸福地最形象也最深刻的描绘，它不断地由小变大，由少变多。它们四处飘散，无处不在。但是它们却非常脆弱，随时有破灭的可能。事实上，也终将破灭。但是，它们在破灭之前，却总能折射出周围的景物，发出诱人的光泽，有着最为迷人当然也最为虚假的光芒。当这种转瞬即逝的“泡泡”与代表着中国人古往今来幸福指数而且耳熟能详的人物形象结合在一起的时候，那可真是一种别样的幸福，幸福得象泡泡一样。
Happy Like Bubbles
Gao Ling
There is a very important point we should get in when viewing Shu Yong's art creations, that is, he uses a large number of soap bubbles in his works. In a series of performance art and photographic works, we can see his bubbles wafting everywhere. Even his most disputed breast sculpture created in recent half year is also a kind of elaboration of bubble image on human body. Now it is so surprised for us to find that he spent 12 months in creating this batch of oil paintings which are still overflowing with his favorite bubbles.
In this batch of works he names Chinese Mythology, bubbles are closely combined with prayer mythologies popular among ancient Chinese and really refreshing. The reason for us to say that Shu Yong's oil painting is innovative and fresh is that other artists used to represent themes like Eight Immortals Crossing the Sea, A Bumper Harvest, Happy Marriage, and Wish My Son Succeed in Life directly in the form of painting including colour ink, woodcut and New Year painting, or sculpture including porcelain, wood and bamboo; while SHU Yong does not use his skilled language techniques of oil painting to represent these traditional mythologies and prayer stories, but turns these mythological figures into folk colour carving on porcelain and located on the water surface seemingly visionary as the abode of Fairy Mother Goddess. Therefore, those god figures originally fabricated by the ancients to express their ideals and wishes are peeled off from that fabricated context in the form of porcelain and displaced to a new water world.
We can see Shu Yong's special understanding and expressing attitude to Chinese mythology just from this kind of clever carrier transfer and space displacement of figures in his paintings. But we prefer to see that he further uses his special bubble symbols in the picture and gains a combination of porcelain figures, water surface and water bubbles, leading to a three-layered relationship in the picture. Firstly, he represents the figures as porcelain figures to achieve the imagination, subjectivity and frangibility of thoese figures and folk mythologies; Secondly, effeminate, immense and uncontrollable water world enhances the unreality and uncertainty of mythologies and fitures; Thirdly, accumulation and waffling of water bubbles, as well as their mysterious glows clue to people the unreality and impermanency of happiness prayer.
Apparently, Shu Yong's paintings seem to explain the unreality of traditional Chinese mythologies. However, if considering his art creation activities in 10 years, we can further understand that this time he ta
李道柳
对于舒勇这位在当代艺术界混迹多年而又不仰仗艺术谋生的艺术家来说，他给外界的感觉一直是出人意料的炒作和习以为常的不务正业。而对于大多数人来说，这位身份复杂的前卫艺术家的身上“媒体炒作”是其标签，因此当被定格为善于制造各种噱头的舒勇终于向公众展示其《中国神话》作品时，多多少少还是让人感觉有些错愕。在这组作品中，舒勇没有采用离经叛道的做法，而是直接挪用了传统的世俗题材，这对于喜欢前卫的艺术家来说似乎是一种冒险，不过这恰好暗合舒勇所一贯宣称的“世俗是一种力量”的观点。正如我们可以看到的，具像得近乎民间工艺现成品的八仙过海，以及鲤鱼跳龙门等图案以一种俗不可耐的方式展现出来。虽然神话本身就是荒诞不经的，但中国传统文化长期形成了一种约定俗成的美好愿望的心理暗示。因此在这样的思维和语境下，当舒勇将其近乎顶礼膜拜的符号“泡泡”与神话题材以一种奇妙的方式结合在一起，这为本身已经不再荒诞不经的神话题材赋予了一种怪诞的感觉。显然，《中国神话》是其“泡泡绘画”逻辑上一种自然的延伸，他以故事新绘的方式为我们解读了另一个荒诞语境下的世俗愿望。对于舒勇来说，泡泡是绚烂的，也是最容易幻灭的。当最前卫的艺术家遇到最世俗的题材时，我们不自觉地发现世俗不再是世俗，神话不再是神话。
When Commonness Encounters Avant-garde
Li Daoliu
Shu Yong, an artist having engaged in contemporary art circles for years but not made a living by art, is always associated with unexpected hypes and familiar neglect of his own job in people's mind. For most people, this avant-garde artist with a complex identification labels himself with "media hypes". Therefore, when Shu Yong who is regarded to be good at making hypes finally showed his works Chinese Mythology to the public, people more or less felt a little astonishment. In this group of works, Shu Yong did not take the way against orthodoxy, but directly reused traditional common themes to create oil paintings. It seems to be a kind of risk-taking for an avant-garde artist, but it is just in accordance with the point of view that "Commonness is a kind of power" Shu Yong used to claim. Just as what we see, representational patterns like Eight Immortals Crossing the Sea and A Carp Leaping over the Dragon's Gate are presented in a vulgar way. Though the mythology itself is ridiculous, traditional Chinese culture has formed a psychological hint to an established nice dream for long. Therefore in such a thinking and context, when Shu Yong combines his highly worshiped "bubble" symbol with mythological themes in a strange way, it brings a kind of ridiculous feelings to mythological themes that are not ridiculous any more. Obviously, Chinese Mythology is a natural extension logically to Bubble Painting. He explains to us another common wish in a ridiculous context in a re-narrating way. For Shu Yong, bubbles are flowery but easiest to vanish. When the most avant-garde artist encounters the most common themes, we will unconsciously find that commonness is no longer commonness while mythology is no longer mythology.
幸福象“泡泡”一样
高 岭
看舒勇的艺术创作，有一个非常重要的切入点，或者说有一个非常重要的语言特征，那就是他对肥皂泡泡的大量使用。在他的一系列行为艺术和摄影作品中，我们都能看到他的泡泡四处飘散。就连他最近半年创作的倍受关注也饱受争议的乳房雕塑，也是他泡泡形象在人体上的一种转译。如今，我们惊讶地发现，舒勇竟然用了一年的时间，创作了一批油画，而且画面上竟然还是充溢着他所钟爱的泡泡形象。
在这批他称之为《中国神话》的系列平面作品中，“泡泡”与中国古代民间流传甚广的祈求祝福的神话故事有了最为亲密的结合，让人耳目一新。之所以说舒勇的油画有新意是因为，以往表现诸如“八仙过海”、“五谷丰登”、“喜结良缘”、“望子成龙”等等题材时，都是直接用某种艺术形式，比如彩墨、木版、扑灰年画等绘画形式，或者陶瓷、木头、竹子等雕塑形式。到了舒勇这里，他并没有直接用油画自身所擅长的语言技巧去表现这些传统神话和祈福故事，而是将这些神话和故事的人物形象转换成民间彩色刻瓷的形式，被安置在一种类似瑶池一般虚幻神秘的水面上。这样，原本是古人为了表达理想和愿望而想象性地臆造出来的神仙灵异形象，被以瓷偶化的方式剥离开其被臆造的具体情境，置换到一种全新的水世界里。
舒勇的绘画创作仅就这种巧妙的人物形象的载体转换和空间置换，就足以显示出他对中国神话的一种别样的理解和表现姿态来了。可我们更加欣喜地看到，他又进一步地把他独特的泡泡符号运用到画面中来，从而形成了瓷偶形象加水面加水泡泡这三重画面形象的组合，因而也在画面的含义上形成了三层逻辑递进的关系。首先，将人物形象表现得瓷偶化，意在神话人物和民间传说的想象性、主观化和脆弱化；其次，柔弱无边、难以把握的水世界增加了人物故事的虚幻性和不确定性；最后，水泡泡的堆积和飘散，还有它们发出的神秘光泽，以更加强烈的形式向人们提示，眼前的幸福祈愿的虚幻性和短暂性。
从表面上看，舒勇的画似乎讲述的是中国传统神话故事的虚幻性，而如果我们联系他十年来一系列艺术创作活动，就会更加深入地领会到，这一次他也不例外地意在当代中国的社会现实。“泡泡”是他对当下中国社会到处充斥着的物质化欲望和快乐幸福地最形象也最深刻的描绘，它不断地由小变大，由少变多。它们四处飘散，无处不在。但是它们却非常脆弱，随时有破灭的可能。事实上，也终将破灭。但是，它们在破灭之前，却总能折射出周围的景物，发出诱人的光泽，有着最为迷人当然也最为虚假的光芒。当这种转瞬即逝的“泡泡”与代表着中国人古往今来幸福指数而且耳熟能详的人物形象结合在一起的时候，那可真是一种别样的幸福，幸福得象泡泡一样。
Happy Like Bubbles
Gao Ling
There is a very important point we should get in when viewing Shu Yong's art creations, that is, he uses a large number of soap bubbles in his works. In a series of performance art and photographic works, we can see his bubbles wafting everywhere. Even his most disputed breast sculpture created in recent half year is also a kind of elaboration of bubble image on human body. Now it is so surprised for us to find that he spent 12 months in creating this batch of oil paintings which are still overflowing with his favorite bubbles.
In this batch of works he names Chinese Mythology, bubbles are closely combined with prayer mythologies popular among ancient Chinese and really refreshing. The reason for us to say that Shu Yong's oil painting is innovative and fresh is that other artists used to represent themes like Eight Immortals Crossing the Sea, A Bumper Harvest, Happy Marriage, and Wish My Son Succeed in Life directly in the form of painting including colour ink, woodcut and New Year painting, or sculpture including porcelain, wood and bamboo; while SHU Yong does not use his skilled language techniques of oil painting to represent these traditional mythologies and prayer stories, but turns these mythological figures into folk colour carving on porcelain and located on the water surface seemingly visionary as the abode of Fairy Mother Goddess. Therefore, those god figures originally fabricated by the ancients to express their ideals and wishes are peeled off from that fabricated context in the form of porcelain and displaced to a new water world.
We can see Shu Yong's special understanding and expressing attitude to Chinese mythology just from this kind of clever carrier transfer and space displacement of figures in his paintings. But we prefer to see that he further uses his special bubble symbols in the picture and gains a combination of porcelain figures, water surface and water bubbles, leading to a three-layered relationship in the picture. Firstly, he represents the figures as porcelain figures to achieve the imagination, subjectivity and frangibility of thoese figures and folk mythologies; Secondly, effeminate, immense and uncontrollable water world enhances the unreality and uncertainty of mythologies and fitures; Thirdly, accumulation and waffling of water bubbles, as well as their mysterious glows clue to people the unreality and impermanency of happiness prayer.
Apparently, Shu Yong's paintings seem to explain the unreality of traditional Chinese mythologies. However, if considering his art creation activities in 10 years, we can further understand that this time he ta
多面审思 谁的新时代
上海多伦现代美术馆，将于2007年9月6日在举办艺术家“管勇个展”。此次展览的主题是“多面审思 谁的新时代”， 这一主题深植于艺术家对当下中国艺术现状、中国当代社会状况的审视思考。
21世纪的中国，处于一种所谓的“社会变迁”或“社会转型”之时，它具体并直接地表现为经济体制、社会结构、文化模式、价值观念等各个领域的深刻变化。生活在社会中的人们，亦发生一系列的精神反思、回忆本我的时代。
做为当今中国社会之主体的人，他们正身历其境，并微妙地在发生着变化。中国，与西方世界相似，产生了一个具有鲜明中国特色的庞大群体——他们个性独立，自我意识强烈；分布于社会各个领域，皆有着突出的成就；物质生活无虑，又懂得享受精神生活；重视生活的品味等。他们的存在，他们的思想，他们的要求与观念，等等，激发并改变着中国社会的经济文化及各个层面的发展，并产生着巨大的影响。这似乎是一个属于他们的新时代。
管勇的艺术，立足于上述，以艺术进行多面审视思考，深刻展现了作为中国社会之主体的人，在这一社会进程中所经历的情感状态与存在迹象：从疑问到迷惘到审思，最后进入一种思考并行动中的主体。他们从漂浮于空中到最终寻找到自己的一种归属感。他们游荡在中国社会、文化的深层，强调着个体的独立性、主体性与价值性，甚至强调着中国新的社会阶层、精英所应具有的理想、角色、价值观与责任感，他们已不仅仅是一种富足的存在，他们应有自己的历史责任感与精神象征性。
管勇的艺术语言是独特的，并具有强烈个人创造性语汇特征，有一种与当下艺术格格不入的另类感觉。
作品中的人物造型形象启发于具有“知识权力”象征意义的“笔型”。 笔与人物造型及其身份、功能相辅相成。人物那有意拉长的体型，那模式化的发型，那高贵、挺拔、独立、冷峻、刚直不阿的精神气质，似乎是笔的另类隐喻象征。在管勇的画作中，人物有着一个从以前胖乎乎、略带些呆滞茫然的形象，走向现在一种瘦长体形、高贵冷峻、庄重沉思、强调个体独立性形象的转变过程。如果说前者形象更加展现出自我空洞和丧失独立的主体，正处于虚无、迷惘甚或焦虑的状态；而后者，即近期完成作品中的个体人物形象造型，更加强调了主体的质疑、省思、独立、自主，处于一种思考而行动中的状态，似乎正积极地融入并影响着他所在的这个时代。这一过程仿佛昭示着中国当代人的一种自身主体意识及状态的转变过程。展现着艺术家对这个时代中
而其它一些与人物相关的重要符号，如红帏帐、红皮书（值得注意的是，有些书是被打开的，而且是空白的）、红围巾（或红领巾）、红墨水等。它们虽有一些中国五、六十年代的文化迹象，但在管勇的作品中，却具有完全不同的意义：一方面，这些符号给人的感觉及其象征意义是完全不同的，它们越来越抽象而空洞，似乎有种被抽离的感觉，如画中全是空白书页的书，不再本质性地强烈左右或深深影响着画中人物，也许画中的人物正在省思质疑，并思考（散落零乱的烟蒂提醒着这一点）如何用红墨水去强化而醒目地标示抒写，如何在传统体制下振兴作为社会主体之人的价值观与社会责任感；另一方面，这些大面积的红色及其符号又张显着一种强烈的力量感，一种积极向上、鼓舞人心的倡导。红色历来是中国的代表性颜色，具有代表喜庆、代表国家的特点。这暗示着：也许立于这一强烈稳固的根基之上，才能更好的去开拓奋进、去省思抒写。
色彩上，以红、黄、黑为主，源于艺术家所出生成长的独有民族文化之根。“红色”在中国，具有强烈的民族性与内在心里经验性，它深深沉淀在每个中国人的心里，并占有很大的面积。同时，大面积刺目的红色给予强烈的视觉张力和心灵震憾感。而“黄色”，在中国，具有特殊意义，即它是中华民族的象征，而更浅显而表面上的意义，它更多是与中国的黄河、黄土地、中国人的肤色是黄色相关。“黑色” ，在古代中国是众色之王，也是中国古代文化史上单色崇拜最长的色系。而中国传统绘画中所强调的对黑色的运用，蕴含着老庄以及禅宗的哲学内涵。进一步赋予画面高贵、肃穆、神秘、深沉的氛围。色彩以单纯的红、黄、黑三色为主的运用，富有强烈独特的中国文化象征意义和审美品格，强化了艺术家对当代中国及中国人的关照思考。然而也在某种程度上，更映射出当代人在审美理想上追求视觉的冲击力、心灵的震憾力。
总之，管勇的艺术，选用了蕴涵特定意义及审美的符号和色彩，创造出独具个人语汇特征的人物形象造型，从而形成了他自己鲜明而强烈的个人艺术面貌。这些直观且略带些符号化特征的形象及鲜亮刺目的颜色，突出了管勇作品的风格样式和语汇特征，也突出了艺术家对当下时代、当下问题、时代主体的多面省思与关注。
回首中国以前时代，每一社会转型或思想变革时代，生活其中的人之主体总会深受影响，也总会涌现许许多多的多面审思、引领时代、独领风骚之士。如春秋战国的诸子百家；魏晋时期的“竹林七贤”；及宋元明清的文人贤士。而这些人士，在中国古代人物画中也一再被描绘。再看管勇的绘画，那与人物及其品格、精神追求相关的物象：笔、红帏帐、红皮书、红围巾（或红领巾）、红墨水等；那空旷、虚无的空间；那隶属时人所着的特定装束外貌；那些时人的主体性、爱好、价值追求等等，似乎仍有一些今与古的交相响应。
目睹一幅幅作品，凝视一个个一组组画中之人，与画中每一个人物对话交流之时，那些个体（主体）的疑问、迷惘、省思、沉重与责任，更加触动着我们的心灵，人的一种独立性、主体性、价值性，存在的一种责任感与自我精神象征性，跃然于画面之上。艺术家对这个时代中的人、那些新的社会阶层的现状与存在迹象及思考，亦渗透其中。多元时代及中国社会转型期给予当代人的这些影响，深深体现在管勇的艺术中，他将对时代的思考植入到其艺术中。
谁的新时代，似乎答案就在其中。
此次展览将全面整体呈现艺术家管勇的艺术面貌。希望本次展览让你徜徉于艺术家独特的艺术语言与风格之时，更体味到艺术家的创作理念与主题，以及他对中国社会当下性、时代性的现象问题的关注与思考。
Guan Yong’s Solo Exhibition:
Multiaspect Reflection Whose New Age
—— On Guan Yong’s Art
Shanghai Duolun Museum of Modern Art will hold Guan Yong’s Solo Exhibition on Septmber 6th to Septmber 16th 2007.
The theme of this exhibition is “Multiaspect Reflection, Whose New Age”, which deeply imbedded in the artist’s reflection on the status quo of Chinese art and contemporary Chinese society.
China of 21st Century is in a time of “social change” or “social transformation”, which embodies the profound changes in economic system, social structure, culture mode, concept of value and so on. People living in this society are experiencing a series of self-reflection and self-collection.
As the subject of present Chinese society, people are experiencing all of these, and inevitably affected by them, and change subtly. As it is in western world, in China, a big group of people of distinct Chinese characteristics has come into being—they are independent and have strong self-awareness; they scatter in every field of the society and have outstanding achievements ; they have no material worry and know how to enjoy their spiritual life; they put emphasis on the taste of life. Their existence, their thoughts, their requests and concepts are all promoting and changing the Chinese economic, cultural and every other level’s development, and having great effects. The time seems to be a new era of them.
Based on the above, Guan Yong’s art reflects in a multiway, and profoundly shows a person’s emotional state and evidence of existence in the social process as a subject of the society: a subject goes through doubt, confusion, reflection, and at last enters a state in which they think and take actions at the same time. They used to be floating in the air and at last found their own sense of belongingness. They are wondering at the deep level of the society and culture, emphasizing the independence, subjectiveness and value of an individual, and the ideal, role, concept of value and sense of responsibility that the new Chinese social class and elite should hold. They not only live affluently but should have their own sense of historic responsibility and be spiritual representatives.
Guan Yong’s artistic language is special, and has tense personal creative language features which are quite different from present art.
The typical images in Guan Yong’s works were inspired by “pen-shape” which symbolizes “intelligent power”. The pen and the image and status of the character supplement each other. The character’s stretched body, fixed hairstyle, noble, straight, independent, cool and upright temperament seem to be the symbolic meaning of pen. In Guan Yong’s works, characters transfer from plump and sluggish images to slim, noble, solemn and contemplating im
上海多伦现代美术馆，将于2007年9月6日在举办艺术家“管勇个展”。此次展览的主题是“多面审思 谁的新时代”， 这一主题深植于艺术家对当下中国艺术现状、中国当代社会状况的审视思考。
21世纪的中国，处于一种所谓的“社会变迁”或“社会转型”之时，它具体并直接地表现为经济体制、社会结构、文化模式、价值观念等各个领域的深刻变化。生活在社会中的人们，亦发生一系列的精神反思、回忆本我的时代。
做为当今中国社会之主体的人，他们正身历其境，并微妙地在发生着变化。中国，与西方世界相似，产生了一个具有鲜明中国特色的庞大群体——他们个性独立，自我意识强烈；分布于社会各个领域，皆有着突出的成就；物质生活无虑，又懂得享受精神生活；重视生活的品味等。他们的存在，他们的思想，他们的要求与观念，等等，激发并改变着中国社会的经济文化及各个层面的发展，并产生着巨大的影响。这似乎是一个属于他们的新时代。
管勇的艺术，立足于上述，以艺术进行多面审视思考，深刻展现了作为中国社会之主体的人，在这一社会进程中所经历的情感状态与存在迹象：从疑问到迷惘到审思，最后进入一种思考并行动中的主体。他们从漂浮于空中到最终寻找到自己的一种归属感。他们游荡在中国社会、文化的深层，强调着个体的独立性、主体性与价值性，甚至强调着中国新的社会阶层、精英所应具有的理想、角色、价值观与责任感，他们已不仅仅是一种富足的存在，他们应有自己的历史责任感与精神象征性。
管勇的艺术语言是独特的，并具有强烈个人创造性语汇特征，有一种与当下艺术格格不入的另类感觉。
作品中的人物造型形象启发于具有“知识权力”象征意义的“笔型”。 笔与人物造型及其身份、功能相辅相成。人物那有意拉长的体型，那模式化的发型，那高贵、挺拔、独立、冷峻、刚直不阿的精神气质，似乎是笔的另类隐喻象征。在管勇的画作中，人物有着一个从以前胖乎乎、略带些呆滞茫然的形象，走向现在一种瘦长体形、高贵冷峻、庄重沉思、强调个体独立性形象的转变过程。如果说前者形象更加展现出自我空洞和丧失独立的主体，正处于虚无、迷惘甚或焦虑的状态；而后者，即近期完成作品中的个体人物形象造型，更加强调了主体的质疑、省思、独立、自主，处于一种思考而行动中的状态，似乎正积极地融入并影响着他所在的这个时代。这一过程仿佛昭示着中国当代人的一种自身主体意识及状态的转变过程。展现着艺术家对这个时代中
而其它一些与人物相关的重要符号，如红帏帐、红皮书（值得注意的是，有些书是被打开的，而且是空白的）、红围巾（或红领巾）、红墨水等。它们虽有一些中国五、六十年代的文化迹象，但在管勇的作品中，却具有完全不同的意义：一方面，这些符号给人的感觉及其象征意义是完全不同的，它们越来越抽象而空洞，似乎有种被抽离的感觉，如画中全是空白书页的书，不再本质性地强烈左右或深深影响着画中人物，也许画中的人物正在省思质疑，并思考（散落零乱的烟蒂提醒着这一点）如何用红墨水去强化而醒目地标示抒写，如何在传统体制下振兴作为社会主体之人的价值观与社会责任感；另一方面，这些大面积的红色及其符号又张显着一种强烈的力量感，一种积极向上、鼓舞人心的倡导。红色历来是中国的代表性颜色，具有代表喜庆、代表国家的特点。这暗示着：也许立于这一强烈稳固的根基之上，才能更好的去开拓奋进、去省思抒写。
色彩上，以红、黄、黑为主，源于艺术家所出生成长的独有民族文化之根。“红色”在中国，具有强烈的民族性与内在心里经验性，它深深沉淀在每个中国人的心里，并占有很大的面积。同时，大面积刺目的红色给予强烈的视觉张力和心灵震憾感。而“黄色”，在中国，具有特殊意义，即它是中华民族的象征，而更浅显而表面上的意义，它更多是与中国的黄河、黄土地、中国人的肤色是黄色相关。“黑色” ，在古代中国是众色之王，也是中国古代文化史上单色崇拜最长的色系。而中国传统绘画中所强调的对黑色的运用，蕴含着老庄以及禅宗的哲学内涵。进一步赋予画面高贵、肃穆、神秘、深沉的氛围。色彩以单纯的红、黄、黑三色为主的运用，富有强烈独特的中国文化象征意义和审美品格，强化了艺术家对当代中国及中国人的关照思考。然而也在某种程度上，更映射出当代人在审美理想上追求视觉的冲击力、心灵的震憾力。
总之，管勇的艺术，选用了蕴涵特定意义及审美的符号和色彩，创造出独具个人语汇特征的人物形象造型，从而形成了他自己鲜明而强烈的个人艺术面貌。这些直观且略带些符号化特征的形象及鲜亮刺目的颜色，突出了管勇作品的风格样式和语汇特征，也突出了艺术家对当下时代、当下问题、时代主体的多面省思与关注。
回首中国以前时代，每一社会转型或思想变革时代，生活其中的人之主体总会深受影响，也总会涌现许许多多的多面审思、引领时代、独领风骚之士。如春秋战国的诸子百家；魏晋时期的“竹林七贤”；及宋元明清的文人贤士。而这些人士，在中国古代人物画中也一再被描绘。再看管勇的绘画，那与人物及其品格、精神追求相关的物象：笔、红帏帐、红皮书、红围巾（或红领巾）、红墨水等；那空旷、虚无的空间；那隶属时人所着的特定装束外貌；那些时人的主体性、爱好、价值追求等等，似乎仍有一些今与古的交相响应。
目睹一幅幅作品，凝视一个个一组组画中之人，与画中每一个人物对话交流之时，那些个体（主体）的疑问、迷惘、省思、沉重与责任，更加触动着我们的心灵，人的一种独立性、主体性、价值性，存在的一种责任感与自我精神象征性，跃然于画面之上。艺术家对这个时代中的人、那些新的社会阶层的现状与存在迹象及思考，亦渗透其中。多元时代及中国社会转型期给予当代人的这些影响，深深体现在管勇的艺术中，他将对时代的思考植入到其艺术中。
谁的新时代，似乎答案就在其中。
此次展览将全面整体呈现艺术家管勇的艺术面貌。希望本次展览让你徜徉于艺术家独特的艺术语言与风格之时，更体味到艺术家的创作理念与主题，以及他对中国社会当下性、时代性的现象问题的关注与思考。
Guan Yong’s Solo Exhibition:
Multiaspect Reflection Whose New Age
—— On Guan Yong’s Art
Shanghai Duolun Museum of Modern Art will hold Guan Yong’s Solo Exhibition on Septmber 6th to Septmber 16th 2007.
The theme of this exhibition is “Multiaspect Reflection, Whose New Age”, which deeply imbedded in the artist’s reflection on the status quo of Chinese art and contemporary Chinese society.
China of 21st Century is in a time of “social change” or “social transformation”, which embodies the profound changes in economic system, social structure, culture mode, concept of value and so on. People living in this society are experiencing a series of self-reflection and self-collection.
As the subject of present Chinese society, people are experiencing all of these, and inevitably affected by them, and change subtly. As it is in western world, in China, a big group of people of distinct Chinese characteristics has come into being—they are independent and have strong self-awareness; they scatter in every field of the society and have outstanding achievements ; they have no material worry and know how to enjoy their spiritual life; they put emphasis on the taste of life. Their existence, their thoughts, their requests and concepts are all promoting and changing the Chinese economic, cultural and every other level’s development, and having great effects. The time seems to be a new era of them.
Based on the above, Guan Yong’s art reflects in a multiway, and profoundly shows a person’s emotional state and evidence of existence in the social process as a subject of the society: a subject goes through doubt, confusion, reflection, and at last enters a state in which they think and take actions at the same time. They used to be floating in the air and at last found their own sense of belongingness. They are wondering at the deep level of the society and culture, emphasizing the independence, subjectiveness and value of an individual, and the ideal, role, concept of value and sense of responsibility that the new Chinese social class and elite should hold. They not only live affluently but should have their own sense of historic responsibility and be spiritual representatives.
Guan Yong’s artistic language is special, and has tense personal creative language features which are quite different from present art.
The typical images in Guan Yong’s works were inspired by “pen-shape” which symbolizes “intelligent power”. The pen and the image and status of the character supplement each other. The character’s stretched body, fixed hairstyle, noble, straight, independent, cool and upright temperament seem to be the symbolic meaning of pen. In Guan Yong’s works, characters transfer from plump and sluggish images to slim, noble, solemn and contemplating im
是誰的新時代
中國自改革開放後到21世紀初，成為全世界眾所矚目的焦點，也促使全世界來自四面八方的各種文化、經濟與資訊爭相湧入。並以溢注的態勢強加在後文革出生的這群年輕人身上；對他們來說这是一種前所未有的经历、轉化過程。從一開始的抗拒到漸漸接受，歷經了摸索、懷疑、迷惘（分不清方向）到審思（謹慎的分辨思慮），認清了一個全新時代的來臨；這個時代是東西文化的匯合，它是那麼的多元化，致使新的一代產生出多样的思考、多樣的面貌。經過不斷的摸索、衝突、接受、融合，自我意識在抬頭，自我主张在萌芽，直到找到自己及其所坚守执着之路。不再全然的模仿西方，也拋開了師承、跟隨、飄浮不定。現今他們有了自己的中心思想、自己的訴求與主張。他們也找回了屬於自己中國文化元素的主要特征与內涵。他們與上一代最大的不同是少了政治意識形態的束縛，多了全球性的視野；增生出了多元性的選擇，不再是英雄主義式的單元性。
發现管勇
在1990年代，我在巴黎，通过大未來林天民先生的介紹，認識了一位猶太裔的法國人，他的手中擁有一位早期留法華人藝術家的一批作品，當我看到那些作品時，內心滿是激動歡喜。我並不知道這位藝術家是誰？也沒聽過他的名字，但是當下我即刻買了一批他的作品。我是首先看到作品，而不是先聽到他的名氣——他就是常玉。
1996年是大華人藝術市場非常低迷的時候，兩位50年代留法的藝術家，他們的知名度遠不如當時那些華人西畫的先輩們。兩位藝術家的作品是以抽象形式表現的，當時只有少數藏家能接受，但我們看到了他們的艺术價值，選擇收購他們的作品不是因為他們的名氣，也不是因为他們擁有市場——他們就是趙無極、朱德群。
1999年中國油畫市場並不興盛，到中國，我們發覺早期第一代油畫藝術家，價值被嚴重低估，當時我们預判中國經濟即將起飛，這些藝術作品的價值絕對不會被埋沒，會反映到其應有的地位——他們就是徐悲鴻、林風眠、劉海粟、陳抱一、汪亞塵……
2003年我們看準全球藝術市場的趨勢（重心）将繼法國巴黎、美國紐約後，移轉到中國北京。我們開始籌備進駐北京，也積極的開發中國最新一代的藝術家。2004年底公司開發部門給我一本封面黃灰色的畫冊，上面的標題寫著“少年心氣”。我用往常看畫冊的習慣飛快的將它一頁頁翻過，蓋上畫冊後能讓我記憶猶存的只有兩、三位，我再度翻開重新將這兩、三位藝術家詳看，我看到了他。他為什麼吸引我？色彩簡單扼要，具有強烈的視覺穿透性；形式特別，具有與眾不同的符號；技法嚴謹，散發出一種質感美；更感受到這位藝術家与中国现在这个时代的关系，他就是——管勇。
疑 問
改革開放，致使全世界的文化與資訊快速滲入社會產生急速變化，各項體制也相繼地隨之改變；新的時代以溢注之勢降臨，沒有時間反應，來不及思考。這種渾淆複雜的體悟發生在中国当代人身上，這個世代的人價值觀在產生化學變化，知識認知在產生物理變化。是什麼在操縱改變這個時代？為什麼我們的認知與事實真相會有如此的差距？為什麼不同時代會有不同的認知？為什麼不同文化會有不同的價值觀？ 誰對？誰錯？誰是？誰非？迷惑、不解、猜忌、猶豫，請問、發問、詢問、追問、審問，辯論、爭論……， 還是堅持己見，各說各的，還是疑惑？我們這一代將何去何從……
迷 惘
疑問仍解不開，還是各持己見，沒有共識、沒有結論。為什麼爭論？為什麼深究？争论什么？深究什么？我是誰？在這個多元化的舞台裡我扮演著什麼角色？如何去扮演？……。沉浸在其中，累了！一切仿佛漂浮在空气中，甚至生命及其身体、个体存在及其价值！不再追究、不再思考、不再爭論，放下所有，―無所求、無憂無慮、放空一切。意識漸漸的在模糊，行為在徜徉，思考也在停止，沒有方向、沒有目標的沉迷陶醉在虚无世界中……
審 思
但存在与虚无似乎总是并存。思考终久不会永远停止。理性與感性在衝突，致使是非、對錯湧上心頭；做為时代之人的主体性是什麼？
思考走出了迷惘，省思替代了徜徉，明辨壓制了沉迷；謹慎的分辨、清楚的推究、客觀的分析，欲找回當下时代之人的立足之地。審思時代、醒思自我，省思前因、深思後果……，當今时代之人應有的品格、情操、責任及象徵意涵，我思、我慮、我行……
笔格
经过了疑问、迷惘、焦虑、省思思辨的状态，经历了自我空洞甚至主体性的丧失。开始了独立自主的意识，开始了一种思考并行动中的状态。
具有“知识权力”象征意义“笔型”，代表着时代之人一种主体自主意识及行动权力，笔的隐喻象征品格——高贵、挺拔、独立、冷峻、刚直不阿的精神气质，给予时代之人一种标准。积极地融入并影响着这个新时代。时代之人在进行着一种自身主体意识及状态的转变过程。
这是一个属于他们的新时代
Whose New Age
Since the reformation and opening policies to the beginning of 21st century, China has become the focus of the whole world and this attracts various cultures, economies and information from all over the world to come into China. All of these are inflicted upon young people born after the Cultural Revolution, to whom this is an unprecedented experience and transforming process. From resisting to accepting gradually, they experienced exploration, doubting, puzzling (can’t find the direction) and reflection (distinguish and think carefully), and at last recognized that a new age is coming. This age is the combination of eastern and western cultures. It is so multicultural that the new generation has various thoughts and features. Through continuous exploring, conflicting, accepting and mixing, the new generation’s self-consciousness is rising and self-declaration is sprouting until one day they find their own way that they’ll stick to. They no longer completely imitate the western world, and they give up their teachers’ tuition, following and floating. Now they have their own thoughts, requests and opinions. They’ve found back the main characteristics and connotation of Chinese cultural elements. The greatest difference between them and the previous generation is that they suffer less bondage of political ideology and have a global view; they have pluralistic choices instead of heroic monism.
Discovering Guanyong
In 1990s’ Paris, through Mr. Lin Tianmin ,I got to know a French Jew who had a set of works of an early Chinese artist who studied in France. When I saw those works, I was excited and joyful. I didn’t know who the artist was, and had never heard of his name, but I bought a set of his works immediately. I first saw the works instead of hearing his name which is Changyu.
In 1996, the Chinese art market was in depression. Two Chinese artists who studied in France in 1950s had less fame than their Chinese predecessors in the field of western art. Their works were created in an abstract form, and only few collectors could accept it. But I saw their artistic value, and I decided to purchase their works not because of their fame nor because they had market – they are Zhao Wuji and Zhu Dequn.
In 1999, the Chinese oil painting market was not prosperous. In China, we found that the first generation of artists in oil painting were devalued. We foresaw that Chinese economy would have a great development, and these artistic works’ value would not be ignored, and they would get their deserved status – they are Xu Beihong, Lin Fengmian, Liu Haisu, Chen Baoyi, Wang Yachen…
In 2003, we foresaw that the center of global art market would transfer to Beijing, China, from Paris of France and New York of America. We started to prepare to enter the market of Beijing and actively discover the newest generation of artists in China. In 2004, we got an album with a grey yellow cover entitled “Young Man’s Tune” from the development department. I surveyed it quickly in a usual way. After closing the album, only two or three artists impressed me. I opened the book and saw these artists again, and I saw him. Why did he attract me? The colors he used are simple and clear, having strong penetrating power; the form is special, having unique signs; his skill is precise, giving out an aesthetic feeling of material; and I also felt the relationship between this artist and the present time of China, he is – Guanyong.
Doubt
The opening policy made culture and information from all over the world penetrate into Chinese society quickly and this caused great changes, and various systems also changed accordingly; the new age came overwhelmingly, people had no time to react and think. This generation of Chinese e
中國自改革開放後到21世紀初，成為全世界眾所矚目的焦點，也促使全世界來自四面八方的各種文化、經濟與資訊爭相湧入。並以溢注的態勢強加在後文革出生的這群年輕人身上；對他們來說这是一種前所未有的经历、轉化過程。從一開始的抗拒到漸漸接受，歷經了摸索、懷疑、迷惘（分不清方向）到審思（謹慎的分辨思慮），認清了一個全新時代的來臨；這個時代是東西文化的匯合，它是那麼的多元化，致使新的一代產生出多样的思考、多樣的面貌。經過不斷的摸索、衝突、接受、融合，自我意識在抬頭，自我主张在萌芽，直到找到自己及其所坚守执着之路。不再全然的模仿西方，也拋開了師承、跟隨、飄浮不定。現今他們有了自己的中心思想、自己的訴求與主張。他們也找回了屬於自己中國文化元素的主要特征与內涵。他們與上一代最大的不同是少了政治意識形態的束縛，多了全球性的視野；增生出了多元性的選擇，不再是英雄主義式的單元性。
發现管勇
在1990年代，我在巴黎，通过大未來林天民先生的介紹，認識了一位猶太裔的法國人，他的手中擁有一位早期留法華人藝術家的一批作品，當我看到那些作品時，內心滿是激動歡喜。我並不知道這位藝術家是誰？也沒聽過他的名字，但是當下我即刻買了一批他的作品。我是首先看到作品，而不是先聽到他的名氣——他就是常玉。
1996年是大華人藝術市場非常低迷的時候，兩位50年代留法的藝術家，他們的知名度遠不如當時那些華人西畫的先輩們。兩位藝術家的作品是以抽象形式表現的，當時只有少數藏家能接受，但我們看到了他們的艺术價值，選擇收購他們的作品不是因為他們的名氣，也不是因为他們擁有市場——他們就是趙無極、朱德群。
1999年中國油畫市場並不興盛，到中國，我們發覺早期第一代油畫藝術家，價值被嚴重低估，當時我们預判中國經濟即將起飛，這些藝術作品的價值絕對不會被埋沒，會反映到其應有的地位——他們就是徐悲鴻、林風眠、劉海粟、陳抱一、汪亞塵……
2003年我們看準全球藝術市場的趨勢（重心）将繼法國巴黎、美國紐約後，移轉到中國北京。我們開始籌備進駐北京，也積極的開發中國最新一代的藝術家。2004年底公司開發部門給我一本封面黃灰色的畫冊，上面的標題寫著“少年心氣”。我用往常看畫冊的習慣飛快的將它一頁頁翻過，蓋上畫冊後能讓我記憶猶存的只有兩、三位，我再度翻開重新將這兩、三位藝術家詳看，我看到了他。他為什麼吸引我？色彩簡單扼要，具有強烈的視覺穿透性；形式特別，具有與眾不同的符號；技法嚴謹，散發出一種質感美；更感受到這位藝術家与中国现在这个时代的关系，他就是——管勇。
疑 問
改革開放，致使全世界的文化與資訊快速滲入社會產生急速變化，各項體制也相繼地隨之改變；新的時代以溢注之勢降臨，沒有時間反應，來不及思考。這種渾淆複雜的體悟發生在中国当代人身上，這個世代的人價值觀在產生化學變化，知識認知在產生物理變化。是什麼在操縱改變這個時代？為什麼我們的認知與事實真相會有如此的差距？為什麼不同時代會有不同的認知？為什麼不同文化會有不同的價值觀？ 誰對？誰錯？誰是？誰非？迷惑、不解、猜忌、猶豫，請問、發問、詢問、追問、審問，辯論、爭論……， 還是堅持己見，各說各的，還是疑惑？我們這一代將何去何從……
迷 惘
疑問仍解不開，還是各持己見，沒有共識、沒有結論。為什麼爭論？為什麼深究？争论什么？深究什么？我是誰？在這個多元化的舞台裡我扮演著什麼角色？如何去扮演？……。沉浸在其中，累了！一切仿佛漂浮在空气中，甚至生命及其身体、个体存在及其价值！不再追究、不再思考、不再爭論，放下所有，―無所求、無憂無慮、放空一切。意識漸漸的在模糊，行為在徜徉，思考也在停止，沒有方向、沒有目標的沉迷陶醉在虚无世界中……
審 思
但存在与虚无似乎总是并存。思考终久不会永远停止。理性與感性在衝突，致使是非、對錯湧上心頭；做為时代之人的主体性是什麼？
思考走出了迷惘，省思替代了徜徉，明辨壓制了沉迷；謹慎的分辨、清楚的推究、客觀的分析，欲找回當下时代之人的立足之地。審思時代、醒思自我，省思前因、深思後果……，當今时代之人應有的品格、情操、責任及象徵意涵，我思、我慮、我行……
笔格
经过了疑问、迷惘、焦虑、省思思辨的状态，经历了自我空洞甚至主体性的丧失。开始了独立自主的意识，开始了一种思考并行动中的状态。
具有“知识权力”象征意义“笔型”，代表着时代之人一种主体自主意识及行动权力，笔的隐喻象征品格——高贵、挺拔、独立、冷峻、刚直不阿的精神气质，给予时代之人一种标准。积极地融入并影响着这个新时代。时代之人在进行着一种自身主体意识及状态的转变过程。
这是一个属于他们的新时代
Whose New Age
Since the reformation and opening policies to the beginning of 21st century, China has become the focus of the whole world and this attracts various cultures, economies and information from all over the world to come into China. All of these are inflicted upon young people born after the Cultural Revolution, to whom this is an unprecedented experience and transforming process. From resisting to accepting gradually, they experienced exploration, doubting, puzzling (can’t find the direction) and reflection (distinguish and think carefully), and at last recognized that a new age is coming. This age is the combination of eastern and western cultures. It is so multicultural that the new generation has various thoughts and features. Through continuous exploring, conflicting, accepting and mixing, the new generation’s self-consciousness is rising and self-declaration is sprouting until one day they find their own way that they’ll stick to. They no longer completely imitate the western world, and they give up their teachers’ tuition, following and floating. Now they have their own thoughts, requests and opinions. They’ve found back the main characteristics and connotation of Chinese cultural elements. The greatest difference between them and the previous generation is that they suffer less bondage of political ideology and have a global view; they have pluralistic choices instead of heroic monism.
Discovering Guanyong
In 1990s’ Paris, through Mr. Lin Tianmin ,I got to know a French Jew who had a set of works of an early Chinese artist who studied in France. When I saw those works, I was excited and joyful. I didn’t know who the artist was, and had never heard of his name, but I bought a set of his works immediately. I first saw the works instead of hearing his name which is Changyu.
In 1996, the Chinese art market was in depression. Two Chinese artists who studied in France in 1950s had less fame than their Chinese predecessors in the field of western art. Their works were created in an abstract form, and only few collectors could accept it. But I saw their artistic value, and I decided to purchase their works not because of their fame nor because they had market – they are Zhao Wuji and Zhu Dequn.
In 1999, the Chinese oil painting market was not prosperous. In China, we found that the first generation of artists in oil painting were devalued. We foresaw that Chinese economy would have a great development, and these artistic works’ value would not be ignored, and they would get their deserved status – they are Xu Beihong, Lin Fengmian, Liu Haisu, Chen Baoyi, Wang Yachen…
In 2003, we foresaw that the center of global art market would transfer to Beijing, China, from Paris of France and New York of America. We started to prepare to enter the market of Beijing and actively discover the newest generation of artists in China. In 2004, we got an album with a grey yellow cover entitled “Young Man’s Tune” from the development department. I surveyed it quickly in a usual way. After closing the album, only two or three artists impressed me. I opened the book and saw these artists again, and I saw him. Why did he attract me? The colors he used are simple and clear, having strong penetrating power; the form is special, having unique signs; his skill is precise, giving out an aesthetic feeling of material; and I also felt the relationship between this artist and the present time of China, he is – Guanyong.
Doubt
The opening policy made culture and information from all over the world penetrate into Chinese society quickly and this caused great changes, and various systems also changed accordingly; the new age came overwhelmingly, people had no time to react and think. This generation of Chinese e
舒老弟,学学邱枝节,马甲要多穿几个
