现象——周宪耀艺术展
Phenomenon ——Zhou Xianyao Art Exhibition
学术主持：杨卫
Academic Host: Yang Wei
策展人：李青林
Curator: Li Qinglin
策划编辑/王鑫
Planning Editor: Wang Xin
翻译/崔鹏
Translation: Cui Peng
设计/杨明月
Design: Yang Mingyue
摄影/郭德昌
Photographer/Guo Dechang
主办方：北方抽象
Organizer: Northern Abstraction
承办方：克罗里亚美术馆
Undertaker: Cloria Art Museum
媒体支持：雅昌艺术网、库艺术、阿特网
Media Support: Artron.net, KuArt, CCARTD
开幕时间：2023年9月30日 上午10时
Opening Time: September 30, 2023 (10:00 a.m.)
展览时间：2023年9月30日-10月30日
Exhibition Time: September 30, 2023 to October 30, 2023
展览地点：大连金石滩美术馆（1号馆）
Exhibition Venue: Dalian Jinshitan Museum of Fine Arts (Hall 1)
认真的“坏画”
——关于周宪耀的艺术
自现代艺术从文学等叙事的附庸中解放出来，艺术便呈现出了前所未有的丰富性。其中，以“达达主义”掀起的反艺术思潮，也被纳入艺术发展的必然逻辑，得到了长足发展。最典型的例子，就是波普艺术的诞生，把非艺术的元素作为艺术进行表达，渐成创作风尚，影响了20世纪60年代以来当代艺术的发展。而在这个发展轨迹中，与波普艺术多取用现成品和流行符号不同的是，还有一条艺术线索，是以绘画本身来解构和破坏绘画，此被批评界称为“坏画”。
所谓“坏画”，不是指画坏的画，而是指一种创作的立场和态度，带有某种玩世不恭的意味，包含“坏蛋”的意思。它主要源于北欧和东欧，以德国艺术家维尔纳·巴特纳（Werner Büttner）、马丁·基彭博格（Martin Kippenberger）、阿尔伯特·奥伦（Albert Oehlen）等人为代表。90年代以后，中国艺术家也开始关注时易世变的社会形态，将动荡不安和支离破碎的现实纳入艺术观念，加以戏谑性的表达，由此催生出一种中国式的“坏画”。艺术家周宪耀就是承接了这样一条创作路径。
周宪耀80年代开始学画，受当时“新潮美术”的影响，他早期作品借鉴了后印象派和表现主义的诸多风格，一开始就具有某种现代派的创作观念，如画面人物的造型夸张变形，笔触粗犷豪放，肌理厚重斑斓，色彩主观臆断，等等。这些具有现代主义意识的审美趣味，被周宪耀吸纳成自己的艺术思想，由此奠定了他的语言基调。此后，被时代潮流裹挟，周宪耀曾下海经商，期间经历商海沉浮、人事沧桑，使他对社会、对人性等，都有了更加深切的体会。因而，当周宪耀于新世纪再度回归画坛，重新拿起画笔时，他的内心早已经千疮百孔。故此，用画笔弥补内心的缺乏，表现社会的跌岩，就成了周宪耀艺术创作的核心内容。
与之前关注人体等艺术题材截然不同，周宪耀后来的创作更加侧重于社会性表达。这当然源于他的现实体验，即多年的社会参与和生活观察，使他看到了现实生活中太多黑白混淆、不明不暗的事情，尤其是社会变迁带来的精神迷失与情感割裂，给他留下了挥之不去的心理阴影。因此，用画笔渲泄内心的愤懑，表达对现实和人生的关爱与同情，便成了周宪耀关注现实的人文视角。但是，与许多艺术家关注现实的表现方式不同，周宪耀对现实的观照，除了基于个人化的体验，还有对语言探索的兴趣。这使得周宪耀创作的绘画作品，不只是为我们留下了现实社会的时代图景，更为重要的是，铭刻了穿越这个时代的心理印痕。
周宪耀的近期作品主要分为两类：一类是关于日常事物，如室内凝固的静谧空间，如斑斓陈旧的桌椅板凳等；一类涉及人生处境，如一字排开的男女群像，如躺卧在荊棘密布中的孤独个体等。这两类作品看似题材不同，但在周宪耀具有强烈表现意味的语言统筹下，却彼此关联，有机地融为一体，均透出一股饱经风霜、形影相吊的意象。显然，这种苍凉感和孤独感，正是当代人的生存处境，也是当代人的群体表情。但有意思的是，对于这种当代人的集体命运，周宪耀不是以宏大叙事加以概括，而是通过语言的抽象，投以个人化的艺术观照。这使得周宪耀的作品，剥离了现实表面的光怪陆离，更为深邃，也更具人性的温度。
毫无疑问，经过物质化的浸泡与商品化的冲击之后，当代人的生存空间早已经被异化，不再是原来的人与自然的单纯关系了，而是与各种现实利益和物质欲望纠缠在一起，变得越来越晦暗不明。因此，当代艺术才要批判现实，为的是洗涤污浊的现实，唤醒沉睡的人性。周宪耀正是秉承了这样一种创作理念，他以一种极具戏谑性的表现语言，来揭示现实社会的掠影浮光，就像鲁迅用文学作品撕开伤疤一样，其实，恰恰是为了唤醒人的本质存在，让人们能够从中获得自我的警醒。
文∕杨卫
2023.8.15于北京通州
Serious "Bad Painting"
——On the Art of Zhou Xianyao
By Yang Wei
Since modern art broke free from its narrative dependence on literature and other forms, it has presented an unprecedented richness. Among them, the anti-art trend sparked by "Dadaism" has also been incorporated into the inevitable logic of artistic development, and has made considerable progress. The most typical example is the birth of Pop Art, which expresses non-artistic elements as art, gradually becoming a creative trend and influencing the development of contemporary art since the 1960s. In this developmental trajectory, there is also an artistic clue that differs from Pop Art's frequent use of ready-made products and popular symbols, which is to deconstruct and destroy painting with painting itself. This has been criticized by the art world as "Bad Painting."
The so-called "Bad Painting" does not refer to poorly painted paintings, but rather a creative stance and attitude that carries a certain sense of cynicism and includes the meaning of "bad egg." It originated mainly in Northern and Eastern Europe and is represented by German artists such as Werner Büttner, Martin Kippenberger, and Albert Oehlen. After the 1990s, Chinese artists also began to pay attention to the rapidly changing social forms and incorporate the turbulent and fragmented reality into their artistic concepts, expressing it in a playful manner, thus giving birth to a Chinese-style "Bad Painting." Artist Zhou Xianyao is one who has continued down this creative path.
Zhou Xianyao began studying painting in the 1980s and was influenced by the "New Wave Art" of the time. His early works drew on many styles of Post-Impressionism and Expressionism, and from the beginning, he had a modernist creative concept, such as the exaggerated and distorted figures, bold and rough brushstrokes, thick and colorful textures, and subjective and arbitrary colors. These aesthetic tastes with modernist consciousness were absorbed by Zhou Xianyao into his own artistic thinking, laying the foundation for his artistic language. Later, swept up by the trend of the times, Zhou Xianyao went into business for a while, experiencing the ups and downs of the business world and the vicissitudes of personnel, which gave him a deeper understanding of society and human nature. Therefore, when Zhou Xianyao returned to the art world and picked up his brush again in the new century, his inner world was already full of wounds. As a result, using his brush to make up for his inner lack and express the social upheavals became the core content of Zhou Xianyao's artistic creation.
Unlike his previous focus on human body and other art themes, Zhou Xianyao's later works are more focused on social expression. This is, of course, due to his real-life experiences, years of social involvement and observation, which made him see too many things in real life that are mixed in black and white and unclear, especially the spiritual confusion and emotional detachment brought about by social changes, leaving him with indelible psychological shadows. Therefore, using his brush to vent his anger and express his love and sympathy for reality and life has become Zhou Xianyao's humanistic perspective on reality. However, unlike many artists who focus on reality, Zhou Xianyao's observation of reality is not only based on personal experience, but also on his interest in exploring language. This makes Zhou Xianyao's paintings not only leave us with a picture of the era of contemporary society but, more importantly, engraves the psychological imprints that have passed through this era.
Zhou Xianyao's recent works can be mainly divided into two categories: one is about daily things, such as the static space of indoor solidification, such as colorful and old chairs and stools; the other involves life situations, such as rows of men and women, and lonely individuals lying in thorny bushes. These two types of works seem to have different themes but, under the language coordination with strong expressive meaning of Zhou Xianyao, they are interrelated and organically integrated, all revealing an image of weather-beaten and shadow-dwelling. Obviously, this sense of desolation and loneliness is the contemporary human survival situation and the collective expression of contemporary people. However, interestingly, Zhou Xianyao does not summarize this collective destiny of contemporary people with grand narratives but, through the abstraction of language, invests it with a personalized artistic vision. This makes Zhou Xianyao's works more profound and more imbued with human warmth, stripped of the bizarre surface of reality.
There is no doubt that after the immersion of materialization and the impact of commodification, contemporary human living space has been alienated, no longer the simple relationship between human and nature, but entangled with various real interests and material desires, becoming increasingly obscure. Therefore, contemporary art criticizes reality in order to cleanse the polluted reality and awaken the sleeping humanity. Zhou Xianyao adheres to such a creative concept. He uses a highly satirical language to reveal the fleeting shadows of contemporary society, just as Lu Xun used literary works to tear open wounds. In fact, it is precisely to awaken the essence of human existence and to allow people to gain self-awareness from it.
August 15, 2023 in Tongzhou, Beijing.
坠落的春风1 2022 布面油画 200×150cm
坠落的春风2 2022 布面油画 200×150cm
春风 2023 布面油画 150×120cm
升起月光 2023 布面油画 150×120 cm
醒不了的时光 2022 布面油画 150×120cm
现象
——那些备受的主义，那些遥远的河流
文/李青林
现象——生命的象征和世界相连的纽带；思考这个现象是黑色的现实，光在哪里……而心灵有了 “光” 促使他在自我孤独的思考里呈现着自己思维的脉络，而不再困惑与迷茫。
周宪耀的作品阐述的是这个时代与社会现象的本质及艺术本质和本源思考的问题。艺术光之再现，旨在以自由自我之光闪耀幻象之前；凭借时间与现实探索生命和生活状态以及对自然环境社会的关注与思考。
通过艺术语言，引发我们更加珍视人与自然的和谐共生的关系；重新塑造艺术生命再现意义的那些内心世界的心声。
艺术世界是你的，也是我的；共同再现着自己自由的维度，思考和渴望每个艺术创作者的渴求于共存。通过视觉并传达着每个艺术创作者共有自我独特的微观世界。
周宪耀这次展览的艺术形式是多元与多维的，展示的是生命的脆弱、人性的关怀、复苏与本源的力量，以及希望的渴望曙光。
他的艺术成长也是他对这个社会和独特自我的认知，经验与思考后的思考。文化与艺术是共融的，更是这个时代与潮流和当下的。他对艺术的态度也是他的人生，更是一种生活波普的一种状态。指向的是生命本体觉知的自省变相现象的流逝。
在这样一种时代思潮变迁的艺术潮汐下，感知现象里从新觉照个体生命的原本意义；是时代的，是社会的，是自我与孤独，是如此发现于自我……所有周边人们的关系和我渡于人，人渡于我的现象的现象，存在吗……
——太阳在昨夜升起
我从银河的对岸寻找银河的影子
我在太阳的黑夜里寻找太阳的星辰
太阳，现象存在吗
那些备受的主义
太阳的儿子
星辰遥远
我在太阳的黎明里升起黎明前的太阳
周宪耀作品中的 “现象” 存在于具体的视觉空间之中。这种视觉空间是东西方文化艺术与自我的表达，它是时间的，是现象的，是维度与思考后的思考；是遥远的河流，是星辰，是轮回的，如真如幻的 “现象与空间” ，是作者对时代潮，当下的，思考——你倾诉吗？
周宪耀的绘画是对现当代艺术思考真实的视觉感受，更是他对艺术以及深切的人观念感受逐渐走向现当代和抽象的新概念。
2023 8 15于大连金石滩
寻找月光河 2022 布面油画 150×120 cm
为什么有风 2022 纸本油画 70×54cm
有邮票的遥远 2022 纸本油画 70×50cm
江山1 2022 布面油画 120x90cm
江山2 2022 布面油画 120x90cm
Phenomenon
—Those who are highly idealistic,Those distant rivers.
By Li Qinglin
Phenomenon — the symbol of life and the link between the world; contemplating this phenomenon is a black reality, where is the light... but the soul has a "light" that prompts it to present the train of thought in its own self-solitary thinking, no longer confused and perplexed.
Zhou Xianyao's work expounds the essence of the era and social phenomena, as well as the problems of artistic essence and fundamental thinking. The reproduction of the light of art aims to shine with the light of freedom and self before the illusion; by exploring life and living conditions as well as focusing on and contemplating the natural environment and society through time and reality.
Through the language of art, it inspires us to cherish even more the harmonious coexistence between human beings and nature; it reshapes the inner voice of those who give meaning to the reproduction of artistic life.
The world of art belongs to you and me; together, we reproduce our own dimensions of freedom, thinking and longing for the desires of every artistic creator to coexist. Through visual communication, each artistic creator conveys their unique microcosmic world.
The art form of Zhou Xianyao's exhibition is diverse and multi-dimensional, showcasing the fragility of life, human care, the power of recovery and origin, as well as the longing for hope and dawn.
His artistic growth is also his understanding of this society and unique self, through experience and reflection. Culture and art are not only integrated, but also represent the current era and trends. His attitude towards art is not only a part of his life, but also a state of living pop culture. It points to the introspective phenomenon of the passing of life's essence.
In the artistic tide of this era's changing trends, the perception of phenomena sheds new light on the original meaning of individual life; it is of the times, of society, of self and loneliness, and is discovered within oneself. Do the relationships between people and the phenomena that pass between them exist?
---The sun rose last night,
I searched for the shadow of the Milky Way from the opposite bank,
I searched for the stars of the sun in the black night of the sun,
Sun, does the phenomenon exist?
Those popular beliefs.
The son of the sun,
The stars are distant,
I rise in the dawn of the sun before dawn.
The "phenomena" in Zhou Xianyao's works exist in a specific visual space. This visual space is an expression of Eastern and Western cultural art and the self. It is time, phenomenon, dimension and thoughtful reflection. It is a distant river, stars, and a cycle of phenomena and space that is like a mirage. It is the author's reflection on the current era and trends. Will you share your thoughts?
Zhou Xianyao's painting is a true visual experience of his contemplation of contemporary art. It is also his deep understanding of art and human concepts that gradually move towards contemporary and abstract new concepts.
August 15, 2023 at Jinshitan, Dalian.
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