潘剑简历

1975年12月31日出生
2001年毕业于西安美术学院油画系

展览
2008   <世界的尽头> 北京 食堂替代空间
2006   <非常风景> 北京  高地画廊
2004   <中国新视觉——中国当代青年艺术家联展>  上海 国际展览中心                    
2003   <第三届中国油画展>  北京  中国美术馆
2002   <异化现实”当代艺术展> 昆明 上河创库                   
2002   <契约>当代绘画展  西安  西安美院展览馆                         
2001   <写意中国>当代油画邀请展 西安 国际展览中心                          
2001   <互动>油画雕塑联展 济南 历下区美术馆                           
2001   <走向未来>上海青年美展外围展 上海 上海大学美术馆  

Pan Jian

Born in Dec. 31st, 1975
2001 Graduated from Oil Painting Department of Xi’an Academy of Fine Arts

Exhibitions
2008   The end of the world Solo Exhibition
        ShiTang  Alternative Space Beijing,China
2006   Unusual Landscape
　　    Highland Gallery, Beijing, China
2004   China New Vision – Chinese Contemporary Youth Artist Group Exhibition
　　    Shanghai International Expo Center, China
2003   The 3rd China Oil Painting Exhibition
　　    National Art Museum of China, Beijing
2002   Dissimilation Realism - Contemporary Art Exhibition
　　    Upriver Loft Gallery, Kunming, China
2002   The Covenant - Contemporary Painting Exhibition
　　    Exhibition Hall of Xi’an Academy of Fine Arts, Xi’an, China
2001   Enjoyable China - Contemporary Oil Painting Invite Exhibition
　　    Xi’an International Exhibition Center, Xi’an, China
2001   Interact - Oil Painting & Sculpture Joint Exhibition
Lixia District Art Gallery, Jinan, China
2001    Look Ahead – Shanghai Youth Art Biennial Exhibition
　　    Shanghai University Art Gallery, Shanghai, China

读潘剑的画
 三十功名尘与土

朱金石
      用古典的方式描述中国七十年代出生的艺术家一定不合适宜, 在今天谁还愿意背负传统的包袱？但如果把他们安置在数码时代的语境里去形容，这也难以让我们认同，这一代恰恰被时代嵌压在文化两极之间的岩层，身份认同需要从顾盼中获得肯定，而这就决定了他们的抱负和左右取中的机遇。
      属于这一代艺术家的潘剑籍贯山东，75年生于新疆和静县，邻皆为蒙古族、维族、哈撒克斯坦族和回族人，戈壁滩、毛驴车、杨树、羊奶是他童年的记忆.一岁时潘剑得了一种名叫肠套叠的重病，在大家都认为他必死无疑时，母亲携子进京求医，幸运的挽回生命。有趣的是，我们今天观察这位艺术家会在偶然性中发现，进京对潘剑有着起死回生的双重因缘。无独有偶，他随家人89年回山东老家东营，而今天他在北京工作生活的工作室地点也叫东营，冥冥之中，潘剑的的个人奋斗要和命运形成关联，并且与地点、地名有着难以分割的碰撞。

      潘剑个性沉寂，为人忠厚谦和，但在某些场合也会突然爆发，一瞬之间把深埋的情感从内心的底部全部掀起，热血沸腾。在某种意义上，潘剑即试图屈服于命运的恒常温度，又有可能突然孤注一掷，他需要在两岸之间徘徊，摆渡于温情的日常生活和孤独的艺术追求。但最终他是个取胜者，一年前他怀着理想来到北京东郊的宋庄，在那里梳理千头万绪，寻找艺术生命的重生，并开始了今天我们看到的《海》系列绘画作品。
      所谓 《海》系列，只是观者一厢情愿的日常心理，对潘剑来说，他所完成的作品“怎么理解都成，但不是海” ，在某种意义上他的观点是奇特的，这种奇特不仅是他在画海的时候放弃海的图像指向，而且在观察他个人的生活时的确也与海无缘。
      他是否曾在戈壁滩的少儿时光看过海市蜃楼？还是他在幻梦中在海中徘徊过？都好象不是，但是在他的自述中我们发现，九十年代末潘剑曾经对电影情有独钟，甚至做过一段时间的后期剪辑工作。可以肯定的说电影的宽银幕对他是一个迷人的世界，是它代替了风景、自然对他的诱惑，而事实上，他超大尺寸的油画在比例上很象是电影院里的宽银幕，巨大的海浪突然在某一处掀起《8347》，耀眼的金色过度的贴伏在海面上是落日的夕阳《1512》，而作品《7551》使人怀疑是黄河的某一处激流的险滩，但无论如何我们无法确定这些江河湖海的地理位置，或是民族、国家，潘剑毫不犹豫的拒绝了地点的明确性，所以作品名称都是四位阿拉伯数字组合，而所有的作品取材都是通过电脑、书籍、杂志而来。

      为什么潘剑要把海匿名呢？“我不喜欢画人，不喜欢指向性明确的事物” 假如我们剖析画家的身份、性格包括所处的时代对他的影响，至少可以得出两个线索，首先，潘剑的出生地新疆，籍贯地山东，学习与现在任教地西安，创作地北京在地理学意义上给我们一种想象。画家随时可以漂移，它通过暗示使艺术家意识到，地点的隐匿或者说漂移是当代社会生存的命运。我们与其固定住它反不如让它不确定的存在下去，这种不确定的生存观念一方面与数码时代的虚拟文化相关联，也与当下全球化的开阔视野形成问答。当宏观的思维框架在今天被逐一分解之后，我们建构起来的新的世界观不仅是对传统思维模式的扬弃，而且也是今天现实生活的浪漫。虽然我们不能说潘剑在艺术创作中是从宏观的视野获得了题材和动机，但是，从微观的私人体验中艺术家则非常明确的把握住了个人生活的感情本质——从大的自然风景中强化了小的个人自由空间，并且在取消了“大”的明确性的同时，把“小”的个人情感作为主体突兀出来，这就是为什么画海不见海，画物不见物的辩证关系；其次，从艺术史的上下文来看，艺术家必然要在比较中明确自己的位置，潘剑对观念艺术、POP艺术都采取敬而远之的态度。通过他的《海》的系列作品我们即隐约可以感受到西方古典主义的倒影（他在求学期间曾经对西方古典主义有过迷恋），又可以当作当代电影、当代摄影的图像切片去理解（但是显然他对已经获得的信息采取后期制作的工作程序），同时，这些作品也在某种程度上似乎是要以超写实主义的方式用绘画来代替照片、影像、Video，也就是说潘剑决心以机智的战略抗拒当代艺术对他的威胁，以边缘艺术的锋刃划开主流艺术的罗网。

      在今天，中国涌现出一批举足轻重的七十年代出生的艺术家，他们以极其冷静且抒情的方式构成了新的格局，假如说他们有一种不可代替的优势，那么而立之年就是他们的绝对动力。如果允许我们以积极的方式激励他们，那么或许可以说，隐匿的世界并非深不可测，小我将是填充大千世界的愚公移山。

Myriad Beings of This World
Zhu Jinshi
It is inappropriately to describe the 70’s born artists in China in a classical way, for who is willing to have tradition on one’s mind as a burden? But if places them under the digital age environment, it is also difficult to be endorsed. And, this generation is exactly inlaid by the time between the polarized culture where the status approval needs to be affirmed in looking around and this has decided their aspirations and opportunities.

Pan Jian, one of this generation whose native place called Shandong, who was born in 1975 in Hejing county, Xinjiang where neighbouring upon the Mogolians, the Uygurs, the Kazakhs and the Huis. And the Gobi Desert, the donkey cart, the poplar trees and ewe milk all are his childhood memories. At the age of one, Pan Jian had a serious illness called intussusception when everyone thought there was no way for him being survived, then his mother brought him along to seek a cure in Beijing, fortunately his life was saved in the end. The interesting thing is that we can discover contingently, the act of going to the capital had double principal and secondary causes for recalling Pan Jian’s life. It was not unique, but had its counterpart that he went back to his native place called Dongying along with his family in 1989, and today, where he lives in Beijing is also called Dongying. It seems that, in an unseen world, striving to succeed in his own career is interrelated with his fate, in which collision is difficult to cut apart from locations and its geographical name. Pan Jian appears a specific characteristic of being quiet and sincere and kind to people with a humble attitude. But, exactly as everything has its pros and cons, in some occasion he would burst out as a volcano all of a sudden: in a twinkling the buried innermost feelings has raised from its bottom with righteous indignation. In a sense, Pan Jian has attempt to succumb to the destiny, but also has the possibility to stake all on one cast of the dice, in which he needs to hover between the tender daily life and lonely artistic pursuit. What good for him is that he has been winning since year ago he moved on to Songzhuang in eastern suburban of Beijing with a heart of full of ideal, and organizing a thousand confused thoughts to seek for regaining his artistic vitality. That was the start of the “Sea” series works we have caught sight of now.

The so-called “Sea” series is only the daily psychology from the audiences’ wishful thinking. But in Pan Jian’s point of view, what he has tried to express is everything one can interpret but sea. In some measure his view is unusual, abandon not only when he paints the sea but also in his personal life there’s nothing connected with sea indeed.
Had he ever seen mirage in the Gobi Desert during his childhood? Or, had he ever lingered in the sea while dreaming? All seems not. But through the account of himself we can find some clues, in which describes he once loved movies in particular at the end of the 90’s of last century, and even being a film-editor for that reason. What we can be sure is the wide-screen film is a fascinating world to him which alternatively replaces the temptation from scenery and nature in real life. In fact, his very large-size paintings look very much like the wide-screen in cinema: huge waves suddenly raised the “8347” in somewhere; the dazzling light nestling closely to the sea surface was the last rays of the setting sun “1512”; and the work of “7551” making people think that that was a rapids and shoals somewhere along Yellow River Valley. But, however, there’s no way for us to identify the exact geographical position of those rivers and lakes, ethnic groups and nations because Pan Jian makes no bones about refusing to be clearly defined in locations, therefore, all of his works are named in a combination of four Arabic numerals and draw on a selection from internet, books and magazines. Why does Pan Jian conceal the sea before the audiences? “I don’t feel any desires for drawing figures, neither anything with an unequivocal directional property.” If we analyze the artist’s status, personal characters including what the times has influenced on him, there are least two clues that we can reach for: firstly, his birth place Xinjiang, native place Shandong, study and work place Xi’an and creation place Beijing, all of those locations give free rein to one’s imagination in geography category. Artists could make drift when it was necessary, it would enable artist being aware of it through the hints it dropped, such as the hidden places or, to say, drifting, was the fate of contemporary society. Rather than hold on to it, it would be better to let it be in an uncertain sense. This uncertainness of survival – for one thing it is related with the virtual culture of digital age, and for another it forms a question-and-answer with widening one’s breadth of vision under globalization situation nowadays. After the macroscopic thought frame has been decomposed one by one, the new world ideology we have constructed not the only result which discard the traditional thought pattern but also the romantic part of today’s reality. Though we cannot say that the way of Pan JIan’s creation is obtained the theme and the motive through his macroscopic field of vision, he has very much explicit grasped the sentimental essence from his personal life during micro-experience – strengthening relatively small individual freedom from the relatively big nature scenery, and bring the “small” personal emotion as the main theme into bold relief meanwhile withdrawing the “big” definiteness, that is why he paints sea but sees no sea which means a dialectical relationship of what we draw is what we don’t see; secondly, from the context of art history, artist must clarify his stand in comparison. Pan Jian stays at a respectful distance from conception art and pop art. To see through his “Sea” series we namely find the inverted image in western classicism(he once was infatuated with western classicism during his school time), also it can be treated as picture slice of contemporary movie, contemporary photography(but obviously it is the postproduction of the work procedures for having collected information), simultaneously, in some kind of degree, these works seems to paint in ultra realism instead photos, images and videos, in the other words, Pan Jian has determined to resist the threat from contemporary art by his quick-witted strategy, cutting the net of mainstream of art by the blade of frontier art.

At present China, a large number of the 70’s born artists who play a pivotal role, and form a new pattern with their most clear and expressive artistry. If they have showed decided superiority, then the age of thirty is their absolute motivating power. If we are allowed to urge them in a positive way, we may say, the hidden world might not be so unfathomable – individual, in this boundless world of ours, will be the one whom does seemingly impossible things with dogged perseverance and succeed eventually.