开幕时间：2013年2月18日15:30
       展览时间：2013年2月18日— 2013年3月8日
       展览地点：湖北省武汉市武昌区中山路368号湖北省美术院美术馆·大楚艺术空间
       主办：湖北省美术家协会、湖北省美术院美术馆
       承办：大楚艺术机构
       协办：无锡江南油画雕塑院
       参展艺术家（按姓氏笔画排列）：马林、王心耀 、方景华、朱志刚、刘昕、朱晓果、冷军、张展、陈建钢、桑德罗·特劳蒂、郭正善、潘伟超
       策展人：沈伟
媒体支持：腾讯·大楚网、壹号收藏网、卓克艺术网、雅昌艺术网、荆楚网、99艺术网、艺术国际
       投资时报、楚天都市报、长江日报、楚天金报、艺术+

       展览前言：
       非意图：关于在无锡和武汉的一个油画展的说明
       借用巴克森德尔的话，绘画艺术总归是某种“意图的模式”的呈现，尽管这一理论源于绘画历史的研讨，并揭示出具体“图画”与“画家”之间的关系。然而许多类似的理论，却往往被后现代者“挪用”，因而“画家”们被晋级为“艺术家”，而“图画”被提升为“图像”，乃至实现了绘画的方式由艺术的领域向社会学领域的跨越。其结果，在艺术“生活化”的同时，也消解了艺术（ART）自身作为技艺类型而存在的理由。
       According to Baxandall, the art of painting can always be summarized as representations of certain “patterns of intention”. While this theory originated from analysis of the history of painting, and succeeded in revealing the relationship between particular paintings and their painters, many similar theories have become appropriated by post-modernists. Hence, “painters” are elevated into “artists”, “paintings” into “images”, and the art of painting is extended from the realm of art into the realm of sociology. As a consequence, while the link between art and life has been strengthened, the raison d’etre of the art form itself, as a category of craft, has also been dissolved.
       公然回归艺术或绘画本身的乐趣，或许在今天应该被视为一种具有针对性的叛逆。但是，既然能够领悟到其“乐趣”的本身，则应该提醒自己不必再刻意于那些自身被他者所看待的姿态，而是去学会反观和尊崇艺术行为自身的淡泊与安然。
       Publically declaring a return to the joy of art or painting itself, might be viewed as an act of rebellion with a specific goal in the present day. However, an artist capable of understanding such joy itself should also be able to remind himself not to be fixated on making stances for other people’s viewing, but to reflect on and respect the leisure and serenity that comes with art.
       实际上，在各类媒介化图像泛滥的今天，将“绘画”的技艺还给画家，不再为各类“意图”或“意义”所累，对于画者，对于读者，都将有所裨益。
       In reality, for our age of media image explosion, returning the craft of painting to the painters, and releasing them from the myriad “meaning” and “intention”, can be beneficial to both the painters and the audience.
       需要说明的是，“非意图”之“非”，并非是全然拒绝的矫枉过正，或是故作监督时弊之态，而是试图强调在可控程度内的“摈弃”。这大致也仍然是一种“意图”？
       It must be noted that the declaration of “non-intention” is neither trying to overcorrect by abandoning all meaning, nor any deliberate commentary on current affairs, but rather an attempt to emphasize a “casting away” of intentions, within a controllable extent. Or perhaps this is also a type of “intention”?
       对于视觉经验中的油画艺术来讲，一束光线，一块色域，一个形态，本身就足以令人感动，过去如此，现在如此，将来也会如此。
       In the visual experience of painting, a beam of light, a patch of color, or even a shape, all contain the power enough to move us in themselves. This was, is, and will always be true.
       对于目前展览中这十数位画家的作品而言，可圈可点的事实并非重要，但重要的是，他们共同意识到某一个向下一轮艺术目标出发的起点。
       For the over a dozen painters on exhibition here, it’s not important to have remarkable achievements here and now. What matters is for them to recognize their own starting points, from which they can reach their next goals in the pursuit of art.
       2012年12月于武昌昙华林
       Tan Hualin, Wuchang, December 2012
       沈伟，艺术史博士，湖北美术学院教授，湖北省文艺理论家协会副主席）
       (Shen Wei is a doctor of art history, a professor of Hubei Institute of Fine Arts, and vice chairman of Hubei Society of Literary and Art Theorists.)