参展艺术家：吴争艳 & 严玉璟
展览地点：山艺术－北京林正艺术空间
展览时间：2013年04月20日 ~ 2013年05月26日
开幕时间：2013年04月20日 下午3：00
地址：北京市朝阳区酒仙桥路四号798艺术区798东街、北京8502信箱 邮编：100015
Tel：+86 10 5978 9558   Fax：+86 10 5978 9557
开馆时间：周二至周日 11：00 ― 18：00
http://www.mountainart.com.cn
E-mail: service@mountainart.com.cn、emilyding@mountainart.com.cn

展览介绍：

吴争艳

       后现代社会的特征及影响在八零代成长的新生代创作之间，可以观察到整个中国社会年轻世代的价值观，包含直接移植西方的后现代社会思潮的反现代性、多元化的状态。艺术家屈从在日常对话中，发掘代表新潮、搞怪，难懂，无厘头的形式；艺评家在学术论文中，撰写虚拟、拼贴、戏仿、跨越疆界的热门字眼，在在都反应现实生活和强化后资本主义的文化逻辑。尽管批评后现代的平面拼贴丧失感情、深度和意义，而且缺乏历史观和认知地图；而其中以怀旧姿态出现并拥抱消费主义的当代艺术家，还是能让熙熙攘攘、吵杂不堪的艺术视觉氛围呈现让人精神缓和，视觉美学兼顾的一片净土。古代文人纵情于山水之间，仆童伺茶于旁，间或驻足亭台楼阁，都已被争艳化为现今的虚拟动漫情节，生活中的细碎对象，或是叫嚣的战争冲突。争艳的创作，不是新世代的挑衅，没有怨气冲天，没有惊世骇俗，只淡淡汲取生活中记忆的元素，缓缓抬首搔姿，藏身花蕊之中，隐喻出中国自身的当代文人画。

　　　　　　　　　　　　　　　　　　　　
　　　　　　　　　　　　　　　　　　　　　　　　　　　　摘自《也是文人画》
　　　　　　　　　　　　　　　　　　　　　　　　　　　今日美术馆馆长 谢素贞

　　　　　　　　　　　　　　　　　　　　　　　　　　　
The values of the Chinese youth can be found in the art works by the artist born in the 80s, which the characteristics and influences of post-modern society plays an important role.  The values also consist of direct implantation of anti-modernism and pluralism of the western social psychology.  For post-modernists who yearn for nostalgia, they understand the role of technology in the modern society; and they try very hard not to naively believe technology is the solution to every problem. 
Although post-modern’s poster like collage was often criticized for the lack of emotions, depths and meanings, and lack of conception of history and cognitive map, the contemporary artists who embrace consumerism can still soothe people’s mind in this bustling and disordered art scene.  Wu Zhengyan has transformed the scenery of ancient literati, who walked amongst mountains and rivers with footboys on his side, into a comical, trivial events or conflict.  Her creation did not show any defiance, complaint or offence, but rather she absorbs the elements of her trivial memories, slowly and carefully illustrating the metaphor of new Chinese Literati paintings.

From the article “Another Literati Paintings”
Suzhen Xie Director of Today Art Museum

严玉璟

       严玉璟创作的主轴也是创作时重要的灵感来源，大多以韩国传统的民间元素来表现。 虽然她以民间画的方式来呈现，但不难发觉其作品的文人画气质。民间画在传统意义上讲求的大俗与匠气都与文人画讲求的大雅与抒情相左，但她的创作在这中间找到了平衡。她的创作中虽然使用了大量鲜艳的传统颜色及图腾，但画面上不失其雅致。虽然引用了韩国民间的寓言，但作品内不失其文人般的诗意。文人画讲求的自娱、高雅、诗意，与她的民间传统表现做了一个完美的结合。

       严玉璟的创作过程从早期的写实绘画至后来更童趣、真诚的笔触，我们了解到，她想将写实的部分尽量削减，进而观众能感受到画中笔触所带来的纯粹，一种蔓延在画布上能感觉到的幸福香气。这个消减的过程对原本是写实的艺术家来说，是一种重大的决定及挑战。但她在整个的创作过程都有一个主轴：对传统的依附及对生命的态度，让她不至迷失，而且在其文人画观点上有其独特的位置。

　　　　　　　　　　　　　　　　　　　　　　　　　　　
　　　　　　　　　　　　　　　　　　　　　　　　　　　摘自《文人的艳俗》
　　　　　　　　　　　　　　　　　　　　　　　　　　　　策展人：林正

The origin of Eom Ok Kyung’s creation is mostly created with Korean traditional elements.    Eom finished her paintings with the style of folk art but it is not difficult to find literati painting temperaments in her works.  In a more traditional sense, the style of folk art often appeared gaudy and decorative which is quite different from the elegant and lyrical of the literati painting style, yet in Eom’s paintings, she finds the balance between the two.  Although she used a great number of Korean traditional gaudy colors and metaphors, the pictures are not without its elegance.  Although she referenced folk-tales in her works, they are presented in a way that is poetic.  The literati painting elements: amusement, elegance and poetic, comes together perfectly in Eom’s folk art like paintings.

The art of Eom’s changes drastically from a realistic style to a folk art, child like style.  Her reduction of realism can be seen as a way to lure the audiences to experience the pureness and happiness represented on the canvas.  For an artist who is rooted in realism, to change the style so drastically is a great challenge.  But Eom’s work has a main ideal: her attachment to her tradition and her attitude towards life, which makes the change effortless, and makes her position in literati paintings a special one.