棱镜－袁元艺术展海报

棱镜－17／240x120cm／不锈钢、油画／2015

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棱镜-1_240x120cm_不锈钢、油画_2015

 幻境-7_300x300cm_综合材料_2015

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幻境-2_300x300cm_综合材料_2015

 　　2016年1月9日下午，今日美术馆1号馆将迎来2016年开年最重要的展览之一——“棱镜：袁元艺术展”。此次展览由今日美术馆、中央美术学院主办，围绕“棱镜”的主题，对艺术家袁元的新作进行立体式的汇编和集中呈现，以期促进学界和广大公众对他艺术思考动向和最新成果的认识与理解。

　　中央美术学院院长、本次展览的学术主持范迪安认为，展览的主题“棱镜”十分恰切地描述了袁元的艺术特征：“袁元所制作的图像超越了传统意义上的‘再现’范畴，是对于图像表征与内在心理、自我意识与文化体验的多重投射。如果说，通常意义上的具象绘画，就像平面镜对外部世界进行客观反射，袁元的展览就如同一架‘棱镜’，在表现客观真实的同时，一方面在语言和形态上超越油画的表达，一方面在观念层面发掘图像方式对精神世界的反映，使得作品成为包含了绘画、材料、装置和互动过程的综合性创造，折射出层次丰富的信息与能量”。

　　事实上，这种综合性的探索路向是在袁元的长期艺术实践中逐步形成的。现为中央美术学院基础部副主任的袁元，16岁考入央美附中，20岁进入中央美院油画系第一工作室学习，硕士研究生时期师从清华美术学院杜大恺先生，毕业后回到中央美术学院任教，并跟随靳尚谊先生攻读博士研究生学位。作为典型的在学院教育下成长起来的艺术家，袁元努力继承学院派的写实传统和中西方具象油画的深厚经验，在人物、风景等题材的作品中，都呈现出优秀的造型能力和扎实的写实功底。但他同时又希望打破这种符合“学院”艺术标准的“模范状态”，实现“从现实主义传统向一种极为个人的视角”的转变，因此，他吸收表现性的笔触和肌理，研究绘画空间处理的平面化方式，拓展了具象油画的造型方法;他还在作品形态方面锐意创新，将透明亚克力和不锈钢镜当作“画布”，运用厚涂、色彩拼贴和转印等手法进行创作，改变了油画艺术既有的作品形态。在语言与形态的探索之外，他更着意在艺术创造的观念层面进行打通，努力探寻表象下隐含着的时代特征，将自己对于客体的认识，以及自我潜在的心理叙事表达出来，从而在语言、形态和观念层面突破具象油画的规则和观念。

　　此次展览中展出的系列作品开始于2013年，十分充分地体现了他艺术实践中所具有的“棱镜”特质：在展厅中，数十块2米高的镜面不锈钢板上转印着姿态各异的男、女人体，以不同的角度装置在展厅空间，在大尺幅的架上绘画上，带有神秘色彩和抽象意味的宇宙空间图像，与不锈钢镜面绘画组成迷宫般的阵列。在镜面与布面的相互映照与反射中，展厅成为一个不确定的迷幻空间，在这个空间里，“人”被抽象成一种精神化的存在，而观者融入“棱镜”，在身影的迷失与扩散中，获得一种在日常生活中似曾相识又极端异样的视觉和精神体验。

　　在艺术家自己眼中，“棱镜”展呈现的系列作品如同宇宙初开时的创世纪图景，又仿佛人类可能面对的宇宙变异，既是在“回归尘埃的悲剧之中又孕育新生的希望”，也是关于人类面对新千年的永恒追问——有关“警醒与希望”的议题。范迪安先生认为，“失重的人体象征着高速发展的社会环境中当代人内心的迷惘、不安和失衡，映射着大数据‘云时代’的某种生活和心理状态，显现出一种超验的真实。这组以写实手法构筑的超现实的景观剧场，人与物质、人与世界、主观意识与客观现实虚实交错、相映相生，透现出艺术家在信息时代的独特体验。”

　　在当前文化生态的整体态势中，中国乃至世界范围内的当代艺术家们都面临着全球化和信息化的文化情境所带来的机遇和挑战。此次“棱镜”展览以新颖的展览结构和展陈方式，呈现了袁元这位青年艺术家的文化感受和突破自我的艺术表达，也作为一个具有代表性的案例，引发对有关当代艺术家在现实文化情境中所进行的艺术探索和讨论，进而推动艺术界与公众在视觉文化创新上的认知。

　　展览名称：棱镜—袁元艺术展

　　学术主持：范迪安

　　艺术家：袁元

　　展览时间：2016/01/09~2016/01/20

　　开幕时间：2016/01/09 下午3:30

　　展览地点：今日美术馆1号馆(北京市朝阳区百子湾路32号苹果社区4号楼)

　　主办单位：今日美术馆、中央美术学院

　　Press Release

　　Prism: The Art of Yuan Yuan Makes Its Debut in Today Art Museum

　　Exhibition Name: Prism – The Art of Yuan Yuan

　　Artistic Director: Fan Di’an

　　Artist: Yuan Yuan

　　Duration: 9-20 Jan. 2016

　　Opening: 3:30 P.M., 9 Jan. 2016

　　Venue: Building No.1, Today Art Museum (Pingod community, No.32 Baiziwan Road, Chaoyang District, Beijing)

　　Organizers: Today Art Museum, China Central Academy of Fine Arts

　　On the afternoon of January 9, 2016, Building No.1 of Today Art Museum will embrace one of the most important exhibitions in 2016 "Prism: Yuan Yuan’s Art ". The exhibition is co-organized by Today Art Museum and China Central Academy of Fine Arts. Focusing on the theme of "Prism", the exhibition presents the artist Yuan Yuan’s new works in three-dimensional way in the hope of promoting the art circles and the general public’s understanding on the trends of his art thinking and the latest achievements.

　　Fan Di'an, President of the Central Academy of Fine Arts and the exhibition academic chair, argues that, the theme of "Prism" describe Yuan Yuan’s artistic features accurately: "The images that Yuan Yuan created are beyond the traditional ‘reproduction’ category, which are the multiple reflections of pictorial representation and internal psychology, self-consciousness and cultural experiences. If the figurative painting in general meaning is like a mirror reflecting the external world objectively, Yuan Yuan’s exhibition is just like a ‘prism’, while representing the objective reality, it has transcended the expression of oil painting in languages and forms, and made conceptual explorations on the reflection of the spiritual world by the image formats, which makes his works a comprehensive creation of painting, material, installation and their interactive processes, reflecting rich levels of information and energy.”

　　In fact, this comprehensive approach is gradually formed inYuan's long-term artistic practice. Currently, he is the deputy director of Foundation Department of School of Fine Art,the Central Academy of Fine Arts(CAFA). He was admitted to Fine Arts School affiliated CAFA at 16 years old, and entered the First Studio of the Oil Painting Department of CAFA at 20, then he obtained his master’s degree under the mentorship of Mr. Du Dakai, Professor of the Academy of Arts & Design, Tsinghua University. After graduation, he became a lecturer at CAFA, and now is studying for doctoral degree with Professor Jin Shangyi. As a typical artist trained under the academic education, Yuan Yuan inherits the academic tradition of realism and the profound experiences of Chinese and western figurative oil paintings. His portrait and landscape works present an out-standing modeling ability and solid realistic foundation. At the same time, he hopes to break up the “model state” of academic artistic criteria to achieve the transformation from traditional realism to an extremely personal perspective, therefore he absorbs the brushstrokes and texture of expressionism, and studies the planar manipulation of the space in painting, and expands the modeling methods of figurative paintings. By using transparent acrylic plate and stainless steel mirror as "canvas ", as well as the thick coating, color collage and transfer printing, Yuan Yuan has made an innovation on work formation, which changed the existing forms of oil painting. And beyond the exploration on languages and forms, he pays more attention to making a breakthrough on the conceptual level of the artistic creation, makes efforts to explore the hidden characteristics of the times beneath the representation and express his object cognition and self-potential psychological narration, finally makes a breakthrough in the rules and ideology of the figurative painting at the level of language, forms and concepts.

　　The creation of the Prism series began in 2013, which fully embodies the characteristics of Yuan Yuan’s artistic practice. In the exhibition hall, dozens of 2-meter-high stainless steel mirrors are installed in the exhibition space at different angles, on which the male and female nudes with various postures were transfer painted, as well as the universe images on large-size easel painting with mysterious colors and abstract meaning forms a labyrinth array. In the mutual reflections between the mirrors and canvases, the exhibition hall becomes an uncertain illusionary space. In this space, “human being” is abstracted as a spiritual existence, while the viewers are integrated with the prism.In their lost and scattering figures, the viewerswill gain a familiar but extremelyunusualvisual and spiritual experience.

　　For the artist himself, the Prism Series is like the Genesis images at the beginning of the universe, as if the human might be facing the variation of the universe. It is both about the hope of new life coming from the tragedy of returning to dust, and the eternal pursuits “Warning & Hope” when the human facing the new millennium. Mr. Fan Di’an argues that weightless human body symbolizes the modern people’s inner confusion, anxiety and imbalances in the rapidly developing society, mirrors the living and mental state in the 'cloud era' of big data, which presents us a transcendental reality. Through the fictitious and realistic co-existence and comparison between human and material, human and world, the subjective consciousness and objective reality, this surreal landscape theater created with the realistic techniques reveals the artist's unique experience in the information age.

　　In overall situation of current cultural ecology, contemporary artists in China and even all over the world are facing the opportunities and challenges from the cultural context of globalization and informatization. The Prism Seriespresents the young artist Yuan Yuan’s cultural feeling and his breakthrough on artistic expression with the innovativeexhibition structure and display way. Meanwhile, as a typical case, the exhibition sparks a discussion on the contemporary artists’ artistic exploration under current cultural context, and then promotes the awareness of art circles and the public on the innovation of visual culture.