5.21在即，你计划如何度过？如何与心爱的TA提升甜蜜指数？

　　2023年5月21日，上空间艺术中心：「一直画画的两个人」四人联展将在上海正式拉开帷幕。此次展览特邀两对艺术界couple：艺术家张天幕与曾健勇、潘汶汛与彭剑联袂参展，现场展出了四位艺术家创作的60余件作品，包括中国画、装置等。此次展览由朱小钧担任策展人。

　　“两个人相互辉映，光芒胜过夜晚繁星。”（张信哲《爱就一个字》）。良性的爱情就是如此，因为有你，所以想让自己变得更优秀，让彼此成为一个共同体。艺术家们在个人和创作生活中的伴侣关系，始终启发和影响着他们在当代艺术史上的步伐。521，带上心爱的TA，来上空间开启一段满载爱意的心动时光吧。

　　策 展 札 记

　　curatorial notes

　　一直画画的两个人

　　Two People That Keep Painting

　　文  /  朱小钧

　　做这个展览有三个理由：

　　There are three reasons why I curated this exhibition：

　　1. 爱情是永恒的主题。「一直画画的两个人」在艺术圈更有故事性，而听故事是我们自幼的原动力。

　　1. Love is an eternal subject. The Two People That Keep Painting is more narrative in art circles， and listening to stories has been our original motivation since childhood.

　　2. 作为新空间，上空间需要一个展览品牌。持续做，传播才有持久力，展览才会被记住。所以，「一直画画的两个人」会成为上空间「521」档期的固定项目。

　　2. ArtSun Space needs a brand of exhibition as a new space. The promotion will only last when the exhibitions become ongoing and remembered by people. Therefore， The Two People That Keep Painting is now the rooted program in ArtSun Space every May 21st.

　　3. 第一季我们选了曾健勇/张天幕，潘汶汛/彭剑两组搭档，我认识他们十二年，看到他们相爱相知，从仰望星空到声名渐起，爱情互相扶持，而创作则各自独立。

　　3. In the first season， we selected two pairs of partners， Zeng Jianyong & Zhang Tianmu and Pan Wenxun & Peng Jian. Our acquaintanceship has been going on for twelve years. I witnessed them falling in love and getting to know each other from the beginning of their career to their established reputation and success. In relationships， they support the other but are independent regarding creation.

　　曾健勇 ：有「寻」必「见」Zeng Jianyong： Finding When Searching for It

曾健勇 诸野之浅

The shadow of  All Fields

纸本设色 90x130cm

2023年

　　曾健勇的作品，如同一扇窗，能引导我们的视野不断扩展，扩展的不仅仅是空间，还包括流动的气韵、迷朦的光线、氤氲的湿气，他甚至把动物的骨架和太湖石的结构相融，让我们看到内和外、历史与现实。我们在看似风景的画面里，能看到跨时空的桑田沧海，而在画面中体会思维边界的拓展，才是最曼妙的体验。

　　The works of Zeng Jianyong are like windows on the wall； they guide our visions to a broader space， the flowing air， the misty lighting， and the dense moisture. He recomposes the animals‘ skeletons and the Tai Hu Stones’ structure and shows us the inner and outside， history and reality. We feel the significant changes across centuries in landscape-like images and that the expansion of thinking boundaries in paintings is the most fantastic experience.

曾健勇 山水隔 之六

The Distance between Mountain and Water No.6

纸本设色  280x250cm

2021年

　　世间万物，一旦静止，它的美感和意味就更加强烈。曾健勇给我们打开的窗口，拓展了空间的时间性，一幅画帮你完成时间的位移：你可以注目感受他营造的陌生而熟悉的图景，平淡从容地体会内心能到达的「诸野」。而他在画面上组织的景观，就像教义的神谕：“如果你一心一意寻找我，就必寻见。”（《申命记》4：29）

　　Their aesthetics and meanings are even more substantial when everything in the world is still. The windows opened by Zeng Jianyong expand the timeliness of space for us； a painting is now capable of taking you to the translocation of time. You can stare at the images he creates， which are both strange and familiar to you， and feel the Wild Fields that can reach by heart in peace. And the landscapes he organizes on canvas are like the religious oracles， “You will seek me and find me when you search for me with all your heart.” Deuteronomy， 4：29

曾健勇 答案01

The Answer 01

纸本设色  100x68cm

2022年

　　张天幕：无「毒」有「偶」

　　Zhang Tianmu： No Poison， but Dolls Only

张天幕  不凡

Not 014

亚麻布 丙烯 棉布 填充物

38.5x51x5 & 38x30x4cm

2023年

　　时代的嬗变还是有目共睹，张天幕选择了用「偶」来消解这一切。其实用「稚气」「天真」「童趣」这些词来描绘张天幕的作品都不准确，我只能说她用这些柔软的材料，来对抗现实的剑拔弩张，和无序的日常握手言和。布还是那些布，「偶」已经不是那个「偶」。「无常时代的浪漫」，是张天幕用彩色的布营造的。那些「偶」用长长的名字，带你进入另外的时空。

　　The changes in times are apparent to all， and Zhang Tianmu chooses dolls to digest them. Describing her works with adjectives such as innocent or playful as a child is inaccurate. She uses all those soft subjects fighting against the drawn daggers in reality， shaking hands and making peace with the chaotic daily life. The clothes are still clothes， but the dolls are no longer merely dolls. The romance in changing ages is what Zhang Tianmu is trying to construct with colorful fabrics. And the dolls with their long names will take you into another time and space.

上图：张天幕 不定

Not 009

亚麻布 丙烯 棉布 填充物  80x79x8cm

2022年

下图：张天幕 不二

Not012

丙烯 亚 麻布 棉布 填充物 39x30x4.5cm

2023年

张天幕 不菲

Not 016

亚麻布、丙烯、棉布、填充物

65x40x4 & 71.5x31x5 & 64x40x4cm

2023年

张天幕 不动

Not 010

丙烯、亚麻布、棉布、填充物

61x50x6cm

2023年

　　「装可爱是一种毒药」是张天幕上一次个展的名字。「可爱」和「毒药」并置，也提示了艺术家对于时代的态度，我理解这种态度是「呵呵」。与横眉冷对的鲁迅不同，作为艺术家的张天幕用「偶」的「可爱」来展现观念：这些「偶」不只是一种调侃的表情，而是一种更舒展和简单的态度，这态度的背后是对人世更为达练的体察和理解--这样的艺术并非纪念碑，供人仰望，而是一条道路，带你轻松地走向远方。

　　Acting Cute is Toxic is the name of her last solo exhibition. Putting cute together with poison suggests the artist‘s attitude towards the generation， which is quite sarcastic. Unlike Lu Xun， the author who is always fierce-browed， Zhang Tianmu explains her concept through the doll’s cuteness. These dolls are sarcastic facial expressions and a smoother and simpler attitude. Behind this attitude are worldly-wise observations and an understanding of the land of the living. Art like this is different from a monument that is supposed to admire. Instead， it is a path to a faraway place with ease.

张天幕  世界很大我们只是没有相遇

The World Is Big

棉布 填充物  87x372x12cm

2022年

　　潘汶汛 ：向「内」求「真」Pan Wenxun： Seeking of Realness Inward

潘汶汛 摩崖间

Among Cliffs

145×76cm

纸本设色

2022年

　　一个既懂得如何和古人作朋友，也懂得在当下笔何时「停」的画家。潘汶汛用《少年》《岩上》《云音》等为题，传达「坐忘」「无我」「淡泊」的格局和境界。《世说新语》中说“人生贵得适意”，我们在潘汶汛的作品中可以清晰感受。这感受是净化的心智和情趣，是个体心灵在应对纷乱现实时选择的「逍遥」之境，这情境依靠画面传达的精神体验逾越了现实的不堪。她的画能够让站在画前的我们的情绪得到安抚，催生从容的智趣、和谐的心性--在《月光里》，在《摩崖间》，不妄求，不焦躁，不在意，不苟且。

　　Pan is an artist who knows how to befriend the ancients and when to stop her brush at the right moment. Pan Wenxun names her works with words such as Juvenile， On Rocks， and Sound of Clouds， to deliver the perspective and atmosphere of sit and forget selflessness and plainness. A New Account of the Tales of the World has mentioned that “comfort is the key to life，” and we can feel it in Pan Wenxun‘s works. It is a clarified mind and wisdom and is the free and unfettered realm chosen by an individual when facing chaos in life； such a spiritual experience gets over the painful reality. Her works pacify the audiences who stand before the paintings， making the mind’s intelligence， interest， and harmonious nature grow in moonlight or on cliffs. There is no inappropriate request， anxiety， concern， or drifting along.

潘汶汛 玉兔

Jade

60×62cm

纸本设色

2023年

　　这几年，和平年代的我们活出了兵荒马乱的感受，这个时代有一种满面春风的痛苦表情。而以《侠隐》《山中何所有》等为个展主题，透露出潘汶汛关心的其实还是自己的内心修为，作品「少年」和「心游」系列，是艺术家和儿子度过的日常，是她内心世界的建设和成长。在她沉静朴素的画面中，我们能读到平淡和天真，也能看到相信和美。

　　In the past few years， we have lived in a war-like society though it is a generation with peace. This generation is both radiant and painful. The titles of Pan‘s solo exhibitions， like Veiled Heroism and What is All in the Mountains， reveal that Pan Wenxun is concerned the most with her inner cultivation. The work series Juvenile and Wandering Heart describes the days she spent with her son that built up and developed her inner world. In the placid and simple images， we will read the plainness and innocence and will also see the belief and beauty.

少年(局部)

　　彭剑 ：有「法」无「界」

　　Peng Jian： Rules without Boundaries

彭剑 柳成荫X

Growing into Shadows X

宣纸、中国画颜料  206×137cm

2020年

　　跳脱开被「水墨」或「工笔」定义，画面有强烈的个人辨识度，是我个人理解的彭剑。有趣的是，他会在作品说明中强调「宣纸 中国画颜料」，而不是惯常的「纸本设色」。如果硬套一个国画的传统，他的画法可能被归入「界画」的范畴，但是和传统的界画又有着泾渭分明的差别：他用当代的题材和繁杂的色彩，和传统拉开距离。

　　I see Peng Jian as getting away from the traditional definition of ink wash or fine brushwork and having his identification. Interestingly， he would emphasize and explain in his work introduction that the medium is rice paper and Chinese painting ink rather than the general terms as ink on paper. If we categorize his works， they belong to boundary painting but still differ. His contemporary subjects and mixed colors distance themselves from tradition.

彭剑 有手形的画册The Artist Album with a Hand宣纸、中国画颜料  68×52cm2023年

　　一方面强调中国画的媒介和材料，用传统的路径展现当代的图式；另一方面，他以严谨的方法和耐心，去探寻传统中的抽象和本原，并以一种内敛的精神气质尊崇这种本原。所以，彭剑的创作带着鲜明的个人印记，在狭义的「水墨」和「当代」两种市场中都如鱼得水。

　　On the one hand， he brought the medium and materials of Chinese painting， utilizing the traditional path in a contemporary presentation. On the other hand， he searches for the abstraction and principles in tradition and admires the principle with an introverted spiritual temperament. That is why his works always contain a distinctive personal mark and have their places in the ink wash (in a narrow range of definitions) and contemporary art market.

彭剑 迷宫The Maze宣纸、中国画颜料  105x70cmX22018年

　　如果硬要归纳「一直画画的两个人」在某种意义上的一致性，我想是他们在心性上对喧嚣世事的疏离。这种疏离不是对日常社交的逃避，而是对现实生活的理性觉察，是对自我价值和道德标准的认真恪守，也可能是艺术家的「钝感力」。渡边淳一说，拥有「钝感」的人，更能够在竞争激烈的现实中从容应对。事实上，诵业易成，风骨难得。「一直画画」，「一直画画的人」，「一直画画的两个人」，都贵在坚持，而坚持的意义，就是让时间不知不觉地穿过此刻的我们，迎向未来。

　　If I have to state the commonness in some aspects of Two People That Keep Painting， it is being distant from the hustle and bustle of the world. That is not the evasion of daily socialization but a rational perception of real life， a strict self-value and moral standards ruling， or the artists’ insensitivity. Junichi Watanabe has said that insensitive people are more likely to handle the competitive reality easily. Success is comparatively easier to achieve， but the spirit is rare. Keep painting， a person that keeps painting， and two people that keep painting all tell us the importance of persistence. Persistence means letting time get through us at this moment and guiding us to the future.

　　朱小钧2023/4/26于北京

　　Zhu XiaojunApril 26th， 2023， in Beijing

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