破界：视觉秩序不定式——王芃森个人作品展

策展人：王志刚

策划：尚群艺术中心

展览时间：2022年8月23日—9月20日

开幕式：2022年8月27日下午4点

展览场地：FunnerART · 范ER艺术空间

展览地址：北京市朝阳区酒仙桥街道798艺术区七星东街三号楼

破界：视觉秩序不定式

王芃森作品解析

文/王志刚

王芃森近些年的艺术创作有个重要的特点，就是一直在突破边界，尝试用不同的绘画材质、语言和风格，推翻一段时期内固定的思维模式和审美惯性，进入否定之否定的螺旋上升认知过程。在某种程度上看，这个过程中的创作集合，是一组进行中的未完成作品，王芃森不断地解构和重建视觉秩序，然后又进入下一个不定式的破组环节，以此警惕掉进自我设定的“陷阱”里。

An important feature in Wang Peng-sen’s art creation in recent years is always to break through boundaries of fine arts. He did attempts in breaking fixed mindsets and aesthetic inertia in a period by different painting materials, languages and styles, and kept improving in the spiral cognitive process of double negation. In this process, to some extent, his creative set is a group of continuous unfinished works. For them, Wang constantly de-structured and rebuilt the visual order in his art creation, then did it in the next schema-less break, so as to prevent from falling into a self-imposed trap.

《010204-92号》23cmx30cm 纸本亚克力 2020年

《010204-96号》46cmx30cm 纸本亚克力 2020年

视觉秩序不定式，意味着视觉秩序不受自身逻辑和外部作用力的限制，可处于一定开放的状态——可质疑、可消解和再建立。王芃森作品中的视觉秩序不定式主要体现在两个方面：一是作品之间的风格和主题的可交替性“抛弃”；二是在某段时期的作品内部，对现成品图像追寻不一致性、不确定性。

The schema-less visual order means that the visual order is not limited by self logic and external forces, and it can be questioned, eliminated and rebuilt in a certain open state. The visual order in Wang’s works is reflected in the two aspects: one is the alternate abandon of style and topic between works, and the other is inconsistency and uncertainty pursued for the image of finished works in one period.

《010204-87号》23cmx30cm 纸本亚克力 2020年

作品之间的风格和主题可交替性“抛弃”，抵抗着艺术家有意或者无意设定的“陷阱”，不在静止中沉沦。固定的思维模式、审美判断的标准化和对事物的静止认知，时常让王芃森感到内心焦虑和不安。2008年以后，他一改《SHOW》系列作品中的青春现象叙事，创作了《向上爬》《无题》系列等具有象征意味的“青蛙形象”作品，对现实环境和人性进行解剖和思考，这些思考延续到了后面的《半自动》《燃眉》等作品，但此时的绘画风格已发生了深刻转变，从色彩绚烂的写实转变到画面暗沉的半写意。王芃森努力地在作品中阐述生命、希望和活着的意义，对于他而言，“生命过程的持续就是个人生命历程的自然体现”，于是他“彻底抛弃了追求某种设定的作品风格和创作主题方向”。因此，我们看到后来的《万物生长》到《010204》系列作品，又是新的一轮“抛弃”，在“抛弃”中再获新生，从具象的人性自我审视，到抽象的超验性关照，正如艺术家所说：“现实与切身感受给予我的素材在时间流淌的过程中被消解成抽象的色块。”

Such abandon enables to resist the trap set consciously or unconsciously by artists, to make sure they can’t sink down in a static state. Fixed mindset, standardized aesthetic judgment and the static cognition of things often made Wang feel worried and upset. After 2008, he gave up his painting way of the youth narration in the series of Show, but instead, created a series of symbolic frog-image works such as the Climbing-up and the Untitled Painting to provide analysis and thinking over reality and human nature. Such thinking extends to the following such works as Semi-Automatic and the Ran Mei. However, in this period, his painting style changed greatly from colorful realistic painting to dark freehand brushwork. He made great efforts to depict the meanings of life, hope and being alive in his works. As far as he is concerned, “the continuity of life is a natural embodiment of individual life course”. So he “thoroughly abandons the pursuit for work style and creating topic set artificially”. Hence, we saw his following series works such as All Things Grow and the 010204. All this means a new round of his abandon; a new life is given in the abandon, the concrete human nature is self-inspected, and and the abstract transcendence is presented. Just as an artist said, “my materials given by reality and personal experience are decomposed of abstract color patches in the time flowing.”

《SHOW》   系列  2007年

《万物生长》系列  2017年

《燃    眉》  系列  2012年

《010204》  系列  2020年

在作品中追寻不一致性、不确定性，实质上，艺术家是“再建立一种接近精神性的视觉秩序”。《010204》中的现成图像主要来源于杂志上的画面，画面上的视觉、符号、故事在原来的语境中有自身的秩序，假如说艺术家创作的画面是自我陷阱，那么这些外来画面则是他者的人为设定。王芃森试图用抽象的色彩“打乱原来人为视角的设定，追求超越的视觉感受”，抽象的色块消解了《010204-85号》中人物所处在的现实环境，甚至在《010204-86号》中几乎重新创造了一个审美画面。艺术家认为，只要生命存在着，体验就会永远存在，超越泛叙事和打破具体形象的想象，可以摆脱某些无法超越的现实，让思维、审美与生命在自由、独立中共生。

Both consistency and uncertainty in pursued in works essentially mean that artists establish a visual order approaching to spirituality”. The existing images in the 010204 mostly come from pictures in magazines. Visuals, symbols and stories in pictures are arranged in their own order in original contexts. Suppose the alien images created by an artist are self traps, they will be set artificially for the others. Mr. Wang tries to employ abstract colors to “mess with original artificial settings to pursue for transcendent visual feelings”. The abstract color patches decompose the realistic environment for characters in No. 010204-85, and even he almost created an aesthetic image in No. 010204. According to artists, as long as life exists, the experiences come forever; transcending pan-narration and breaking down concrete imagination might help humans get rid of some insuperable realities, so that thinking, aesthetics and life co-exist in freedom and independence.

《010204-107号》23cmx30cm 纸本亚克力 2020年

不定式激活了相对稳定的视觉秩序，也让视觉秩序有了更多的可能性。虽然不定式的艺术创作已是一个创作型艺术家的基本素养，但样式化、符号化腐蚀了很多艺术家的创造力，王芃森却不然，他甚至进一步把“不定式”作为创作的手段和思想的表达，形成一种创作上的战术，类似于“游击战”，不拘泥形式和题材。就如他说，只有不确定性摆脱自我设定的陷阱，无边界的思考才能到达一种没有束缚，相对纯粹的自由状态。

The schema-less way activates relatively stable visual order, and makes the order have more possibilities. Though the schema-less artistic creation is also creative artists’ essential quality, both styling and symbolizing erode many artists’ creativity. However, it doesn’t so for Mr. Wang Peng-sen. He even further took the schema-less way as his creating means and thinking expression to form a creative tactic, similar to the guerrilla tactic, which is not restricted to forms and subject matters similar to the guerrilla tactic. Just as he said, only when do you get rid of the self-setting trap by uncertainty, you can reach a unrestricted and relative pure free state by the boundaryless thinking.

《010204-211号》120cmx120cm

布面丙烯 油画棒 2022年

艺术简历

王芃森

2006年毕业于鲁迅美术学院油画系

现供职于辽宁美术馆

部分展览经历

•2020年 将至 已至 艺术展 中国沈阳

•2018年 中西文化交流展 西班牙巴塞罗那

•2012年 回归一种视觉方式艺术展 中国沈阳

•2009年 艺术东北 艺术家联展 中国沈阳

•2009年 中国宋庄国际艺术节 中国北京

•2007年 第二届中国当代艺术文献展 中国北京

•2007年 中韩现代艺术交流展 韩国首尔

•2007年 北方新干线艺术展 中国北京