海报

王易罡、魏立刚、魏墨艺术展

Wang Yigang、Wei Ligang、Wei Mo Art exhibition

展览信息

展览名称：磐 — 艺术展

展期：2025.06.21 - 2025.07.30

画廊时间：10：00 - 19：00

地址：上海市莫干山路50号M50，3-109

Exhibition information

Exhibition Title：Art exhibition ”PAN“

Duration：2025.06.00 - 2025.00.00

Gallery Hours：10am - 7pm

Venue：No.50 Moganshan Rd., 3-109, Putuo, Shanghai

文/张妍

“磐——王易罡、魏立刚、魏墨艺术展”以“磐石”为隐喻，于上海H Gallery构建起探讨艺术本体的深邃哲学场域。三位艺术家对媒介的突破，本质上是认知维度的拓展——他们从东方性表达出发，却超越东西方界限，在书写与艺术本体的探索中，以各自独特的视觉语言，完成对艺术本质“无界交融”的生动诠释。

The exhibition Pan — Wang Yigang, Wei Ligang, Wei Mo Art Exhibition employs the metaphor of "bedrock" to construct a profound philosophical realm at Shanghai's H Gallery, delving into the ontology of art. The three artists' breakthroughs in medium essentially represent an expansion of cognitive dimensions—rooted in Eastern expression yet transcending East-West boundaries, they explore the interplay between calligraphy and artistic essence. Through their distinct visual languages, they vividly interpret the "boundless fusion" at the core of art.

王易罡：在“破坏与放弃”中抵达真实

Wang Yigang: Arriving at Truth Through "Destruction and Abandonment"

王易罡

1961年出生在黑龙江齐齐哈尔，1986年毕业于沈阳鲁迅美术学院油画系，现任中国美术家协会会员、中国美术家协会策展艺术委员会委员、中国艺术研究院创作中心特聘研究员、中国写意研究院第一届常务理事，同时他也是母校沈阳鲁迅美术学院教授、研究生导师，原鲁迅美术学院美术馆馆长。

王易罡作为当代艺术代表性的艺术家之一，绘画风格多元，有表现的、有抽象的，也有倾向于波普的图像式绘画，在不同的创作阶段，王易罡都因作品的前卫与实验性而倍受批评界关注。他的绘画创作起步于20世纪80年代初期，迄今已有40年的历程。

WANG YI GANG

Born in Qiqihar, Heilongjiang in 1961, Wang Yigang graduated from the Oil Painting Department of Lu Xun Academy of Fine Arts in Shenyang in 1986. He is currently a member of the China Artists Association, a member of the Curatorial Committee of the China Artists Association, a specially appointed researcher at the Creative Center of the Chinese National Academy of Arts, and a standing council member of the first China Freehand Brushwork Research Institute. He also serves as a professor and postgraduate supervisor at his alma mater, Lu Xun Academy of Fine Arts, and was formerly the director of the Lu Xun Academy of Fine Arts Art Museum.

As one of the representative figures in contemporary Chinese art, Wang Yigang’s painting style is diverse, ranging from expressionist and abstract to pop-inspired graphic works. Throughout different creative phases, his avant-garde and experimental approach has consistently drawn critical attention. His artistic career began in the early 1980s, spanning over four decades to this day.

王易罡的抽象艺术是一场对传统、知识与经验的解构实验。他以厚重油彩堆叠消解传统绘画的再现功能，让颜料脱离叙事成为“存在的诗性表达”。他将“行为”注入绘画，在纯抽象、无序的状态中寻找自由——放弃既定文化与经验的桎梏，让身体穿梭、动作介入画布，甚至以悬吊奔跑的“献身式”创作，让偶然、偶发的痕迹成为生命真实的注脚。

Wang Yigang's abstract art is an experiment in deconstructing tradition, knowledge, and experience. Through thick impasto layers, he dissolves the representational function of traditional painting, liberating pigment from narrative to become a "poetic expression of existence." He injects "action" into painting, seeking freedom in pure abstraction and chaos—breaking free from the constraints of established culture and experience, allowing his body to traverse and intervene on the canvas. Even adopting a "devotional" approach of suspended, running gestures, he transforms accidental and spontaneous marks into authentic annotations of life.

《抽象作品65号》2024

《Abstract Work No. 65》2024

布上油画

Oil on Canvas

80×120cm

《抽象作品DL36号》2025

《Abstract Work DL36》2025

布上油画

Oil on Canvas

100×100cm

《抽象作品DL76号》2025

《Abstract Work DL76》2025

布上油画

Oil on Canvas

60×60cm

《抽象作品DL77号》2025

《Abstract Work DL77》2025

布上油画

Oil on Canvas

60×60cm

他坦言：“放弃知识、文化、现成的一切，才可能触达最真实的表达。”这种对“惯性经验”的警惕，使其作品超越西方抽象表现主义，融入中国禅宗“无执”思想——画布是生活的痕迹，身体是媒介的延伸，如“胜利V系列”中重复性书写带来的“经验归零”，让随机性偶得成为生命在场的证明。当绘画超越视觉，他以“行动抽象”构建起东方哲学与西方艺术语言的交融场域，直指“自由即创造本质”的核心命题。

He candidly states: "Only by abandoning knowledge, culture, and all that is ready-made can one touch the most authentic expression." This vigilance against "habitual experience" elevates his work beyond Western Abstract Expressionism, infusing it with the Zen Buddhist concept of “non-attachment”—where the canvas becomes a trace of lived existence, and the body an extension of the medium.  In works like the “Victory V Series”, repetitive calligraphic gestures achieve a "reset of experience,"transforming random occurrences into testaments to life's immediate presence. When painting transcends the visual, Wang constructs an intersection of Eastern philosophy and Western artistic language through "Action Abstraction," ultimately pointing to the fundamental proposition: “freedom is the very essence of creation.”

魏立刚：从汉字解构到“书象”哲学的视觉突围

Wei Ligang: From Deconstructing Chinese Characters to the Visual Breakthrough of "Calligraphic-Imagery" Philosophy

魏立刚

1964年出生于山西大同，现生活工作于北京。开创书象派与国际书象学社，现任中国现代书法艺术学会副会长。魏立刚的艺术创作始于天津南开大学数学系就读期间，师承王学仲、孙伯翔等。先后主导发起策划多个意义重大的中国现代书法艺术运动展览、论坛、出版等。2005年荣获ACC亚洲文化协会年度艺术家大奖后赴纽约交流创作，后开启全球学术考察驻留，其创作名誉海内外。他以艺术家、策划者、教育者的多重身份致力于书写现当代性的视觉理论研究及东西方文化交流。

其四十余年的职业艺术实践关注探究东方抽象纯粹视觉性及本土文化复兴的使命，把“书写”拓展为对应宇宙万物、建构“结构本身”的艺术形式，打造一种基于汉字线条和空间结构的普世抽象语言，为中国当代水墨艺术中最早的个人视觉语言之一。

重要收藏机构包括伦敦大英博物馆、中国国家博物馆、中国美术馆、巴黎赛努奇亚洲艺术博物馆、洛杉矶郡立美术馆(LACMA)、西雅图盖茨基金会、旧金山现代艺术博物馆、爱尔兰皇宫、不丹王室、皮诺家族收藏、香港艺术馆(HKMoA)等中外艺术机构

收藏。

WEI LI GANG

Born in 1964 in Datong, Shanxi Province, currently lives and works in Beijing. Founder of the Shu-Xiang School and the International Shu-Xiang Society, he now serves as Vice President of the Chinese Modern Calligraphy Art Association.

Wei Ligang's artistic journey began during his mathematics studies at Nankai University in Tianjin, where he studied under masters Wang Xuezhong and Sun Boxiang. He has spearheaded numerous groundbreaking exhibitions, forums, and publications that shaped China's modern calligraphy movement. After receiving the 2005 ACC (Asian Cultural Council) Annual Artist Award, he embarked on creative exchanges in New York, followed by global academic residencies, establishing his international reputation.

As an artist, curator, and educator, Wei has dedicated himself to advancing visual theories of contemporary calligraphy and fostering East-West cultural dialogue. Over four decades, his practice has pursued two core missions: exploring Eastern abstraction's pure visuality and revitalizing native cultural traditions. He transforms "writing" into an artistic form that mirrors cosmic structures, creating a universal abstract language based on Chinese characters' linear and spatial foundations—one of the earliest individualized visual languages in Chinese contemporary ink art.

魏立刚的创作，是东方书写传统与现代性视觉语言的破界对话。数学系的逻辑训练，为其埋下“结构解构”的思维底色，而大学时期天津城东西方文化交融的土壤，更唤醒他对传统书法的现代性觉知——从钻研傅山书法的狂放气韵，到将汉字拆解为点画“视觉基因”，他在“字象”与“书象”的转换中重构书写本质。以“魏氏魔块”实验打破书法与绘画的边界，让汉字方块成为兼具商周金文厚重感与现代几何秩序的象征符号；进而以“书象”创作升维书写本质，让笔触与结构超越语义桎梏。

Wei Ligang's practice embodies a boundary-breaking dialogue between Eastern calligraphic traditions and modern visual language. His mathematical training instilled a foundational logic of "structural deconstruction," while Tianjin's East-West cultural fusion during his university years awakened a modernist consciousness toward traditional calligraphy.From studying the unrestrained energy of Fu Shan's calligraphy to dissecting characters into primal "visual DNA" of strokes, he reconstructs writing's essence through transmutations between "glyph-images"  and "calligraphic-images" . His experimental "Wei's Magic Blocks" obliterate boundaries between calligraphy and painting, transforming square characters into symbolic forms marrying the gravitas of Shang-Zhou bronzeware inscriptions with modernist geometric order. Ultimately, his "Shu-Xiang" creations elevate writing into higher dimensions, liberating brushwork and structure from semantic constraints.

《叠罗镜》2025

《Stacked Prism Mirror》2025

宣纸·墨·丙烯

Xuan Paper·Ink·Acrylic

126×97cm

《埃及庙砖》2025

《Egyptian Temple Brick》2025

宣纸·墨·丙烯

Xuan Paper·Ink·Acrylic

97×127cm

《孔雀》2017

《Peacock》2017

宣纸·墨·丙烯·漆

Xuan Paper·Ink·Acrylic·Lacquer

69.5×138cm

《阁》2003

《Peacock》2003

纸板·墨·丙烯·刀刻

Cardboard·Ink·Acrylic·Knife Carving

18×54cm

《蝶梦》2002

《Dish Dream》2002

纸板·墨·丙烯·刀刻

Xuan Paper·Ink·Acrylic·Knife Carving

39×54cm

《巴黎的家》2013

《Home In Paris》2013

纸板·墨·丙烯·刀刻

Xuan Paper·Ink·Acrylic·Knife Carving

14×57cm

《章获斋》2013

《Zhang Huo Zhai》2013

纸板·墨·丙烯

Xuan Paper·Ink·Acrylic

17.5×38.5cm

他深谙“艺术本质无问东西”，故从汉字母体出发，以“解构传统符号、重构视觉哲学”为径——让古老笔触融入现代抽象构成，使书写成为跨越地域的“意义载体”，在东西方性的交融中，完成对传统书法从“文字书写”到“艺术本体”的创造性转化。

He profoundly understands that "the essence of art transcends East and West." Thus, beginning with the matrix of Chinese characters, he forges a path of “deconstructing traditional symbols to reconstruct visual philosophy”—infusing ancient brushwork with modern abstract composition, transforming calligraphy into a universal "vessel of meaning." Through this synthesis of Eastern and Western sensibilities, he achieves a creative metamorphosis: elevating traditional calligraphy from “character-writing” to “artistic ontology”.

魏墨：在“线质基因”与生活形式中重释书法

Wei Mo: Reinterpreting Calligraphy Through "Linear DNA" and Forms of Life

魏墨

1978年生于甘肃兰州。客居嵩山15年， 现居南京。曾任《十方艺术》系列杂志执行主编，作品发表于《江苏画刊》、《东方艺术》、《库艺术》、《南方文坛》、日本《六月风》等杂志。

个展：

魏墨个展 (南京墨研會 2024)

当春乃发生——魏墨个展（杭州西湖艺术博览会.2024）

稼圃集——魏墨书写陶作展（浙江横店 2023）

嵩游记——魏墨个人作品展（郑州十方馆．2015）

主要联展：

吃饭睡觉——书写艺术展（南京 南视觉美术馆）

英国约翰.莫尔绘画奖 (上海 久事美术馆2025)

佛罗伦萨文化与视觉艺术奖提名（英国伦敦 2023）

书的解放展（日本东京）

文字文明——中韩汉字艺术展（韩国首尔）

嵩山艺术群落十周年文献展（今日美术馆 .北京）

首届亚太艺术展 （南京大学美术馆 2018）

中国木活字印刷与当代汉字水墨（澳大利亚）

没头脑和很高兴艺术博览会（798妙有艺术空间.北京）

山上山下——关于水墨汉字艺术的对话展（岭南美术馆.东莞）

吾径一一青年艺术家作品展（光语美术馆.北京）等

WEI MO

Born in 1978 in Lanzhou, Gansu Province. Resided in Songshan Mountain for 15 years, currently lives in Nanjing. Former executive editor of the ：《Ten Directions Art》series, with works published in《 Jiangsu Pictorial》,《Oriental Art》, 《Ku Art》, 《Southern Cultural Forum》, and Japan's 《June Wind》 among others.

Solo Exhibitions:

2024 Wei Mo Solo Exhibition (Nanjing Moyan Hui)

2024 When Spring Arrives – Wei Mo Solo Exhibition (Hangzhou West Lake Art Expo)

2023 Harvest Studio – Wei Mo Calligraphic Ceramics Exhibition (Hengdian, Zhejiang)

2015 Songshan Journeys – Wei Mo Solo Exhibition (Zhengzhou Shifang Gallery)

Group Exhibitions:

2025 Eating Sleeping – Writing Art Exhibition (Nanjing N Visual Art Gallery)

2025 John Moores Painting Prize (Shanghai Jiushi Art Museum)

2023 Florence Culture & Visual Arts Award Nomination (London, UK)

Liberating the Book (Tokyo, Japan)

Character Civilization – Sino-Korean Hanja Art Exhibition (Seoul, Korea)

Songshan Art Community 10th Anniversary Archive Exhibition (Today Art Museum, Beijing)

2018 First Asia-Pacific Art Exhibition (Nanjing University Art Museum)

Chinese Woodblock Printing & Contemporary Ink Art (Australia)

No Brain But Happy Art Fair (798 Miao You Art Space, Beijing)

Above/Below the Mountain – Dialogue on Ink and Character Art (Lingnan Art Museum, Dongguan)

My Path – Young Artists Exhibition (Light Language Art Museum, Beijing)

魏墨于嵩山脚下苦修十五载，以狂放风格诠释尼采“酒神精神”，却始终扎根东方书写的“线质基因”。他打破传统书法的结构范式，将线条解构为充满张力的视觉符号——看似肆意挥洒的笔触，实则是对当下生存状态的隐喻：如维特根斯坦“语言游戏”般，在笔墨的“交互碰撞”中重构书法的“生活形式”。

After fifteen years of ascetic practice at the foot of Songshan Mountain, Wei Mo channels Nietzsche's “Dionysian spirit“through unbridled brushwork, while remaining rooted in the "linear DNA" of Eastern calligraphy. His practice shatters calligraphy's structural paradigms, deconstructing strokes into tensed visual signifiers—those seemingly unrestrained gestures actually serve as metaphors for contemporary existence. Like Wittgenstein's "language games," he reconstructs calligraphy's "forms of life"through the "interactive collisions" of ink and brush.

《贪图享乐》2025

《Seeking Pleasure》2025

墨·宣纸

Ink·Xuan Paper

136×68×2cm

《松长翠 白云闲》2025

《Pines stretch evergreen  white clouds idle》2025

墨·纸

Ink·Paper

136×68×2cm

《松弛感》2025

《Relaxed Vibe》2025

墨·纸

Ink·Paper

136×68cm

《抱一》2025

《Embrace the One》2025

墨·纸

Ink·Paper

136×68cm

不同于传统文人书法的含蓄，他的现代书法更似一场“身体与笔墨的即兴对话”：线条的扭曲、断裂、重叠，是情绪的直接外化，却暗合东方美学“得意忘形”的境界——放弃对“字形正确”的执念，让线条回归“生命律动”的本质。这种创作既承接东方书法“以书达意”的精神传统，又融入西方现代艺术对“个体表达”的极致追求，证明艺术的本真从不被地域标签束缚，而在于通过独特语言抵达人类共通的情感与哲思。

Unlike the restraint of traditional literati calligraphy, his modern brushwork resembles an "improvised dialogue between body and ink"—where twisted, fractured, and overlapping lines become direct emotional conduits, yet serendipitously echo the Eastern aesthetic ideal of "capturing spirit beyond form" . By relinquishing obsession with "correct glyphs," he returns strokes to their primal "life rhythms." This practice simultaneously inherits Eastern calligraphy's spiritual tradition of "conveying meaning through writing" while embracing Western modernism's radical pursuit of individual expression. It proves artistic authenticity transcends geographical labels, residing instead in the power of unique visual language to evoke universal human emotions and philosophical contemplation.

​三位艺术家的创作，恰似德勒兹“块茎理论”中的蔓延生长：

王易罡以“身体行动”消解媒介边界，

魏立刚以“符号重组”激活传统基因，

魏墨以“线质基因”重释书写精神。

他们从东方性的“书写”出发，却在对艺术本体的追问中超越东西方分野——当油彩、墨线、笔触不再是地域文化的“标签”，而是艺术家抵达真实、探索自由的“语言工具”，艺术的本质便在“破坏与重构”“放弃与新生”“东方与西方”的交融中，显影为一场永不停息的精神生长。

正如展览“磐”的隐喻：艺术的永恒，不在于形式的稳固，而在于始终如磐石般坚定的、对本质的不懈追问——这种追问本身，便是跨越时空的“无界共鸣”。

The artistic practices of these three creators resonate with the sprawling growth described in Deleuze's "rhizome theory":

Wang Yigang dissolves medium boundaries through "bodily action", Wei Ligang  revitalizes traditional DNA via "sign recombination" , Wei Mo reinterprets script's essence through "linear genetics" .Though rooted in the Eastern paradigm of "writing," their interrogation of art's ontology transcends East-West dichotomies. When oil pigment, ink lines, and brushstrokes cease to be cultural "labels" and become instead "linguistic tools" for truth-seeking and liberation, art's essence emerges through perpetual dialectics:

Destruction/Reconstruction

Relinquishment/Renewal

Eastern/Western

Like the exhibition's bedrock metaphor "Pan", artistic eternity resides not in formal stability, but in the unwavering pursuit of essence—a pursuit that itself becomes timeless, "boundless resonance".