在回溯中理解当代艺术“何以如此”
对话 | “道法自然” 范一夫山水中的破界与归真
对话 | 在开放和自由中确立艺术价值
阿拉里奥画廊上海转型：为何要成为策展式艺术商业综合体？
再问 | 范钟鸣：无论是在顺境或逆境下，艺术家都有着不灭的独立创造精神！
2026-03-27 00:00:00 未知
明圆美术馆展出的“平凡 · 超越——上海疫情日记”，以隔空的形式，发现于这座城市内在流动的艺术气息，共同凝聚起我们对于未来的期盼和憧憬。展览得到了十八位上海艺术家鼎力支持，我们于此推出艺术家“再问”系列，从创作与阅读的双向角度，去展现“平凡·超越”的艺术态度。
The online exhibition “Beyond the Ordinary - Shanghai Epidemic Diary” , in Mingyuan Museum, In the form of remote dialogue, we found that the artistic atmosphere flowing in the city embodies our expectation and yearning for the future. The exhibition is fully supported by 18 Shanghai artists. Here, we launch the artist's "Ask again" series, showing the artistic attitude of "ordinary and transcendence" from the two-way perspective of creation and reading.
范钟鸣 《2019-07-桃花潭的屋顶风扇》
亚麻布、竹条、丙烯
140×120cm 2019 （合肥出展桃花潭文化公司收藏）
“重要的是要自然而然地流露，
而不是去刻意追求。
真正的风格是自然形成的，
所以我不追求风格。”
_范钟鸣如是说。
明圆美术馆（下文简称“M”）：
作为一名土生土长的上海艺术家，海派文化是否有参与到您创作风格的形成中去？
Mingyuan Art Museum (hereinafter "M") :
As a native Shanghainese artist, has the culture of the Shanghai school been involved in the formation of your creative style?
范钟鸣（下文简称“范”）：海派文化对我的创作是否有影响，我自己不太清楚，至少在创作和思考时，我从未有意识地追求过海派文化，也许旁观者清吧。作为土生土长的上海人，或许会在作品中有一种自然的流露，就像我在日本的几十年生活经历也会在我的作品里留下某些痕迹一样。重要的是要自然而然地流露，而不是去刻意追求，因为我认为刻意追求会减弱作品的真实性。风格的问题也是这样的，真正的风格是自然形成的，不是合成的。自然形成就意味着有很大的不确定性，而且是动态的。如同一棵大树的形态形成有其生长基因的主导作用，同时也受到了诸多自然因素的影响，还可能由于不可预测的基因突变而发生独特的变化。所以我不追求风格。
Fan Zhongming (hereinafter "Fan"): I am not sure whether the culture of the Shanghai school has influenced my creation, at least I have never consciously pursued it in my creation and thinking, maybe it is clear from the sidelines. As a native Shanghainese, perhaps there is a natural flow in my works, just as my decades of living in Japan have left some traces in my works. The important thing is to reveal it naturally, rather than deliberately pursuing it, because I think deliberately pursuing it will diminish the authenticity of the work. The same is true of style. True style is naturally formed, not synthetic. Natural formation means that there is a great deal of uncertainty, and it is dynamic. Just as the formation of a large tree has the dominant role of its growth genes, it is also influenced by many natural factors and may undergo unique changes due to unpredictable genetic mutations. That is why I do not pursue style.
范钟鸣 《单色树枝画》
树枝、木板、丙烯
110×81×30 cm 2020
“我彻底搞不懂了，
我所学的中国画论知识、苏派画法、社会主义现实主义美学理论、
辩证唯物主义哲学，
都无法帮助我去理解眼前眼花缭乱的
不可解的作品。”
M：既然您提到自己旅居日本的经历了，那想必当时的您肯定切身感受到了中日两国之间的巨大差距，毕竟彼时的日本还处在黄金时期，正做着“世界第一”的美梦。在那段时期里，有哪些最令您感到震撼的断片？
M: Since you mentioned your experience in Japan, you must have felt the huge
gap between China and Japan at that time, after all, Japan was still in its golden age and was dreaming of being the world's NO.1. What was the most shocking fragment you saw during that period?
范：那是很久很久以前的事了，我的青年时代，中国与世界发达国家的差距是巨大的，而且这种巨差由于当时的信息不对称，我并不太知道。临行时，我奶奶塞给我7万日元说：“伢子你到那里要吃苦了，活不下去就回来。”结果由于外汇管制，这7万日元在虹桥机场还被查出来，由机场人员送出来交给我送行的弟弟了。
Fan: It was a long, long time ago, when I was a young man, the gap between China and the developed countries of the world was huge, and this huge difference was not known to me due to the asymmetry of information at that time. When I was about to leave, my grandmother slipped me 70,000 yen and said, "You have to suffer there, come back if you can't survive." Due to the foreign exchange control, the 70,000 yen was checked out at Hongqiao Airport and sent out by airport personnel to my brother who was seeing me off.
1981年在涉谷的摩艾雕雕像前留影
当时的日本确实如日中天，高速发展。记忆犹新的是，在我到达日本成田机场前体验过的日常交通的最快速度是时速五、六公里的上海公交车，所以乘坐东京的地铁相当于现在乘坐高铁，导致我很长一段时间都晕地铁。
At that time, Japan was really developing at a high speed. What I remember vividly is that the fastest speed I experienced before arriving at Narita Airport in Japan was Shanghai bus going five or six kilometers per hour, so taking the Tokyo subway was equivalent to taking the high-speed train now, which caused me to get subway sick for a long time.
40年后又在摩艾雕像前留影
当然，震动我的还是美术馆里的那些欧洲藏品。记得学画时有一回朋友带我去拜访老画家周碧初先生，周老谈起他欧洲留学时观赏的欧洲油画原作如何如何好，当时对我而言那是何等令人神往又望洋兴叹的奢侈呀！而当那些原作真的出现在我眼前时，真有点做梦的感觉！
Of course, what shocked me was the European collection in the museum. I remember when I was studying painting, a friend took me to visit the old painter, Mr. Zhou Bichu, who talked about how good the original European paintings he had seen when he was studying in Europe were. And when those original paintings really appeared in front of my eyes, it really felt like a dream!
更为震撼的是逛画廊时看到的日本现代美术（日本当代艺术）完全与国内的全国美展里的美术作品风马牛不相干，那时日本的物派新潮正值全盛时期，木材、水、火、泥土、石油、钢铁、石头、玻璃各种材料都纷纷粉墨登场。我彻底搞不懂了，我所学的中国画论知识、苏派油画画法、社会主义现实主义美学理论、辩证唯物主义哲学，包括鲁迅、付雷，刘海粟等人的美术读物都无法帮助我去理解眼前眼花缭乱的不可解的作品。有一次，我趁餐馆打工的午休时间溜出去看一个附近私立美术馆举办的展览，实在是看不懂，忍不住就用英语问身旁的一位先生，这些作品画的是什么？谁知他竟然就是这个美术馆的馆长塚原琢哉先生！
What was even more shocking was that the Japanese modern art (Japanese contemporary art) that I saw when I visited the gallery was completely unrelated to the art works in the national art exhibition in China, when the new wave of Japanese materialism was in its heyday, with wood, water, fire, clay, oil, steel, stone and glass all making their appearance. My knowledge of Chinese painting theory, Soviet oil painting, socialist realist aesthetic theory, dialectical materialist philosophy, including art readings by Lu Xun, Fu Lei, Liu Haisu and others could not help me to understand the dazzling and incomprehensible works in front of me. Once I took a lunch break from my part-time job at a restaurant to go see an exhibition at a nearby private art museum, and I couldn't help but ask a gentleman next to me in English what these works were. Who would have thought that he would be Takuya Tsukahara, the director of this museum!
“你从哪儿来的？”
“上海。”
“社会主义中国的上海？”他非常吃惊地问道。
“是的。”我很自信地答道。
“你到日本来干吗？”
“我想学艺术，但目前没钱去学。”
一周后，塚原先生带我去见了日本大学油画系系主任，他对系主任说，这上海小子来东京想学艺术，但没钱，系主任看了我的素描和油画的照片，当即说明天就来吧，到大四的油画工作室来画画，不要钱。可以画画啦！我很兴奋。那之后每天午后打工完了就去日大画室画画，可是每次空荡荡的画室里连我在内也就四五个学生，模特儿倒是准时来准时走。你们班上就这几个学生吗？我问了周围的同学才得知当时大多数年轻人早已不画模特儿写生了，他们搞现代美术（当代艺术）去了。后来我和塚原琢哉先生成了忘年交，他是日本著名的先锋摄影家之一。
A week later, Mr. Tsukahara took me to see the head of the oil painting department of the Japanese University. He told the head of the department that this Shanghai boy came to Tokyo to study art but had no money, and the head of the department looked at my sketches and oil paintings and immediately said come tomorrow, come to the oil painting studio, no money. I can paint now! I was very excited. After that, I went to the studio every afternoon after my part-time job, but every time there were only four or five students in the empty studio, including me, but the models came and left on time. Is this the only number of students in your class? I asked the students around me and found out that most of the young people at that time had already stopped drawing models and were engaged in modern art (contemporary art). Later I became friends with Mr. Takuya Tsukahara, one of the famous pioneer photographers in Japan.
范钟鸣 1981年在日本大学油画系写生作品
油彩、帆布
1981
范钟鸣 《风景》
卡纸、水粉画颜料
37×34 cm 1980
范钟鸣 《越王勾践剑》
木板、亚克力颜料
96×77 cm 1991
塚原琢哉摄影作品，摄于华沙，1976年
春天来了，华沙人在露台上尽情聊天。
塚原琢哉摄影作品，摄于格但斯克，1974年
巴尔干海的凉风吹来，人静止了，而海鸥在云间骚动。
塚原琢哉摄影作品，摄于乌克兰，1999年
登上可以鸟瞰卢布夫的小丘可以从地理上检证波兰的历史，波兰人只会感到辛酸的屈辱。这个呆立的男人传达了这一切。
我旺盛的好奇心驱使我对越搞不懂的东西越感兴趣，渐渐的我也没心思画模特儿了，有时间就去逛画廊看展览，找日本艺术家聊天，打工所得都买了现代美术的理论书，我知道了杜尚、劳申伯格、伊夫·克莱因……一年后回国时，我带回来了几十公斤的书。
My exuberant curiosity drove me to be more and more interested in things I couldn't understand. Gradually I didn't care about painting models, and when I had time, I went to galleries to see exhibitions and chatted with Japanese artists, and all the proceeds from my part-time job bought theoretical books on modern art. I learned about Duchamp, Rauschenberg, and Yves Klein ...... When I returned home a year later, I brought back dozens of kilos of books.
“日本仍然笼罩在欧美艺术之下，
真正的日本美术尚未出现！”
M：面对欧美文化的入侵、消费主义的泛滥，日本艺术界必然会面临艰难的抉择，走出全然不同的探索道路，您前几年翻译的《日本美术尚未生成》一书也曾着眼于此。您是以何种契机翻译这本书的？对日本艺术又有哪些切身的体验或感悟？
M: Faced with the invasion of European and American culture and the proliferation of consumerism, the Japanese art world is bound to face a difficult choice and take a completely different path of exploration. Your book Japanese Art not Born yet, which you translated a few years ago, also focused on this. What were the circumstances that led you to translate this book? What are your personal experiences and insights about Japanese art?
范：2005年以后，我待在上海的日子渐渐多了起来，重新看到中国艺术的新面貌，又一次使我眼花缭乱了，但与上次不同的是这次我看得懂了。殊感西方当代艺术对中国的影响非常之大。正好我的好朋友千叶成夫先生写了一本书，详论七位致力原创的日本现代美术家，令人不解的是著者给书起的书名却是《日本美术尚未生成》，千叶成夫先生在书里要表达的是，日本仍然笼罩在欧美艺术之下，真正的日本美术尚未出现！我读完后觉得，日本艺术与西方艺术的碰撞持续了150年之久，同为东亚文化的国家，他们的思索和经验或许对我们当下的艺术有参考意义。所以我就花了三年时间翻译了这本艰涩的学术书。
Fan: After 2005, I spent more and more time in Shanghai, and once again I was dazzled by the new face of Chinese art, but unlike the last time, I could understand it. I felt that the influence of Western contemporary art on China was very strong. My good friend Mr. Shigeo Chiba has written a book about seven modern Japanese artists who are committed to originality, but what is puzzling is that the title of the book is Japanese Art not Born yet. After reading it, I felt that the collision between Japanese art and Western art had lasted for 150 years, and as a country of East Asian culture, their thoughts and experiences might be of reference to our art nowadays. So it took me three years to translate this difficult academic book.
千叶成夫和范钟鸣在上大美院的《日本美术尚未生成》的中文版出版纪念会上
我所接触的日本现代美术，总体印象还是比较追求原创的。但有一点很明显，日本现代美术家们在意识上已经完全融入到了西方艺术的上下文中，东方人的感性、东方式思维、东方的自然观仅仅是一种类似体质的东西。他们的艺术思考和探索都与美国、西欧的完全同步。
The overall impression of Japanese modern art that I have come across is still more of a quest for originality. However, one thing is clear: Japanese modern artists have been fully integrated into the context of Western art in terms of consciousness, and the Oriental sensibility, the Eastern way of thinking, and the Eastern view of nature are merely something like physique. Their artistic thinkings and explorations were completely in sync with those of the United States and Western Europe.
范钟鸣 《空中楼阁》
树枝，聚丙乙烯、亚克力颜料
80×30×30 cm 2019
“日本艺术家的‘间’
其实是一种无形的心理界限，
它们化为时空时，就是时间和空间，
好像无处不在。”
M：在《日本美术尚未生成》里，千叶成夫曾指出，空间感在日本美术里是很重要的概念。回顾日本艺术史，这似乎与高松次郎的影子画，又或者是物派艺术家所追求的“场”沾上了边，后者又与东方的禅意有所相通。您对这个问题有什么自己的见解吗？
M: In Japanese Art not Born yet, Shigeo Chiba pointed out that the sense of space is a very important concept in Japanese art. Looking back at the history of Japanese art, it seems to be related to the shadow painting of Jiro Takamatsu, or the "field" pursued by the artists of the Mono-ha, which in turn is related to the Zen philosophy of the East. Do you have any insights on this issue?
范：他们有一种所谓“间”的似空间非空间、似时间非时间的感觉，很多艺术家在表现这个“间”。最典型的是物派人物之一的菅木志雄，他小心翼翼地使用黑白但却似乎又无意去表达黑白两色本身，他的黑白只为了表现存在于黑白之间的看不见的界限——那个“间”。在我看来，他们的“间”其实是一种无形的心理界限，它们化为时空时，就是时间和空间，好像无处不在。
Fan: They have a sense of so-called "between" that seems like space but not space and time but not time, and many artists are expressing this "between". The most typical one is Shishio Sugaki, one of the figures of the Mono-ha, who carefully uses black and white but seems to have no intention of expressing black and white itself, and his black and white only serves to express the invisible boundary between black and white - the "between". In my opinion, their "between" is in fact an invisible psychological boundary, it is the "between" of the empty and the "between" of the time, as if it is everywhere.
物派艺术家主要提出了一种不同于西方雕塑的立体艺术的可能性，认为立体作品也可以像园林艺术一样通过物与物的位置关系（空间关系）、体积对比、质量变化等“物的语言”来代言艺术家的空间感觉以及自然观乃至世界观。但我并不太以为然，因为我在欧美的大地艺术、极简主义艺术、贫穷艺术和观念艺术中体验到了更多的第一性原理和历史性颠覆。
The artists of the Mono-ha mainly proposed a possibility of three-dimensional art different from Western sculpture, believing that three-dimensional works can be like garden art, which can express the artist's spatial sense and view of nature and even the world through the "language of objects" such as the relationship between objects' positions (spatial relationship), volume contrast and mass change. But I don't think so, because I have experienced more originality and subversion in European and American earth art, minimalist art, poverty art and conceptual art.
“‘活’也即生命感，
是晚清以后中国画家们追求的艺术境界之一，
也是中国古代世界观的核心所在。”
M：同样的，空间感这个概念也让我们联想到了您的装置画。您是何时起不再将目光投注于画布的正面，而是转而意识到内框、侧面与背面所存在着的空间架构？这种对画作展示秩序的颠覆，是否构成了您“装置画”的关键所在？
M: Similarly, the concept of spatiality also reminds us of your installation paintings. When did you stop looking at the front of the canvas and become aware of the spatial structure of the inner frame, the sides and the back? Does this reversal of the order in which the paintings are displayed constitute the key to your installation paintings?
范：你说得不错。我的装置画是想尝试一下，二维的涂绘空间与三维的立体物空间通过我非理性的（非设计性）创作融为一体，形成一个陌生的东西。让正面翻转到背面，让背面扭变为侧面，或让侧面展示为正面……让它们互相穿插、你中有我、我中有你，让它们在涂绘的空间里活起来。“活”也即生命感，是晚清以后中国画家们追求的艺术境界之一，也是中国式世界观的核心所在。
Fan: You are right. My installation painting is an attempt to experiment with the two-dimensional painted space and the three-dimensional object space merging into one through my irrational (non-designed) creation to form something unfamiliar. Let the front flip to the back, let the back twist to the side, or let the side show as the front ...... let them intersperse with each other, let them be living in the painted space. "Living", also known as the sense of life, is one of the artistic realms pursued by Chinese painters after the late Qing Dynasty, and is also the core of the ancient Chinese worldview.
范钟鸣《装置画系列2021-14》
综合材料
40×60×16cm 2021
范钟鸣 《女人》
打印机和空气净化器的零部件、蒸屉、丙烯等
67×50×17 cm 2021
比如，能够复制再生图文的打印机广义说来不也具有繁衍的意味吗？我把打印机分解后进行了重组，创作了题为《男》、《女》的一对作品。所以装置画创作对我来说很有趣，也很有挑战性。
For example, doesn't a printer that can reproduce recycled images also have the meaning of reproduction in a broader sense? I dismantled the printer and reorganized it to create a pair of works entitled Male and Female. So the creation of the installation painting is interesting and challenging for me.
范钟鸣《装置画系列男人2021-06》
打印机零部件、纸筒、丙烯等
76×56×30 cm 2021
“我讨厌平庸的重复之举，
在感到自己黔驴技穷时，
会毫不犹豫地寻求新的表达方式。”
M：正因为您不刻意地追求风格，所以才始终在艺术形式上不断创新？这是否是您对既定的过往与流变的当下之间的一种反思？
M: Is it because you do not deliberately pursue style that you are always innovating in your art forms? Is this a reflection on the relationship between the established past and the changing present?
范：我的思维方式基本上是否定之否定式的，最忌讳的就是平庸的重复之举，摆脱平庸和惰性是我的创作动力之一。常常会有一段稳定的时间，因为在作品中还尚存未尽之意，当自己觉得在那里已经黔驴技穷了，就会毫不犹豫地寻求突破，寻求一种新的表达方式。
Fan: My way of thinking is basically negation, and the most taboo is the repetition of mediocre actions, and getting rid of mediocrity and inertia is one of my creative motivations. There will often be a period of stability, because there is still an unfinished meaning in the work, and when I feel that I have run out of ideas there, I will not hesitate to seek a breakthrough and seek a new way of expression.
范钟鸣《装置画系列2021-02》
笔记本电脑冷却台、现磨咖啡机部件、吸尘器部件、打印机部件 电路板、吹笛孩童陶俑、丙烯等
95×60×40 cm 2021
对于过往美术人物和作品以及当下的艺术状况，我都有很清晰的分析和判断：有些仰慕不已，有些不是我的菜但可以欣赏，也有些觉得不值一看。我对一切都抱有无穷的好奇心，包括对我自己。在我的艺术辞典里没有新旧、今古之分，但有着有趣和无聊、深刻与肤浅之别。
I have a very clear analysis and judgment of past art figures and works as well as the current state of art: some are admired, some are not my cup of tea but can be appreciated, and some I find not worth seeing. I am endlessly curious about everything, including myself. In my art dictionary there is no distinction between old and new, modern and ancient, but there is a difference between interesting and boring, profound and superficial.
范钟鸣《物体画20212》
器具零部件、丙烯颜料
2021
“艺术永远是个人的，
她千差万别，不一而足。”
M：如果说社会是当代艺术密不可分的土壤，那么当社会由于疫情而停摆之际，后者又将呈现出怎样的面貌？
M: If society is the inseparable soil of contemporary art, what will the latter look like when society is shut down due to the epidemic?
范：不能笼统地说在疫情社会的当下艺术会如何如何，艺术永远是个人的，她千差万别，在疫情社会中各个艺术家会有各自不同的感受、不同的艺术思考从而产生出的作品也很不一样。可能有些人认为艺术应该不受社会波动的影响保持定力，而另一些主张要通过艺术引起深刻的社会反思，更有些人要表现疫情下社会生活的真实面，等等等等，不一而足。
Fan:We can't say in general what art will be like in the current epidemic society. Art is always personal, and it is very different. In an epidemic society, each artist will have his or her own feelings and different artistic thinking, thus producing very different works. Others may believe that art should be unaffected by social fluctuations and remain fixed. Some argue for deep social reflection through art, while others want to show the real side of social life under the epidemic, and so on and so forth, to name a few.
范钟鸣 《2019-09-桃花潭的路标》/ 范钟鸣 《2019-08-桃花潭的帐篷》
帆布、竹条、丙烯
50×100 cm 2019
“我想这次历史性的体验，
会在艺术创作中自然流露出来。”
M：那么对您来说，这次疫情下的体验意味着什么？
M: So what does the experience of this pandemic mean to you?
范：我自己在疫情下则更多的处于思考停顿状态，鸡飞狗跳乱象突如其来，完全超出了我最疯狂的想象，现实的冲击使我平时活跃的思考似乎遭遇了瞬间休克，也好像在逼我顿悟。我想这次历史性的体验一定在我的作品里留下印记的，它们会在艺术创作中自然流露出来。
Fan: Under the epidemic situation, I was in a state of pause in my thinking. The chaos was beyond my wildest imagination. The impact of reality made my normally active thinking seem to encounter instant shock, and also seemed to force me to have an Epiphany. I think this historical experience must leave a mark on my work, and it will come out naturally in my artistic creation.
“让绘画突破方框框的限制，
更加自由地伸展！”
M：本次展出的《黑口罩》也是您在疫情期间创作的，能请您就着创作背景简单谈谈这件作品吗？
M: The Black Mask in this exhibition was also created by you during the epidemic period. Could you please briefly talk about this work based on the background of your creation?
范：这件作品来自于一个真实风景，那是安徽泾县桃花潭的一个古渡口，据传那个渡口就是当年汪伦为李白送行的地方。江边黑色的大遮阳棚，挡住了背后远去的江景，就如同给大自然戴上了一个口罩。
Fan: This work comes from a real landscape, an ancient ferry crossing at Taohuatan in Jing County, Anhui Province, which is said to be the place where Wang Lun sent off Li Bai. The large black awning by the river blocks the distant view of the river behind, just like putting a mask on nature.
范钟鸣 《2020-03-古渡口》
帆布、铝合金拐杖、丙烯、木画框250×120 cm
2020
2019年底，武汉疫情的消息传来，周围的空气似乎一下子紧绷起来。对于一无所知的病毒和完全不可预测的将来，人们的恐惧与时俱增，我也同样感到了不安。这件作品在我的作品群里属于比较特殊的一件。算是一件时代纪念作品吧。
At the end of 2019, the news of the outbreak in Wuhan seemed to tighten the air around it. The fear of a virus that we know nothing about and a completely unpredictable future grows with each passing day, and I feel equally uneasy. This work is one of the special pieces in my collection. It is a memorial work of the times.
范钟鸣 《2021-01》
面包机、吸尘器和咖啡机的零部件、电线、丙烯等
45×50×22 cm 2021
当然，在形式上我还是在追求每件都有一点有所不同，画布不完全绷满内框，让部分内框露出来，露出的画框又把周围的墙面也框到画面里来，成为作品的一部分。画面和周围的墙面相互渗透，画面不再是与墙面完全隔离的一个违和的空间。还有，分解的拐杖散落于画面各处，它们既在画中也在画外。我也想让它们成为画面空间与展示空间之间互通的桥梁。这也是我把装置手法引入绘画的初衷之一。让绘画突破方框框的限制更加自由地伸展！
Of course, in terms of form, I am still pursuing a little bit of difference in each piece. The canvas is not completely taut with the inner frame, allowing part of the inner frame to be exposed, and the exposed frame in turn frames the surrounding wall into the picture, becoming part of the work. The picture and the surrounding wall penetrate each other, and the picture is no longer a space completely isolated from the wall. Also, the decomposed walking sticks are scattered all over the picture, they are both in and out of the picture. I also want them to be the bridge between the space of the picture and the space of the display. This is also one of the reasons why I introduced the installation method into the painting. Let’s the painting break out of the box and stretch more freely!
范钟鸣 《2019-06-桃花潭的古舞台》
帆布、丙烯、竹条180×140 cm 2019
M：在新冠疫情反复不定、世界局势尚不明朗的当下，您认为当代艺术能够传递出怎样的力量?
M: What kind of power do you think contemporary art can convey at a time when the epidemic is uncertain and the world situation is still unclear?
范：一个个体艺术家在顺境和逆境下的不灭的独立创造精神！
Fan: The indestructible independent creative spirit of an individual artist in good times and bad!
范钟鸣 《飞吧》
木材、金属、树脂、亚克力颜料
160×120×15 cm 2022
范钟鸣，1958年生于上海。1984年毕业于上海师范大学艺术系。1989年获得美国洛克菲勒基金会亚洲文化协会访问艺术家奖金赴美。1991年在日本东京艺术专门学校任教。2005年至今中国、日本两地创作生活。
FAN ZHONGMING, born in 1958 in Shanghai, graduated from the Art Department of Shanghai Normal University in 1984, received the Rockefeller Foundation Asian Cultural Institute Visiting Artist Award in 1989, taught at Tokyo Art College in Japan in 1991, and has lived in China and Japan since 2005.
近年部分展览：
2021 “范钟鸣个展”，第九届深圳国际艺术博览会B29博拉艺术，广东深圳 \ 2021 “⾮常·异常”，时尚⽂化创意中心，浙江宁波 \ 2021 “艺术三昧”，妙山美术馆，浙江湖州 \ 2021 鹰城星光“聚合”，平顶山市美术馆，河南平顶山 \ 2020 “从未走远——沪六⼈作品展”，兆域空间，北京 \ 2020 “边界”，新华新空间，上海 \ 2019 “艺术西湖·第⼆届国际水墨博览会”，浙江杭州 \ 2019 “江南意象”，苏州美术馆＆刘海粟美术馆，苏州＆上海 \ 2018 “人水之间——朱家角2018艺术展”，朱家角人文艺术馆，上海 \ 2018 “异形——上海抽象艺术大展”，宁波美术馆，浙江宁波 \ 2018 “照常营业——三⼈展”，斯帕齐奥40画廊，意大利罗马 \ 2018 “胶带”，阿拉德画廊，澳⼤利亚墨尔本 \ 2018 “无双”，米奥艺术空间，M50艺术园区，上海 \ 2018 “前卫·上海——上海当代艺术30年⽂献展”，明园美术馆，上海 \ 2017 “海上延伸”，中华艺术宫，上海 \ 2017 “第四届北京电影学院新媒体艺术三年展”，东岳美术馆，北京 \ 2017 “纸上人间”，朵云轩，上海 \ 2017 “我画故我在双人展”，usa-Combes 画廊，法国巴黎 \ 2017 “艺术的纽带·宁波--中日当代艺术家交流展”，宁波美术馆，浙江 \ 2017 “回归——湖畔跨媒介国际艺术展”，湖畔艺术馆，上海 \ 2016 “所有眼睛中一粒沙为你闪烁”，M50艺术园区203画廊，上海 \ 2016 “空间的次⽅——中日澳艺术家设计家邀请展”，东华⼤学展馆，上海 \ 2016 “⼗人⼗面——当代艺术家自选作品展”，新华新空间，上海 \ 2015 “异同——中日现代美术家作品展”，东京中国⽂化中心，日本东京 \ 2015 “85美术三⼗周年纪念展”，新华新空间，上海 \ 2015 “尺度与距离”，徐汇美术馆，上海
Recent Exhibitions:
2021 Fan Zhongming Solo Exhibition, The Ninth Shenzhen International Art Fair B29 Bora Art, Shenzhen, Guangdong \ 2021 Very-Anomaly, Fashion Culture and Creativity Center, Ningbo, Zhejiang \ 2021 Art Samadhi, Miaoshan Art Museum, Huzhou, Zhejiang \ 2021 Eagle City Starlight "Convergence", Pingdingshan Art Museum, Pingdingshan, Henan \ 2020 Never Far Away - Beijing and Shanghai Six Artists Exhibition, Zhaowei Space, Beijing \ 2020 Border, Xinhua New Space, Shanghai \ 2019 Art West Lake - The 2nd International Ink and Wash Expo, Hangzhou, Zhejiang \ 2019 Jiangnan Imagery, Suzhou Art Museum & Liu Haisu Art Museum, Suzhou & Shanghai \ 2018 Between People and Water - Zhujiajiao 2018 Art Exhibition, Zhujiajiao Humanities Art Museum, Shanghai \ 2018 Alien - Shanghai Abstract Art Exhibition, Ningbo Art Museum, Ningbo, Zhejiang \ 2018 Business as Usual - A Three-person Exhibition, Galeria Spazio 40, Rome, Italy \ 2018 Duct Tape, Arad Gallery, Melbourne, Australia \ 2018 No Double, Mio Art Space, M50 Art Park, Shanghai \ 2018 Avant-Garde - Shanghai - 30 Years of Shanghai Contemporary Art Documentary Exhibition, Ming Yuan Art Museum, Shanghai \ 2017 Sea Extension, China Art Palace, Shanghai \ 2017 The Fourth Beijing Film Academy New Media Art Triennial, Dongyue Art Museum, Beijing \ 2017 Paper on Earth, Duoyunxuan, Shanghai \ 2017 I paint therefore I am two-person exhibition, usa-Combes Gallery, Paris, France \ 2017 Artistic Ties-Ningbo-Chinese and Japanese Contemporary Artists Exchange Exhibition, Ningbo Art Museum, Zhejiang \ 2017 Return - Lakeside Cross-Media International Art Exhibition, Lakeside Art Museum, Shanghai \ 2016 A Grain of Sand in All Eyes Shines for You, M50 Art Park 203 Gallery, Shanghai \ 2016 The Sublime of Space - Invitational Exhibition of Chinese, Japanese and Australian Artists and Designers, Donghua University Pavilion, Shanghai \ 2016 Ten People, Ten Faces-Contemporary Artists' Self-selected Works Exhibition, Xinhua New Space, Shanghai \2015 Differences and Similarities - Works of Chinese and Japanese Modern Artists Exhibition, Tokyo Chinese Cultural Center, Tokyo, Japan \ 2015 85 Art 30th Anniversary Exhibition, Xinhua New Space, Shanghai \2015 Scale and Distance, Xuhui Art Museum, Shanghai
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