「变容」金准植个展

「Transfiguration」

Kim Jun Sik Solo Exhibition

策展人/Curator

彭锋/Peng Feng

出品人/Producer

鲍禹/Brenda

策划/Planner

温懂华/Andy韩嘉成/Hale李贵明/Guiming Li

展览时间/Exhibition time

2026.05.14-06.24

开幕时间/Opening time

2026.05.17 16:00

22nd c. Museum - David 120x120cm Oil on Canvas 2026

　　变容——读金准植的画

　　文/彭锋

　　“变容”(transfiguration)是丹托(Arthur Danto)为讨论当代艺术从宗教中借来的概念，为此，他引用青原惟信的名言“见山是山”“见山不是山”“见山还是山”来佐证。在丹托看来，当代艺术是一种认识到自身是艺术的艺术。除了多了这种“认识”之外艺术与寻常物没有任何区别，就像除了“觉解”“见山还是山”与“见山是山”没有任何区别一样。沃霍尔和他的《布里洛盒子》成了丹托心目中当代艺术的代表。丹托力图证明，沃霍尔用他的“觉解”，将超市的包装箱“布里洛盒子”变容成了艺术品《布里洛盒子》。尽管包装箱“布里洛盒子”与艺术品《布里洛盒子》之间事实上存在材质上的不同，但丹托认为这种区别并非造成二者天壤之别的关键，关键是沃霍尔的意识或者理解。沃霍尔有意识将《布里洛盒子》做成艺术品，工人在流水线上制作“布里洛盒子”时没有这种意识。发挥了点石成金的作用的，不是材质，不是手艺，不是质量，而是意识，即意识到这是艺术。有了艺术意识，寻常物就可以变容为艺术品。丹托承认，正是这种点石成金的意识，导致艺术的终结。

　　"Transfiguration" is a concept that Arthur Danto borrowed from religion to discuss contemporary art. To support his use of the term, Danto cited the famous Chan saying: "First, mountains are mountains; then, mountains are not mountains; and finally, mountains are still mountains." In Danto’s view, contemporary art is art that recognizes itself as art. Apart from this added "selfawareness," contemporary art is no different from ordinary things—just as, aside from this "enlightened understanding," seeing mountains as mountains again is no different from initially seeing them as mountains. Warhol and hisBrillo Boxes became Danto’s emblem of contemporary art. Danto sought to prove that Warhol, through his "enlightened understanding," transfigured the supermarket’s shipping carton—the Brillo box—into the artwork Brillo Boxes. Although there are material differences between the shipping carton and the artwork, Danto argued that these differences are not what makes them worlds apart. The crucial factor is Warhol’s consciousness or awareness. Warhol intentionally made Brillo Boxes as art, whereas the factory workers on the assembly line had no such awareness when making the original Brillo boxes. What works like the philosopher’s stone is not material, not craft, not quality, but consciousness—the consciousness that this is art. With this artistic awareness, ordinary things can be transfigured into artworks. Danto acknowledged that it is precisely this alchemical consciousness that leads to the end of art

Tangible realism - A2 60x60cm Oil on Canvas 2026

　　丹托2013年去世时，人工智能还不像现在这么发达，文生图还处在黎明前的黑暗之中。如果丹托能够多活几年，他就能发现艺术家不能够通过“认识”将寻常物变容为艺术品，而且能够借助人工智能将自己的“认识”变成让人耳目一新的真正艺术品。就前者只能将现成品变成艺术品来说，艺术家和人工智能合作就几乎无所不能，既可以像老大师一样吟诗作画，也可以像新大师一样生产观念。这是否意味着艺术在终结之后又获得重生了呢?

　　When Danto passed away in 2013, artificial intelligence was not nearly as advanced as it is today, and text to image generation was still in the predawn darkness. Had Danto lived a few more years, he would have seen that artists can not only transfigure ordinary objects into artworks through "awareness" but can also, with the help of AI, turn their "awareness" into genuinely new and striking works of art. While the former merely transforms readymades into art, artists working with AI can do almost anything—painting and composing poetry like the Old Masters, or producing conceptual works like the New Masters. Does this mean that after the end of art, art has been reborn?

Mega edition - Modern Dragon Ball 120x120cm Oil on Canvas 2026

　　当然不是。这只是加剧了艺术的终结。当人工智能可以无限生成艺术家梦想中的作品时，艺术品就变得毫无价值。如何让艺术变得有价值呢?或许回到手艺才是绘画的正途。正是凭借对手艺的执着，金准植将寻常物变容为艺术品。

　　Not at all. On the contrary, this only accelerates the end of art. When AI can infinitely generate the very works artists dream of, artworks become worthless. So how can art regain value? Perhaps returning to craftsmanship is the right path for painting. It is precisely through his dedication to craftsmanship that Kim Jun sik transfigures ordinary objects into artworks.

Apparent abstract - A4 60x60cm Oil on Canvas 2026

　　的确，金准植的绘画也像点石成金。他的绘画对象都是寻常物，有树枝、香蕉皮，还有沃霍尔用丝网印刷制作的汤罐头。与沃霍尔的汤罐头不同，金准植画的是压扁了的罐头罐，比罐头更廉价，当然造型也更加丰富多样。金准植选取寻常物作为绘画题材，目的是告诉人们绘画的价值不是绘画对象，而是绘画技艺。将寻常物变容为艺术品的，不是观念，而是技艺。

　　Indeed, Kim Jun Sik’s paintings also seem to turn base metal into gold. His subjects are all ordinary things: tree branches, banana peels, and even Warhol’s soup cans made by silkscreen. Unlike Warhol’s soup cans, Kim paints crushed cans—even cheaper than the original cans, and of course far richer in form. By choosing ordinary objects as his subject matter, Kim aims to show that the value of painting lies not in the object painted but in the painterly skill. What transfigures ordinary things into art is not concepts but craftsmanship.

Apparent abstract - A5 40x100cm Oil on Canvas 2026

　　让绘画回到手艺的主张，会让人觉得过于老套。然而，正是“过于老套”才能拯救绘画。当人工智能可以生成任何想要的图像时，再用手工绘制图像真是费力不讨好。不过，艺术很有可能就存活在“费力不讨好”之中。想想今天那些跑完马拉松的人们，他们难道不是在做更加“费力不讨好”的事吗?但是，同样是跑马拉松，传令者是为了报告消息，运动员是为了锻炼身体，二者意义迥然不同。今天传递消息无需传令者长距离奔跑导致力竭身亡，今天运动员偶然力竭身亡是为了证明自己还能像传令者一样跑步。在人工智能时代艺术家之所以还坚持手工绘画，目的是证明艺术家还能保持人的技能，还能像人一样诗意地栖居。

　　The idea of returning painting to manual craft may strike some as overly old fashioned. Yet it is precisely this "old fashioned" approach that can save painting. When AI can generate any image one desires, painting images by hand seems thankless and inefficient. But art may well survive precisely in this "thankless and inefficient" effort. Consider those who run marathons today—aren’t they doing something far more "thankless and inefficient"? Yet the meaning is entirely different: the ancient courier ran to deliver a message, while today’s athlete runs for physical fitness. Today, delivering a message requires no courier to run so far that he dies of exhaustion; if an athlete occasionally collapses from exhaustion at the finish line, it is to prove that he can still run like that ancient courier. In the age of AI, the reason artists persist in painting by hand is to prove that they can still maintain human skill, that they can still dwell poetically upon this earth as human beings.

Red Meihua - The great selfie - Kinopio 55x90cm

Oil on Korean paper 2026

　　当然，金准植不是像以往的老大师那样赞美子佳人，沉湎风景如画，他画的是他所处时代的日常生活，表达的是他对生活的理解，展示的是他的个人气质。尽管这些题材也可以由人工智能来完成，但是如果没有金准植率先将它们画出来，谁会创作出这样的画面呢?画如其人在人工智能时代比在以往任何时代都更加重要。就像今天跑马拉松不是为了报信，而是为了展示自己的能力一样，今天的画画的目的也不是制造图像，而是展示自己的内在气质。人们之所以喜欢金准植的画，在一定程度上是喜欢金准植这个人。

　　Of course, Kim Jun Sik does not, like the Old Masters, extol beautiful women and gentlemen or indulge in picturesque landscapes. He paints the everyday life of his own era, expresses his understanding of life, and reveals his personal temperament. Though AI could also produce such subject matter, if Kim had not been the first to paint them, who would have created these images? In the age of AI, "the painting reveals the painter" is more important than ever. Just as running a marathon today is not about delivering a message but about demonstrating one’s ability, the purpose of painting today is not to produce images but to reveal one’s inner character. People are drawn to Kim Jun Sik’s paintings partly because they are drawn to Kim Jun Sik himself.

　　ABOUT CURATOR关于策展人

　　彭锋 | Peng Feng

　　彭锋，现任北京大学艺术学院院长、北京大学歌剧研究院院长、北京大学中国画法研究院院长，兼任国务院学位委员会艺术学理论学科评议组召集人、教育部高等院校艺术学理论本科专业类教学指导委员会秘书长、国际美学协会副会长、中华美学会副会长、中国文艺评论家协会理事、中国美术家协会理事。出版多本专著、教材和文集，策划艺术展览100余次，撰写音乐剧、话剧、舞剧、电影等剧本。

　　ABOUT ARTISTS关于艺术家

　　金准植 | Kim Junsik

　　金准植(Kim Junsik)毕业于韩国弘益大学，是活跃于亚洲及国际艺术语境的当代艺术家。他将日常消费物(如压扁罐头、香蕉等)、东方传统意象(如梅花)与卡通形象置于同一图像系统中，使它们不再按照文化层级或类型被区分，而是并列出现、彼此影响。梅花不再只是传统符号，卡通形象也不再停留于娱乐语境，而与消费物共同进入同一观看关系之中，其意义不再固定，而是在不同图像的并置与对照中不断发生变化。在创作方法上，他以精确再现建立图像的视觉真实感，同时通过材料结构、比例关系、空间组织与细微光影，使图像在“真实”与“绘画”之间产生错觉。使图像在持续的识别与再识别过程中被不断重新理解，反复探讨当代艺术图像与认知在多重关系中是如何产生的?

共同艺术中心于2026年5月17日(周日)16:00出席「变容」开幕式