Liu Shangying, Wilderness Project 08/02/2019, Single channel video, color, sound, 2’5”
『 荒原计划：刘商英 』 这件作品是艺术家刘商英于2019年进行的“荒原计划 Wilderness Project”中的一个片段。整个计划发生于零下二十度的新疆罗布泊，我们可以通过作品中的时间逻辑感受到刘商英在可控与不可控之间的肉身觉知。在无差别的荒原中，环境以方向感缺失的形式包围着，环绕的视野也同样没有分别。无法铺平的巨幅画布、风沙、粗粝尘土与颜料的黏着，使身体行为的参与成为一种被唤醒的原始本能。对艺术家来说，这一切都是自然而然的。观者将从中追踪到艺术家在极端自然环境中的绘画行动过程和痕迹，经历一次生命意志的再激活与生长的体验。 『 Wilderness Project：Liu Shangying 』 The works presented by Platform China come from a segment of “Wilderness Project” launched by artist Liu Shangying in 2019. The whole project took place in Lop Nur, Xinjiang at a temperature of minus twenty degrees. We can feel Liu Shangying’s physical awareness between controllable and uncontrollable scenarios through the time logic in the works. In an undifferentiated wasteland, the environment enfolds everything in a form of lacking in direction, and the surrounding field of vision is equally undifferentiated. The blend of large uneven canvases, wind and sand and coarse dust with the paint makes the participation of physical behavior a primal instinct that is awakened. For the artist, everything is absolutely natural. The audience will trace the process and trail of the artist’s painting in extreme natural environment from the works, and experience the reactivation and growth of the will of life.
刘商英将完成后的绘画埋在地表之下，任其经历长达八个月的自然干燥，再重返罗布泊将其取出，至此完成。
Liu Shangying buried the completed painting under the surface, then left it to undergo natural drying. Eight months later, he returned to Lop Nor to take it out, and the work was completed.
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刘商英《荒原计划 20号》，布面油画，320x1730cm，2019Liu Shangying, Wilderness Project No.20, oil on canvas
2011-2014年间，对刘商英的艺术创作来说是转变发生的重要节点。他多次前往西藏阿里地区，并在自然中开启了全新的绘画行动。这些远离闹市的土地有着天然的净化力量，让艺术家以肉身体会着、转化着。在2015年-2017年间，刘商英继续踏访了内蒙古阿拉善额济纳旗，同样包围式的环境却随着一望无尽的黄沙和虬枝变得野蛮而暴戾，在此的创作成为了一次就地扎根的生长，隐秘地在作品中激荡。随后，刘商英将现场创作的绘画全部放置在额济纳旗广袤的戈壁上十五日，成就了一次和自然场域在时间、空间的奇特共生与对话。 刘商英西藏阿里、内蒙古阿拉善额济纳项目记录 时间后拨、创作还在平行中继续。在2018-2019年间，刘商英数次到访新疆罗布泊地区，展开了“荒原计划”，这也正是他迄今为止遇到过挑战性最大的绘画项目。此处展示的油画作品《荒原计划20号》及影像作品《荒原计划 08.02.2019》则是这次庞大计划中的一处特写。相比艺术家的体验而言，长度超过17米的画布仍然容量相当有限。 在望不到边界的雅丹地貌上，个人的能量尤为薄弱，任何肢体和意志的对抗都显得过于轻柔，但这种来源于自然场域的裹挟却也给艺术家带来了绝对强度的启示。面对沙尘暴的侵入，刘商英从开始的被动变得主动，寻找出一种在绘画中与环境的共同参与。源于自然的颗粒不断闯进画布，却对双方而言都不构成侵略和驱赶。艺术家也完全舍弃了其余的工具媒介，最终用手来主动达成了这场角力般的对话——“荒原计划”。 “我将画布铺在无际的荒原上，与之对应的是身体本能意识的复苏，我抚摸大地，在画布上留下感知的印迹。——刘商英I put the canvas on the vast wilderness, corresponding to which is the revival of body’sprimitive intuition. I touch the earth and leave the signet of perception onthe canvas.——Liu Shangying ” 刘商英《荒原计划08.02.2019》影像截图 Liu Shangying, Wilderness project 08/02/2019, screenshot The period from 2011 to 2014 is an important time node for the transition of Liu Shangying’s artistic creation. He traveled to Ngari Prefecture of Tibet many times and started a new painting journey in the nature. The land far away from the hustle and bustle of city life has a natural purification power, allowing the artists to experience and transform in the flesh. From 2015 to 2017, Liu Shangying continued to visit Ejin Banner, Alxa League, Inner Mongolia. However, the same enfolded environment became savage and violent with the immense yellow sand and squiggly branches. His creation here became a growth rooted in this place, which is embodied quietly in his works. Later, Liu Shangying placed all the paintings created there on the vast Gobi desert of Ejin Banner for 15 days, achieving a strange symbiosis and dialogue with the natural field in time and space.
刘商英《玛旁雍错26号》，2014，布面油画，160x240cm，西藏项目
Liu Shangying, Lake Manasarovar No.26, Oil on canvas, Tibet project
在创作现场展出的内蒙古阿拉善额济纳项目。
Ejin Banner project on display at the creation site.
As time went on, the creation continued in parallel. During 2018-2019, Liu Shangying visited Lop Nur of Xinjiang for several times and launched the Wilderness Project, his most challenging painting project to date. The oil painting Wilderness Project No. 20 and the video Wilderness Project 08.02.2019, constitute the close-up of this huge project. A canvas more than 17 meters in length is still quite limited in capacity compared to the artist’s experience. On the boundless Yardang landform, the individual energy is particularly weak, and any physical and mental confrontation is too gentle. However, being propelled into the natural field also brings the inspiration of absolute strength to the artist. Faced with the invasion of sandstorm, Liu Shangying turned from passive to active and sought to participate in the painting together with the environment. Particles from nature constantly intruded into the canvas, but did not constitute any invasion or expulsion for either side. The artist completely abandoned other tools and media, and finally took the initiative to broker this wrestling dialogue – “Wilderness Project”. 刘商英《荒原计划08.02.2019》影像截图 Liu Shangying, Wilderness project 08/02/2019, screenshot 此项目正在松美术馆线下展出中 刘商英作品《荒原计划》在松美术馆展览现场Wilderness Project at Song Art 『 关于艺术家 』 刘商英，1974年生于中国云南省昆明市；1999年毕业于中央美术学院油画系第二工作室，获文学学士学位；2004年毕业于中央美术学院油画系第三工作室，获文学硕士学位; 现工作生活于中国北京。 2011年之后，刘商英先后多次深入西藏阿里、内蒙古额济纳旗、新疆罗布泊等地进行大型现场绘画，并坚持以创作发生地为单元，先后创作了《玛旁雍错》系列、《胡杨与沙》系列和《荒原计划》系列，探索绘画在原始自然场域中的表达及绘画与自然的关系。刘商英的绘画与他的行为密不可分，他将自我融入到原始自然之中，用绘画这一行为和自然对话，形成一种在场的多纬度体验和思考。重要展览包括2013年在中间美术馆举办的个展《浮云》，2015年在中国美术馆举办的个展《空故纳万境》以及2017年在内蒙古阿拉善额济纳旗红城遗址举办的户外个展《生命场》。作品被法国梅格基金会美术馆、中央美术学院美术馆等国内外美术馆收藏 。 Liu Shangying was born in 1974 in Kunming, Yunnan. He graduated from the CAFA and got his undergraduate degree from the No. 2 Studio of Oil Painting Department, CAFA, in 1999 and his graduate degree from the No. 3 Studio of Oil Painting Department, CAFA in 2004. Now lives and works in Beijing, China. Since 2011, he has made a number of trips to create large-size paintings from life in Ngari in Tibet, Ejin Banner in Inner Mongolia and Lop Nor in Xinjiang. Inspired by these locations, he finished “Lake Manasarovar” series ,“Desert Poplars and the Sand” series and “The Wilderness Project” series which explore artistic expression in the natural field and the relationship between painting and nature. And his paintings are still closely related to his actions, he always put himself into the natural world and through the action of painting to develop a conversation with nature to gain a multidimensional experience and reflection. His important solo exhibitions include “Fleeting” (Inside-out Art Museum, 2013), “Myriad Visions Rise from the Void” (National Art Museum of China, 2015), and "Living Natures" (Hongcheng Relics, Ejina Banner, Alxa League, Inner Mongolia, 2017). His works have been collected by the Maeght Foundation of France, the Art Museum of the CAFA and others domestic and foreign art museums.
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