香格纳上海将于9月8日荣幸推出邬一名作品展“写物”。此次展出的作品延续了艺术家近年来朴素、雅拙的绘画实验，以一种富有抒写性的方式展现出墨色下的当代图像所反映出情感、人文气息和精神价值。

This September, ShanghART Gallery will be honored to host an exhibition of works by Wu Yiming, “Painting the Banal”. These works are a continuation of the artist's experiments in the use of a spare and refined painting style over the past few years. Full of expressiveness, they reveal the feelings, the literary sensibility and the spiritual value of contemporary imagery as it is shaped by the ink.

开幕 | Opening

2018/09/08, 16:00–18:00

展期 | Duration

2018/09/08 – 2018/10/21（周二–周日 11:00–18:00，周一闭馆 | Tue.-Sun. 11:00-18:00, Mon. Closed）

地点 | Location

香格纳画廊，上海市徐汇区西岸龙腾大道2555号10号楼 | ShanghART Shanghai, West Bund, Bldg.10, 2555 Longteng Avenue, Xuhui District, Shanghai

在近些年越来越转向个人化的创作中，邬一名的作品在当代的图像意识与中国传统的绘画精神之间开辟出“第三条道路”：通过对寻常风物的意态描写，进入到我们对当下经验的深层感知之中。这些作品似乎延续了传统“写意”绘画直白而凝练的笔法，但却不仅限于此。在邬一名所描绘的生活一隅之中，花卉、树影或是都市的灯光都不再以“物”的实在性呈现在观众眼前，取而代之的是抒写生动的墨色和笔触对经验的直接呈现与暴露。正如意大利策展人莫妮卡•德玛黛（Monica Dematté）所说的那样，艺术家“运用他最得心应手的语言，围绕着绘画的原创动机，完成了一次深刻的自我分析，通过这个分析，他更清楚地审视自己，并提出对世界的独特主观解释”。[1] 因而，“写物”，既是一种绘画中的影像再现，也是画面对艺术家绘画经验自身的反刍，它所反映出来的，更多是一种主观的图像意识而非结果，一种个体通过切实的经验和情感所发起的对于当代生活及其所表征的精神危机的抵抗。

Thanks to creative efforts that have grown increasingly personal in recent years, Wu Yiming's works have blazed for themselves a “Third Way” in between contemporary pictorial consciousness and the traditional spirit of Chinese painting. By depicting scenes of everyday life, they pierce through to the deepest sensorial layer of our experience of the present. Although these works appear to reference the frankness and concision of traditional freehand brushwork, there is more to them. In the ordinary glimpses of life that Wu depicts, flowers, tree shadows or city lights are no longer presented before our eyes with the matter-of-factness of "objects"; indeed, they are replaced with experience itself, directly rendered and laid bare with the vividness and the expressive power of ink and brush strokes.

面对身边近旁无为、多余之物、只在夜晚显现的光进行加工整理。苏州话里称一句话中或开始或中间可有可无的废话叫“咭咯啰多”的话，也叫“话搭头”，严谨的语言要求是必须去掉的。

—— 邬一名

艺术家邬一名工作室 Wu Yiming's studio

In the words of Italian curator Monica Dematté, “by choosing the medium that he feels he is most in tune with, and by considering the reason behind this choice, the artist engages in a deep self-analysis that allows him to view himself more clearly and to formulate a unique, subjective interpretation of the world.” [1]

As a result, “Painting the Banal” refers both to the production of a visual representation within the painting, but also to are iteration on the picture plane of the artist's experience of painting itself. What it reflects is rather a subjective visual consciousness than a result; it stands for the resistance of an individual being, by means of his concrete experience of reality and of his own emotions, against the spiritual crisis so evidently manifested by contemporary life.

邬一名 WU Yiming | 荠菜 6 Shepherd's Purse 6 | 2018 | 宣纸上水墨 Ink and colour on Xuan paper | 175 x 220 cm

也是从这个层面上，能够更清晰地看到邬一名近些年来在创作实践上的推进。如果说他的早期作品还总是令观众与评论家纠结于中国传统、西方现代主义或是新水墨等种种历史判断和理论意识所预设的框架之中，近年来的创作则越来越跳脱出这些框架的束缚，展现出一种“随心所欲不逾矩”的练达与自在。花即花、树即树，这正是绘画之经验的饱满性所带来的自足状态，也是“写物”所包含的最核心的精神；而另一方面，被“写”的物、景、光、影等仅仅是抒写的对象，真正的主体却是隐藏于画面背后的创作者本身。于是“写物”，在很大程度上也可以被看作是“小写”的物与“大写”的人在画面中的碰撞与融合。对于艺术家来说，日常的诗性恰是蕴含在笔触的直白与经验的不可言说之间。

It is also on this level that one may notice most clearly the new strides accomplished by Wu Yiming in his practice over recent years. While his early works would always make both the public and art critics waver between the Chinese tradition, Western contemporaneity, "New Ink" or other movements in choosing the frame of historical judgment or theoretical awareness to consider them, Wu's recent works increasingly elude such constraining frameworks, and instead, display a mature tranquility in which the artist is free to do as he pleases, without ever going astray.

“A flower is a flower, a tree is a tree”: this is precisely the self-sufficient state that is brought about by an abundant experience of painting—and it constitutes the deepest spiritual core of the “Painting the Banal” However, on the other hand, the "freehand-painted" things, sceneries, light, or shadows are but depicted objects; the actual subject, hidden behind the canvass, is in fact the artist himself. Therefore, the “Painting the Banal” can be viewed to large extent as the collision and the fusion on the picture plane of “minor” painted objects with a “major” human. Indeed, for the artist, the poetry of everyday life is evoked in between the frankness of brush strokes and the unspeakableness of experience.

形不求绝对准确——似，意不是绝对清晰——到，画家的主观人格在“写”的过程中得到表达——神。

—— 邬一名

艺术家邬一名工作室 Wu Yiming's studio

在本次展出的2018年新作《荠菜》系列中，观众得以一窥艺术家在虚实之间对于“物”的描绘和把握。这种为中国人所喜爱的野菜有着最朴实无华的外貌形态，在邬一名的墨色之下，却有着一种生命在兀自妖娆和绽放的状态，像是一种声响在无声的环境里蔓延开来。《窗帘》系列则展现了另一种精神的风景——画面所呈现的视角让人联想到生活中那些再普通不过的瞬间，仿佛是时间的过道一般，总是以模糊而斑驳的形象穿梭在我们的意识之中。在近两年一直持续的《光》系列以及对城市街景的表现中，观众同样能清晰地感受到这些“慢”下来的时间。它们正是被画面所暴露出来的经验，同时也是艺术家在独处一隅的静音状态下所完成的观看与自省。

In the Shepherd's Purse series, which gathers new works from 2018 that form part of this exhibition, the public is granted a glimpse of the artist's depiction and understanding of objects, in between being and nothingness. This wild vegetable, beloved of the Chinese, has a most simple and unadorned appearance; however, drawn in Wu's ink, it is endowed with a blooming, enchanting vitality, and expands like a voice suddenly resonating through silent space. As for the Curtains series, it displays a scenery of a different spirit altogether: the perspective of these paintings brings to mind the most ordinary moments of life, as if they were corridors of time, their shapes at once blurry and mottled, shuttling back and forth within our consciousness.

邬一名 WU Yiming | 光 17 Light 17 | 2017 | 宣纸上水墨 Ink and colour on Xuan paper | 140 x 180 cm

Besides those meticulously depicted colors and patterns of curtains and vegetables, in Wu's Light series and in his representations of urban sceneries, which he has worked on continuously over the past two years, one can also clearly sense this “slowness” of time. It is experience itself, revealed on the canvass, but also an act of contemplation and introspection carried out by the artist in the silence of his solitary corner.

[2] 莫妮卡·徳玛黛，黑暗中的光明：邬一名的水墨画，光：邬一名个展，台北：安卓艺术，2017，7

Monica Dematté, Light in the Dark: Ink Paintings on Rice Paper by Wu Yiming, Light in the Dark: A Solo Exhibition by Wu Yiming, Taipei: Mind Set Art Center, 2017, 11.

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关于艺术家 About the Artist

邬一名，1966年在上海出生。1992年毕业于华东师范大学美术系。工作和生活在上海。近期主要展览有：光，安卓艺术，台北（2017）；邬一名作品展, 香格纳, 北京（2015）；美好生活就此展开, 邬一名个展, 安卓艺术,台北（2014）；无关时间——邬一名个展，香格纳画廊，上海（2012）；在成长，上海环球金融中心三周年庆典之香格纳15周年特展，上海环球金融中心，上海（2011）；肖像，香格纳画廊主空间，上海（2010）；另一个现场——艺术的计划、概念与想法，香格纳H空间，上海（2009）；他人的世界——当代艺术展，上海当代艺术馆，上海（2008）；和而不同，中国华东当代雕塑邀请展，上海（2007）；当代中国艺术，KARSTEN GREVE 画廊，科隆，德国（2006）；邬一名纸上作品和雕塑作品展，香格纳画廊，上海（2006）；静则生灵，一间画廊，香港（2005）；中国－当代画，FONDAZIONE CASSA DI RISPARMIO，博洛尼亚，意大利（2005）；龙族之梦中国当代艺术展，爱尔兰当代美术馆，都柏林，爱尔兰（2004）等。

WU Yiming, born in 1966 in Shanghai, graduated from the Fine Arts Department of East China Normal University. He now lives and works in Shanghai. The selected exhibitions include: Light in the Dark, Mind Set Art Center, Taipei (2017); WU Yiming Recent Works, ShanghART, Beijing (2015); The Beginning of Good Life, Wu Yiming solo exhibition, Mind Set Art Center, Taibei (2014); The Other Side of Time -WU Yiming Solo Exhibition, ShanghART Gallery, Shanghai (2012); Growing Up, Exhibition Celebrating SWFC 3rd & ShanghART Gallery 15th Anniversary, Shanghai World Financial Center, Shanghai (2011); Portrait, ShanghART Gallery, Shanghai (2010); Another Scene - Artists' Projects, Concepts and Ideas, ShanghART H-Space, Shanghai (2009); The World of Other's: A Contemporary Art Exhibition, Museum of Contemporary Art, Shanghai (2008); Harmony and Difference, East China Contemporary Sculpture Invitational Exhibition, Shanghai (2007); Contemporary Chinese Art, Gallery Karsten Greve, Cologne, Germany (2006); FOCUS: Wu Yiming's Works on Paper and Sculptures, ShanghART Gallery, Shanghai (2006); Time Ex., UMA Gallery, Hong Kong (2005); China, Contemporary Painting, Fondazione Cassa di Risparmio, Bologna, Italy (2005); Dreaming of the Dragon's Nation, Contemporary Art from China, IMMA (Irish Museum of Modern Art), Dublin, Ireland (2004), etc.

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关于香格纳画廊 About ShanghART Gallery

香格纳上海，西岸

香格纳画廊成立于1996年，是中国成立最早的当代艺术画廊之一，目前在上海、北京、新加坡均设立空间。二十多年来，香格纳画廊致力于中国当代艺术的发展，与60多位艺术家保持着长期紧密合作，持续呈现高品质的当代艺术展览和项目，并常年参加国际重要艺术博览会，与全球知名的艺术院校及机构保持良好的互动与合作。

Founded in 1996, ShanghART Gallery is one of the first contemporary art galleries established in China now maintaining spaces in Shanghai, Beijing and Singapore. For the past twenty years, ShanghART has kept devoting to the development of contemporary art in China and also kept close and long-term cooperation with more than 60 artists. Sustaining the highest-quality in presenting contemporary art exhibitions and projects, ShanghART regularly participates in the major international art fairs and collaborates with important art institutions in China and from all over the world.

来源： 香格纳画廊