策展人：杨卫 开幕时间：2015年9月6日（星期天）下午四点 展览时间：2015年9月6日—9月26日 开放时间：周二至周日 上午10:00—下午5:30 展览地点：盛世天空美术馆 展览地址：北京市朝阳区酒仙桥路2号798艺术区B03. 盛世天空美术馆 特约评论：江铭 英文翻译：于洺
Poetry of Everyday Life——Jiang Yan Solo ExhibitionCurator: Yang Wei
Opening: 4:00PM, Sunday ,September 6. 2015Exhibition Dates : 2015.9.6—9.26Open Tuesday to Sunday, from 10:00 AM to 5:30 PMVenue: Sky MoCA.Address : B03, 798 Art District, No.2 Jiuxian Qiao Road, Chaoyang District, Beijing
Acknowledgements:The exhibition has been generously supported bySky MoCADAZZLE FASHION CO., LTD.
Guest Critic: Jiang MingTranslator: Yu Ming
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日常的诗意----关于蒋燕的艺术
杨卫
在物质化日益严重的今天，当代艺术也越来越倾向于现实表达。这使得艺术跟现实之间的张力开始缩小，艺术的精神内容与诗性品质，受到了物质的强烈挤压。然而，在这样一个物化的时代，艺术家蒋燕却是一个另类，她以某种率真的情怀，超然的姿态，借以艺术的方式来捕捉身边的点点滴滴，不仅挽住了现实生活中逐渐流逝的诗意，也彰显出了艺术的某种精神品质。
辫儿1_Braid-1_30x40cm_布面丙烯_acrylic on canvas_2014
蒋燕是出生在重庆的“80后”艺术家，曾相继在四川美术学院读完附中和本科，之后便到北京发展，成了一名职业画家。就蒋燕的人生阅历而言，不能算丰富，基本上属于“乖乖女”类型，从中学到大学都是按步就班的发展。但是，由于天生有着敏感的气质，尤其是内向的性格，却使得她一直忠于自己的内心，而敏于外在事物的变化。所以，在看似简单的人生中，蒋燕却总能流露出几分复杂的情绪，尤其是面对纷纷扰扰的现实，在时移世易的变化面前，她常有一种莫名的苦恼与惆怅。绘画作为蒋燕的一种寄情方式，既是她表达苦闷的工具，也是她疏离于现实的渠道。
扯_Stretch_40x50cm_布面丙烯_acrylic on canvas_2014
吃烟2_Smoking-2_20.5x20.5cm_布面丙烯_acrylic on canvas_2015
在蒋燕就读四川美术学院期间，正是“卡通一代”风行之时，而四川美院又是“卡通绘画”的重要生产地，所以，蒋燕不可能不受之影响。事实上，蒋燕早期的绘画，确实带有“卡通绘画”的某些痕迹。比如喜欢用一些绚丽的色彩，比如刻画人物时头大人小等等。但是，与多数“卡通绘画”不同的是，蒋燕不愿意从二手现实中导入，去描绘一些虚拟的人物形象，而是紧紧地扣住现实生活的主题，从真实的生命体验入手，去表达自己的困惑、迷茫，以及内心世界与外在现实的种种冲突。这使得蒋燕的绘画，跳出了“卡通”的虚幻形象，而具有了真情实感的人文内涵。
肥皂1_Soap-1_20.5x20.5cm_布面丙烯_acrylic on canvas_2014
大概是在2006年左右，蒋燕开始尝试观念艺术，用DV拍摄完成了一件名为《来回》的影像作品。这个作品打破现实逻辑，颠倒叙事结构，将真实与幻象、梦境与现实、形而上与形而下等矛盾因素相结合，可以作为蒋燕艺术探索的一个转折点，也预示了她后来艺术作品的走向。即以某种形而上的姿态来观照现实，去挖掘隐蔽在日常生活中的种种激情。蒋燕后来的绘画，基本上沿袭了这样一个思路，即从一些细微之处，去发现生命的光泽，捕捉情感的印记。无论是一个日常物件，还是一个身体部位，抑或是一个生活的片段，都被蒋燕赋予了诗性的品质，也注入了人性的温度。
后脑勺_Occiput_160x200cm_布面丙烯_acrylic on canvas_2014
佛家常说“一花一世界，一叶一菩提”。这是通透之说，也是在告诫人们不要被红尘乱象所蒙蔽，而应该拥有一双明亮的眼睛，去发现事物的本质与内在因果。所谓“一叶知秋”，也是此小中见大的道理。但是，道理虽然明白，却很少有人看得清楚。因为大都被日常琐事捆住了思想，屏蔽了视野。所以，无论是佛家修炼，还是艺术探寻，都无不强调一种超越的意识与解放的思维。蒋燕的绘画过程，就是一种现实超越与自我修炼。她把这种超越意识，植入到日常生活的方方面面，不仅只是解放了自我，更为重要的是，为这个平淡无奇的现实增添了几许奕奕神采，也映照出了几缕款款的诗意。
Poetry of Everyday LifeOn Jiang Yan’s Art
Yang Wei
In today’s materialistic world, contemporary art is increasingly inclined to be expressed in a realistic way. It reduces the tension between art and reality. The spiritual content and poetic character of art have almost been crowed out by material. Jiang Yan, however, in this materialistic age, is different. She is an artist that captures, in an artistic way, every part of her daily life, with some sort of candor, sincerity and detached attitude. Not only does she retain the fading poetry in daily life, but presents some spirit of art.
花_Flower_14x15cm_木板丙烯_acrylic on wood_2013
火儿_Flame_10x10.8x2cm_木板丙烯_acrylic on wood_2014
Born in 1980s in Chongqing, Jiang Yan pursues her career of being a professional artist after earning her high school diploma and bachelor's degree at Sichuan Fine Arts Institute. Though her slim curriculum vitae and step-by-step experience may put her into the stereotype of an uncomplicated good girl, her sensitivity that is natural, as well as her introverted personality, makes her always faithful to her heart and sensitive to the external changes. Hence, in her seemingly plain life, Jiang Yan shows us some mixed feelings, among which an inexpressible distress and disconsolateness often emerge when she sees the real world’s messiness and the everlasting changes. Painting becomes a method with which Jiang Yan places her feelings and emotions, a way in which she expresses her depressions, and a channel through which she drifts away from the reality.
开关_Switches_30x40cm_布面油画_oil on canvas_2015
It is unlikely that Jiang Yan escapes from being influenced by The Cartoon Generation since the movement prevailed when she studied at Sichuan Fine Arts Institute, which was a crucial “manufacturer” of cartoon paintings. The truth is that we did find some cartoon painting impacts on Jiang Yan’s early artworks — she seemed fond of brilliant colors and big-head-little-body figures. However, unlike most cartoon painters, Jiang Yan would rather firmly stick to the daily life themes, starting from a real life experience, to express her confusion and the conflicts between the inner world and external reality than be led in, by second-hand reality, to depict some fictional figures. This draws Jiang Yan’s paintings out of cartoon’s illusory images and gives them true feelings and humanities.
蓝色火机_Blue lighter_11x15x2cm_木板油画_oil on wood_2015
Around 2006, Jiang Yan made her first attempt at conceptual art, using her DV to film a video named back and forth. Disrupted the real-world logic, this work inverted the narrative structure and combined the conflicting factors, such as reality and illusion, dream and being realistic, metaphysical and physical, could be considered a turning point in Jiang Yan’s exploring art and an indication of where her subsequent artworks went- that is to contemplate and encounter the reality with a metaphysical attitude and to find the passion hidden in daily life. Afterwards, Jiang Yan’s paintings basically follow this idea that is to find the glory of life and capture the emotional imprint from some subtleties. Jiang Yan has attached a poetic character and humanities to all that she depicts — an ordinary object, a part of the body, or a fragment of life.
礼物_Gift_40x50cm_布面油画_oil on canvas_2015
绿色植物_Green plant_140x160cm布面油画_oil on canvas_2015
“To see a whole world in a single flower, and a Buddha on a leaf.” says the Buddhists. This is a philosophy raised by one who has seen it all. It suggests that people, with their bright eyes, seeing the substance of things and the causality contained, instead of being blind in the chaos. “One falling leaf is indicative of the coming of autumn.” This saying also exemplifies the philosophy. However, people read it but few get it, since most thoughts are bound by trivialities and most visions are narrowed down. Hence, for practicing Buddhism and exploring art world, a transcendental sense and an open mind are emphasized. When she is drawing, during which lie a transcendence and self-realization, Jiang Yan integrates the transcendental sense with every aspect of daily life. She liberates herself, and more importantly, brings the boring reality vivid look and artistic poetry.
一只鸟在寻找一个笼子——蒋燕作品印象
文/江铭
“我只是画我感受到的东西，对于我来说不一定要有什么意义，如果一个人在你的作品前或多或少感受到点什么，那这件事就有了意义。”蒋燕为自己的作品写下了这么几句简单的话。从这几句话中我们没有听到很多身怀使命感的艺术家那样深刻的思想和哲理。她说，我只是画我感受到的东西。这句话也正是我们感受她作品的前提。也是我们可以感受她作品的根据。
马赛克_Mosaics_10.7x10.7x2cm_木板丙烯_acrylic on wood_2015
鼻血_Nosebleed_8x11x2cm_木板丙烯_acrylic on wood_2013
蒋燕所有的作品都是她情感与日常生活的点滴感受。是她的这些感受在视觉记忆中凤毛鳞爪的片断。这些片断却像格言一样耐人琢磨。一面土黄色的背景上突兀地耸立着一个鼻子，概括性的笔触将这个或许是某个男人的鼻子表现得致命。那背景似乎直接借用了木板的底色，只有鼻子被简洁地勾勒出来。这鼻子的左侧鼻孔中流出一大滴暗红色的血，这血很是暴力，也很是色情。人流鼻血一般只有两种情况，一被外力撞击，这是暴力的隐喻；二，具有阴虚阳亢体质的人容易鼻孔出血，这在视觉上常用来表现具有色情的意味。这或许也是描述者在某一时刻对某种场面的深刻印象。而这印象停留在那个流鼻血的瞬间。这件作品被取名就叫《鼻血》。
瓜子牙_Sunflower-seed teeth (Chipped teeth)_7.8x8x2cm_木板丙烯_acrylic on wood_2013
一排整齐的牙齿横在画面的上半部分，整个画面只有露出的部分牙龈和六颗牙齿，其中左右的两颗也只是露出半颗。左边第二颗有一点尖尖的感觉，第三、四颗，也就是中间的两颗出现了两个被磨掉的豁口。下面是浅白色的背景，我们看不到下面那排牙齿。作者将这幅作品取名为《瓜子牙》。我们不知道这幅作品是画的作者自己，还是与她关系亲密的某个人。如果是她本人，那么或许她可能对于自己由于习惯性地喜欢吃瓜子而造成了牙齿的损坏而有一点羞耻。但是这作品更多的应该是对某个亲密朋友的印象，那个朋友一定是每一次说话或者谈笑时都露出了这样的一排牙齿，以至于作者对他的印象就剩下了这个。其实，我们每个人记住另外的人都是由于那个人的某个缺陷，而并不是她整体的形象。越是完美的形象，越是优雅的人，她（他）所留给他人的感受中可能缺陷便越是深刻。这是一种怎样的伤情。因为，上帝不允许任何人靠近那完美。
口子_Cut_10x10.8x2cm_木板丙烯_acrylic on wood_2013
一个人的手臂横过画面，那个部位应该叫肘部。看不到手也看不到臂。淡雅的手臂上呈现出斑斑的汗毛，那可能是某个男性的小手臂。在手臂靠近手的一端留下了一条深深的伤痕，一个刀口，在这唯美的画面上显现出残酷。这件作品叫做《口子》。伤口是为了让完美的生活出现变化，让平衡失去平衡。那或许是一次不经意的事故，或许是情感危机中的极端行为，或许是精心设计的行为作品。但是它呈现出来所留下的仍然是一种突如其来的不安、紧张和危险。那深深的伤口划破了日常的安宁与平静。人生中有了伤口，便留下了永久的伤疤，这是上帝的意思，它不让伤口彻底消失，以便留下记忆。人类太容易忘记过去，忘记痛苦，当然也会忘记欢乐，于是伤口成为对时光的缅怀，对消失的岁月的无限的回味。
面膜_Facial mask_15x15x2cm_木板丙烯_acrylic on wood_2013
鸟儿2_Bird-2_8x8x2cm_木板丙烯_acrylic on wood_2015
像这样的作品在蒋燕的创作中比比皆是。她的所有作品都需要用这样的单独描述才能够解读，因为这些作品不是那种标准化、符号化可以归类为某种模式的东西。他们各自都独立形成为各自的循环。这样的作品我们只有独自叙述才能够叙述和读取。而每一件作品都有着各自创作的背景，以及产生这件作品的契机。从这样的一些作品创作的背后，我们也许能够感知到作者是一个十分内向敏感的人。她就像一个旁观者，一个局外人，在一片热闹的场外，她沉默地观看，那些被忽略的细节却成为触动她的暗示。那暗示中隐藏着世界的秘密。她的内心在看似平静的表面却是充满梦幻，那梦幻在每一个触动她的瞬间闪烁。这时候你会感受到她内心某种欲望在海上颠簸，似乎她想要努力保持内在的平静，但是那起伏的波浪仍然摇曳着她无限的情愫与遐想。你如果仔细阅读那些画面，平静而淡雅的色调中所潜藏的欲望总是从画面中隐现出来。比如《后脑勺》中的那个大脑袋，在这个画面后面有一双眼睛在仔细地观看。一双手在〈〈捧着〉〉一捧水，而水中的月亮又能维持多久呢？但是那个梦还是难以被舍弃。这个世界上谁不是从一个青春走向一个梦，然后在不该醒时醒来？那个充满欲望〈〈舔〉〉着那个女孩耳轮的人我们看不到全貌，也许在那个时刻，所有的感觉都只有欲望，在欲望的世界中，人失去了完整性和确定性。但是当那一切成为回忆，当欲望上升为艺术和作品之时，什么能够成为永恒之源？那泛红的耳轮之中仍然留下了淡淡的欲望，而那欲望却已经不是欲壑难填和蠢蠢欲动，而是回忆之中的悲哀，是重复之爱的永不再来……
头上的包_Scalp pimple_12.2x15,4cm_木板丙烯_acrylic on wood_2013
无题_Untitled_14.5x15cm_木板丙烯_acrylic on wood_2013
卡夫卡曾经说过一句话：一个笼子在寻找一只鸟。我想，一个艺术家自由的心却多么像一只鸟，她们自由的内心却偏偏试图想用某种图像来表达，也许她们是在错误地寻找一个笼子。这也许是所有艺术家的悖论。
A Bird Goes in Search of a CageAn impression on Jiang Yan’s worksJiang Ming
“I draw what I feel. It doesn’t have to be meaningful to me. If someone feels or senses something in front of your works, it just has meanings.” Jiang Yan, for her artworks, wrote these plain words that do not, unlike many artists with missions, give us any profound thoughts or philosophy. “I draw what I feel.”- This is the premise and ground for us to understand her paintings.
Jiang Yan’s artworks reflect her emotional and daily-life feelings and are rare fragments of visual memory, in which these feelings hold.These fragments give as much food for thought as mottos do.
小丑-演员_Clown -Actresses_130x160cm_布面丙烯acrylic on canvas_2011
Against a khaki background rises a nose, maybe a man’s nose, which is breathtakingly depicted by abstract brush strokes. The background seems to use directly the undercoat of the board while only the nose is outlined concisely. A drop of blood, thick and dark red, falls out of the left nostril. It is violent and erotic. A nosebleed is usually triggered by: A) trauma outside, such as a hit by an external force, which is a metaphor of violence, and B) Yin deficiency and Yang excess, which is often expressed visually as eroticism. It may be the artist’s deep impression on some scene at some time, which stopped at the moment that the nose was bleeding. This artwork is named Nosebleed.
一个菠萝_A pineapple_50x60cm_布面油画_oil on canvas_2015
A neat set of teeth covers the upper part of the picture. The left and right ones, among the six teeth and part of gum tissue that the whole picture presents, appear half. The second tooth from left is sharp, and the third and fourth ones, i.e. the two teeth in the middle of the set, are ground to chips. We don’t see the lower front teeth but a white background. The artist named this painting sunflower-seed teeth (chipped teeth). We have no idea if this painting depicts the artist herself or someone she is close to. If she portrayed herself, she may have a slight sense of shame for her hobby, as well as a habit, of eating sunflower seeds, which leads to teeth damage. However, the teeth are supposed to be of artist’s close friend, whose teeth appear every time when she/he talks or laughs, which becomes the painter’s only impression on her/him. In fact, we remember each person by her/his flaws rather than her/his overall image. The more perfect the image is, the more elegant someone is, the deeper the feeling that caused by her/his flaw might be held. How sentimental it is. God has stopped anyone from approaching perfection.
一个腿_A leg_40x50cm_布面油画_oil on canvas_2015
There is someone’s arm across the picture, which should be called an elbow. We do not see a hand or an upper arm. This might be a man’s forearm, simple and elegant, with many fine hairs. Brutalities appear in such artistic image since at the end near the hand lies a deep scar, a knife cut. This artwork is called Cut. Wounds are to change a perfect life, making a balance unbalanced. It may be a casual accident, an extreme behavior in an emotional crisis, or an elaborate performance art project, but what it presents or leaves is a kind of unexpected anxiety, tension and danger. That deep scar has scratched the daily peace and quietness. The life has its wound, leaving a permanent scar. It is God’s intention — he does not remove the wounds so as to give us memories. It is easy for human beings to forget past and pain, as well as joy and pleasure. Hence, wounds turn to be of reminiscent and endless reflection on the faded days.
Jiang Yan’s creation is replete with examples like those mentioned ones. We appreciate all her artworks via this kind of independent descriptions since we cannot classify any piece of her work to some standard or symbolic mode. The artworks circulate so independently, among themselves, that only do we depict independently we can describe and get them. Each artwork has its own background and opportunity when being created. Looking at the creations of these works, we may sense and be aware that the artist is quite an introverted and sensitive person, who is watching, silently, out of the lively place, like an observer and outsider. However, the unnoticed details become a hint that touches her, a hint that hides the world’s secret. With a peaceful surface, deep in her heart it seems full of fantasies that sparkle at every touching moment. You will feel that some desire from heart is bumping on the sea and the heavy waves are swaying her infinite sentiment and reverie though she seems to be trying to keep an inner peace. If you look at those paintings carefully, you will see the desires hidden in the quiet and elegant colors looming: There are eyes watching attentively behind the big head (the work Occiput). How long will the moon exist in the water holding in hands? But that dream could not be abandoned. Everyone will wake up at a wrong moment when she/he walks from her/his youth to a dream. And who does not? We cannot see the whole image of the person that is licking a girl’s earlobe, but at that moment, all feelings may turn to be desires, in which people lose their completeness and certainty. And, what will be the source of the eternality when desires are to be art or works and all has become memories? The flushed ear shows us a slight desire that is no longer a sexual insatiability or impulse but a sorrow from recollections and a permanent absence of love.
一片肉_A piece of meat_15x15x2cm_木板丙烯_acrylic on wood_2014
无题_Untitled_16x17cm_木板丙烯_acrylic on wood_2013
“A cage went in search of a bird.” said Kafka. From my perspective, an artist with a free mind is trying to express with some images as a bird is going in search of a cage. It may be a paradox for all artists.For Jiang Yan’s solo exhibition.
艺术家简介：
蒋燕 女，于1983年出生于重庆 1999年—2003年就读于四川美术学院附中 2003年—2007年就读于四川美术学院油画系（综合材料工作室）
2000年在四川美院附中摄影作品《转》获得附中摄影展的摄影奖 2005中法城市文化交流展中，与来自法国图卢兹的女性艺术家卡特（Kat)共同创作涂鸦作品 2006年制作的DV短片《来回》在川美油画系举办的“同床异梦”的展览上展出 2006年5月，第二个短片《一个诗人的臆想》完成 2007年 油画作品《二分之一》获得当代艺术院校大学生年度提名展优秀奖，今日美术馆，北京 2010年 参与电影《爱出色》，拍纪录片兼导演助理 2011年 参与电影《边境风云》，画分镜和拍纪录片 2011年 新星星艺术节，上海多伦现代美术馆
About me Jiang Yan, Ms. Born in 1983 in Chongqing, China 1999-2003 High School Affiliated to Sichuan Fine Arts Institute 2003-2007 Mixed Media Arts Studio, Department of Oil Painting, Sichuan Fine Arts Institute
2000 Photography Award by High School Affiliated to Sichuan Fine Arts Institute 2005 Created graffiti artwork with Kat from Toulouse, France, during Sino-France culture exchange activities 2006 Back and Forth (video) exhibited at group exhibition ‘The Breakup’ 2006 A Poet’s Imagination (video) exhibited at campus exhibition 2007 1/2 (Oil painting) nominated and exhibited by Annual Nomination Exhibition for Students of Art Academies 2010 Director Assistant of Color Me Love and filmed a documentary for the film 2011—2012 Created storyboards and documentary for Lethal Hostage 2011 Works nominated by ‘New Star Art Festival’ and exhibited at Duolun Museum of Modern Art, Shanghai
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