北京|袁运生:回路

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袁运生:回路

YUAN YUNSHENG: CIRCUIT

展期:2024年10月13日—11月10日

艺术家:袁运生

地点:站台中国|北京市朝阳区798艺术园区中二街D07号

 

「袁运生:回路」是站台中国当代艺术机构主办的展览,展出了艺术家袁运生的最新作品。这些作品通过独特的艺术手法展现了艺术家对现实世界的深刻理解和创新表达。

“Yuan Yunsheng: Circuit” is an exhibition hosted by Platform China Contemporary Art Institution, featuring the latest works of artist Yuan Yunsheng. These works demonstrate the artist’s profound understanding and innovative expression of the real world.

站台中国当代艺术机构将于10月13日在A展厅呈现袁运生展览《回路》,是其2022年个展《眺望远方》的第二篇章。源起自袁运生身处美国时期(1982-1996年)的实践,落脚于他晚年创作的大风景油画,一窥一个大灵魂用画笔的书写延展出一条其已然摸索的路径。当回到袁先生所处的时代语境和文化回路中观察时,他始终是一位燃烧着不灭激情的艺术家。他怀揣着对文化碰撞的理性审视和远眺,既身临其境,又退而默观,在诸个面临冲击的历史浪头都并未选择避其锋芒,而是经由其所坚守的艺术道路迈出探求的步伐。
 
 
 

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袁运生游春》|Yuan Yunsheng, Spring Outgoing
布面油画 Oil on canvas
240x560cm,2018
 
袁运生的创作媒介多样,与其在不同创作阶段艺术实践中的主张交织殊联。他在美国时期的绘画创作于一个信息洪流般的时间段,其对20世纪现代主义美学的眺望与自身被愈加唤醒的传统文化记忆之间面临着错位与时差。其中,《测不准的距离》等一系列纸上综合材料作品是他不断进行的绘画实验与自我更迭,既在“形”与“意”的中国画论中工作,也吸收了西方抽象表现主义的力的流淌,呈现出极为包容的自在状态。而同期的布面油画作品,如同《孕》、《丽达》等,则将这一时期的西方范式有选择的落于笔画中,用雄劲又情感激荡的笔触构建着具有强烈色彩表现力的形象。
 
而“线”对于袁运生而言,是一个“自足的充满中国造型特色的语言系统”。同样是线,不同艺术家笔下的状态亦折返至本人。正如他曾提及的,“线的本质是抽象的”,其所创作的《对决》、《线·象》、《漫》等水墨作品有着回到水墨传统的重新审视,并融入东方的书写系统,在彻底抽象间“寻求与适切的具象图形做坚实的结合”,以至于获得独立于形象的审美。除了白描的、书法的线,同样还有素描的线。他在上世纪80年代创作的《生命》等纸板素描作品不仅是其对语言的把握,更是其对于生命、生存与死亡的追索。那是一个信息和经济全球化急剧加速的年代,或许人类从未如此深切觉察到作为共同体的牵一发而动全身。而袁运生作为艺术家,其艺术语言与时代之间的距离和时代生成的他的语言间相互呼唤。他回应一个时代,时代也塑造了他。
研其至今的艺术探索,袁运生都着眼于在绘画中扩充思想的包容性,“寻求宽厚、博大而有光彩的东西。”其晚年的大风景则正是一次蕴含着岁月沉淀的厚积薄发,也扩充着绘画中的容量。他走过了一个充满着文化推演时差的年代,而在风波沉静后用笔画选择了一场主体的回归。这些浸润着收与放、质疑与舍弃、五千年与新生、坚实与流淌的艺术探索和个人情感,在这批巨幅油画中汇聚至一条回路。我们或许可以以此按图索骥,追问一位具有时代侧写意义的艺术家在绘画理路中至诚的选择。
 
文/ 于畅

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袁运生《》|Yuan Yunsheng, Pregnancy
布面油画 Oil on canvas
168x173cm,1989
 
 

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English Version

Platform China Contemporary Art Institute will present Yuan Yunsheng’s exhibition “Circuits” in Exhibition Space A on October 13th, marking the second chapter of his 2022 solo exhibition “Gazing into the Distance.” Originating from Yuan Yunsheng’s practice while in the United States (1982-1996) and culminating in his later years’ large-scale landscape oil paintings, the exhibition offers a glimpse into the path forged by a great soul with the stroke of a brush. When observed within the context of the era and cultural circuits in which Mr. Yuan lived, he has always been an artist burning with indomitable passion. With a rational examination of cultural collisions and a distant gaze, he was both immersed and reflective, never choosing to avoid the sharp edge of historical impacts but instead taking exploratory steps through the artistic path he steadfastly adhered to.
 
Yuan Yunsheng’s creative media are diverse, interwoven with the propositions of his artistic practices at different stages. His painting creations during his time in the United States were in an era akin to an information torrent, facing a dislocation and time lag between his contemplation of 20th-century modernist aesthetics and the increasingly awakened traditional cultural memories within him. Works such as ” Inaccurate Distance,” “Early Spring,” and a series of paper-based composite material pieces are part of his ongoing painting experiments and self-renewal, working within the Chinese painting discourse of “form” and “meaning” while absorbing the fluid power of Western Abstract Expressionism, presenting an extremely inclusive and comfortable state. Concurrently, his oil paintings on canvas, such as “Pregnancy,” “Leda,” and others, selectively incorporated the Western paradigms of the period into his brushwork, constructing images with strong color expressiveness using vigorous and emotionally stirring brushstrokes. 

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袁运生《熟情的女人》|Yuan Yunsheng,   Passionate Woman
纸板素描 Sketch on paper board
51x76cm,1985

For Yuan Yunsheng, “line” is an “autonomous language system full of Chinese plastic characteristics.” The state of the line in the hands of different artists also reflects back to the artist himself. As he once mentioned, “The essence of the line is abstract,” and his ink works such as “Confrontation,” “Line·Form,” and “Pervade” revisit the tradition of ink wash, integrating the Eastern writing system, seeking a solid combination with appropriate figurative images amidst pure abstraction, thereby achieving an aesthetic independent of imagery. In addition to the lines found in line drawing and calligraphy, there are also the lines of sketching. The paperboard sketches he created in the 1980s, such as “Life,” are not only a testament to his mastery of language but also a pursuit of life, existence, and death. It was an era of rapid acceleration in information and economic globalization, perhaps when humanity had never before so deeply felt the interconnectedness of a community. As an artist, Yuan Yunsheng’s artistic language and the era’s demands called out to each other across the distance. He responded to the era, and in turn, the era shaped him.

In examining his artistic exploration to this day, Yuan Yunsheng has focused on expanding the inclusiveness of thought in painting, “seeking broad, profound, and luminous things.” His later large-scale landscapes are a culmination of the sediment of years, expanding the capacity within painting. Having lived through an era full of cultural evolution and time lag, he chose a return of the subject with the brush after the waves have calmed. These artistic explorations and personal emotions, soaked in the concepts of restraint and release, questioning and abandonment, the wisdom of five thousand years and the birth of new life, solidity and fluidity, converge into a single circuit within these large-scale oil paintings. We may follow this thread to probe the sincere choices of an artist who provides a side portrait of his era in the realm of painting.

By Yu Chang

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袁运生《》|Yuan Yunsheng, Pervade
纸本水墨 Ink on paper
179x288cm,1990
*文中图片版权 © 站台中国 & 袁运生
Images copyright © Platform China & Yuan Yunsheng

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关于艺术家

About Artist

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袁运生,1937年生于江苏南通,1962年毕业于中央美术学院油画系董希文工作室。1979年创建中央美术学院壁画系,同年以云南西双版纳的线描和首都机场《泼水节——生命的赞歌》大型壁画引起美术界与思想界的轰动。1982年应邀访美,任教于塔夫茨大学、哈佛大学等高校,期间创作大量以水墨为媒介的作品,激活了水墨固有的流动性和渗透性,以强劲的能量进行着绘画的书写。1996年应邀回国,任教于中央美术学院。晚年回到了大风景的油画创作中,至今保持着旺盛的创作状态。

袁运生的艺术探索伴随着中国社会的时代变迁,与当下面临的文化语境相互回应,由此构成了其各时期尤为丰富多元的图景。他以传统为根基,几十年中持续进行着现代性的个人化实践,在与时代的强烈对撞中呈现出纯粹的强度和力量。袁运生的创作持续不变地在讨论生命,对他来说,生命不是同外在之物对抗的力量,相反,生命是自身内在的力与力冲突的舞台剧场。

重要个展

2023 《纵浪大化——袁运生与壁画梦》,中央美术学院美术馆,北京

2023 《回到南通》,南通美术馆,江苏

2022《眺望远方》 ,站台中国当代艺术机构,北京

2022《袁运生的历程》,龙美术馆(西岸馆),上海

2021《魂兮归来——袁运生》,站台中国当代艺术机构,北京

2021 一段修复的记忆——袁运生《水乡的记忆》作品史研究,中央美术学院美术馆,北京

2019《袁运生——生命的赞歌》,站台中国当代艺术机构,北京

2017《走向文明的自觉——袁运生艺术展》,中国美术馆,北京

2014《第三条路——袁运甫、袁运生绘画作品展》,中间美术馆,北京

2014《南通籍名家系列展——袁运生作品展》,南通市中心美术馆,南通

2010《熟饭乎?——袁运生个展》,Galerie99,德国

1997 作品《搏》参加意大利“第47届威尼斯国际艺术双年展”

1993《袁运生画展》,国际艺苑美术馆,北京

1992 在美国洛杉矶东方艺术中心举办个展

1992 在中国台北市玄门艺术中心举办个展

1991《袁运生近作展》,西百老汇街456画廊,纽约

1987 在纽约Soho区Art Wave画廊举办个展

1985 在旧金山威列画廊举办个展

1984 在哈佛大学做访问艺术学者并举办个人画展

1983 在纽约市东汉普顿70A公园韦雷德国际艺术画廊举办个展“袁运生”

1983 在美国波士顿市政府大厦画廊、美国塔夫斯大学、美国恩普斯特学院博物馆、美国斯密斯学院艺术系、美国麻省大学、美国北爱荷华大学美术馆举办展览

1980 南通市文联

1979 北京中央工艺美术学院展览馆

1978 云南省博物馆和云南省艺术学院举办个展

Yuan Yunsheng was born in 1937 in Nantong, Jiangsu Province. He graduated from the Oil Painting Department of the Central Academy of Fine Arts in 1962 under the guidance of Dong Xiwen. In 1979, he established the Mural Department at the Central Academy of Fine Arts. That same year, his line drawings in Xishuangbanna, Yunnan, and the large-scale mural “Water-Splashing Festival—An Ode to Life” at the Capital Airport caused a sensation in the art and intellectual circles. In 1982, he was invited to the United States, where he taught at Tufts University, Harvard University, and other institutions, during which time he created numerous works using ink as a medium, activating the inherent fluidity and permeability of ink, and imbuing painting with vigorous energy. In 1996, he was invited back to China to teach at the Central Academy of Fine Arts. In his later years, he returned to the creation of oil paintings on grand landscapes, maintaining a vigorous creative state to this day.
Yuan Yunsheng’s artistic exploration has accompanied the changes in Chinese society, responding to the cultural context of the present era, thereby creating rich and diverse l scenes in each period. Rooted in tradition, he has been engaged in personalized modern practices for decades, presenting pure intensity and strength in strong collision with the times. Yuan Yunsheng’s work consistently discusses life. For him, life is not a force in opposition to external things; instead, life is a stage where internal forces conflict with each other.

Selected Solo Exhibitions:

2023 Revel in the Universe’s Infinite Flux–Yuan Yunsheng and His Dream of Murals Painting’, CAFA Art Museum, Beijing

2023 Back to Nantong, Yuan Yunsheng Art Exhibition, Nantong Art Museum, Jiangsu

2022 Look into the distance, Platform China Contemporary Art Institute, Beijing 2022  Journey of Yuan Yunsheng, Long Museum, Shanghai

2021 REGENERATION, Platform China Contemporary Art Institute, Beijing

2021 The Restoration of the Memory –A Study of the history of Yuan Yunsheng’s work ‘Memories of the Water Town’, CAFA Art Museum, Beijing

2019 EXTOL LIFE, Platform China Contemporary Art Institute, Beijing

2017 Self-Conscious to the Civilization Renowned Chinese Artists of Fine Arts in the 20th Century, National Art Museum, Beijing

2014 The Third Path—Yuan Yunfu Yuan Yunsheng paintings exhibition,Inside-Out Art Museum, Beijing

2014 Nantong Famous Artists Exhibition series-Exhibition of Works by Yuan Yunsheng, Nantong Central Museum

2010 Cooked Rice? – Yuan Yunsheng’s solo exhibition,Galerie99,Germany

1997 His work Struggle was displayed in the 47th International Art Exhibition Venice Biennale, Italy

1993 The Exhibition of Painting by Yuan Yunsheng,International Art Gallery,Beijing

1992 He held a solo exhibition at the Oriental Art Center in Los Angeles

1992 He held a solo exhibition at the Xuanmen Art Center in Taipei

1991 Yuan Yunsheng’s Recent Works,456 Gallery West Broadway,New York

1987 He held a solo exhibition at the Art Wave Gallery in soho, New York

1985 He held a solo exhibition at the Wheeler Gallery in San Francisco

1984 He stayed as a visiting art scholar at the Harvard University and held a solo exhibition there

1983 He held solo exhibition at the Vered International Art Gallery 70A Park Place East Hampton, New York

1983 Boston City Hall Gallery,Tufts University, Amherst College Museum, North Iowa University, Smith College

1980 Nantong Cultural Palace

1979 Central Institute of Design, Beijing

1978 Museum of Yun-nan and Fine Arts College of Yun-nan