王音簡歷

王音2009

藝術家：王音

學術主持：汪民安

策展人：左靖

展覽開幕：2009年9月26日下午4點

展覽日期：2009年9月26日-11月22日

展覽地址：伊比利亞當代藝術中心  北京市朝陽區酒仙橋路4號798藝術區E06

總監：夏季風

出品人：高平

主辦：西班牙國際文化藝術基金會｜伊比利亞當代藝術中心

T: 86 10 5978 9530 / 5978 9030 info@iberiart.org www.iberiart.org

展覽簡介：

伊比利亞當代藝術中心將於2009年9月26日隆重推出藝術家王音個展——王音2009。

王音畢業于中央戲劇學院。1990年入駐圓明園畫家村，1998年去宋莊後，正式進入了職業畫家狀態。從八五美術新潮到圓明園到宋莊，王音經歷了中國繪畫現代化的過程。此外，王音還一直從事戲劇和繪畫等領域的越界工作。1989年與林兆華合作《漢姆雷特》，1996年與張藝謀合作《圖蘭朵》，2007年再次與林兆華、譚盾合作《刺客》。黃梅戲、粵劇、淮劇……等各種劇種亦有所參與。

王音少年時期的繪畫經驗，是在蘇派繪畫傳統中獲得的，他的大學時光，正好是被西方人文思潮和美術思潮所“震撼”的時光。這也使他對當時的來自西方的先鋒派思潮，尤其是美術和戲劇方面的先鋒思潮非常了解。當時，在北京，新的藝術潮流就是用西方的先鋒派經驗來取代蘇式繪畫經驗和文革繪畫經驗，並借此對美院傳統和強大的官方繪畫意識形態進行挑戰。

王音總是嘗試抓住那種從生活體會和對繪畫理解中形成的繪畫意識，使繪畫更富於挑戰性。“挑戰固有的認識習慣，挑戰那些侵入人們意識內，變得僵硬、秩序化了的東西，挑戰繪畫在展廳與客廳之間的安嫻的品格與淑女一般的脾性。”與主流繪畫不同的是，王音一直在試圖探尋中國繪畫現代性進程中是否存在一條“內在理路”，他把個人的情感經驗、思想脈絡貫穿于自己對近現代繪畫史的認識中，或者説，把外緣的影響內化為純粹個人化的身體經驗，以便於從中找出一條被“粗糙的思想與觀念的雜草所遮蔽著的‘內在理路’”來。

從視覺上看，王音的繪畫似乎是游離于中國當代藝術發展方向之外，顯得很保守和“很土”。很少有人像他那樣，他的目光是往回看的。王音曾説過“編新不如述舊”，在這個意義上，他的工作多少有點類似中國傳統文人“我注六經”、“六經注我”的意味。我們看到，正是經歷了激蕩的1980年代後，在歷史與文化，傳統與現實面臨重新評價的時刻，王音找到了適合自己性情的道路，即從中國近現代繪畫史的源頭開始梳理，重新翻檢傳統脈絡，用極樸素、極平實的視覺方式來表達自己對傳統與現在時的關係的理解。

此次展覽，王音帶來了自2003年以來創作的30余件作品，這是繼2007年德國的個展之後，又一次王音作品的大型展示，2009年9月26日至2009年11月22日在伊比利亞當代藝術中心展出。

花 布面丙烯、油彩 230×360cm 2006

Flowers Acrylic and oil on canvas 230×360cm 2006

Exhibition: WANG YIN 2009

Artist: Wang Yin

Academic Advisor: Wang Min’an

Curator: Zuo Jing

Opening: 26 September 2009, 4:00 pm

Dates: September 26 — November 22, 2009

Address： Iberia Center for Contemporary Art

E06, 798 Art Zone, No.4 Jiuxianqiao Road, Chaoyang District, Beijing (Close to the south gate of 798)

Director: Xia Jifeng

Producer: Gao Ping

Organizer: International Art & Culture Foundation (IAC) of Spain

| Iberia Center for Contemporary Art

T: 86 10 5978 9530 / 5978 9030 info@iberiart.org www.iberiart.org

Iberia Center for Contemporary Art will present a large solo exhibition featuring the artist Wang Yin: “WANG YIN 2009” on 26th September 2009.

Wang Yin graduated from Central Academy of Drama. In 1990, he had resided in art village in Yuan Ming Yuan Park, then moved to Song Zhuang in 1998 to begin his work as a professional artist. From ’85 New Wave to Yuan Ming Yuan Park and Song Zhuang, Wang Yin experienced the modern process of Chinese painting. Furthermore, he is always engaged on theater and had cooperated with director Lin Zhaohua on Hamlet in 1989 and with director Zhang Yimou on Turandot in 1996. In 2007, he worked again with Lin Zhaohua and Tan Dun on Assassin. He also worked on various kinds of operas such as HuangMei opera, Yue opera and Huai opera etc.

As with most artists of his age, his painting experience from boyhood undoubtedly grew out of the Soviet painting tradition. Additionally, the time he spent at university coincided with the arrival of Western humanist trends and fine arts theories that have created a "shock" in the society. This allowed him to be fully exposed to the avant-garde trends of thought from the West, especially those in fine arts and theatre. At that time in Beijing, the new trend in art was to replace the Soviet and Cultural Revolution painting experiences with Western avant-garde art and in this way challenge the tradition of art academies and the powerful official ideology in painting.

Wang Yin always attempts to make his paintings more provocative by capturing painting conceptions growing on daily life and his understanding of painting. “Painting should actually challenge the established paradigms; it should put to the test what perception renders stiff and systematic, the ‘good manners’ and ‘good taste’ of those pictures hung in living rooms and exhibits.” Different from conventional painters, Wang Yin has continued his interest in examing the inner logic of Chinese painting in the course of modernity. He introduces his personal feeling and thoughts into his understanding of Chinese modern painting. In other words, he internalizes the outside influence into a sort of purely embodied experience in order to sort out the inner logic.

The “conservative” and “old-fashioned” images from Wang Yin’s paintings seem to have distanced his painting practice from the development of Chinese contemporary art. Very few artists look backwards like him. Wang Yin once cited the sentence from A Dream in Red Chamber, “it's better to quote an old saying than to compose a new one”, which alludes to the fact that his way of working is somehow close to that of traditional Chinese intellectuals: “I interpret the classics, the classics interpret me”. After the turbulence of 1980s, at the time when history and culture, tradition and reality had been re-evaluated, Wang Yin found a way of his own, that is, review the tradition from the headstream of Chinese modern painting and use a simple and plain visual expression to convey his understanding on the relationship of tradition and present.

This exhibition will include more than 30 pieces of Wang Yin’s creation since 2003. Following the 2007 solo exhibition in German, this will be another grand presentation of Wang Yin’s work. The exhibition will be on view at Iberia Center for Contemporary Art from September 26th 2009 to November 22nd 2009.