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緊急出口—陳文令2009年新作展
策 展 人：黃 篤
開幕時間：2009年8月29日下午4時
展覽時間：2009年8月29日——10月11日
展覽地點：卓越藝術，北京市朝陽區酒仙橋路4號798藝術區D10
開放時間：週二至週日上午10點至下午6點
聯繫電話： +86 10 5978 9788
電子郵箱：Joyart@yahoo.cn
網 址: www.joyart-beijing.com
陳文令：以“超真性”全新出擊
陳文令是中國當代藝術頗具代表性的藝術家之一。他的大型個展《緊急出口》將於2009年8月29下午4時于798卓越藝術空間開幕，這是由著名策展人黃篤在北京為陳文令策劃的第二次個展。
此次展覽分別在大小兩個展廳展出兩件大型雕塑：《你看到的未必是真實的》【1100×580×300cm】和《如何逃離》【480×200×200cm】。此外，為了讓觀眾更加清晰地認識和理解藝術家的創作線索，個展還提供了他的一些草圖和一部紀錄片。
在這兩件最新的雕塑中，儘管陳文令保持以往某些充滿力量和動感的誇張手法，但他還是在創作的整體思路上進行了大膽的調整。首先是他在觀念、語言和風格上以“超真性”（Hyper-Reality）來塑造一種鮮明的個性化的藝術語言，從而超越了那種被認定的民俗性、波普性、艷俗性符號的語言系統。其次是他的政治經濟學觀點的轉變，即從相對地域性的文化問題轉向很具國際性的經濟政治問題——把全球金融危機案例作為視覺文化的聚焦點和分析對象。藝術家選擇了華爾街上豎立的著名“金牛”雕塑和“龐氏”金融騙子麥道夫作為創作對象，諷喻了當代資本社會中人和金錢之間的複雜關係，以及資本主義的自由經濟體系給人類帶來巨大的損失和傷害。
在展覽現場，觀眾可以從作品《你看到的未必是真實的》中看到，麥道夫被一個放著爆炸式的屁的牛頂在墻的中央，戲謔性地刻畫了麥道夫處於走投無路的窘迫、無奈、痛苦之狀，那種帶有騰雲駕霧的動感“牛屁”不僅暗喻了人過度貪婪“吹牛”的結局，而且象徵了國際金融中心虛擬泡沫的危險。在這個物欲橫流的社會，有人用錢虛擬了很多假像，有人被假像所迷惑。麥道夫只是藝術家選擇的一個典型對象，正像作品命名那樣，“你看到的未必是真實的”，也就是説，我們所看到的未必就是真正的真相，這是一個非常具有社會批判性的寓意。藝術家通過這一代表性的人物詮釋了人和資本之間的某種難以澄清的複雜關係，同時也折射出全球很多國家人們在金融危機下的普遍困境。
與之前“物神”系列相比，陳文令的新作轉向更具觀念性的社會現實批判性，這是一種建立在真實與超真實、現實與超現實、日常與超日常關係之上的藝術語言，他緊緊抓住了把雕塑語言的運動感置於思想之中的理念，並將經典雕塑進行了觀念轉換，從而創造出了一種新的雕塑-裝置語言。事實上，他並不是追求為觀念而觀念或為新而新，而是使觀念和語言服從於表現和形式的需要。他的藝術與其説是生動而形象地再現了人和資本之間的複雜搏弈關係，倒不如説深刻分析和揭示了視覺表徵背後的人類的道德危機、信譽危機和信仰危機。這是陳文令的藝術觀念核心，即以視覺語言向為觀眾提供了一種新的觀看方式和理解方式。
EMERGENCY EXIT CHEN WENGLING’S SOLO EXHIBITION
Curator: Huang Du
Opening:4pm, Saturday, August 29, 2009
Exhibition Dates: August 29—October 11, 2009
Venue: JoyArt, Zone D10, 798 Art District, 4 Jiuxian Qiao Road,
Chaoyang District, Beijing, China
Opening Hours: 10am – 6pm, Tuesday – Sunday
Tel: ＋86 10 5978 9788
Email: joyart@yahoo.cn
Website: www.joyart-beijing.com
Chen Wenling：
Making a Brand-New Appearance through Hyper-Reality
Chen Wenling is one of the most representative sculptors of contemporary artists. His large-scale solo exhibition “Emergency Exit”, designed by famous curator Huang Du as his second solo exhibition for Chen Wenling, is going to be held at 4:00 p.m. on August 29th, 2009 in Joyart Space.
The exhibition will display two big sculptures, which are “What You See Might Not Be Real”【1100×580×300cm】, and “How to Escape”【480×200×200cm】. In addition, the solo exhibition will provide some of his sketches and a documentary film, in order to help the audience recognize and undersand artist’s creation clue.
Despite the powerful and dynamic exaggeration remaining in his two latest sculptures, Chen Wenling has made a bold adjustment in his overall creative thinking. In the first place, he builds a kind of distinctive and unique art language through Hyper-Reality in terms of concept, language and style, surpassing the language system with firm, folk, spectral and vulgar signals. Secondly, his point of view of political economy changes from comparatively local cultural issues to international political and economic issues—to take global financial crisis as the spotlight of visual culture and analytical target. The artist chooses the well-known “Golden Bull” of Wall Street and “Ponzi” financial cheater Madoff as his creative target, satirizing the complicated relationship between people and money in contemporary capitalist society and the enormous loss and damage to people brought by free capitalist economic system.
In the exhibition, audice can find Madoff crushed against a huge wall by a bull breaking wind in “What You See Might Not Be Real”, vividly portraying Madoff’s embarassed, helpless and painful image. The dynamic bull’s wind not only refers to the ending of people’s greedy brag, but also symbolizes the danger of virtual bubbles in the international financial center.。 In this society of desire and money, some people create many false impressions, while some people are deluded by these impressions. Madoff is only an epitome chosen by the artist. As the name said, “What You See Might Not Be Real”, that is to say, things we can see might not always be the real fact, and it contains an extrodinary critical meaning for the society.。The artist elaborates some sort of sophisticated relationship between people and capital through this representative figure, reflecting a common plight people around the world are suffering under the economic crisis.
Compared with “The God of Material” Series, Chen Wenling’s new artwork direction is conceptual criticism on social reality. It is a kind of art language on the basis of reality and hyper-reality,. He tightly grasps the concept that to place the sense of movement of sculpture language into thought, and conceptually transforms classic sculptures, in order to create a kind of new sculpture—device language. His art deeply analyzes and reveals the moral crisis, credibility crisis and belief crisis behind visual token, rather than vividly reproduce the sophisticated game relations between people and capital. As a matter of fact, he makes idea and language appear in consistent with demonstration and form, instead of being superficial. This is the core of Chen Wenling’s artistic concept—to provide a kind of new way of viewing and understanding through visual language.
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