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blind walking DENG CHENGWEN


BLIND WALKING


FRONT COVER ART Blind Walking No. 30. Oil on Canvas 1600 x 1400mm

ODE TO ART Ode To Art Raffles City 252 North Bridge Road, Raffles City Shopping Centre, #01-36E/F, Singapore 179109 T +65 6250 1901 Ode To Art Kuala Lumpur 168 Jalan Bukit Bintang, The Pavilion, #06-24E/F, Kuala Lumpur 55100, Malaysia T +603 2148 9816 E sales@odetoart.com W www.odetoart.com

COPYRIGHT 2009 ODE TO ART All rights reserved. No part of this publiation may be produced in any form or means without prior agreement and written permission of Ode To Art Pte Ltd


DENG CHENGWEN


CONTENTS 7 THE ARTIST Biography Deng Chengwen - The Artist Blind Walking Series - An Overview Trip of the Blindfold 15 THE ART 43 EARLIER WORKS


THE ARTIST

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Artist Biography

个人简历 Biography 1981年 出生于广东 Born in Guangdong in 1981 2006年 毕业于天津美院 Graduated from Academy of Art, Tianjin 展览 Exhibitions 2003年 第三次“全新代的崛起”当代艺术展 The 3rd “Rebirth of the New Generation” Contemporary Art Exhibition 2004年 天津美术大展 Tianjin Art Exhibition 2005年“机”天津当代艺术展“Ji” Tianjin Contemporary Art Exhibition 2006年 全国美术学院师生作品展 International Art Academy Graduates Exhibition 2007年“镜像——寓言与谎言”北京9艺术空间 Reflection: Fables and Lies, Beijing 9 Art Space 2007年“抽离中心的一代”——798艺术节展览 Detached from the Core The Generation, 798 Arts Festival Exhibition 2007年“聚沙塔”——2007中国新锐绘画展 炎黄艺术馆“Ju Sha Ta”: Avant Garde Art Exhibition of China, Yan-Huang Art Gallery 2007年“游离”——邓称文、冯义莹作品展 “Linger”: Joint Exhibition of Deng Cheng Wen and Feng Yi Ying 2007年“时代精神”人物肖像展 “Spirit of Times”: Figurative Portrait Exhibition 2008年“传承—思辩”天津三代油画家邀请展 天津 “Heritage, Speculate” Invitational Exhibition for 3rd Generation Oil painters, Tianjin 2008年“多菱镜”当代艺术联展 千年时间画廊 “Multi-Angle Mirror” Contemporary Art Exhibition


Deng Chengwen - The Artist

Deng Chengwen’s Blind Walking series adheres to particular trends in modern art – where he has created a refreshing, new style that embodies a unique, individual character. In modern times, this style is a marker of social status and serves as a distinctive identifier. Seeking a breakthrough, he aims to utilise traditional painting techniques as a means to express the breath of modern life. Although Deng’s expressed views might be discounted and not paid its due attention in lieu of his youth, his works capture the collective ambition, ignorance and emational flurry within the young Chinese of his generation. For many 3rd generation Chinese artists this collective ambition is directed towards their infatuation with still-life techniques. Because modern life is multi-faceted, artists, however, cannot hope to achieve a consensual interpretation and appreciation of their art and they have to veer away from naïve and simplistic representations of a complex society. Their works have to adopt a concept-based approach in order to seek a depth and complexity – at a level that causes some of its viewers to recognize personal truths when standing before the art. Through his own sensitivities, Deng has re-constructed a new visual experience that evokes the spirit whilst creating an art that integrates both symbolism and metaphors. Deng’s works counter the clash between perceptions of image and language. Of course the separation between language and image in order to find his own method of creation is consciously derived from his personal history. This method of painting is heavily imbued with symbolism and gradually fashions Deng’s eventual painting style. Deng’s works are a stunning display of the contradicting visual imagery that many in his generation encounter daily in their lives. His analysis often presents itself in the arena between imagery and language, with a biasness towards the unstable flux of their times. For his tender age of twenty-eight, Deng’s insight into the issues unique to his generation is encouraging. Despite his youth, his message is compelling and pertinent while his arresting compositions attest to his immaculate attention to detail. The strong compulsion to express himself on the condition of his generation suggests that some of already started to see and will lead their compatriots towards a more meaningful future.

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The Blind Walking Series - An Overview 盲者之行 (节选) 读邓称文的油画有感 王华祥 “你们这瞎眼领路的有祸了!你们说:‘凡指着殿起誓的,这算不得什么;只是凡指着 殿中金子起誓的,他就该谨守。’你们这瞎眼无知的人哪!什么是大的?是金子呢?还 是叫金子成圣的殿呢?你们又说:‘凡指着坛起誓的,这算不得什么;只是凡指着坛上 的礼物起誓的,他就该谨守。’你们这瞎眼的人哪!什么是大的?是礼物呢?还是叫礼 物成圣的殿呢(圣经马太福音23章)?我们这个时代的价值观呢,大至跟耶稣当年谴 责的文士和和法利赛人差不多,人们对于物质和权利的兴趣,要远远大于对灵魂对生命 的兴趣。有多少人相信和看重信誉、良知和公义这些东西?不可否认,物质和权利是无 法避开的,也不应当回避,艺术品由艺术家创造出来,然后拿到市场上去卖,第一次卖 了500元,第二次卖了600元,第三次卖了800元,一次比一次高的原因:一是画技在 提高,二是因为需求者增多了,致使供不应求,加上艺评家的评论和商家的包装宣传, 附加值加上原始价值于是就产生了雪球效应:不断易手,不断流通,不断滚动,于是 那球越滚越大,大到一定程度,就脱离了它的基本价值,变成了抽象的像股票一样的 东西,也就是说艺术和企业的实绩已经不重要了,甚至可以完全抽离和舍弃那个实业和 实绩,这就是股市经济的神话效应。今日艺术品的拍卖,也是模仿和类似股票经济的模 式,画廊和藏家与拍卖行联手,一起炒作某类作品和某个概念,情况就如同圣经上所言 的:人们不看重圣殿和神坛,只看重圣殿里的金子和神坛上的礼物。艺术院校中的教学 重心,也由原来的重基础和知识的培养,改为重潮流和生效的教育。媒体和舆论也都只 对明星和财富权利榜感兴趣。可以说,中国的商家对“注意力经济”是最先觉察到的, 于是就有了广告商的由奴隶到将军的变化,想当年,也就是十多年前吧,广告公司,广 告行业是何其卑贱和孙子啊,而到后来,企业在广告上的投入,已经达到利润的百分之 二三十到百分之六七十,艺术界在商业上的嗅觉是比较迟缓的,觉悟的比较晚,到二 ○○二年之后,拍卖行的把戏终于吸引了市场的注意力,于是,大批的资金涌向艺术品 市场,于是艺术品在二○○五年春天到二○○八年秋天,呈十倍至百倍的速度上涨了, 这不仅使艺术家们的生产激情受到了极大的刺激,也造就了全国的美术热:全国的乃至 全世界的画家和画廊涌向北京和上海,拍卖行忽然由数家增至几千家,艺术院校不断扩 大校园面积,招生量也呈十倍至百倍的增加,综合大学、专科大学纷纷开设艺术系。卖 煤的、卖油的、卖房的、卖电脑的、卖饭的、卖笑的,凡是有钱人,凡是做生意的人, 都纷纷加入艺术收藏和艺术品的倒卖的行业,也是奇怪得很,只要沾上艺术,那些钱都 变的有文化了,只要傍上明星,你就等于傍上了银行,于是,大艺术家们一个一个都变 成神笔马良了,那笔可以画来黄金屋,也可画来颜如玉。于是,权利向艺术叛逆者们招


手,资本向傲慢的从艺者媚笑,艺术评论家手中的尖刻利器变为拍马奉迎的生花妙笔。 后学者看着致富能手佩服得五体投地。不需多少智商,人们就明白了艺术产业的炼金术 手佩服得五体投地。不需多少智商,人们就明白了艺术产业的炼金术个中的伎俩,那就 是金钱通奸权利(话语权利),在一个缺少思想、信仰和良心的时代,权威和金钱的数 字是唯一可以依靠的凭据,人们不相信感情、爱和责任,不相信本质、意义和永恒,那 么,正如上帝所说:你们不崇拜创造你们的造物主,倒是愿意去崇拜你们自己造的偶像 (大意),人们最大的罪不是杀生,乃是骄傲(自以为是)。一个人再无能,只要他有 一个老婆,两个孩子,他都会把自个儿当做他们的上帝,更何况人一旦有了一点权利或 是很多的金钱,那自己整个就是真理的化身。人是这样一种可怜的动物,当人们只依靠 经验的时候,是不相信知识的;当人们只依靠知识的时候,是不相信心灵的;当人们只 依靠心灵的时候,是不相信上帝的。然而,在现代中国人的心里,经验、知识、心灵和 上帝都是工具,只有钱才是目的。可怜的人们哪!你们前呼后拥,仿佛是向着财富和幸 福去的,你们在危楼的顶上行走,在悬崖的边沿上行走,在飞驰的汽车道中行走,在无 路的荒漠里行走……还互相用手蒙住眼睛,还不停下脚步推开盖着眼睛的手。我所描述 的就是油画家邓称文画中的景象,岂止是艺术界,整个中国其实都是这个境况,也都隐 藏着相同的危险,我们没有注意到:美丽和丑陋、公义和私心、爱心和仇恨、局部和整 体、当下和未来、有限和无限、已知和未知的不可改变的距离,就像白天和黑夜,就像 男人和女人,那样的差别,不是敌对,而是相对,不是暂时,而是永恒,人与人的差别 其实也应如此。可是,当人们前后相跟,迈着同样步伐,踩着相同足印,朝着一个方向 并且是瞎子领着瞎子,白痴搂着白痴,这是多么黑暗的幽默呀,这是称文作品给我的另 一层印象。既然是忙行者就应当走睁眼人设计的盲道,那地砖要比周边的凸起一些,要 处在人行道中间离路牙子稍远一点,离汽车道更远一点,中间不要有树、电线杆或其他 障碍物。否则,摔跤、受伤甚至被汽车撞死就在所难免。再蠢的瞎子都不会自找倒霉, 这一点我敢肯定,但是如果瞎子们自我感觉良好,觉得自己比睁眼的还能耐,或者,瞎 子们的脑袋进了水,成了神经病,那么,他们对危楼失足和公路上丢命的危险是不以为 然的。邓称文不停地画他们,他们的形象被放置于都市和旷野中的各个地方。似乎在相 当长的时间内,画家并不打算移开盲行者们的互相遮着眼睛的手,也不打算将他们带离 那些令人心悸的地带,因为,没有人可以改变这一切,除了他们自己愿意。 2008.12.03 11


Trip of The Blindfolded  Impression on Deng Chengwen’s Paintings    Wang Huaxiang

“You poor people! Crowding around and pushing forward. You seem to draw only to the unknown, walking on the top of buildings, at the edge of cliff, on the speeding drive way and in the trackless desert, always in danger. Blindfoled by each other. You never attempt to pry away the hand that covers your eyes.” I am describing the scenes of Deng Chengwen’s paintings. These exist not only on his canvas but is in fact a reflected image of China. The canvas simplify the perrenial truths that we are unaware of: of beauty and ugliness, justice and selfishness, love and hatred, part and whole, the present and the future, the limited and the unlimited, the known and unknown, just like day and night, men and women. The difference is not opposition but relative and f ar more complex. When the blind leads the blind, walking at the same pace, stepping on the previous footprint, moving in one direction, an idiot’s arm around another idiot - what a dark humor! Now that they are blind walkers, they shall take the roads filled with with obstructions. And although one would not knowningly wish harm upon oneself, if the blind walker is assured, he would not wish to see. Deng Chengwen, using this imagery, places these blind walkers in various places, repeatedly pointing to their ignorance, whether in the city or in the wild. The artist has no intention of removing their hands of their eyes, nor does he intend to bring them away from these dangerous settings, because he is aware that this cannot be changed unless the blind walker himself is willing to change.

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THE ART

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Blind Walking No. 16 Oil on Canvas. 1200 x 1400mm. 2008

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TOP

Blind Walking No. 15 Oil on Canvas. 1500 x 1500mm. 2008 RIGHT

Blind Walking No. 22 Oil on Canvas. 1600 x 1200mm. 2008


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Blind Walking No. 31 Oil on Canvas. 1600 x 1200mm. 2008

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Blind Walking No. 13 Oil on Canvas. 1200 x 1400mm. 2007


Blind Walking No. 32 Oil on Canvas. 1600 x 1400mm. 2009

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TOP

Blind Walking No. 33 Oil on Canvas. 1800 x 1000mm. 2009 LEFT

Blind Walking No. 17 Oil on Canvas. 1800 x 1600mm. 2008

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Blind Walking No. 38 Oil on Canvas. 1400 x 1600mm. 2009

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Blind Walking No. 37 Oil on Canvas. 1500 x 2000mm. 2009

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Blind Walking No. 39 Oil on Canvas. 1200 x 1600mm. 2009


Blind Walking No. 21 Oil on Canvas. 1200 x 1000mm. 2008

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Blind Walking No. 36 Oil on Canvas. 1200 x 1300mm. 2009

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Blind Walking No. 18 Oil on Canvas. 1600 x 1200mm. 2006

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Blind Walking No. 34 Oil on Canvas. 1800 x 1300mm. 2009


Blind Walking No. 37 Oil on Canvas. 1200 x 1000mm. 2009

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Blind Walking No. 35 Oil on Canvas. 1800 x 1300mm. 2009


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Blind Walker Oil on Canvas. 1600 x 1100mm. 2008


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EARLIER WORKS

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BOTTOM

Blind Walking No. 11 Oil on Canvas. 1200 x 1000mm. 2008 RIGHT

Blind Walking No. 14 Oil on Canvas. 1500 x 1500mm. 2008


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Untitled Oil on Canvas. 1500 x 1500mm. 2006


Untitled Oil on Canvas. 1100 x 1300mm. 2006

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Ode To Art Raffles City. 252 North Bridge Road, Raffles City Shopping Centre, #01-36E/F, Singapore 179109, T +65 6250 1901 Ode To Art Kuala Lumpur. 168 Jalan Bukit Bintang, The Pavilion, #06-24E/F, Kuala Lumpur 55100, Malaysia, T +603 2148 9816 E sales@odetoart.com. W www.odetoart.com


Blind Walking