One Man One World

ONE MAN ONE WORLD REN ZHEN YU

ONE MAN ONE WORLD REN ZHEN YU

REN ZHEN YU

绘画—与人有 关的一切 在中国近百年的巨大社会变革中，理 想与现实拷 问着每 一 个人 脆 弱的尊严。这不仅仅 是个人问题，而是当代社会的人 类共识。

所以，作为艺术家，更 肩负着一 个时代 所赋予的责 任。艺术家的先

知先觉，取 决于对事 物的敏 感。当我 所面对的现实，与一直以来 所 接受的教育，遇到了某种瓶颈时，也正 是艺术发生的切入点。恰恰

是 这种矛盾，催生了我的艺术思维，禅宗里的公案“ 晴天雨天都是

好天”正 是呼应了“这是一 个 最 好的时代，也是一 个 最坏的时代” 的当代问题 。

我尝试 着用绘画的方式 来诠释 这一切，通 过种 种的绘画语言，来呈 现人性的光芒，因为我喜欢“人”的味道 。人性的丰富多彩，点缀着

这个大千世界，也正 是我作品的源 泉 所在。我希望自己还能呈现的

更 好，因为可挖掘的东西还很深很深，重要的是要 找到绘画艺术在 今天的价 值。

一直以来，我始 终以“信仰 ”为主 题 展开自己的绘画，这其中，包括 不同的宗教信仰、爱情 信仰、意识形态信仰……因为一时间，我们 突然发现自己处于重重 危机包围之中：生存危机 、道德 危机 、环境

危机 、信任危机 、经济危机……失去 信仰很可怕，盲目信仰亦然。

我觉得在这林 林总 总的问题背后，还 是“人”在 起着决 定性作用。故 此，我喜欢探讨一切关于人的生存与体 验。这 又与欧洲中世 纪的人 文觉醒有所不同，因为那只是一篇华彩文章的序言，后面的问题 还 在考验着一 代代为之奋斗的有识之士，我 乐于参与其中。 1

ONE MAN ONE WORLD

BETWEEN PAINTING AND PEOPLE China underwent tremendous social changes within the last century – ideals and reality have challenged our weak dignity. This is not only a personal issue but a societal one in today’s society.

Therefore, as an artist, he shoulders more of the responsibilities of an era. The artist’s ability to sense the future depends on his sensitivity to things. When the reality I faced and the education I had been receiving encountered some kind of bottleneck, that was precisely the starting point of art. It was precisely this kind of contradiction that gave birth to my artistic thinking. The saying, “Be it a sunny day or a rainy, it is still a good day,” reflects the idea that today’s era is both the best and worst era of all time.

I have tried to interpret this idea through painting. By painting in different ways, I express the radiance of human nature because I like the essence of humanity. The richness of human expression and the vastness of this world are both the source of inspiration for my work. I hope to be able to present my works better as there is still many untapped potential that I have not explored that runs deep. What is most important is that we find the value of painting art today.

For the longest time, I have used the theme of “faith” to carry out my paintings. This includes different beliefs – religious beliefs, beliefs about love, ideological beliefs … Because in a short period of time, we suddenly found ourselves surrounded by many crises; survival crisis, moral crisis, environmental crisis, trust issues, economic crisis… Losing one’s faith is a scary thing and blind faith does not matter. I think that behind all these problems, mankind still has a decisive role to play. This is different from the enlightening of people in the Middle Ages in Europe. And because this is just the beginning and these problems are still testing the insights of today’s generation, I am willing to be a participant.

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REN ZHEN YU

前言 当代艺术的标签 一直 是：全 球影响力、文化多样性和被它本身的材 料、方法、不同形式的概 念 所标 示。代 表艺术所发 声的新时代已经

建立了一种思想，促 进打破界限，培养新的视角。重要的：这些支柱

是 建立在进步的基 础之 上的，这是一 个更 为不屈的过去的开创性演

ONE MAN ONE WORLD

任振宇的作品无论是视觉上 还 是在技术都掌握着精 湛 技艺，但他的 潜意识 层面的概 念意义却引起了一种好奇的心态。一 个艺术品激发

视觉和精神的扩张 也许是当代艺术发 展的方向。当您看着您收 藏的 任振宇的作品时，我希望他生动的笔触，能 对你进 行同样的探索。

随着艺术极快的速度向前发 展，像任振宇这样的艺术家仍然坚信过 去是不可忘却的，但却以新的相对性审视 和发 展到新的领域 。

变。但 是，尽管这一 新的和旧的传言汇合了许多当代作品，一 个较 少 被问及且富有想象力的问题——通 过一 个现代艺术的眼睛看到的过 去会是什么样子？

这是 任振宇艺术追求的危险答 案。这位中国画家是当代艺术宣言的 化身，是表现思想的老手。他 现在的作品是从黑白照 片中汲取的，

而艺术家则以令人 兴奋的色调混杂在一起 。与这个 过程相关的创造 力和想象力是艺术家 所拥有的神圣，甚至拒 绝从一张彩色照 片中绘 画出来，因为其色 彩 构成的“ 指导性”。它也允许他自由地判断，在

那里他的臣民不背叛政治或情境的倾向，而只是站在挑 起 观察和思 考。以 这种方式，他也提供了对过去根深蒂固的记忆的洞察力，并

将其与历史意义背后的人格联系起 来 。正如艺术家 所 解 释的，他主 要关注图像的“误读和转换”。

凭借颠覆传 统目光的意图，任振宇精心挑选的剧目作为历史 题材的

肖像画浮出水面，并 得到了广大公众的广泛青睐 。然而，作为一名艺 术 教 授，他的老师要求 继 续探索—— 一种概 念深度，它只想随着时

间的推移而增加。正如艺术家自己承认的，他的旅程的开始 是基于 现实的解 释 和技术的力量。但 是，一旦他的工作熟 悉，任意识到停

滞只能 通 过触发一 个概 念性的旅程前进到抽象和实验。这使 他的新 作品注 入了一种灵魂和意义，超 越了纯 粹审美技巧有时离奇的诱惑 力。他今天的舞台是一 个融合，他把他掌握的技巧和新的含义 结合 起 来，超 越了装饰的目的，而变 成了文化责 任。 3

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REN ZHEN YU

ONE MAN ONE WORLD

FOREWORD The era of contemporary art has been marked by global influence, cultural diversity and a dynamism of materials, methods, concepts, and subjects. The new age availability of artistic voice has founded an ideology that promotes the breaking of boundaries and fosters new perspectives. It is important to note that these pillars are built on a foundation of progression, the pioneering evolutions of a more unyielding past but while this resulting confluence of new and old heralds a number of contemporary works today, a less asked question is an imaginative one – how would the past look when seen through the lens of a modern artistic eye?

This is the answer to Ren Zhen Yu’s artistic quest. Forceful in colour and vivid in his expositions, the Chinese artist is the embodiment of the contemporary manifesto and a veteran of expressive thought. His current subjects draw from black and white photographs, which the artist then brings to life with a melange of evocative hues. The element of creativity and imagination associated with this process is one the artist holds sacred, even refusing to paint from a coloured photograph due to the ‘instructional’ nature of its colour composition. It also allows him to paint free from judgement, where his subjects do not betray political or contextual predispositions but only stand to provoke observation and thought. In this manner, he also provides insight into ingrained memories of the past and draws relevance to the personality behind the historical significance. As the artist explains, he is primarily concerned with the ‘misreading and transformation’ of images.

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With this intention of subverting the conventional gaze, Ren’s handpicked repertoire of personalities have surfaced as illuminating portraits to historical pasts and have found widespread favour with the larger public. However, as a professor of art, the teacher in him calls for a continue exploration – a conceptual depth that only seeks to increase with the passing of time. As the artist himself admits, the beginning of his journey was one based on realistic interpretations and technical prowess. But once his

work is familiarized, Ren realized that stagnation could only be abated by triggering a conceptual journey forward into the abstract and experimental. This has imbibed his newer works with soul and meaning that transcends the sometimes alienating allure of pure aesthetic skill. His current stage today is one of integration, where he brings together his mastered skill with new implications, ones that surpass decorative purposes and move into cultural responsibility instead.

While Ren’s works are undoubtedly feats of both visual and technical mastery, his subliminal layer of conceptual significance gives rise to an inquisitive mindset. For an artwork to incite both visual and mental expansion perhaps defines the direction of contemporary art today. As you thumb through his collection today, it is my hope that the vivid tangibility of his brushstrokes relays the same explorations to you. As the art movement forges forward at breakneck speed, artists like Ren keep alive the belief that the past is not to be forgotten – but examined and progressed into new frontiers with renewed relativity.

Jazz Chong Director Ode to Art

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REN ZHEN YU

对话 任 震 宇 是 天 津 美 院 油 画 系 的 青 年 教 师，这 些 年 在 国 内 外 不 断 地 举 办 个人 展 览，成 为 一 位 优 秀 的 艺 术 家 。我 们 有 过 几 次 轻 松 的

聊 天 ，就 他 的 作 品 谈 论了许 多 话 题 ，我 认 为 把 这 些 谈 话 内 容 整 理 出 来 ，就 是 一 篇 很 好 的 介 绍 文 章 了。

祁：你 考入 美 院 油 画 系 受 到了正 规 的 训 练，画 过一 些出色 的 作 品， 色 彩 斑 斓 丰厚，毕业 后又以优 秀 的 成 绩 留校 任 教，算是 典 型 的 学

院 科 班出身。和 过去相 比，你 现 在 的 作 品 有了很 大 的变 化，你 的 画 风 经 历 过 哪 些 阶段 的变 化 ？你是 怎 样思考的 ？

任：基 本上 分三个 阶段，早 期 的 作品 还 是 具象写实 类的，一直 沉 迷 于 技术之中，属于标 准 的“ 炫 技 派”。渐 渐 的思 想 上有了变 化，总 觉 得 具象的东西控 制 的比 较 好，可以能 按 照自己的 想法画出来 。

甚至于在课 堂 上 给学生“作 秀 ”博来 所 谓的 赞美，以 满足于 这 种虚

荣心 。到后来我 的自律 性 给了我很 大的 警 醒，我 所重 复的这一 切并 没有什 么新 鲜 感 和刺 激 性 。自己的艺 术不能 原地 踏 步，逆 水行 舟不 进 则退，决 不能 睡在自己的成 绩单上 。有句话叫做“成也萧 何败也

萧 何 ”。我 本身并 不愿意当一 个 带安 全 帽 的画家，比 如 画 荷 花的 作 品 得 奖了，就 永 远画 荷 花；画葡 萄的 作品 入 选了，就 永 远画葡 萄，

这 点很让我 鄙 视 。同 时 我 也深深的思考了一 个问题 —— 做一 个 合格 艺 术 教师的前 提 是 什 么？那首先要 是 一 个艺 术家 。话 说回 来，艺 术

家的责 任 是 什 么？一 是创造 力，二是 文化的责 任 感 。我 想 这 两点也

是 一 个文 人 最 起 码的要求 。所以 好的技术并 不等 于好的艺 术，在没 有 艺 术性和创造 力的前 提下，好的造 型、帅 的 笔触、美的 色 彩 都是

没有灵魂 和没有意 义的。我 非常认可吴 冠中老先 生“ 笔墨 等 于零 ” 的 观 点，这句 话 有个前 提，有个 背景的 。可是 许 多中国 画家 纷 纷反 驳，我 觉 得 他 们 没 把 这句 话 的引子 读 到 。 7

ONE MAN ONE WORLD

之 后，我便陆续的进 行了很多实验，自然而然就 进 入了下个阶段：表 现与抽象 绘画阶段。

我想真正的艺术家是 最勇敢的，他 永远在做 超 越自己的事情。人能

超越自己，也代表他无所畏惧了。所以说艺术这件事情是一个人的战 争，是一生都和自己在挑战。但是，我喜欢这份职业，这就犹如走钢 丝一般，既危险又兴奋，并享受着挑战自己的快乐… 在这期间，我 甚至放弃了用笔，也是为了把自己逼到绝路上去。并陆续画了

《碎片》系列、《软组织》系列等等。现在回过头来看，人只有到没

有退路的时候，才幡然醒悟，自己原来还是很强大的吗！自己才是自 己的救世主。现在进行的阶段也就是整合与梳理阶段，该做加法的 继续做，该做减法的继续减，并逐渐认识到文化责任感的重要性。 因为艺术不仅仅只是一时的装饰性，她更应该是一个艺术家世界 观、价值观的态度或是一种宣言。

祁：看来导致这些改变的原因正是自我的觉悟，顾名思义， “觉悟” 即觉醒和顿悟的意思，在这里是关于艺术的意义和自我状态的认识 和反思。

任：有句话叫“不怕迷，只怕不觉”。坚持是好的，但是自己的坚持

是否有意义这就要打个问号了。在生活中，我是一个喜欢反问自己

的人，好像只有这样我才能保持清醒。我甚至很少看关于艺术类的

书，而广泛吸取与艺术无关的知识，因为她们更鲜活，而且答案不止 一个。记得有一次，我看报纸中缝的征婚广告，反复读了好几遍，越 读越有趣哑然失笑。突然发现这竟和艺术所带给我的快乐是一样

的。因此为了保持敏感与激情，我要远离她。也许这样才能更 好的 看清她，距离产生美吗。我相信好的艺术家是有“自律性”的。

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REN ZHEN YU

ONE MAN ONE WORLD

祁：这是一个很有意思的状态，一般都是围绕艺术来思考问题，而

所以我尝试了很多的方法，挑战自己的视觉平 衡。有时为了寻 找 刺

种什么观念？采取什么样的方式来表达的？

感受。

你为了保持艺术的新鲜感觉而故意远离它。你目前的作品表达了一 任：我现在所做的很简单，是对于图像的改造和误读。运用图像进行 创作是很多艺术家的手法，也涌现了很多优秀艺术家。我的工作是进

行二次创造，比如对于历史图片的改造，前提是我并没有经历过这段

历史，肯定有很大的距离和误读，但恰恰是这种误读我把她提纯出 来 为我所用，进行自己的“篡改”。同时对于绘画的重要性给予一种否

≠“ 挑战自己的视觉平 衡 ”，这 又 是 一 个有趣的说法，只有不断的

挑战自己的思 维惯性，从 生活中获 得鲜活的刺激，才能出现 新的 创

造 契 机 。有些 人的作品试图表 达 某 种 新观 念，但 是 仍然 不能 摆 脱传 统审美 格调，殊不知视觉的新 颖 度 就 是 最 直 接的判断。商场和超市 提 供了许多时尚元素，这也是 一种现代 生活的感 性 资源 。

定的态度，也就是用“绘画的方式反绘画”。通常把一张画画完后从

看得出来，你的作品中有 很多思辨的因素，这也是当代艺 术的特点

二战 后，尤其 是欧洲的艺术家，开始自问艺术是否能 够 拯 救现实？

任：当代艺术的特点当然有很多，流派各异 、风格复杂、多元 、解

以导致了文化 、艺术领域的反思。尤其在今天，文化性、

这都揭示了当代艺术的典型特 征 。如果 现代艺术是 工业 文明的产

头到尾再把她刮掉，对绘画的意义进行反思。

拯 救精神与灵魂？这让 对艺术抱有无限 期待的艺术家 集体失落。所 历史性 是有双重意义的。所 谓历史 是否是真实的？真实的历史 是不

存 在的。好吧，那我也像喝可乐一 般，迅 速的把她消费掉，可能只有 在这种过程中，才实现了她最 大的价 值。

祁：你的画风虽然 几 经改 变，但 是色 彩依然占据 很 重要的位置，但

已不同过去的浓 郁凝 重，更多的是轻松和绚丽，而且 是一种更 加主 观 和开放的方式了。

任：对，我就 是 追求这种 很“ 炫 ”的感觉。色 彩也是有感 情的，甚至

有民族性、宗教性、时代性的。色 彩本身是没有高低贵贱之分的，只 是由于 运 用不当才让 人 感到画面不舒服 。

人们往往 追求色 彩的和谐与平 衡，但，我 所 偏爱的是在不 平 衡当中

探讨问题 。能 把色 彩画的很写实 是 一种美，把色 彩画的很 绚丽也是 一种美，而把色 彩画的很粉、很 脏 更 是 一种美 。一张画的格调高低 取 决 于她 的包容性，如果一张画当中没有留给观 众一 个很 大的空 9

激，常常流 涟于商场、超市，这才是“第一线”。这能带给我最新鲜的

间，那么 她 的美 也是 有限的。

之一。你 认 为当代艺 术 具有哪些 特点？谈 谈 你 对当代艺 术的认识？ 构、反文化 、反传 统、个 性化乃至于发出与大 众 传媒不同的声音， 物，那么当代艺术就 是信息社会的产物。世界 不 再有中心， “人 人都 是艺术家 ”体 现了当代艺术的无限包容性和多元化的可能 。一 个重

要的事实是：艺术已经 从不顾一 切的人性化向没有灵魂的非人性化 转变。

当代艺 术有她 的新 鲜 性，包容性很 大，随 之而来的判断标 准 则更 宽 泛 。同时 她 对于当今 我们生活的环境与社 会则更 入世的多，好 像艺

术从 来没有象今天 一样这么主动 的投 入 到生活的怀 抱中。所以，我

们 提 倡很 久的“ 艺 术源于 生活 ”，在今天 似乎已 经实现了。但 是有一 点，这 些林 林总 总只 是 提出了问题，并没有告 诉观 众答 案，可能问 题本身 便 是比答 案 更精彩的注 脚。

祁：今天艺 术形态非常多元，任 何手段 都 可以 成为艺 术的方式，绘

画昔日的主导地位不复存 在。在 这样的背景下，你 仍然 是以 绘画为 手段，你 对架 上 绘画是 如何认识的 ？

任：架 上 绘画很多人早已喊出了“死亡 ”的声音，从二十世纪口号的

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REN ZHEN YU

ONE MAN ONE WORLD

提出到今天，全世界的架上绘画代表人物和国际新星不断的涌现，这 给予了最有效的表白。

为什么会有这种口号的提出？我 想，概 括 起 来 有两点：一、跟 架 上 绘画比起 来，图片、新媒体艺术、装 置等艺术方式在 展示效 果、影

像 生 成 、复制、处 理、传播和保 存等方面大 大优 越于 传 统 绘画 。随

着科 技的发 展，这 些技术对于手工业时代的图像创作而言是一种颠

覆的力量，她们 使 西方传 统 绘画乃至 整个 传 统艺术体系都受到了威 胁。当然 这 些影响不仅仅限于视觉艺术领域，而且也包括整体的文 化 结构。二、相比 较而言，架 上 绘画的从业者们还 是创造 力不够。 为什么毕加索伟大、为什么杰哈德•里希 特 伟大？因为，毕加索 解

放了绘画；里希 特又在自己的领域 给后来者开启了多项 通 道 。作为

大师，创造 力与颠覆性 是引得世人尊重的重要原因 。尤 其 是西方现 当代艺术，每个艺术家都是不一样的，从他们身上很 少看到别人或 传 统的影子。毕加索往 上看 你看不到；里希 特 往 上看也看不到 。故 此，架 上 绘画还 是有路可走的，不 在 别处求，只在自身寻。

架 上 绘画 本身有着不 可替 代 性 。从 原 始 社 会 的 岩画 一直 到 今 天， 只 要 是 人性 所 流 露 的点 点 滴滴总有 她 最可贵的 价 值，这也是 绘画 的本质 。

祁：你今天的谈话 涉及了许多问题，有许多自己的思考，看来要想了 解一 个画家的思维和发 展的轨 迹，最 直接的莫 过于作 者自己的陈

述 。这些认识和经验对于一 些正在进 行艺术追求的同行来说，也会 有一定的启发和借鉴作用的。

祁海 平：天 津 美 术 学 院 教 授，造 型艺 术 学 院 院 长 。

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A DIALOGUE Ren Zhenyu is a young teacher at the oil painting department of the Tianjin Academy of Fine Arts. He has held personal exhibitions at home and abroad for many years and has become an outstanding artist. We had a chat about his life’s work and how his art has evolved over the years.

Q: You went to the Academy of Fine Arts, received formal training, painted some outstanding vibrant works and graduated with excellent results. You can be considered an exceptional college student. Compared to the art work that you have created in the past, your current work has changed a lot, how has your style evolved and, and what was the thought process behind it?

Ren: Basically it is divided into three stages. The early works were realistic with greater emphasis on technology and I sought to impress. There was a gradual change in thinking. I have always felt that the figurative things are better controlled and can be drawn according to our own ideas of it. Even in the classroom, I give students the opportunity to appreciate its beauty. However, my self-discipline made me realise that repeating what I had done before was hardly exciting. Your art cannot stagnate. At the same time, I also ruminated over the attributes of a qualified arts teacher. He has to be an artist. With that being said, what were responsibilities of an artist? He has to be creative and secondly, he has the responsibility of cultural development. I think these two points are the minimum requirements of an artist. Therefore, simply possessing good tools is not equal to good art. Without artistic and creative power, good shapes, handsome strokes, and beautiful colors, art ends up without soul and meaning. I agree with 吴冠中老先生“笔墨等于零” as it has a premise and a meaning behind it. However, many Chinese painters refute this. I think it is because they did not read it in context.

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Afterwards, I carried out a lot of experiments. Naturally, I entered the next stage of my art: the stage of expression and abstract painting. I think a real artist is the bravest as he is always doing

something beyond himself. People who can surpass themselves also show that they have no fears. Therefore, art is a lifelong challenge to oneself. However, I enjoy doing what I do. It is like walking on steel. It is dangerous and exciting, but I enjoy the challenge. During this period, I even gave up the use of a pen to force myself to get back to my art. It was then that I did paintings such as《碎片》,《软组织》and others. Looking back now, it is only when people do not have a way out that they wake up and realize that they are in fact still very strong! They are their own saviour.

The current stage is the integration and combing phase. It is a constantly changing process and the importance of cultural responsibility is gradually realised because art is not just a decorative piece, it should be an artist’s attitude toward the world, values, or even a manifesto.

Q: It seems that the reason behind these changes is selfconsciousness. As the name suggests, “consciousness,” means awakening and epiphany. In this context, it is about the artist’s intention and my understanding and reflection of its meaning.

Ren: There is a saying,“不怕迷，只怕不觉” . Persistence is good, but whether or not your own persistence has meaning is for you to discover. I am a person who likes to ask questions, it allows me to remain critical and aware. I don’t even read books about art, and I draw on a lot of knowledge that is not related to arts because they are more interesting and there exists multiple answers. I remember there was this one time when I was reading the newspaper when I came across an advertisement on arranged marriage. I read it multiple times and the more I read the more amusing it seemed to me. It was then I realised that this is the same happiness that art brings me. Therefore, in order to maintain my sensitivity and passion towards art, I must stay away from it. It allows me to examine it from afar and see the beauty in art. I believe that a good artist needs to have “self-discipline.”

Q: That is a very interesting approach. Others tend to immerse themselves in art, and yet you deliberately stay away from it in order to maintain your passion towards art. What kinds of ideas are expressed in your current work and how is it expressed?

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Ren: What I do now is very simple; it mostly pertains to the transformation and misreading of images. The use of images for creation is a technique employed by many artists, and it has led to the emergence of many outstanding artists. My job is to carry out secondary creations, such as the transformation of historical pictures. Given that I have not experienced this history, and certainly there is a great deal of detachment from it and it creates an opportunity for misreading but it is precisely this kind of misunderstanding that spurred me to change it and this led to my art. At the same time, this gives rise to a negative attitude to the importance of painting, that is, it pits paintings against each other.

After I finish a drawing, I erase everything completely and then reflect on the significance of painting.

After World War II, European artists began to ask themselves whether art can save the reality. Save spirits and souls?

This disappointed the many artists who had high hopes.

Therefore, this led to greater introspection in the fields of culture and art. Even up till today, culture and history still carry great significance. Is the so-called history true? A real history does not exist. Well, then I also like to drink coke, quickly consume it, only then art can achieve its greatest value.

Q: Although your style has changed several times, colour is still an important aspect of your work. Compared to the richness of colour in the past, it is now more relaxed and beautiful. It is a more subjective and open approach.

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Ren: Yes, I was aiming to impress. Colour can also symbolise emotions, nations, religions, and the present. Colours do not have any hierarchy. It is only due to improper use that it causes people to feel uncomfortable. People tend to pursue the harmony and balance of color, but what I prefer is to discuss when it is in imbalance. It is a kind of beauty to be able to paint in colour. But it is also a kind of beauty to paint colour in a grimy manner. The style of a painting depends on her tolerance. If a painting neglects the audience, its beauty is also limited. So, I tried many ways to challenge my visual balance. In order to some inspiration, I often go to central areas and supermarkets. This brings me to people on the ground. It makes me feel refreshed.

Q: “Challenge my visual balance,” that is an interesting thing to say. Only by constantly challenging one’s thinking and obtaining fresh inspiration from life can a new opportunity be created.

Some people try to express new ideas with their newer work, but they cannot break away from old conventions. They do not know that the novel ideas are from the directly examining life.

Shopping malls and supermarkets consist of contemporary elements, which is also an emotional resource for modern life.

It can be seen that your works are very introspective. This is one of the many characteristics of contemporary art. What do you think are the special features of contemporary art? Can you talk about your understanding of contemporary art?

Ren: There are of course many characteristics of contemporary art. Different styles, complex styles, pluralism, deconstruction, anti-culture, anti-tradition, individualization, and even different people from the popular culture all reveal the typical characteristics of contemporary art. If modern art is the product of the industrial revolution, then contemporary art is the product an information society. The idea that “everyone is an artist”

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reflects the unlimited inclusiveness and diversity of contemporary art. An important fact is that art has changed from dehumanizing humanism to non-human dehumanization.

Contemporary art has freshness and a great tolerance, and the criteria for judgment is broader. At the same time, contemporary art engages more with the environment and society in which we live in today. It appears that art today embraces life more so than ever before. Therefore, the belief that “art from life” advocated by us for a long time seems to have finally been achieved today. But there is one thing to note. This has only raised questions without answers and perhaps the question might be more interesting than finding out the answer.

Q: Today’s art forms are very diverse, and any means can become a means of art, but orthodox methods are no longer used today. In this context, you are still painting. What are your opinions on continuing to paint on an easel?

and they rarely see them following others or older traditions.

Picasso and Richter did not look back into the past. Therefore, there is still room for painters to develop and they need to look within themselves in order for that to happen.

Easel painting itself is irreplaceable. From the rock paintings of the cavemen till today, as long as it is from human nature, it will always have value – that is the essence of painting.

Q: Today’s conversation brought up a lot of questions and many thoughts of your own. It seems that to fully understand a painter’s developments and thinking, one ought to hear from the artist himself. These understandings and experiences will also provide some inspiration and reference to others who also have artistic pursuits.

Ren: Many have already called for the end of the traditional means of painting on an easel. But from the twentieth century till today, there are still international emerging artists who paint. This shows that painting is still most effective.

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Then why does there exist such an opinion? I think there are two things: First, compared to painting, pictures, new media art, installations, image generation, reproduction, processing, dissemination and etc. are far more effective compared to traditional painting. With the development of science and technology, these technologies are an immense driving force for image creation in today’s era and they subvert traditional Western paintings and by extension, the entire traditional art system. But of course, these effects are not limited to the field of visual arts.

It also includes culture in general. Secondly, in comparison to the painters of the past, painters from today are less creative.

Why is Picasso great? Why is Gerhard Richter great? Because Picasso introduced a new art movement; Richter also opened up many channels for subsequent artists. As an artist, creativity and subversiveness are important in the art world. Especially in contemporary Western contemporary art, each artist is different,

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REN ZHEN YU

任震宇访谈 Q1：你的自述里谈到过信仰与危机的问题，你觉得信仰与危机是什么

关系？你是怎样去理解信仰的？又认为现在的社会存在什么样的危机？

没有一种信仰支 撑，做任 何事情就很难有底线，这也导致现实生活

中引申出很多无法解决的问题 。人 是应该有信仰的（除了邪教以 外， 基 本上宗教都是引人向上的，对社会或者是对人 类发 展 是有空间和

余 地的，否则的话杀鸡取卵，我们的这个 生存空间、资源就到了某

种极限，没有退 路了，人会变得很自私 。现在社会危机很多，人们被

各种力量裹挟着无力抗争，每 一 个人都很 脆弱，螳臂 挡车是根本不

可能的，只能 裹挟着往前走。这样发 展的话，在过程当中出现的很

多问题都是 致命的，你不去解决而是一 味的往前走，犹如加速度一

样越 来 越快，就像今天一样，被各种高科 技和各领域 精英 所裹挟着，

你只能认同、投降、在各个方面妥协。你不能有任 何想法，任 何想法

都是被否定的。你无法和这种 快 速的发 展去抗 衡，它是一把双刃剑，

是社会学家，不是 思想家，也不是哲学家，自己无 权去评 判信仰的对

与错，我只负责提问。本人对这些 信仰始 终保 持着怀 疑的态度，所

以，我只对视觉负责，因此 就 用这种虚假的颜色来阐释不同的信仰。 同时，信仰与危机 是并 存的。

Q4：你 的画里 边有 很 多特别明亮鲜 艳 的颜色？这 是你 对这种 色 彩 搭配 的 偏爱，还 是它能在作品中起 到 一定的作用？

这样的颜色就 是在强调这种虚假，就像梦一样，理 想中的大同世界，

人真的是平等的吗？所以我画人也好，或者画其他的什么也罢，那些

颜色是在现实生活根本不存在的。我想用这种方式，让大家感官上能

接受，同时还能阐述我的目的。当然，在创作的过程当中还 是 跟着

感觉走，直觉占据着主导地位，在控 制与非 控 制之间作出判断。这

需要手、眼、心的高度协调与统一，就像李 小龙的功夫一样 - - - - 腰马

合一。

Q5：你有一 个系列 作品《你是我 的想象》其中画了很 多的伟人的头

像，这 些 都代 表 怎样的价 值 观，跟你说的这个命题有什么 关 系？

对社会有利，也有弊 。

伟人头像也是 代 表着不同的意识形态和政治 信仰，这也是我阐述信

我觉得画家不是硬生生靠年代来区分的，显然牵强了，当然这种提法

Q6：你早 期作品里 边有一 些反传 统 、学院体 制风 格的画，对于“ 坏

Q2：你出生在70年代，对于70年代 的 绘画你是 怎么去理 解 的？

有益于批评家提出概念。我觉得我们这一 代人 经 历是相似的，都处

仰这个主 题的一部分。

画”这种风 格您 怎么理 解？

在社会 和文化的转型 期，受到的教育似乎难以 适从现实的状 况，这

“ 坏画”风格的这些 代 表人物我都非常喜欢。尤其 是对传 统标准的颠

着又 甩不 掉 。其实这一切也不是什么坏事，这也正 是 某种卖点，就

的流露是不以 成败论英雄的。他们的出现虽然不是西方当代艺术的

多少有些尴 尬 。所以我认 为我们这一 代人的绘画并不轻松，包袱背

覆 上，他们又打开了一扇大门，而且 是袒 胸露腹 直面观众，真性情

像 尬舞 一样。绘画艺术是 无法形容的，她是 超 越 想象的，在这个自

主流，但 是对传 统的蔑视与挑战，颠覆了某些标准，开辟了新的思

么是不可能的。

进的，不破不立是 大家的共识。所以当我留校以 后，审视自己以往的

由的感官世界中，绘画艺术是 这个艺术大家庭中的弄潮儿 。没有什 Q3：你 的作品是 如何去阐 释 信仰和危机的？

我用夸张的，虚假的，亮丽的颜色来阐释 信仰这个主 题，信仰各 有

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不同，爱情 信仰、宗教信仰、政治 信仰，等等。作为一 个画者，我不

潮 。其实，能 做到这一点已经很伟大了。西方艺术一直 是在否定中前

创作时，我 发现顺着这条路下来太安全了，没有挑战性、不新鲜 、画

之前基 本就 知道 结果了。自己能不能抛弃掉一 些东西，探索探索自

己不熟 悉的领域，能否超 越 想象，我想试试 。

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Q7：你认 为早 期 绘画和现代 绘画又有何区 别？

就 绘画艺术来说，西方的早 期绘画强调灵魂性，比如在一副圣 像画

中，要画出人物的灵魂或者是画家自己的灵魂，这种人 文主 义的光

芒是早 期绘画的根本所在。随着绘画艺术的发 展，一直到后来的现 代 、后现代 、当代艺术的发 展，绘画开始 逃离灵魂，逐渐抛弃人 文

性。所以现代 绘画它是在抛弃灵魂，而不是在强调灵魂 。 这是一 个

非常明显的标志。

Q8：你在作品中对于过去的老照 片进 行了一 个 色 彩上的改 造，这有

什么 意义？

我始 终认 为色 彩是有灵魂的，在每 一张画面中我喜欢做 这种色 彩的

游戏，抽象的色 彩加上具象或非具象的形象这是我一直以来的兴 趣

点。过去的老照 片记录着一 代人的理 想，这都是关于 信仰的一部分，

今天，我拿过 来 重新审视，在平常的镜像下发现不平常的光芒，甚至 这种光芒略显 荒诞，那好，我就强调这种荒诞 好了。要说有什么意

义？这就像乌托邦一样，荒诞 才是 最 大的意义。

Q9：我 们现在的世界 存 在着这么多的危机，身为一 个艺 术 工作 者

怎么样用自己的方式 来解 决 这 些问 题，或者是 进 献 绵薄之力？

我认 为，人作为万物之灵要善待 一切，有一颗 感恩的心，尽量不要

让影响心智的东西蒙蔽自己双眼。时常地警醒自己，才能不失判断

力。艺术家就 是 用绘画的方式 来面对自己面对问题 。我们都是在用

艺术的方式找自己、认识自己 。真的，认识 别人容易，要认清自己太

难了。艺术是社会政治、经济的附着物，艺术家也不是 无冕之王，只

能 通 过 绘画的方式带给观众视觉思考，艺术家的作用仅仅 是一种文

化的担当。艺术家是 用绘画的方式 来说话，作家是 用文字语言来说 话，舞 蹈家是 用肢体语言来说话，只是说话的方式不同而已 。

吕子茹、杨 琪 2017年11月 109

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INTERVIEW Q1: In your biography, you talked about the issues of faith and crisis. What do you think about the relationship between faith and crisis? What is your understanding of faith? What kind of crises do you think society is facing?

Without a kind of faith to support you, it is difficult to have a basis to do anything, which also leads to many unsolvable problems in real life. People should have a faith (with the exception of cults, religion is very uplifting). It allows societies and people to develop.

Otherwise, it will be the end of progress, resources will be drained, there will be nowhere else left to go and humans will become selfish. Nowadays, there are many social crises. People are entangled in various forces and cannot fight against it. Everyone is very fragile. It is impossible to stop it therefore, we can only brave through it and continue walking. If you develop in this way, many problems that arise in the process are fatal. If you do not solve it, you will go forward blindly. If we continue to develop this way, somewhere along the way there will be fatal problems. If you continue to go forth blindly without addressing these problems such as by increasing the pace of progress then you will end up like what we have now; being completely immersed in technology and we can only surrender and compromise with it. You can’t have any ideas; all ideas are denied. You can’t compete with this rapid development. It is a double-edged sword that is good for society, but it also has its disadvantages

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Q2: You were born in the ‘70s. How have you come to understand art from that era?

I think artists are not strictly defined by the era, it is too far-fetched.

Of course, this is a good way for critics to conceptualise. I think that people in our generation have similar experiences; we are in a transitional period for both society and culture. Those who have received education have a problem adapting it to the reality, which is somewhat embarrassing. So, I think the painters of our generation do not have it easy, they carry the burden on their backs that they can’t put down. This is not necessarily a bad thing, it can be kind of a selling point, just like break dance. The art of painting cannot be

described, it is beyond imagination. In this world where everyone is free to feel, painting is an artist’s path. Nothing is impossible.

Q3: How does your work depict your beliefs and crises?

I use exaggerated, false, bright colours to represent the idea of faith and there are many kinds of beliefs; religious beliefs, political beliefs, and so on. I am a painter. I am not a sociologist, not a thinker, or a philosopher. I have no right to criticise different beliefs or say which one is right or wrong. I have always been skeptical about these beliefs. Therefore, I am only responsible for it in a visual sense. Therefore, I use these false colours to represent different beliefs. At the same time, faith and crisis coexist.

Q4: There are a lot of bright colours in your paintings? Is this due to your preference for these colours or do they have a role to play in your artwork?

It is precisely these colours that emphasise false ideas, like a dream.

In an ideal world, are people really equal? Therefore, whether I paint people or paint something else, those colours are fundamentally not present in real life. I want to use this method so that everyone can accept it and at the same time expound my purpose. Of course, in the creative process, I still follow my feelings; intuition occupies a dominant position, but I exercise judgement. This requires a high degree of coordination of hands, eyes, and hearts, just like Bruce Lee’s kung-fu.

Q5: You have a series of works, “You are my imagination,” where you draw the heads of many great people. What do these values represent and how do these relate to the title?

The great head portrait also represents different ideologies and political beliefs. This is part of my aim of expounding my beliefs.

Q6: There are some anti-traditional and institutional style paintings in your early works. Do you consider them as “ bad paintings”?

I like all these different styles. As for the subversion of the traditional style of art, traditional art managed to open all kinds of doors and they exposed themselves to the public audience, the real qualities are not based on the success or failure of heroes. Although their

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emergence is not mainstream of Western contemporary art, their defiance and challenge of traditions subverted certain standards and opened up new trends of thought. In fact, the fact that they have done this is already very commendable. Western art has always been declining and everyone agrees on this. Therefore, after I remained in school to teach, I closely examined my artistic direction and realised that going down this road was too safe. There are no challenges, nothing new and exciting, it is like I already know the ending even before I have started. I would like to try and see if I can leave behind, explore new things, explore new fields and expand my imagination.

be deceived by our minds. We need to remind ourselves regularly so that we do not lose our judgement. Artists use painting to face these problems. We are using art as a means to find ourselves and understand ourselves. Yes, it is easy to know people but understanding ourselves is more difficult. Art is linked to society, politics and the economy. Artists are not aware of everything. It is only through art they prompt the public to reflect. The role of the artist is merely a cultural exercise. Artists use painting as a way to speak; writers use words to express themselves just like how dancers use their body, they just speak in different ways.

Q7: What do you think are the differences between early painting and modern painting?

As far as the art of painting is concerned, the early paintings in the West emphasized the soul. For example, when painting an icon, it is necessary to draw the soul of the character or the painter’s own soul. This is the essence of early painting. With the development of art and the subsequent development of modern, postmodern and contemporary art, painting began to disassociate from the soul and gradually abandoned humanistic qualities. So modern painting is to abandon the soul and not to emphasize the soul. This is a very important feature.

Q8: What is the significance of the colour transformation of the old photographs in your works?

I always think that colour has a soul. I like to play with colours in my artworks. Abstract colours and dealing with figures has always been my interest. The old photographs of the past record the ideals of their generation. That was part of their beliefs. I re-examined it in the present under a different light and it even seemed a bit absurd to me. Therefore, I wanted to emphasise this absurdity.

What meaning does it have? Well, it is like a Utopia; absurdity is the greatest meaning.

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Q9: There are so many crises in our world today. How can an artist use his own methods to solve these problems or contribute to it in a small way?

I think that people embody the spirit of all things and we must treat everything well and have a grateful heart. We must not let our eyes

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1976

生于天津

2015

工作室。现生活工作于天津、北京。

个人简历 1999 1999 个展： 2017

2016 2013

2009

毕业于天津美术学院油画系，并留校 任教于第二

“一 个人，一 个世界” ODE TO ART

“你是我的想象” Art Futures Gallery

“Visible and Invisible” Galerie Frank Schlag & Cie.

20 07

“独领 风 骚” JOYCE GALLERY

“新波普面孔” 北京空间画廊

115

“看上去 很 美” ODE TO ART

“看上去 很 美” JOYCE GALLERY

“另一种肖像” 北京空间画廊

“世纪归鸿”—天津美术学院110周年作品展

天津美院美术馆

达沃斯论坛中国著名艺术家邀请展

梅江会展中心

“试验与展望”天津美院油画系教师作品展 “中国精神”—第四届中国油画展 “中国当代艺术展” PMQ元创方

天津美院美术馆

天津美术馆

澳门，中国

第十二届全国美展天津作品展 银奖 第十二届全国美术作品展

香港，中国

伦敦, 英国

北京，中国

阿姆斯特丹，荷兰

2012

香港，中国

天津，中国 天津，中国

亚洲青年艺术家提名展

“空相”- 当代艺术展

新加坡当代艺术博览会 两种艺术的相知相惜

“印 • 迹”当代艺术家联展 ARCO 当代艺术博览会

时代美术馆

杭州, 中国

香港，中国

北京，中国

埃森，德国

EGG 画廊

天津，中国

台湾，中国

艺术的鄂尔多斯国际当代艺术联展

马来西亚当代艺术博览会

三亚，中国

北京，中国

“亚洲当代艺术” Galerie Frank Schlag & Cie.

上海当代艺术博览会

南新仓民生艺术中心

马来西亚

北京，中国

今日美术馆

天津美术馆

香港会展中心

“失忆招领处” 北京空间画廊

今日美术馆

天津美术学院教师作品赴台展

浙江美术馆

亚洲当代艺术展

北京，中国

艺术澳门博览会

半岛新春艺术博览会

2013

北京，中国

中国美术馆

埃森，德国

埃森，德国

新加坡

“异彩同辉”中国——东盟绘画展

“The Bust at Art in 21th century” Galerie Frank Schlag & Cie.

马来西亚当代艺术博览会

“同行同至”新绎之星青年教师奖

埃森，德国

埃森，德国

香港，中国

“任震宇作品展” WILLEM KERSEBOOM GALLERY

展览：

2016

新加坡

“关于信仰” Galerie Frank Schlag & Cie.

“ICONIC” OLYVIAORIENTAL GALLERY

2008

获第七届台湾山艺术文 教基金 会“罗中立油画奖学金”

“AbstraKtion—Figuration” Galerir Frank Schlag&Cie.

鄂尔多斯，中国

北京，中国

吉隆坡，马来西亚 上海，中国

新加坡

北京，中国

北京，中国

马德里，西班牙

天津，中国

天津，中国

香港，中国

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个人简历 2009

2008

2006 2005

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纽约，美国

芝加哥艺术博览会

美国

上海当代艺术博览会

“道同形异” 中国美术馆

迈阿密艺术博览会 巴塞尔艺术博览会 科隆艺术博览会

“聚沙塔”中国新锐绘画奖作品展 阿姆斯特丹艺术博览会

炎黄艺术馆

“以脸的名义” 画家村画廊 广州艺术博览会

天津博物馆

上海，中国

北京，中国

伦敦，英国

CIGE国际画廊博览会 中日法国际当代美术作品展

FRIEZE ART FAIR

“亚洲当代艺术” Rudolf Budja Galerie

2007

“关于爱？关于战争？”卓绝的当代中国艺术 STUX GALERY

美国

萨尔斯堡,奥地利

瑞士

德国

北京，中国 荷兰

北京，中国

天津，中国

北京，中国 广州，中国

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TIMELINE 1976

Born in Tianjin

EXHIBITIONS

1999

Graduated from the Oil Painting Department of Tianjin Academy of Fine Arts, stayed in school to teach. Now lives and works in Tianjin and Beijing.

2016

1999

Won the 7th Taiwan Mountain Art and Culture Foundation “Luo Zhongli Oil Painting Scholarship”

SOLO EXHIBITIONS 2017

“One Man, One World” ODE TO ART

Singapore

2016

“You Are My Imagination” Art Futures Gallery

Hong Kong, China

2013

“Regarding Beliefs” Galerie Frank Schlag & Cie.

2009

2008

“Retrospect of a Century”—The 110th Anniversary Exhibition of Tianjin Academy of Fine Arts, National Art Museum of China

Beijing, China

“Shared Glory with Diversified Splendours” The Group Exhibition of ASEAN-China Academies of Fine Arts, Museum of Tianjin Academy of Fine Arts

Tianjin, China

2016 Annual Meeting of the New Champions: The 10th Summer Davos, Meijiang Convention and Art Center

Tianjin, China

Essen, Germany

“Experiment and Prospect” Teachers’ work exhibition of Oil Painting Department of Tianjin Academy of Fine Arts

Essen, Germany

“China Spirit” The Fourth Chinese Oil Painting Exhibition, Tianjin Art Gallery

Tianjin, China

“Visible and Invisible” Galerie Frank Schlag & Cie.

London, England

“Chinese Contemporary Art Exhibition” PMQ Pop-Up

Hong Kong, China

“ICONIC” OLYVIAORIENTAL GALLERY “Wind Flowing” JOYCE GALLERY

Hong Kong, China

“AbstraKtion – Figuration” Galerie Frank Schlag & Cie.

Essen, Germany

“New Pop Face” Gallery Beijing Space

Beijing, China

“Ren Zhenyu Exhibition” WILLIAN KERSEBOOM GALLERY

Amsterdam, The Netherlands

“Looks Just Beautiful” ODE TO ART

Singapore

“Looks Just Beautiful” JOYCE GALLERY

Hong Kong, China

“In The Name of Face” Gallery Beijing Space

Beijing, China

2015

Malaysia Art Fair

2007 119

Tianjin, China

“The Bust at Art in 21st Century” Galerie Frank Schlag & Cie. Peninsula Spring Art Fair Art Fair of Macao The 12th National Exhibition of Fine Arts, Silver Award, Tianjin Art Gallery

Malaysia Essen, Germany

Sanya, China Macao, China Tianjin, China

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TIMELINE 2015

The 12th National Exhibition of Fine Arts, Zhejiang Art Museum

Hangzhou, China

“Together on the Path” New Star Young Teacher Award, Today Art Museum

Beijing, China

Tianjin Academy of Fine Arts Teachers’ Exhibition 2013

2012

Asia Contemporary Art Show, Hong Kong Convention and Exhibition Centre

“Asian Contemporary Art” Galerie Frank Schlag & Cie.

Essen, Germany

“About Love? About War?” Outstanding Contemporary Chinese Art, STUX Gallery

2008

New York, US

Shanghai Art Fair

Shanghai, China

Chicago Art Fair

US

“Same but Different,” National Art Museum of China

Hong Kong, China

Beijing, China

“Loss” Gallery Beijing Space

Beijing, China

FRIEZE ART FAIR

London, UK

Miami Art Fair

US

“Asian Contemporary Art” Rudolf Budja Galerie

Salzburg, Austria

Art Basel

Switzerland

Cologne Art Fair

Germany

Ordos, China

Beijing, China

2007

“Sandcastle” China New Artist Exhibition, Yanhuang Art Museum

Beijing, China

Kuala Lumpur, Malaysia

Amsterdam Art Fair

The Netherlands

Shanghai Art Fair

Shanghai, China

CIGE International Gallery Exposition

Beijing, China

Singapore Art Fair

Singapore

2006

Tianjin, China

Where Two Different Arts Meet to Share, EGG Gallery

Beijing, China

Sino-Japanese International Contemporary Art Exhibition, Tianjin Museum

2005

“Titular by Face” Artist Village Gallery

Beijing, China

Malaysia Art Fair

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Taiwan, China

“Empty Space” – Contemporary Art Exhibition, South Xincang Minsheng Arts Center

Ordos International Contemporary Art Exhibition

2009

“Impression” Contemporary Art Exhibition, Times Museum

Beijing, China

ARCO Contemporary Art Fair

Madrid, Spain

Guangzhou Art Fair

Guangzhou, China

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One Man One World Ren Zhen Yu First published 2018 Ode To Art Raffles City 252 North Bridge Road, Raffles City Shopping Centre, #01-36E/F, Singapore 179103 Tel: +65 6250 1901 Fax: +65 6250 5354 info@odetoart.com odetoart.com Š Ode To Art 2018 All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher.

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