策展人：朱彤
Curator: Zhu Tong
學術主持：羅伯特·摩根
Academic Host: Robert Morgan
展覽日期 Duration
2021.10.3~2021.10.17
11:00～18:00
展覽地點 Address
北京市朝陽區亮馬橋路48號四季酒店二層
幻藝術中心
Dreamland Art Center, Four Seasons Hotel Beijing, Second Floor, Liang Ma Qiao 48, Chaoyang District, Beijing, China
西風東水
West Breeze, East water
“人們漸漸發展出這樣的信念，即前衛藝術真正的和重要的功能不是‘實驗’，而是發現一條在意識形態混亂暴力中使文化得以前行的道路。”1
"People gradually developed the belief that the true and important function of avant-garde art was not to 'experiment' but to discover a way for culture to move forward in the midst of ideological chaos and violence."1
諾亞方舟 Noah's Ark Series 2012
400 cm × 1160 cm
亞麻布 油彩 Linen, Grease Paint Quadruple Paint
欲望風景 Desire Scenery 2016
476 cm × 135 cm 紙本 丙烯 Linen Paper, Propylene
秦風的作品充滿超維度的智慧，充滿對人內心的關注，在人類文明或意識形態的“增熵”過程中，多元化在重構世界觀的同時又在瓦解彌足可貴的藝術靈暈。后自然主義帶給人們在觀念上的重建，似乎需要我們重新審視他筆墨下的“風景”。
Qin Feng's works demonstrate extraordinary wisdom with emphasis on people's inner feelings. In the process of "entropy increase" of human civilization or ideology, pluralism is reconstructing our world outlook and disintegrating the precious artistic spirit. The reconstruction of people's ideas brought by post-naturalism seems to require us to re-examine the "landscape" under Qin’s masterpiece.
墜落的天使系列 Falling Angel Series 2012
直徑 Diameter 300 cm 亞麻布 丙烯 Linen Cloth, Propylene
繪畫的書寫性之二 The writing of painting two 2016
96 cm × 180 cm 亞麻布 丙烯 Linen Paper, Propylene
我們相信秦風的繪畫首先是具有音樂性的。他的作品的是無限趨于音樂的——這種被沃爾特?佩特一直交贊的理想的藝術門科，并聲稱“音樂這門藝術最大程度的實現了這種藝術理想，達到內容和形式的完美統一”2。秦風在作品中所彰顯的形與勢，在目的和手段、內容與形式、主題和表達方面互為有機部分，彼此完全滲透；其次，在氣韻與張力上平衡且交相輝映的同時，又極具一種“富有想象力的理性”；再者，我們從其作品在空間的呈現中，又能感受到每種想法和感覺又與其可感知的相似物或者象征物孿生存在。這種思想也不僅僅體現在西方的美學之中。早在《禮記》中，先人就提出“樂者，天地之和也，禮者，天地之序也。”“禮”和“樂”，不可分開，是天地萬物的秩序，是秦風筆下的“陰陽”。在藝術家的漢字書寫系列中，我們能感受到音樂與詩歌的互文，那是中國山水詩中表達的音樂境界：“目送歸鴻，手揮五弦。俯仰自得，游心太虛。”3 秦風從自身原本的界限中部分偏離出來，而兩種藝術不是取代彼此，而是為彼此提供新的力量。
There is a reason to believe that Qin Feng's paintings are principally musically-inspired. His works are infinitely inclined to music, the ideal category of art that Walter Pater has always higly regarded. He claimed that "music is the kind of art that maximizes the realization of the artistic ideal and the perfect unity of content and form" 2.The form that Qin Feng shows in his works are organic parts of each other in terms of purpose and means, content and form, theme and expression.Secondly, it has a kind of "imaginative rationality" while balancing rhythmic vitality and spiritual tension. Moreover, by indulging in the display of Qin’s works in the ambience, we can feel that every idea and feeling is twinned with its palpable analogue or symbol, in which this idea is not only embodied in western aesthetics alone. As early as in The Book of Rites, our ancestors propose that "music is the harmony of heaven and earth, and manner is the order of heaven and earth.Hence,"manner" and "music” are inseparable and together create the order of heaven and earth, as well as Qin Feng's "Yin and Yang".In the artist's series of Chinese characters writing, we can feel the intertextuality of music and poetry, which is just like the musical realm expressed in Chinese landscape poetry: "While looking thoughtfully after the swan goose returning south, he stroked the banjo. His mind wandered in the world of nature, and he comprehended the way of nature at all times and places."3. Qin Feng partially deviate himself from his original boundaries. The two types of arts do not replace each other, but mutually revitalize with new energy.
繪畫的書寫性/上下
The writing of painting/Up and Down 2016
117 cm × 236 cm 亞麻布 丙烯 Linen Paper, Propylene
天物 Celestial Serles Series 2020
60 × 130 cm（單幅 Single piece）
紙本丙烯 Linen Paper, Propylene
繪畫的書寫性/念 The writing of painting/Thought 2019
146 cm × 330 cm 亞麻紙 丙烯 Linen Paper, Propylene
我們同樣可以在秦風的作品中看到中國水墨由傳統走向現代的應證。西方現代主義是繪畫是逐步走向平面化的過程，中國傳統繪畫的出口或許應是秦風作品之中的面貌——他既接引了西方現代主義繪畫的筆法，又融合了東方禪宗的哲學思想。秦風的作品是這兩者融匯的載體，恰似一對螺旋分子結構，構成了他作品的DNA序列，讓我們消解了對西方現代主義意識形態的疑惑，又打破了對佛教禪宗的刻板印象，從而開始思考禪宗與當代藝術的全新關系語境。展覽“西風東水”，來源于藝術家在2012年創作的同名作品，這件作品的題目與本次展覽形成時間上的偶合以及對仗關系，除此之外，更是如上這層關系中的點睛之筆，充滿神秘主義色彩，并在哲學、風水學、宗教學與藝術家創作脈絡在各個層面的雙關語。
The fact that traditional Chinese ink painting is stepping towards modernity is well proved and demonstrated in Qin Feng’s works. Western modernism is the evolution that painting gradually moves towards flatness. The manifestation of traditional Chinese painting resides in the state of Qin Feng's works – Eastern Zen philosophy fused with the form that is absorbed from western modernism. Qin Feng's works are the bearer of the integration of the two, just like a pair of spiral molecular structures, which constitute the DNA sequence of his works. They eliminate our doubts on the ideology of Western modernism and reconfigure the stereotype impression of Zen Buddhism, thus prompting us to start contemplating on the relationship between Zen and contemporary art in this new context.The exhibition "west breeze east water" acquires its name from the artist's masterpiece bearing the same name created in 2012. The title of this masterpiece forms a relationship of coincidence and antithesis with this exhibition. In addition, the title is the punchline of this relationship, full of mysticism, and puns at various levels in philosophy, feng shui, religion and artistic creation.
繪畫的書寫性之三 The writing of painting three 2020
97 cm × 180 cm（單幅 Single piece）
亞麻布 丙烯 Linen Paper, Propylene
繪畫的書寫性/無 The writing of painting/Nothing 2019
146 cm × 162 cm 亞麻紙 丙烯 Linen Paper, Propylene
繪畫的書寫性/中 2019 The writing of painting/Middle
146 cm × 214 cm 亞麻紙 丙烯 Linen Paper, Propylene
秦風作為藝術家和學者，對國際交流做出了卓越的貢獻。秦風不僅對傳統精神進行了發揚，對于西方繪畫有著獨到的理解。從塞尚之后，藝術家們開始重視繪畫的筆法與其精神，減弱繪畫的故事性從而增強其繪畫性，即我們所說的筆墨。恰如八大山人所說：“墨點無多淚點多，山河仍是舊山河”，極簡的畫面內核是高度的精神性的凝練，并飽含情感。從新疆到柏林，再到紐約，秦風在世界各地的巡禮，使得地緣政治性在其作品之中的顯現似乎關乎每一個個體但又具有普世意義。作為生長在新疆的藝術家，在秦風的作品中，能看到多元文化、民族交融凝結而成的力量，也能洞見振聾發聵的時代之聲，每一筆的揮灑中，都兼顧對浪漫的克制與自由的揮灑，我們甚至不能對此妄下定義，以此勘正東方世界在后殖民主義語境下“他者”的話語權，這是超越了種族、民族的文明的共振。從自在藝術的至高境界上，中西方藝術自會臻于通會之境。
As an artist and scholar, Qin Feng had made outstanding contributions to international exchange of art knowledege. Qin Feng has not only propogated the traditional spirit, but also possesses a unique understanding of western painting. Subsequent to Cezanne era, artists began to emphasize the brushwork and its ideology of painting, minimizing the narrative quality of painting in order to enhance its painterliness, that is, what we call Brush & Ink Just as The Eight Mountain Dwellers once said, "There is not much ink dots but much tears instead, while the mountains and rivers are still the mountains and rivers", the core of the minimalist picture is to be highly spiritual, condensed, and full of emotion. Qin Feng's travels around the world, from Xinjiang to Berlin and to New York, has made the geopolitics of his work seem to be both individualistic yet universally significant. Since Qin Feng is an artist who grew up in Xinjiang, the power of multicultural and ethnic integration, as well as the deafening sound of the era could be experiencced in his works. Every stroke of painting gives emphasis to the restraint of romance and the freedom of expression. We are even unable to define it arbitrarily, so as to correct the discourse of the "other" in the post-colonial context of the Eastern world. This is the resonance of civilization that transcends the race, ethnicity and nationality. From the ultimatum realm of art, Chinese and Western art will reach the realm of integration.
繪畫的書寫性/道生一
The writing of painting/Life of tao 2017
140 cm × 500 cm 亞麻布 丙烯 Linen Paper, Propylene
欲望風景之七 Desire Scenery Seven 2022
80 cm × 230 cm 紙本 丙烯 Linen Paper, Propylene
繪畫的書寫性 The writing of painting 2018
117 × 236 cm 紙本丙烯 Linen Paper, Propylene
回到身體書寫的角度。時間追溯至上個世紀40年代的美國，抽象表現主義的時代正在二戰后和冷戰的夾縫中重新思考繪畫與世界的聯系。正如巴內特?紐曼在宣言中所提到的共識：“在世界廢墟上發生的這場道德危機，已經不再有什么仍然繪畫舊事情的可能性。”也亦如德庫寧所說：“要畫在畫布上的絕不是一幅圖像，而是一個活動”。處于世紀變革之中的藝術家，試圖將人類與真實的自然和人的真相重新進行關聯。他們不再強調以故事、宗教等具體主題的繪畫之中的敘事，而是強調形式要素中的形、色、線、面的“純抽象”本質，要求“任意、充分地發揮自我”，藝術家們竭盡所能運用各種技法和工具，從而將筆墨發揮到最佳。而這種形式要素恰恰在時空意義上與傳統國畫的潑墨形成歷史性的對應。我們時常有感于秦風在超大尺幅作品中的驚人毅力。身體的爆發力實際是將所有氣韻凝結于筆尖，雖然在表面上看到的是身體的發力，其“氣”往往貫穿于身體內部，形成一股洪荒之力。但是最終呈現于世人面前的，卻是舉重若輕的從容不迫，是一種高于一切人為可控的技術層面的視覺經驗，這種氣質與西方藝術所追求最為抽象和高級的神性有某種相同之處，但底層基因卻又是截然不同的。
Back in the 1940s in the United States, the era of Abstract expressionism was readdressing the relationship between painting and the world in the aftermath of the Second World War and the Cold War. As Barnett Newman addressed his reckoning in the manifesto: "The moral crisis at the ruins of the world no longer makes it possible to still paint the old things." As De Kooning said, "What is to be painted on the canvas is not an image, but an activity". Artists in the midst of a century of change attempting to reconnect human beings with the real nature and human truth.They no longer emphasize the narrative in the paintings with specific themes such as stories and religions, but emphasize the "pure abstract" nature of form, color, line and surface, requiring "arbitrary and full expression of self". Artists trying their best via various techniques and tools, to optimize the utilization of brush and ink.This kind of form well corresponds to the splash-ink technique of traditional Chinese painting in the sense of time and space. We are often impressed by Qin Feng's amazing perseverance in his oversized works. The explosive power of the body is actually created by all the condensed “Qi” in every brushstroke. Although the force of the body can be seen on the surface, its "Qi" often flows through the inner parts of the body, forming a primordial force. However, what is finally presented is the extreme calmness and hasteless, the visual experience beyond all controllable technicalities. This aura shares similarity with the utmost abstract and advanced divinity pursued the by Western art, but with completely different fundamental elements.
閏月 Leap Month 2021
140 cm × 140 cm （單幅 Single piece）
亞麻紙 丙烯 Linen Paper, Propylene
文明景觀 Civilised landscape 1996
140 cm × 200 cm（單幅 Single piece）
布面油畫 Canvas painting
欲望風景系列 Desire Scenery Series 2015-2017
160 cm × 75 cm（單幅 Single piece）
紙本 丙烯 Linen Paper, Propylene
最終，藝術還是要回歸信念，直抵本心。秦風踐行的“后現代水墨”之道路是多元且復雜的，但又是表現力極強的。他在畫布上的“活動”使我們看到了一個藝術家探索真理的痕跡，這不完全是繪畫性和觀念性之間簡單的二元博弈。秦風的作品天然去雕琢，從時代之中走出，在歷史中追本溯源，曾筑起歌劇一般恢宏凝固的建筑，從藝術的精神世界中生長開花。心之所向，步履以往，用行動的繪畫而不是語言，藝術家正在重建內心深處最寶貴的精神高地。
After all, art still reverts to the fundamental faith and heart. Qin Feng's path of "postmodern ink painting" is diverse and complex, but it is also highly expressive. His "activities" on the canvas enable us to see the traces of an artist's search for truth, which is not a simple dualistic interaction between painterly and conceptual elements. Qin Feng's works are carved naturally and transcend the times, reminiscing the origins in history, by erecting the poetic and solidified structure which flourish in the spirit and world of art. “Where the heart is, walk the past”. Painting is an action and it is not a language. Artists are in the midst of rebuilding the most precious spiritual realm deep in their inner hearts.
文/朱彤
Written by : Zhu Tong
注釋：
1 克萊門特·格林伯格（美），《藝術與文化》，廣西師范大學出版社
2 沃爾特?佩特（英），《文藝復興》，“音樂法則”， 外語教學與研究出版社
3 嵇康（三國） 《贈秀才入軍·其十四 》
Annotation:
1. Clement Greenberg (US), Art and Culture, Guangxi Normal University Press
2. Walter Pater (UK), Renaissance, ‘The Law of Music’, Foreign Language Teaching and Research Press
3. Ji Kang (Three Kingdoms period) "To Send A Scholar to Join the Army: the Fourteenth"
展覽現場
Exhibition Review
展覽現場 Exhibition Review
藝術家秦風接受采訪
Interview of Artist Qin Feng
策展人朱彤接受采訪
Interview of Curator Zhu Tong
主辦方代表-永樂文化創始人趙旭接受采訪
Interview of Yongle Culture Representative Zhao Xu
展覽現場 Exhibition Review
藝術家介紹
About the Artist
秦風，北京當代藝術館創辦人，哈佛大學當代藝術研究員，曾客教于柏林藝術大學及中央美術學院。秦風在歐美獲得多項藝術獎項及國家藝術貢獻獎，作品以「后現代水墨」而著稱，是世界各地博物館及國際頂級藝術機構收藏作品最多的當代藝術家之一。
Qin Feng taught as a guest at the Berlin University of the Arts and the Central Academy of Fine Arts. He founded the Beijing Museum of Contemporary Art in 1993. He is currently the dean of the Central Academy of Arts and Crafts and a contemporary art researcher at Harvard University. Qin Feng has won many art awards and the National Art Contribution Award in Berlin, Europe and the United States. Known as "post-modern ink and wash", his works are one of the contemporary artists with the largest collection of works in museums and art institutions around the world. Works have been selected by the British Museum, the Metropolitan Museum of New York, the Boston Museum of Fine Arts, the California Asia Pacific Museum, the Venetian Sini Foundation, the Ford Foundation, the Rockefeller Foundation, the National Museum of China, the Fogg Art Museum at Harvard University, the Yale University Art Museum, and the Smith Institute of Fine Arts There are dozens of museums, art institutions and nearly a hundred individual collections such as the United States Ministry of Foreign Affairs, the British Ministry of Foreign Affairs, the Italian Ministry of Foreign Affairs, and the Himalayan Art Museum.
作為一個橫跨東西方文化的藝術家及學者，秦風的作品詩意般地兼容了西方表現主義哲學的浪漫與中國水墨的氣韻，通過多媒介研究創作，傳統與現代材媒的研發與應用，使形式語言和表現語言更具東西文化精神品格的兼容，構建并形成個人獨特的語言和風格。
As an artist and scholar spanning Eastern and Western cultures, Qin Feng’s works are poetically compatible with the romance of Western expressionist philosophy and the spirit of Chinese ink painting. Through multi-media research and creation, the development and application of traditional and modern materials, Formal language and expressive language are more compatible with the spiritual character of Eastern and Western cultures. Build and form a personal unique language and style.
獲獎 Awards
秦風作為藝術家和學者，對國際交流做出了卓越的貢獻。獲得了全國美展創作獎、柏林市政府獎、波士頓國際藝文獎、道格拉斯基金會新世紀獎&國家貢獻獎等若干獎項。
National Art Exhibition Creation Award, the Berlin City Government Award, the Boston International Art Prize, the Douglas Foundation New Century Award & National Contribution Awards and several other.
機構收藏 Selected Institutional Collections
大英博物館，紐約大都會博物館，波士頓美術館，加利弗尼亞州亞太博物館，美國福特基金會，邁克道拉斯基金會，洛克菲勒基金會，中國國家博物館，哈佛大學FOGG美術館，耶魯大學美術館，史密斯學院美術館，法國國家基金會，喜馬拉雅美術館等數十家博物館、藝術機構及近百個人收藏。
The British Museum, Metropolitan Museum of Art, Boston Museum of Art, California Asia Pacific
Museum, Ford Foundation, Mike Dallas Foundation, Rockefeller Foundation, National Museum of
China, Harvard University Fogg Art Museum, Yale University Art Museum, the Smith College Art
Gallery, the French National Foundation, Himalayan Art Museum, countlessm.
部分個展 Selected Solo Exhibitions
2020
從天而降《神殤》 大皇宮博物館 (米蘭)
'Out of Blue' Palazzo Reale (Milan)
秦風個展Volta藝博會 (紐約)
Qin Feng's Solo Exhibition Volta (New York)
2019
遇見時空 Crossing Art畫廊 (紐約)
Encountering Rhythm of Tme Crossing Art (New York)
2018
斯坦福大學藝術中心“零界”展（加州）
Stanford University Art Center “Zero World” Exhibition NordArt (German Northern Art Center)
2017
“邂逅天使”圣凱瑟琳大教堂個展（漢堡）
“Meeting Angels” St. Catherine’s Cathedral Solo Exhibition (Hamburg)
“憧憬”G7特邀展（博洛尼亞博物館） 佩斯畫廊（紐約）
“LONGING” G7Invitational Exhibition (Bologna Museum)Pace Gallery (New York)
2016
威尼斯建筑雙年展“秦風特展”（圣喬治教堂）
Venice Architecture Biennale “Qin Feng Special Exhibition” (St. George’s Church)
Ben Brown Fine Arts（香港） (Hong Kong)
臺北亞洲藝術中心（臺北）
Taipei Asian Art Center (Taipei)
Masterpiece 博覽會（倫敦）
Masterpiece Expo (London)
Milton畫廊（倫敦）
Milton Gallery (London)
2015
“秦墨風尚”上海紐約大學美術館開館展（上海）
“Qin Mo Fashion” Shanghai New York University Art Museum Opening Exhibition (Shanghai)
瑞士巴塞爾藝術中心（巴塞爾）
Basel Art Center, Switzerland (Basel)
瑞士圣•烏爾班當代藝術博物館（盧塞恩）
Swiss St. Urbanan Museum of Contemporary Art (Lucerne)
2014
貝肯藝術中心（紐約）
Beacon Center for the Arts (New York)
Ode to Art （新加坡 Singapore）
紐約州柯恩藝術中心（紐約）
Cohen Art Center, New York (New York)
香港世界畫廊（香港）
Hong Kong World Gallery (Hong Kong)
上海國際當代藝術博覽會“秦風特展”（上海）
Shanghai International Contemporary Art Fair “Qin Feng Special Exhibition” (Shanghai)
2013
Goedhuis 現代藝術畫廊（倫敦）
Goedhuis Modern Art Gallery (London)
Ethan Cohen 畫廊（紐約）
Ethan Cohen Gallery (New York)
2012
上海美術館（上海）
Shanghai Art Museum (Shanghai)
佛羅斯特美術館（邁阿密）
Frost Art Gallery (Miami)
克羅亞洲藝術館（達拉斯）
Crowe Asian Art Museum (Dallas)
2011
Ethan Cohen 畫廊（紐約）
Ethan Cohen Gallery (New York)
瑜舍畫廊（北京）
Opposite House Gallery (Beijing)
北京藝博會特邀展（北京）
Beijing Art Fair Special Exhibition (Beijing),
上海藝博會特邀展（上海）
Shanghai Art Fair Special Exhibition (Shanghai)
2009
佩斯畫廊（紐約）
Pace Gallery (New York)
上上國際美術館（北京）
Shangshang International Art Museum (Beijing)
2008
哈佛大學（波士頓）
Harvard University (Boston)
北京當代藝術館（北京）
Beijing Museum of Contemporary Art (Beijing),,
Goedhuis現代藝術畫廊（紐約、倫敦）
Goedhuis Modern Art Gallery (New York, London)
Nicholas Robinson畫廊（紐約）
Nicholas Robinson Gallery (New York)
2007
Raab畫廊（柏林）
Raab Gallery (Berlin)
Goedhuis 現代藝術畫廊（紐約、倫敦）
Goedhuis Modern Art Gallery (New York, London)
Ethan Cohen畫廊（紐約）中央美術學院（北京）
Ethan Cohen Gallery (New York), Central Academy of Fine Arts (Beijing)
2006
北京現代美術館（北京）
Beijing Modern Art Museum (Beijing)
Townhouse畫廊（開羅）
Townhouse Gallery (Cairo)
2005
Goedhuis現代藝術畫廊（紐約、倫敦）
Goedhuis Modern Art Gallery (New York, London)
2004
Raab畫廊（柏林）
Raab Gallery (Berlin)
精藝軒畫廊（香港）
Jing Yi Xuan Gallery (Hong Kong)
2003
紐約亞洲博物館（紐約）
New York Asian Museum (New York)
Ethan Cohen畫廊（紐約）
Ethan Cohen Gallery (New York)
2002
Tao Water畫廊（馬薩諸塞州）
Tao Water Gallery (Massachusetts)
海上山國際藝術中心（上海）
Sea Mountain International Art Center (Shanghai)
2001
邁克道拉斯基金會（新罕布什爾州）
Mike Dallas Foundation (New Hampshire)
Revolving博物館（波士頓）
Revolving Museum (Boston)
亞洲文化中心（紐約）
Asian Cultural Center (New York)
德國外交部（柏林）
German Ministry of Foreign Affairs (Berlin)
2000
Trmont畫廊（波士頓）
Trmont Gallery (Boston)
1999
馬丁路德大學畫廊（威登伯格）
Martin Luther University Gallery (Wittenberg)
1998
Raab畫廊（柏林）
Raab Gallery (Berlin)
1997
Tacheles畫廊（柏林）
Tacheles Gallery (Berlin)
1996
Benario畫廊（柏林）
Benario Gallery (Berlin)
1995
海牙文化中心（海牙）
The Hague Cultural Center (The Hague)
1994
中國職業畫家作品陳列館（北京）
Chinese Professional Painter’s Works Exhibition Hall (Beijing)
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