On multiple occasions throughout modern history, art has been used as a tool against the oppressing matter of politics and the only way of unobstructed creative expression.

在现代历史中有很多这样的时刻,艺术被拿来当做抵制政治压迫的工具,也是艺术家可以不受阻碍抒发创意灵感的唯一方式。

The Cynical Realism, a contemporary movement in Chinese art, suggests rebellion and announces a dose of irony, humor and satire.

玩世写实主义,中国艺术近现代的一股思潮,这一流派通过对现实世界的戏谑、幽默和嘲讽,来传达艺术家的反叛的精神。

TCT today's art highlight: " Fang Lijun"

《茶非茶》今日艺术聚焦:方力钧

Fang Lijun (b. 1963), a Chinese contemporary artist based in Beijing, China, is one of the leading proponents of the early 1990s Cynical Realist movement. He studied printmaking at the Central Academy of Fine Arts in Beijing, where he was trained in the Socialist Realist style promoted during the Cultural Revolution.


方力钧(1963年生),中国当代艺术家,居于中国北京。是中国20世纪90年代初玩世写实主义的领军人物。他在北京中央美术学院版画系接受学习,文革时期受到了当时推崇的社会现实主义风格的训练。

Fang Lijun at his spacious Hong Kong studio 方力钧在他宽敞的香港工作室
Fang Lijun’s art is recognized through excessive appearance of “bald heads” and best known for a woodblock printmaking. His figures are often portrayed as disoriented, confused, out of place, reflecting on the state of the society post-1989 and the uncertainty felt by young Chinese people.


方力钧的艺术作品辨识度很高,画面上总是充斥着很多“光头”的形象,其木板版画最为著名。他笔下的人物通常显得迷惘困惑、无所适从,反映出1989年后期社会的状态,以及在这一时代背景下中国年轻人感受到的种种动荡不安。

Fang Lijun, 2003.2.1, 2003, Oil on canvas 方力钧,《2003.2.1》,2003年,帆布油画
His work tackles the issues of human rights, morality, and political oppression through colorful, surrealistic imagery. His style has had considerable impact in the development of a contemporary avant-garde Chinese art.


他的作品以色彩艳丽的笔触和超现实的画面来表达人权、伦理、政治压迫等问题。这一风格对当代中国先锋派艺术的发展产生了不容小觑的影响。

Fang Lijun, 1991.6.1., 1991, Woodblock print 方力钧,《1991.6.1.》,1991年木版印刷
One of his famous pieces is the 1991.6.1., a woodblock print depicting a bald-headed crowd beneath a larger head with an anonymous finger point to the sky. The print oozes in a strong sense of loss in direction, self-identity, and the feeling of general helplessness and hopelessness. The grey scale of this painting reflects the uncertainty as well as the strong emotion of people during this era.


《1991.6.1.》是方力钧最为人所知的作品之一,这幅木版印刷画描绘了一群光头挤挤挨挨在一个巨大的头颅下,他的无名指指向天空。画面流露出一种强烈的迷失感,自我认同的缺失,普遍的无助和绝望弥漫其中。画面的灰色背景反映出这一时代人群内心不安的状态和强烈的情感。

Fang Lijun, 30th Mary, 2006, Oil on canvas 方力钧,《第30玛丽》,布面油画
His 30th Mary portrays an order of ascendancy of kewpie figures, each based on his own image. Executed with painstaking hyper-realism, the clouds formulate as a tempestuous funnel rather than a portal of billowing promise. Contrasted with the kitsch palette and pop rendering of the grotesque cherubs, Fang’s painting approaches the sanctity of ideological assurance with an empathetic cynicism.


他的《第30玛丽》描绘了呈上升趋势排列的玩偶娃娃,每一个都以画家自身的形象为原型。画家极富苦心地运用了超现实主义手法,用层层云朵叠造出如暴雨将至前的诡谲漏斗,而不是通向应许之地的翻滚云浪。又故意用低俗的配色和面目狰狞的胖娃娃与背景形成冲突。在这幅作品中,他嘲讽了表现意识形态坚定的神圣感,引发观者的共鸣。

Fang Lijun, Spring, 2009, Oil on canvas 方力钧,《春天》,2009年,布面油画
"For a young age, people would only show us good things, and tried to cover up everything negative; yet, what creates that biggest impact on me are all things that came beneath goodness." – Fang Lijun


“年轻的时候,人们只想我们展示好的事物,极力掩盖任何负面的东西;然而,正是所有掩藏在美好假想下的东西才影响我最深。” ——方力钧

Fang Lijun in his studio with the present lot, early 1990s 方力钧和他的作品在工作室,20世纪90年代初期
Fang has exhibited internationally since the early 1990s, including solo shows at the Kupferstichkabinett—Museum of Prints and Drawings, Berlin, the Today Art Museum, Beijing, the Shanghai Museum of Art, the Japan Foundation Asia Center, Tokyo, and the Galerie Nasional Indonesia, Jakarta. His works have been collected by the Pompidou Centre in Paris and the Museum of Modern Art in New York.


自90年代初以来,方力钧的作品在海内外大量展出,其中包括在Kupferstichkabinett—柏林绘画博物馆、北京当代艺术馆、上海美术馆、日本东京基金会亚洲中心、以及印尼雅加达Galerie Nasional。巴黎的蓬比杜艺术文化中心和纽约的现代艺术博物馆也将他的作品收入馆藏。

Fang Lijun, Series 2 No. 3, 1991-1992, collection of Fukuoka Asian Art Museum 方力钧,《系列二第3》,1991-1992年,Fukuoka 亚洲艺术博物馆藏
Fang Lijun, Series 2 No. 5, 1991-1992, collection of Stedelijk Museum, Amsterdam 方力钧,《系列二第5》,1991-1992年,Stedelijk 博物馆馆藏,安姆斯特丹
Fang Lijun, Series 2 NO. 4, 1992, Oil on canvas 方力钧,《系列二第4》,1992年,布面油画
Many works by Fang Lijun have been sold at auction, including 'SERIES 2 NO. 4' sold at Sotheby's Hong Kong 'Modern and Contemporary Asian Art — Evening Sale' in 2014 for 59,480,000 HKD ($7,664,766 USD).


方力钧的很多作品都在拍卖会上售出过,其中就包括《系列二第4副》,这幅作品在2014年香港苏富比“近现代亚洲艺术—夜拍会”上拍得了59,480,000港币(7,664,766美元)的高价。 At Shanghai this year,  I had the chance to visit his work. The influence art bring to us is refined and refreshed, and the adventure to art is forever. There is no time to be bored in a real world as creative as art.


今年在上海,我有机会参观了他的作品。这些艺术品给我们带来了焕然一新的体验,追寻艺术的道路永无止境。有了艺术的创意滋养,现实世界就不再了然无趣了。

Author

Angela Bi is an international citizen who has lived both in Shanghai and Vancouver Canada. She’s worked in immigration for over a decade and has experienced first hand the joys of living overseas. Angela Bi 是生活在中国上海及加拿大温哥华两地的世界公民。她从事专业移民行业已有十余载,并掌握着旅居海外的一手乐活体验。

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