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Zeng Jianyong Solo Exhibition LOST WAY 曾健勇个展“迷路”


  • BTAP 东京画廊 No.798 Rd Beijing, Beijing, 100015 China (map)

From April 12 to May 7, “Zeng Jianyong Solo Exhibition: Lost Way,” curated by Yukihito Tabata, will be held at Tokyo Gallery +BTAP at the 798 Art District. The exhibition will feature 16 new ink-and-wash creations by Zeng Jianyong. 

Opening reception:  3 - 5pm, April 12, 2014

In 2012 Tokyo Gallery +BTAP invited Zeng Jianyong to hold his solo show “Allegories·Altered Forms,” which was an extension of three previous series: “Team Leader,” “Black Scarf” and “Protagonist.” At the same time, that show offered images that were beginning to take shape freely, driven by a new inspiration. In such works Zeng shifted from interpretive handling of pictorial, semantic structures toward conveying a more affective painterly experience. Zeng Jianyong increasingly views painting as a passageway toward inner contemplation rather than a means of exteriorization. One could also say that in this process Zeng Jianyong has experientially verified that painting gives access to awareness of life-in-itself. At the same time he has worked to bring alive concepts at the heart of traditional painting, in pursuit of the temperament and endowment that allowed traditional painting studies to transcend worldly venality. Zeng has been preoccupied with exploring these issues for some time. In these recently completed works from the “Getting Lost” series, motifs and spaces of traditional landscape painting have been repositioned, transformed and re-enacted. Zeng’s previous style of painterly language has taken on a new rhetorical pattern. With glancing strokes and subtle washes Zeng imparts a loosely open quality, pregnant with associations, to subjects like mountains with clouds, pines with rocks, stream banks, and sloping meadows. His work has the clear expansiveness of Ni Yunlin and the misty indefiniteness of Mi Youren. 

In contrast to the intricacy and contrivance of contemporary painting theory, Zeng Jianyong seems more willing to utilize openly allusive terms from tradition to describe his delicate observations. One should say that the “Getting Lost” series is Zeng Jianyong’s retrospective view of traditional landscape painting. What the eye sees is presented, in light of contemplation, in ways that reflect a new experiential sense of nature and all things: tranquil, self-restorative and not dominated by objects. Undoubtedly Zeng Jianyong has stopped relying on weighty, bodily expressiveness; instead, he is embarking on a course that will take him outside the studio to discover sunlight, air and water. Here the transcendent imagery of traditional literati life exerts a rich appeal. The reason for this lies in Zeng Jianyong’s steadily growing insights and realizations about ink-and-wash language and painting theory; more than that it lies in newly accumulated knowledge and his truthfulness in self-evaluation. The cogitative logic of a master narrative has wholly given way to a keen, microcosmic grasp of moods. Zeng Jianyong’s ink-and-wash explorations have begun a turn toward reconfigured picturesu of traditional, textural space. 

4月12日至5月7日,由田畑幸人策划“迷路·曾健勇个展”,在北京798艺术区东京画廊+BTAP举行,共展出曾健勇新近创作的水墨画作16件。

开幕・接待会:2014年4月12日(周六)  15:00-17:00

曾健勇2012年应邀在东京画廊+BTAP举办“寓言·异象”个展,延续其“大队长”、“黑领巾”、“主角”系列创作的同时,一些更为灵动的形象正在自由生长:对图像性视觉语义结构的解读,从而转向为描述一种更具感性意味的绘画经验,曾健勇愈发将绘画视为一种“内观”的通道而非“外化”的诉求。抑或者说,曾健勇在这个过程之中深刻体识到绘画作为一种生命感知的方式而存在,与此同时最为传统的绘画观念被重新激活,追寻传统画学理论中超越尘俗的禀赋和气质,成为其一个时期着重思考和探究的课题。新近完成的“迷路”系列,即是对传统山水画图式和空间的重置、转换和新的演绎,前期的绘画语言风格成为一种新的修辞格式,云山、松石、溪岸、坡草,在一种松动而空灵的擦写和晕染中,有倪云林的清旷、米友仁的濛鸿。

相较于当代绘画理论的繁缛与矫饰,曾健勇似乎更愿意使用传统虚淡的词句来形容细腻的观感。应该说,“迷路”系列是曾健勇对传统水墨绘画精神的一种回望,眼睛在心的观照中映现出对自然万物的新体验:恬静养神,弗役于物。毫无疑问,曾健勇不再依赖沉重的身体表达,而是起身离开走向室外去发现阳光、空气和水,传统文人生活的超然意象在此时极富有感召力。之所以如此,在于曾健勇对传统笔墨语言与绘画理论趣旨有着日渐自觉的悟醒,更在于其知识结构的更新以及如何看待自我价值的真实性。宏大叙事的思维逻辑完全让位于微观情绪的敏锐把控,曾健勇的水墨探索,开始趋向于对传统质感空间的图像重构。