展览预告 | 理——王绍强的维度与艺术
理——王绍强的维度与艺术
展览时间
2021年10月28日-2021年11月28日
开幕式时间
2021年11月5日15:30
展览地点
何香凝美术馆
主办单位
中国美术家协会
中央文史研究馆书画院南方分院
广东省政协书画院
广东省美术家协会
深圳市文学艺术界联合会
何香凝美术馆
协办单位
广东省美术家协会策展委员会
亚洲艺术中心
33当代艺术中心
学术主持
范迪安
展览总监
蔡显良
策展人
吴洪亮
专论
皮道坚、管郁达、项苙苹、姜俊
展览统筹：程斌、樊宁
展览协调：余湘智
策展助理：梁海盈
公共教育：骆思颖
信息宣传：房桦、杨菁
摄 影：曾雨林
翻 译：王释然、Kerry Xie
视觉设计：another design
展览设计：王漫
设计助理：王羽茜、陈晓雯
Jade Treatment: Discussing the Impact of Wang Shaoqiang's Art
Time
2021.10.28 - 2021.11.28
Openging Ceremony
2021.11.5 15:30
Venue
He Xiangning Art Museum
Organizer
China Artists Association
Painting and Calligraphy Academy (Southern Branch) of China Central Institute for Culture and History
Painting and Calligraphy Academy of Guangdong Provincial Political Consultative Conference
Guangdong Artists Association
Shenzhen Federation of Literary and Art Circles
He Xiangning Art Museum
Co-Organizer
Curatorial Committee of Guangdong Artists Association
Asia Art Center
33 Contemporary Art Center
Academic Director
Fan Di‘an
Exhibition Director
Cai Xianliang
Curator
Wu Hongliang
Monograph
Pi Daojian, Guan Yuda, Xiang Liping, Jiang Jun
Exhibition Management：Cheng Bin, Fan Ning
Exhibition Coordination：Yu Xiangzhi
Curatorial Assistant：Liang Haiying
Public Education：Luo Siying
Information Publicity：Fang Hua, Yang Jing
Photographer：Zeng Yulin
Translator：Wang Shiran, Kerry Xie
Visual Design：another design
Exhibition Design：Wang Man
Design Assistant：Wang Yuxi, Chen Xiaowen
策展人语
理——谈王绍强的维度与艺术
王绍强的维度决定了他的艺术。从某种意义上讲，王绍强那些充溢了太多缜密思考的作品是推演出来的，甚至有降维打击的意味。故而，他在何香凝美术馆的这次最新个展定名为“理”，是想借这个字意涵的逻辑性及其复杂性，来呈现其作品的内在能量与多种样态。
“理”在《说文解字》中的释义为：“治玉也。”清人段玉裁注：“战国策。郑人谓玉之未理者为璞。是理为剖析也。玉虽至坚。而治之得其䚡理以成器不难。谓之理。凡天下一事一物、必推其情至于无憾而后即安。是之谓天理。是之谓善治。”由治玉到治“天下一事一物”，对于“理”字之解可谓精辟。概而言之，由日常之梳理、管理总结出道理，甚至窥测天理，都在“理”之范畴，亦是“理”之正途。对“理”的探寻，本就是一个由表及里，由浅入深，由现象到本质的过程。
王绍强的日常就像是对作为动词的“理”以及作为名词的“理”的实践。工作、生活与艺术的多重维度的确使这个“理”更具张力。他身兼多职，是美术馆管理者，也是教授、出版人、设计家，等等。作为广东美术馆馆长、中国美术家协会策展委员会委员，他策划了很多重要的展览和文化活动；作为中国艺术研究院研究员、博士生导师，澳门科技大学艺术学院教授、博士生导师以及广州美术学院教授，他如今已是桃李天下；作为出版人和设计家，他设计和出版了大量的重要文集和艺术与设计作品，获奖到手软。在闲聊中，偶然提到家庭，他亦是仔细而周到。至于他的艺术创作，当然也从来没有间断。而这一切归结起来，都需要一个人有正确的理念支撑来恰当分配自己的精力，合理规划自己的时间。这就是王绍强 “治玉” 的日常——让每一件事得到合理的安排，在一事一物的“治理”中寻找自己的“理”。
还记得王绍强曾经谈到自己水墨创作的缘起：“喝茶的时候，茶水积累下来会形成某种浓度，每次形成的图像都不一样，这给了我灵感。我的画其实也是在利用这样的水性，以及水与空气、水与时间的关系来创作，当然这里面还是包含了主观的对自然和山水的向往。”从茶水的浓度引发对于水墨的兴趣，总结出水与空气、时间的关系，进而成为自己创作的灵感。仔细琢磨这个过程，这种由此及彼的联系和总结不正是对于“理”字的直接诠释？
在此基础上，王绍强逐步规划出一整套非常适合他状态的程序。他必须将研究、管理、创作变成三位一体的事情。因为忙，所以他需要找到“七寸”的位置，在最有效的节点发力，找到让零碎的时间变得能够延续的方式。王绍强的解决方案是调动自然节律，让时间帮他做功课——每天上班之前，他将墨喷到纸上，剩下的就交给这一天的时间，下班时早晨的墨迹已干，他再根据已经形成的痕迹继续上墨，如此反复。他其实是设计了一个时间的阀门，这个阀门能驱动空气、水分、纸张的纤维共同变化，这些物质依照自身的物理特性演进，水会干，渣滓会沉下去，宣纸的吸附力和分布在其中不规则的纤维自然会生产不同的痕迹，他有效地将自己的创作与自然规律融合在一起，当画面上积淀了足够的时间，从而散发出的这种“淡定”是非常珍贵而富于感染力的。在这个快节奏的时代，从容地调动时间、阳光、空气去创作，又是一件多么诗意的事情呢！
如果说茶催化出的 “无心”之“理”为王绍强提供了创作的契机，那么他多年从事设计、管理工作积累的经验，则为创作的深入提供了“有意”之“理”。作为一位颇有心得的设计家和管理者，他拥有很好的全局观。今天的设计和管理同样是建立在现代思维之上的学科，遵循一套“观察——推理——假设——验证”的逻辑，不仅都需要对所达成的目标有清晰的蓝图，更需要为了实现最终的蓝图而合理地排布每个生产创造的环节，计划、组织、决策、调控所有参与到这个过程中的元素，使之有条不紊地合力实现最终愿景。尤其作为馆长自然拥有视野上的维度优势。他必须更了解今天世界与中国的政治、经济、艺术的运行，尤其在疫情下，全球被迫隔绝时，找到自己的定位与工作的方向，从而思考艺术何为？关注现实，而又不拘于眼前。《易·系辞上》说：“仰以观于天文，俯以察于地理。”这恰是王绍强在做的。星图、方格网、卫星地图标识、水墨材料、山水意象，这些是王绍强作品的关键词，也构成了其艺术风格的主要特征。基于对中西方艺术发展的理解，对当下艺术生态的观察，用今天的知识结构重新认识和选择传统文化资源，应该说，王绍强推演出一套自己的创作方法论：他循着抽象形态这个古今中西共通的元素，回溯到中华文明最初的几何图像系统“河图、洛书”，进而将“地图”的概念引入传统山水。河图洛书指向的八卦九畴，抛开它们在中华文明发展历程中被赋予的复杂内涵，我想这些图像之所以被创造，与最初的先民建立理解世界的模型有关，与他们试图理解看起来复杂无序的外部世界，并管理自身与外部世界的关系密不可分。如今，太多的纷杂或许让我们无所适从，王绍强一直有自己道理中的一定之规。如果全球化是将所有地域差异性裹覆起来的海水，王绍强则以古老的河图洛书为锚，将自己那一艘航行在水面的船，定位在了东方精神的水域。
之于艺术本体，王绍强也构建了较为典型的个人艺术符号。不过这个符号并非一成不变的模型，而是一个可以生长的有机体，会随着创作主题和作者经验、心态的变化呈现出新的面貌。审视王绍强近期的创作，可以发现两个非常重要的转变。一是构图上的突破，二是色彩方面的变化。
谈这两个问题，恐怕还要回到王绍强的本行——艺术管理。这位曾经的广州美术学院设计学院的院长长期投身艺术管理、创作和教学领域，绝对算是资深大咖。众所周知，长期浸淫于艺术管理和设计的人，对空间、视觉的调动能力要胜于一般的视觉艺术家。艺术管理中的某些服务因素与当代艺术中强调的某些互动以及综合资源的整合是有交集的。然而，多年以来，王绍强似乎一直在回避这种优势。或许是对“纯艺”与“设计”之间的界线过于看重，在前些年的作品中，作为画家的王绍强对于作为设计家的王绍强似乎总是有意躲避，努力在绘画中剔除设计的因素。但从近来的作品看，“他们”已经达成和解。和解的结果是合力的出现，是一种综合掌控与组织协调的全局观，对画面的创新性和可观性都是一种提升。以《夅》为例，整个作品由四幅方形画面组成。近距离观看，山石的纹理、构造十分清晰，细节耐人寻味。而从远处看，作品从左到右构成了一个连续向下的阶梯，韵律十足，设计意味明显，整体的冲击力和吸引力胜过一般作品且充满了艺术家的自信。当然，设计并不等于造作和修饰。实际上，对于自然和生命的敬畏几乎灌注于王绍强的所有作品中。尽管常年与当代艺术打交道，但他从来没有为了看起来“当代”而故意求怪、求奇。他画中的山水，无论承载着再多理念，却仍然保持着一种中正、单纯、平和之气。色彩上的变化，是王绍强近来创作的另一个转变。与之前多以水墨为主、“暗绘”处理的风格不同，他的新作大量使用了色彩。如《千米》、《紫宸西忆之三》、《三色九千之二》、《彩丘之二十四》等都是此类代表。《千米》和《紫宸》分别以红和蓝为主调，前者在狭长的纸张上塑造出了层层累积的厚重“红山”，后者则是营造出了一派淡雅空濛之境。《三色》和《彩丘》均是在墨的框架中辅以色彩渲染，整个画面更加明丽，在沉稳中多了一份情韵。如果说王绍强之前一直延续的是中国画的文人水墨传统，那么现在则引入了更多色的因素，画面也更丰盈了。整体观之，无论是设计因素的加入，还是色彩的尝试，都意味着艺术家在以更加放松、包容的心态推进着自己的创作，更为自信于自己的选择，在渐进中安然求变。
关于此次展览，必须强调的一点是何香凝美术馆空间的妙处将会对王绍强作品有更好地呈现。在我看来，何香凝美术馆是我国中小型美术馆中，对传统的借景、造境运用的典范之作。虽然建成已经有24年了，但依然无出其右。正是这样一个拥有传统园林意趣的现代空间，为王绍强新作《天工·七合》的创作与呈现提供了一份机缘。《天工·七合》的创作源于中国传统文化中天工人代、开物成务的哲学理念。而“七”之数，无论在中国传统的术数体系，还是古希腊的数学理念中都是极为特别的存在。因此，《天工·七合》既是对以往人文地理课题的延续，同时又有寻天之理、以成万事的寓意。而且作品突破了艺术家以往的平面创作，在人和雕塑的互动中真正实现了山水画创作所追求的“可游可居”状态。应该说，从微观到宏观、从物质到精神的跨越是王绍强始终在追求的。早在西部山水创作中，王绍强就曾在对地质的构造、变迁呈现中，揭示生命变化的规律。如同人类的生老病死一样，雅丹地貌也会经历孕育—幼年—壮年—老年—消亡的过程，只不过其生长的时间单位从衡量人的“年”变成了自然界的“万年”。这种无法抗拒的自然宿命与漫长的消长历程，同时作用于艺术家的创作，就成为一种既真实又震撼的视觉图像。《列宿垂象》一画，以墨色为底，银汉罗布，作者在古代天象图的传统中，纳入了现代天文学知识，既给人以真实感，又留下无穷的想象。在地质年代中，宙、代、纪、世、期是基本的时间单位，其长度与我们日常使用的年、月、日不可同日而语。《叠纪》就是将地层学知识与传统山水风格相融合，构建出了兼具人文精神与时空沉淀的新山水图像。以此为前提，再次审视《天工·七合》的诞生，可以发现对于自然、生命内在之“理”的探索已经成为王绍强一以贯之的主题。
最后想说，如果每个人都难逃被定义的话，王绍强身上具有很多可以被通俗化解读的优秀素质——视野开阔、长于管理、充满好奇心而又足够努力，甚至对所有的细节都不会轻易放过，等等。这些描述实际上呈现了一个生命个体鲜活实在的攀登状态。王绍强就是这样一个生命体，或者说是这类生命体中的一个。尽管他仿佛已经站在高原之上，但我们仍然难以在他身上找到一丝懈怠，他的作品也是如此，力求完美。然而，艺术有时还会有另一种维度，很随意，甚至几许懈怠。所以，“理”这个展览，作为策展人我希望在所有理性的排布到位之外，应该有松动的一面。进而希望它是一块荒原中的石头？一块散落在地摊上的玉？可以垫在屁股下面坐坐，抑或拾起来，拿在手中把玩一阵。
艺术与展览或许也可如斯，也是个理儿。
吴洪亮
2021年8月25日于北京画院
Jade Treatment:
Discussing the Impact of Wang Shaoqiang's Art
A certain dimensionality informs Wang Shaoqiang's art. In a sense, Wang Shaoqiang's works, overflowing with meticulousforethought, are inevitably deduced, with the impact of a subtle blow, as ifthey were from a higher dimension. Therefore, his latest solo exhibition at theHe Xiangning Art Museum is titled Jade Treatment (Li 理), so that the logic and complexity of the Chinese character may give order to the inner energy and multiple forms of his works.
It is critical to understand this Chinese character Li. In the ancient Chinese dictionary Shuowen Jiezi, it is interpretedas "to cure jade." The Qing dynasty philologist Duan Yucai noted,"In Intrigues of the Warring States, people of the state of Zheng called untreated jade pu (璞), uncut boulders containing jade. Li denotes cutting and dividing up of such boulders. Although jade is strong, it is not difficult to cure according to its texture and natural linesto make it into a utensil. Such is called Li. One finds inner peace when everything under the sun is studied to reach full understanding with noregrets. This is called the Heavenly Principle, fine treatment, and good governance." From the treatment of jade to the studies and governance of"everything under the sun", this interpretation of the character Li is truly profound. In short, from ordinary perception, management to the summoning of reason, and even to glimpses of the Heavenly Principle, all derived from Li’s original meaning of jade treatment, fall in its category and, following the right lines. The search for Li is a process from the surface to the interior, from the shallow to the deep, from the phenomenon to the essence.
Wang Shaoqiang's daily life encompasses the practice of Li, both as a verb and a noun. The multiple dimensions of work, life, and art indeed give increased substance to these lines. He is a multi-tasker: amuseum manager, professor, publisher, designer, and more. As the director of Guangdong Museum of Art and a member of the curatorial committee of the China Artists Association, he has planned many important exhibitions and culturalevents. As a researcher and doctoral supervisor of the China Academy of Art, a professor and doctoral supervisor of the School of Art of Macau University of Science and Technology, and a professor of the Guangzhou Academy of Fine Arts, he is the recipient of many awards. As a publisher and designer, he has designed and published a large number of important anthologies on art and design. He has designed and published a large number of important, award-winning anthologies on works of art and design. In casual conversation, he occasionally mentions his family, careful and thoughtful in his discourse. As for his art, of course, he has never stopped creating. All of this boils down to the fact that one needs to have the right philosophy to support the proper allocation of one's energy and rational planning of one's time. This is the daily routine of Wang Shaoqiang's "jade treatment" - let everything be reasonably arranged, and find his own lines and order in their "treatment".
Wang Shaoqiang once spoke of the origin of one of his ink creations, "When I drink tea, the tea water will accumulate to form a certain concentration, and the image formed is different each time, which gives me inspiration. My paintings are actually created from suchfluidity, as well as from the relationship between water and air, and time, all be speaking a subjective yearning for nature and landscapes." The varying concentrations of tea water triggered an interest in ink and wash, summarizing the relationship between water and air, and time, ultimately inspiring his own creations. Those who reflect on this process come to realize that these forms of sublime connection limn a direct interpretation of Li.
On this basis, Wang Shaoqiang has gradually planned a repertoire of procedures that suit his state perfectly. He has managed to turn research, management, and creation into a trinity. Because he is always busy, he needs to find the crucial points, to make efforts where and when it is most effective, and to find ways to make fragmented time fruitful. Wang Shaoqiang's solution is to subsume a natural rhythm and let time shoulder a share of his work. Every day before he goes to work, he sprays ink onto paper, leaving the rest to the intervening hours. The next morning, the ink isdry, and he continues to ink according to the traces that have been formed, continuing thusly. He has, in essence, designed a valve with which to tap time. This valve allows air, moisture, and paper fibers to intermix and evolve according to their own physical characteristics: water will dry, dregs will sink, the adsorption of Xuan paper and the distribution of irregular fibers init will naturally produce different traces. He has effectively fused hiscreation with the laws of nature, so that in the fullness of time, the picture emanates a precious, irresistible serenity. In this fast-paced era, it is apoetic thing to mobilize time, sunlight, and air as allies in creation!
If tea is a catalyst for Wang Shaoqiang to spring from "mindless order and lines" to creative fruition, then his years of experience in design and management have accumulated a depth from which creation is intentional. Such mindlessness provides the raison d’etre for Wang Shaoqiang's creation. As a knowledgeable designer and manager, he cultivates a global view. Today's design and management are disciplines equally based on modern thinking, following the process from observation, to reasoning, hypothesis, and finally verification, the logic of which requires not only a clear blueprint of the goals to be achieved, but also a rational arrangement of each production and creation, interlinked to achieve the final blueprint. Planning, organizing, deciding, regulating all the elements involved in the process, and making them work together in an organized manner are all necessary toachieving the final vision. The curator in particular has the natural advantage of dimensionality in his vision. He must be more aware of the political, economic, and artistic workings of the world and China today, especially when the world is forced to isolate itself under the constraints of an epidemic, to find his niche and direction of work, and thus to think about what art is for, to focus on reality without being confined to the immediate. The Yijing, China’s seminal Book of Changes, enjoins us to "Look up to observe astronomy; look down to observe geography." Wang Shaoqiang meticulously follows this dictum. Star maps, square grids, satellite map markings, ink and wash materials, and landscape imagery, all are key components of Wang Shaoqiang's works, and constitute the main characteristics of his artistic style. Based on his understanding of the development of Chinese and Western art, his observation of the current art ecosystem, and his recognition and selection of traditional cultural resources within today's epistemology, it can be said that Wang Shaoqiang boasts his own creative methodology: he follows the abstract form, an element common to both ancient and modern Chinese and Western, back to the original geometric image system of Chinese civilization embodied by Hetu and Luoshu. He then introduces a unique map concept to traditional landscapes. The eight trigrams and nine domains to which Hetu and Luoshu point, aside from the complex connotations they were given during the development of Chinese civilization, were created by China’s original ancestorsas a model for understanding the world, to understand and give order to aseemingly complex and disorderly external world, and to manage their own relationship with it. Nowadays, it is the clutter of modern life that can overwhelm us. Wang Shaoqiang thus maintains a rule for his own order and lines: if globalization is a sea enveloping all our regional differences, Wang Shaoqiang will use the ancient Hetu and Luoshu to anchor his position, borne on a vessel sailing the waters of the Eastern spirit.
As for the art itself, Wang Shaoqiang has conceived and executed a standard, yet personal artistic mode. Far from static, this mode resembles an organism, one that can grow and take on new appearances as both the subject matter and the author's experience and mentality change. Looking at Wang Shaoqiang's recent works, we can find two very important such changes. One concerns a break through incomposition, the other in color.
Shedding light on these two breakthroughs requires a return to Wang Shaoqiang's profession: art management. The former dean of the School of Design at the Guangzhou Academy of Fine Arts has long been involved in art management, creation, and teaching, and is thus a fine arts renaissance man. It is well recognized that people long immersed in art management and design are better able to mobilize space and vision than ordinary visual artists. Certain service elements in art management intersect with certain interactions, with the integration of those manifold resources emphasized in contemporary art. Peculiarly, Wang Shaoqiang seems to have neglected this advantage over the years. Perhaps due to an overarching preoccupation with the boundary between "pure art" and "design" in his works, Wang Shaoqiang, as a painter, always seemed to intentionally avoid Wang Shaoqiang, as a designer, and eschews the design element in his paintings. But in more recent works, pure art and design have reached a reconciliation, the result of which is an emerging synergy, a global view of comprehensive control and organization, enhancing the creativity and visual impact of the picture. Take"On the New Day" for example: the entire work consists of four squareimages. When viewed close up, the texture and structure of the rocks are very clear, the details intriguing. From a distance, the work forms a continuous downward staircase from left to right, rhythmically, with obvious design implications, for an overall impact and attractiveness beyond ordinary works, brimming with the artist's confidence. Of course, design is not the same as artifice and decoration. In fact, reverence for nature and life infuses almost all of Wang Shaoqiang's works. Although he has been working as a contemporary artist for years, he has never intentionally sought to be weird or strange in order to look "contemporary". The landscapes in his paintings, no matter how many ideas they imply, still project a neutral, simple, and peaceful atmosphere. A shift in palette marks another change in Wang Shaoqiang's recentcreations. Unlike his previous style of mainly ink and wash and "dark painting", his new works make extensive use of color. For example,"Thousand Meters", "Purple Constellation, No. 3","Three Colors and Nine Thousand, No. 2" and "Color Hills, No.24" are all representatives of this new multihued approach. The first two create a thick "red mountain" from layers of accumulation on the narrow paper, while the other two create a light, elegant and misty scene. Both"Three Colors" and "Color Hills" are rendered with color within the framework of ink, brightening and livening the whole picture, withan added rhythm in its composure. If Wang Shaoqiang had been continuing the literati ink and wash tradition of Chinese painting, he has now introduced more color factors, for a more abundant composition. On the whole, both the additionof design elements and the experimentation with color mean that the artist is advancing his creation with a more relaxed and tolerant mindset, more confident in his choices, and seeking change in a peaceful, gradual manner.
One thing that must be emphasized about this exhibition is the beauty of its space at the He Xiangning Art Museum, an ideal locale for Wang Shaoqiang's work. In my opinion, the He Xiangning Art Museum is an exemplar of the traditional use of borrowed scenery and contextualization utilized by small and medium-sized art museums across China. Although built more than 30 years ago, it still remains unparalleled. Such a modern space’suse of traditional gardens provides an opportunity for Wang Shaoqiang to createand present his new work "Work of Nature: Merge of Seven". Its creation originates from traditional Chinese culture's philosophical notion that "man acts for the work of nature and assumes the task of creating new things". The number "seven" is a very special element in both traditional Chinese and ancient Greek mathematical systems. Therefore, this work is not only a meditation upon the subjects of both humanities and geography, but also a symbolic search for heaven’s will to create. Moreover, the work breaks through the artist's previous flatter creations, and truly realizes the state of "travel-able and live-able" through the creation of a landscape painting that intermediates between human and sculpture. It should be said that the leap from micro to macro, from material to spiritual, is what Wang Shaoqiang is always pursuing. Wang Shaoqiang revealed the law of life’s changes represented in geological changes as far back as in his early western landscapes. As human beings experience birth, aging, sickness and death, so do the Yardan landforms cycle from conception to youth, prime years, old age, and finally extinction, except that the unit of time marking their lives is not the"year" of human beings, but rather the "ten thousand years"of the natural world. This irresistible natural destiny, and the long processof growth and decay, when simultaneously applied to the artist's creation, becomes a visual image both real and shocking. In the painting "Images of Constellations", with its ink background and silvery cloth, the authorincorporates modern astronomical knowledge into the tradition of ancientcelestial charts, giving a sense of reality, while spurring endless imagination. In geological chronology, the zodiac, generations, epochs, centuries and periods are the basic units of time, the length of which is not comparable to the years, months and days we encompass. It is by fusing stratigraphic knowledge with a traditional landscape style that "The Folded Period" builds a new landscape image with both humanistic spirit and temporal sedimentation. Taking this as a premise, if we look at the birth of "Work of Nature: Merge of Seven" again, we find that the exploration of the inner order and lines of nature and life has become aconsistent theme of Wang Shaoqiang's art.
In conclusion, if it is one's fate to be defined, then let us define Wang Shaoqiang as having many excellent qualities which canbe interpreted in a generalized way - broad vision, extensive management, curious yet rigorous, dedicated to the details, and so on. These descriptions actually present a vivid and ascending arc of an individual life. Wang Shaoqiang is such a life form, or one of such life forms. Although he seems tobe standing on a plateau, we still can hardly find a trace of slackness in him, or in his works, both striving for perfection. However, there is another dimension to art sometimes, very casual, even a little slack. Therefore, as thecurator of the exhibition entitled "Jade Traetment", I hope that there may be a loose side in addition to all the rational arrangements in place. May I go so far as to hope it is a stone in the wilderness? A piece of jade scattered on the ground? You can sit on it, or pick it up and play with itin your hands for a while.
Both art and exhibitions can be like that, andthat's just fine.
Wu Hongliang
Beijing Fine Art Academy
August 25, 2021
红岩 丨 Red Crags
纸本水墨
200cm×240cm
2021
月离滂沱 丨 Lunar Observation
纸本水墨
138cm×70cm×6
2021
云脉丹霞之三 丨 Cloud Veins, Red Sandstone 03
纸本水墨
123cm×123cm
2020
远不若之二 丨 In a Distance 02
纸本水墨
138cm×70cm
2021
紫宸西忆之四 丨 Recall the West’s Indigo Palace 04
纸本水墨
123cm×123cm
2020
碧云天之二 丨 Jade Heavens 02
纸本水墨
123cm×123cm
2020
紫云出之一 丨 Violet Air 01
纸本水墨
180cm×98cm
2021
千岩万壑 2021 | Mountains Upon Mountains 2021
纸本水墨
35cm×920cm
2021
儵昱之一 丨 Glisten 01
纸本水墨
123cm×250cm
2021
飞云缀 04 丨 Flying Clouds Stitched NO.4
纸本水墨
35cm×35cm×12
2021
王绍强，号后山，1969年出生于广东汕头。现任广东美术馆馆长，教授、博士生导师，享受国务院特殊津贴专家，兼任中国美术家协会理事、中央文史研究馆书画院南方分院副院长，广东省美术家协会副主席，中国美术家协会策展委员会委员、学术委员会委员，全国美术馆专业委员会委员，中国艺术研究院研究员、博士生导师，曾任广州美术学院视觉艺术设计学院院长。参与策划广东百年美术大展，2017广州影像三年展，2021广州影像三年展，第六届广州三年展的总策划与文献展策展人。2017入选“广东特支计划”宣传思想文化领军人才，连续两次被评为“中国艺术权力榜”上榜人物，被评为《国家美术》风云人物。现生活工作于广州。
开放时间
平日周二至周日 9:30 - 17:00（16:30停止进馆）,逢周一闭馆，节假日除外，特殊情况将另行通知，门票免费。
编辑：房桦
审定：程斌