金杜艺术中心新展 | 吴俊勇：山海不惊
金杜艺术中心十分荣幸地宣布将于2019年12月13日至2020年02月14日呈现艺术家吴俊勇的个展《山海不惊》，展览标题出自中国志怪古籍《山海经》，蕴含着文字游戏般的趣味，是艺术家对《山海经》进行的一场自我解读。展览将展出吴俊勇2016年至2019年间创作的超过20幅纸上水墨作品及一件最新创作的六屏动画装置作品，旨在传达艺术家的“慢”创作在这个“快”时代的一次滞留，也是一段传统和经典的回声。
吴俊勇习惯用图像思考，目前的主要创作媒介是绘画和动画。蓬勃旺盛的民间艺术、来自童年乡野间神秘的传说，在艺术家的笔下被解析成各种图像，自由生长……构成了吴俊勇作品神奇而独特的叙事性和精神性。他的作品游离于现实与幻想、东方与西方中，呈现出矛盾、荒诞和令人不安的影像。此次展出的作品主题由经典的东西方神话和故事组成，并进一步消解原有的文学背景，剩下最简单的人物和风景，如作品的标题，更是中性客观的描写。吴俊勇强调，“画里的信息多半可以找到文学的影子。但这次刻意回避那些文学的指向，让观众自己去解读和想象。”
吴俊勇，庄周梦见卡夫卡，2019，纸本水墨，196 x 195 cm
Wu Junyong, Zhuang Zhou Dreamed of Kafka, 2019, Ink on paper, 196 x 195 cm
中国美术学院版画系的专业培训赋予吴俊勇超强的动手和造型能力，他可以不画草图，徒手雕刻，艺术对他来讲更像是一种玩耍，他用同样不拘泥于章法的方式，玩油画，玩水墨，玩雕塑，玩动画……吴俊勇的动画作品更像是让传统的纸上绘画散发出现代气息，为数字化媒介注入古典脉络。在他看来传统从来都是流动和创新的，如希腊神话里双面神雅努斯（Janus），往前或往后看，立足当下。作为中国较早进行多媒体艺术创作的一代艺术家，吴俊勇游刃有余地在互联网世界里畅快淋漓地戏耍。
吴俊勇，松下吹笛少年，2019，纸本水墨， 98 x 132 cm
Wu Junyong, Flautist under pine, 2019, Ink on paper, 98 x 132 cm
外界对吴俊勇的印象更多的是他的动画与其离奇的想象力。在此次展出的近三年鲜少曝光的纸上绘画作品以及最新动画装置中，吴俊勇试图将焦点聚集在绘画本身，绘画到底意味什么？传统的图像和笔墨，如何在今天散发出新的活力和气息？
开幕式当日吴俊勇将在展场绘制壁画，观众可以在现场感受艺术家如何从一个局部生长出另一个局部，体验即兴创作的魅力。
KWM artcenter is pleased to present Wu Junyong’s solo exhibition Where are the Fantastic Beasts？from 12.13.2019 to 2.14.2020. The title comes from the 4th century B.C Chinese mythology compendium The Classic Of Mountains And Seas (Shan Hai Jing), a book that implies ancient both mystery and playfulness. The show displays more than 20 works, including ink on paper works from 2016 to 2019, a newly produced six box animation installation and a site specific wall work. The exhibition is a record of both of the artist’s “slow” production process in our present ever accelerating world and his engagement with tradition and classical literature.
吴俊勇，岩间少女，2017，纸本水墨，196 x 325 cm
Wu Junyong is accustomed to thinking through images, and his current primary creative media are painting and animation. Prosperous folk art and mysterious countryside legends from childhood are analysed by the artist in various pictures that grow freely, composed of Wu Junyong’s magical, spiritual and unique narratives. His production wanders between reality and imagination, East and West, resulting in conflictual, preposterous and anxious images. The topic of the exhibition consists of classical legends and stories from East and West. However, the original literary backgrounds dissolve into the simplest figures and scenery with neutral and descriptive work titles. Wu Junyong emphasises, “The information in the my paintings usually lie in the shadows of literature. But this time, I deliberately attempt to dodge obvious literary connotations, leaving the audience to interpret and imagine for themselves."
A professional training in Printmaking at the China Academy of Art in Hangzhou gave Wu Junyong supreme and confident modelling skills. He can paint without drafts and experiment manually. Art is more like a game for him as he disobediently plays with oil painting, ink on paper, sculpture and animation. Wu Junyong’s animation work exudes a modern spirit on traditional paper, injecting a classical vein into digital media. In his opinion, tradition has always been fluid and innovative, such as Janus, the double-faced god in Greek mythology, looking forward or backwards while standing in the present. As one of the first in his generation of Chinese artists engaged with multimedia art, Wu Junyong is capable of playing joyfully in the Internet world.
吴俊勇，山海不惊，2016，纸本水墨，196 x 325 cm
The first impression of Wu Junyong from the outside world usually highlights his animation and bizarre imagination. However, through the newly exhibited paintings, from the last three years, and his latest animation installation, Wu Junyong tries to focus on the validity of painting itself. What does painting mean? How can traditional images and inks emit new vitality and breath today?
Leading up to the opening day Wu Junyong painted a site specific wall work in the art space. The audience experienced live how the artist develops and expands forms from one into another and was able to appreciate the charm of his improvisation.
吴俊勇，1978出生于福建，毕业于中国美术学院版画系。2002-2005中国美术学院新媒体系硕士，同年留校任职，目前生活工作于杭州。曾参加2005 中国艺术三年展（南京博物馆），2006 中国之窗(（韩国Arko美术馆），2006 艺术游戏（深圳何香凝美术馆），2008 第三届广州三年展（广东美术馆），2010 MADE IN POP LAND（韩国国立现代美术馆），2012 首届“CAFAM未来展”（中央美术学院美术馆），2012第九届上海双年展（上海当代艺术博物馆），2013 ON ? OFF：中国年轻艺术家的观念与实践（尤伦斯当代艺术中心），2013 不合作方式2（荷兰格罗宁根美术馆），2014后波普（萨奇画廊），2015动漫世纪（韩国大邱美术馆），2016乌镇国际当代艺术邀请展（乌镇），2017 中国当代艺术年鉴展（北京民生现代美术馆），2017 敘事曲——动漫美学当代艺术展（澳门艺术博物馆），2017 保时捷首届“中国青年艺术家年度评选”提名展，2018 敘事曲——動漫美學當代藝術展（上海当代艺术馆），2019传统的流变（四川美术学院美术馆），2019亚洲数字艺术展（北京联想大厦）等。
Wu Junyong was born in Fujian in1978. In 2000, he graduated from China Academy of Art in Hangzhou with a BFA in Printmaking. In 2005, he also earned his MFA in New Media Arts from the same school. Besides being a professional artist, Wu also teaches at School of InterMedia Art of China Academy of Art. Wu now lives and works in Hangzhou. Since 2002, Wu has been exhibiting extensively at home and abroad. His selected recent group exhibitions include: Ballade – Animamix Contemporary Art, Macao Museum of Art (2017); THE EXHIBITION OF ANNUAL OF CONTEMPORARY ART OF CHINA 2016, Beijing Minsheng Art Museum (2017); ANIMAMIX Biennale 2015-2016, Daegu Art Museum (2015); POST POP: EAST MEETS WEST, Saatchi Gallery(2014); Fuck Off 2, The Groninger Museum, Netherlands(2013); ON | OFF: CHINA’S YOUNG ARTISTS IN CONCEPT AND PRACTICE,The Ullens Center for Contemporary Art (2013); 9th Shanghai Biennale,Shanghai Museum of Contemporary Art (2012); The First “CAFAM · Future” Exhibition,CAFA Art Museum (2012); MADE IN POP LAND, the National Museum of Contemporary Art, Korea (2010); Farewell to Post-Colonialism, The Third Guangzhouo Triennial, Guangdong Museum of Art (2008).
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