郭凤怡个展“也是郭凤怡”将于2020年6月3日下午开幕
“郭凤怡：山水相，长征空间”，北京，展览现场图，图片由长征空间提供
Guo Fengyi: LANDSCAPEPORTRAIT, Long March Space, Beijing, Installation View, Courtesy of Long March Space
从2002年因“长征计划——一个行走中的视觉展示”被介绍到全国乃至国际的艺术世界，我们对郭凤怡的认识是伴随着她的展览史而展开的。最直接的讲述从“谁是郭凤怡”（2005）开始、经过“我是郭凤怡”（2009）、再到“山水相”（2014），形成了先建立艺术家身份再对其艺术展开鉴赏的线索；间接的观察和接受史则由郭凤怡近30年异常显赫的国际展览履历写成，从最初被视为一个“另类”、一个“圈外”，到今春在纽约绘画中心的个展“遥视”里，被馆长及艺术史专家劳拉·赫普曼称作“打破艺术的当代性那狭隘的、一成不变的概念”，这个仍在进行的过程深刻地见证了最近三十年里人们对艺术的看法的变化。
今天，如果我们的确已经更新了对艺术的认识，就不再需要纠结于郭凤怡的艺术是不是当代艺术。同样的，如果我们已经足够深刻地对“习以为常的智性模式的合法化机制”进行了反思，也就不需要再把解读郭的重点放在其“另类批判性”上。因此，在2020年的今天，通过“也是郭凤怡”，我们希望能够给每一个普通或专业观众进一步认识郭凤怡的机会，希望大家可以轻松而聚焦地走进郭凤怡的艺术：她的艺术包含了一个艺术家超越既有知识体系的生命实践和智慧，她的绘画囊括了她对生命和宇宙、传统和当代、中国和世界文化的好奇和洞察，还有她的声音、她的故事、她作为一个具体的人是如何为其他人来带智慧、力量和灵感。
通过这个展览，我们还想提出，郭凤怡是一个复数的、可用于不同人称的词。即，有一个第一人称的、姑且称作“我”的郭凤怡，这个“我”存在于郭凤怡的绘画、郭凤怡的笔记、郭凤怡讲过的话，存在于我们在金杜艺术中心的主展厅里为观众打开的世界里。同时，也有作为“她”的郭凤怡，那是好多个的“她”——有长征计划的档案里被图片和影像、纪实以及回忆的文字记录的她，也有写作者贾勤通过其天才般的实验文本、穿越时空而“关照”到的她，还有艺术家徐坦在2007年为调查中国当代艺术状况、而视作“关键词计划”采样对象的她。这些复数的、“她”的郭凤怡，都在金杜艺术中心的报告厅里等待着人们去发现。
因为郭凤怡的艺术魔力以及她的个人魅力，这个展览在实现过程中得到了很多人的帮助和祝福，他们是艺术家徐坦和何迟，亚洲艺术文献的John Tain，长征空间的林昱、长征计划的梁中蓝以及她们各自的团队。郭凤怡是一个未经艺术教育、为治己病而开始绘画的艺术家，在她的实践中，绘画，或者说艺术，提供的是一条探索智慧的道路、一个与世界展开关系的方式，希望这个展览能让人们感受到这些。
KWM artcenter is pleased to present the Chinese artist Guo Fengyi’s solo exhibition entitled This Too Is Guo Fengyi from 3rd June to 3rd August, 2020. The exhibition contains two sections. In the main hall there are 14 works on paper and one group of early drawings and notes. In the screening room, we are presenting Guo Fengyi’s archive from the Long March Project, an experimental text from the writer Jia Qin and an interview between the artist Xu Tan and Guo Fengyi from 2007. This exhibition aims to re-introduce Guo Fengyi’s artistic practice to a new public. By way of literally following her brush strokes one can perceive the evolution of her mysterious imagery’s formation.
“郭凤怡：遥视”，绘画中心，纽约，展览现场图，图片由纽约绘画中心提供
Guo Fengyi: To See from a Distance, The Drawing Center, New York, Installation View, Courtesy of The Drawing Center, New York
Guo Fengyi’s drawings were first introduced to China and subsequently to an international contemporary art public through a series of exhibitions entitled The Long March Project: A Walking Visual Display initiated in 2002. The exhibitions Guo Fengyi: Who Is Guo Fengyi (2005), Guo Fengyi: I Am Guo Fengyi (2009), and the exhibition Guo Fengyi: Landscape portrait (2014) directly set out to establish the artist’s identity primarily followed by presenting a criteria through which the artwork could be appreciated. Guo Fengyi’s 30 year extraordinary history of visibility and acceptance internationally has helped a reevaluation of her work in China. At the beginning she was recognised as an “alternative” or an “outsider artist”. In the exhibition To See from a Distance Is Still to Be Seen: Guo Fengyi at The Drawing Center, New York in spring 2019, the Director of the institution and Art History expert Laura Hoptman pointed out that Guo Fengyi was an artist who ‘broke the narrow and unchanging nature of contemporary art'. The phenomenon of Guo Fengyi over 3 decades has contributed to a profound widening of how people perceive what can be considered art.
Nowadays with a renewed understanding, there's no need for us to pontificate over a contemporary definition of Guo Fengyi's art. We no longer need to position Guo within the category of ‘controversial’ or ‘outsider artist’. Therefore, today in 2020, through This Too Is Guo Fengyi, we hope to provide every audience, whether professional or not, a chance to further recognize Guo Fengyi and concentrate on her art without the restraints of any prejudgements. Her art is informed by her life long mystical practices and the wisdom gained from outside conventional knowledge systems. Her drawings demonstrate her curiosity and her insight into life and the universe, the traditional and the contemporary, and Chinese and world culture. Her work reveals her voice, her story and how she brings wisdom, strength and inspiration to others through a unique language.
Through this exhibition, we would like to present Guo Fengyi from different perspectives. Firstly from her ‘I’ perspective which exists in her paintings, notes and words, and is represented in the world we have created in the main hall of KWM artcenter. Secondly, in the screening room, from a ‘she’ perspective, in the form of photos, videos, documentaries and memoirs from the documents of the Long March Project, in the experimental text by the writer Jia Qin and in a recording made by the artist Xu Tan as a member of the "Keyword Project" in 2007. Guo Fengyi’s voice as well as the reflections others all are presented at KWM artcenter.
Due to the artistic and personal charm of Guo Fengyi, this exhibition is supported by many art professionals including Xu Tan and He Chi, John Tain from Asia Art Archive, Aimee Lin from Long March Space, Theresa Liang from Long March Project and their respective teams. Guo Fengyi was an artist who painted with the purpose of curing. In her practice, a path to explore her wisdom and view a new way to relate with the world is offered. These, considerations, among others, we hope the viewers experience.
郭凤怡（1942–2010年）, 生于中国西安，是一位自学成才的女艺术家。她的艺术实践关注精神和形而上学层面的意义，这些元素反映了她这一代人对于中国传统民间艺术的热爱，并且这些民间艺术赋予了我们特殊的历史，神话和神秘气质。她用毛笔在纸上描绘的作品，笔力深厚、精细飘逸，所绘形象不仅与人类的身心息息相关，同时也描绘暗示了某种精神世界的存在。
郭凤怡起初为了减轻疾病的痛苦而开始练习气功，但之后伴随着对生命哲学的不断体悟，许多视觉幻像时时涌现在她的眼前，必须用纸笔加以表达才可调整身体与心智的平衡。其作品的主题、思想和结构均来自于中国传统的思想体系，包括古老的宇宙观、人体穴位图、传说预言、三皇五帝、河图洛书、帝葬和占卜等，这些内容都是被当下现代化的中国社会所忽视的。通过这些作品，郭凤怡聚焦于传统与当代思想之间的关联，将深藏和根植于中国的文化记忆加以保存。视觉和知识的关系通过郭凤怡在纸上流动的万根墨线传达出来，给予了今天的世界以深刻的启示，同时也使绘画行为本身成为与生活融为一体的创造性的日常事件。
郭凤怡第一次接触并参与到中国当代艺术领域中是在2002年的“长征—— 一个行走中的视觉展示”活动期间。在这一项目中，她特意与杰出的美国女艺术家Judy Chicago合作，在长征途中的一站——云南丽江站，以诸如“泸沽湖”、“丽江”、“摩梭”、“昆明”及“假如女性统治世界”为名进行了一系列创作。
Guo Fengyi (1942-2010, Xi’an, China) is a self-trained female artist whose artistic practice articulates a particular journey of spiritual and metaphysical significance, belonging to an older generation whose embrace of Chinese folk culture imparts a unique knowledge of history, myth and mystery. Her works on paper are composed of finely controlled brushwork that blend and weave into a composition of lustrous images; suggestions of both human figure and otherworldly beings.
Guo Fengyi began practicing Qigong (a traditional Chinese health maintenance practice that cultivates the qi energy within the body) as a way to alleviate illness. Accompanying her ever-deepening study into the philosophies of mysticism, she began having powerful visions that she felt compelled to give form to through drawing, as a way to adjust the balance between her body and her spiritual world. The subject matter of her works, as well as the concepts and physical structures she uses, comes from traditional Chinese systems of thought; cosmology, acupuncture energy maps, divination, sage kings, geomancy and dynastic grave sites – all of which have become dispensable in a modernizing China. Through her works, Guo Fengyi acts as a convergence point of traditional and contemporary thought, preserving cultural memories hidden deep within Chinese society. Through the physical act of drawing, Guo Fengyi charges the events of today’s world with a profound significance, both as an act of creativity as well as an act of everyday life.
Guo Fengyi’s first foray into the contemporary art world was her participation in the 2002 Long March Project – A Walking Visual Display, in which she produced site specific works at Lijiang, Yunnan Province, China, and collaborated with American artist Judy Chicago. Those works bore titles such as Lugu Lake, Lijiang, The Mosuo, Kunming, and If Women Ruled the World.
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