游戏开始
GAME ON
艺术家
文 晢 Wen Zhe
策展人
陈 侗 Chen Tong
展览总监
全荣花 Jeon Younghwa
2022.7.23-8.28
开幕时间 Opening
2022.7.23 4pm
深圳市南山区华侨城创意园北区B4栋1楼东
1F East, B4, North District, OCT-LOFT, Nanshan District, Shenzhen Guangdong, China
“龙”变成“晢”，正像这个展览中传统工笔画变成数码和游戏，意寓一种绘画技术从它自身所规定和习惯的文化语境中脱离出来，成为一个虚拟世界中控制游戏的规则，将图腾崇拜①转换成数字信仰。依作者的说法，这个规则在一项艺术活动中所呈现的魅力正是基于它的艺术性尚有待讨论。虽然文晢在他已成为“文晢”的时候就熟练地“用一种艺术表达其他既定的艺术门类”，②但他现在认为那是乏味的。过去并不让他产生厌倦，新的领域甚至在他还没有完全整理出其规则的时候就已经摆在他面前了，只不过他现在终于变成了他自己的哲学家，自由地编织着一个仿佛只为一代新人所迷恋的系统，试图说服所有的人去相信现实世界之外的另一个世界。于是，我们有限的艺术经验不得不重新去检验形式与内容之间的既定规则，像作者一样，把游戏的理论从游戏玩弄人变成创作玩弄游戏。① 此处我们应该尽量想起繁体“龍”。
② 关于这一点，文晢所指也许正是我猜到的:他曾经以参与课题的形式临摹了大量的古代工笔画，其中就有《唐人宫乐图》，这正是我理解的“用一种艺术形式表达其他既定的艺术门类”的典范。说得夸张一点，历史上除了文晢和我，似乎没有人把“用艺术表现艺术”当成问题；而且文晢从游戏是否是艺术这个“问题进行时”入手，似乎也是为了避开“反映现实生活”这个更加既定的艺术法则。在我看来，文晢继续运用工笔画和具象手段，却避免成为现实的俘虏，这得益于他首先在理论上完成了一个跟时代紧密相关的命题。即便我们不得不继续待在现实世界或历史过去时中，也会对这样一种观念探索充满好奇。
《VOXEL-201-能量单元》
50x50cm，绢本设色、矿植物颜料 、宣纸，2022
99x99cm，绢本设色、矿植物颜料、金箔， 2022
33x24cm，绢本设色、矿植物颜料、铝箔、宣纸， 2021For the first people who know Wen Zhe，Wen Zhe is Wen Long.“Long” (龙; dragon, a symbol of classical Chinese aesthetics) has become “Zhe” (晢; bright, apparent, similar to the character for philosophy), just as in this exhibition the intricate traditional Chinese naturalistic painting technique of gongbi has become code and online game. The artistic technique has broken free from its defined and familiar cultural context to become the set of rules that inhabit a virtual world and govern an online game – a conversion from totem worship① to digital faith. As the artist puts it, the allure of these rules as they appear in artistic form is a result of the fact that their aesthetic nature has yet to be discussed. When Wen Zhe truly became “Wen Zhe,” he was already familiar with the idea of “using art to express other established forms of art,”② but now he finds this approach lacking. It is not that the past bores him – new fields appear before him before he has even had the chance to put their rules in order – it’s just that he has finally had the chance to become his own philosopher; freely creating a new system that will apparently only appeal to a new generation, attempting to convince everyone that another world exists beyond our reality. As such, our limited artistic experience has no choice but to test once again the established rules of the relation between form and content – to transform, as the artist himself does, the theory of games from the question of games playing with humans into that of art playing with games.①Here we must try to remember the traditional character for dragon, 龍, the right side of which resembles a totem.
②I suspect what Wen Zhe is referring to here is the way in which as a participant in projects he used to trace numerous ancient gongbi paintings, such as the famous work A Palace Concert. This is precisely what I understand to be a typical example of “using art to express other established forms of art.” To put it in somewhat overblown terms, aside from Wen Zhe and myself, there does not seem to have ever been anyone who has really considered the question of “using art to render manifest art.” It seems that Wen Zhe begins in media res from a question in progress – the question of whether online games are art – to avoid the established artistic concern of “reflecting real life.” In my opinion, Wen Zhe can continue to use the concrete technique of gongbi while avoiding becoming a slave to reality in large part because he first completed the theoretical work of considering a question that is pertinent to our age. Although we cannot help but remain in this reality or historical past, we can still be full of intrigue about this conceptual exploration.
Translated by Stephen Nashef
文晢，生于1990年，现工作、生活于杭州和广州。毕业于广州美术学院中国画系，2012年获学士学位，2015年获硕士学位，兼任广州美术学院中国画学院外聘教师。
文晢的创作以工笔画为主要媒介，画面语言深受中国传统绘画的启发，围绕散点透视、归纳简明、纯净透叠展开探索，试图结合个人表达以让古老的语汇催生出新的感知体验。 在近年的创作中，艺术家以电子游戏的生产模式作为创作方法，让中国传统绘画语言与游戏数码语言在画面中充分对话。现实情境和游戏意象由此解构交错成慢慢滋生的虚拟世界，传统绘画中的思维空间成为了游戏与艺术之间的通道。在那里，数码拟象与工笔写实、正交视图与散点透视、素材拼贴与造型模件，在古今虚实之间，一种“庄周梦蝶”式的空间被渲染出来，呼应着当下诸多年轻人的生存状态。 文晢个展有《游戏开始》，飞地艺术空间，深圳（2022）；参加过的部分展览有：“艺术深圳”，深圳会展中心/飞地艺术空间，深圳（2021）；《学院新方阵第十二届年展》，今日美术馆，北京（2019）；“国之光——从《神州国光集》到《中国历代绘画大系》”，浙江大学艺术与考古博物馆，杭州（2019）；《青春心印——2019 第六届关山月美术馆青年工笔画展》，关山月美术馆，深圳（2019）；《青春心印——2018 第五届关山月美术馆青年工笔画展》，关山月美术馆，深圳（2018）；《新人·新水墨——2017 五行会筹款义卖水墨专场》，博尔赫斯书店艺术机构，广州（2017）；《省城》，本来画廊， 广州（2016）；《今日美术馆2015艺术院校大学生年度提名展》，今日美术馆，北京（2015）。且作品被博尔赫斯书店艺术机构、杨锋艺术与教育基金会、关山月美术馆、广州美术学院和陕西历史博物馆所收藏。Wen Zhe was born in 1990. He graduated from the Chinese Painting Department in the Guangzhou Academy of Fine Arts with bachelor’s degree in 2012 and master’s degree in 2015. He currently works and lives between Hangzhou and Guangzhou. He also teaches in the Guangzhou Academy of Fine Arts.
Wen Zhe’s primary medium is gongbi and his work is profoundly influenced by Chinese traditional painting. Using the techniques of combining multiple perspectives into one vista, condensing a scene to its key elements, and depicting transparent overlapping figures, he attempts to draw on the powers of individual expression to inject the vocabulary of classical painting with new perceptual qualities.In recent years, Wen Zhe has made the mode of production of online games his artistic method, forcing the languages of Chinese traditional painting and online game code into dialogue with one another. Through this act of deconstruction, the interplay between real situations and online game images gives rise to a virtual world in which the imagined space of traditional painting becomes a conduit between game and art. It is a space that lies between the digital simulacrum and gongbi representation, Cartesian three-dimensional space and the multiperspective vista, artistic collage and modular frameworks, the past and the present, the real and the virtual. A space is rendered that recalls Zhuangzi’s dream of the butterfly and reflects many young people’s contemporary existence.Wen Zhe’s recent solo exhibition includes: GAME ON, Enclave Contemporary, Shenzhen (2022). He also participated in the following exhibitions: Art Shenzhen in the Shenzhen Convention & Exhibition Center and Enclave Contemporary, Shenzhen (2021); The 12th Anniversary Exhibition New Academy Elite in Today Art Museum, Beijing (2019); Light of a Nation – From “National Light of the Divine Land” to “A Compendium of Chinese Painting Through the Ages” in Zhejiang University Museum of Art and Archaeology, Hangzhou (2019); Youth Koans – The Sixth Guan Shanyue Art Museum Youth Gongbi Exhibition 2019 in Guan Shanyue Art Museum, Shenzhen (2019); Youth Koans – The Fifth Guan Shanyue Art Museum Youth Gongbi Exhibition 2018 in Guan Shanyue Art Museum, Shenzhen (2018); New Human, New Ink Wash – The Wuxing Association Charity Ink Wash Sale in the Libreria Borges Contemporary Art Organization, Guangzhou (2017); Sang Shing in bonacon gallery, Guangzhou (2016); and 2015 Annual Nomination Exhibition for Students of Contemporary Art Academies in Today Art Museum, Beijing (2015). His work is featured in the collections of Libreria Borges Contemporary Art Organization, the Yang Feng Art and Education Foundation, Guan Shanyue Art Museum, the Guangzhou Academy of Fine Arts and the Shaanxi History Museum.
陈 侗，1962年生于湖南宁乡，1983年毕业于广州美术学院中国画系，现任广州美术学院中国画学院副院长。自1992年起，创办有“实验艺术丛书”、博尔赫斯书店及其艺术机构、午夜文丛、录像局(联合)和本来画廊等项目和机构。2010年获法国文化部颁发“文学艺术骑士勋章”。
Chen Tong, born in 1962 in Ningxiang, Hunan Province, graduated from the Chinese Painting Department of Guangzhou Academy of Fine Arts in 1983, and is currently the Vice President of the Chinese Painting School of Guangzhou Academy of Fine Arts.
Since 1992, he has founded projects and institutions such as “Experimental Art Series”, Libreria Borges and its art institutions, Midnight Series, Video Bureau and Bonacon Gallery. 2010, he was awarded the "Chevalier de l'Ordre des Arts et des Lettres" by the French Ministry of Culture.
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作为飞地品牌旗下的全新画廊，飞地艺术空间ENCLAVE CONTEMPORARY立足中国大湾区深圳，以输出开创性的展览与内容为核心己任，与今天的艺术家和观众共同探讨全球语境和背景下的当代艺术如何参与社会与时代的激变和革新。除了为充满活力与独创性的艺术家们提供持续专业的代理、推广与学术研究工作，飞地艺术空间也将积极为全球视野下的艺术机构与收藏家提供具有建设性和前瞻力的咨询与服务。
As a new gallery under the Enclave flagship, ENCLAVE CONTEMPORARY, based in Shenzhen, an essential integral of the Greater Bay Area of China, whose core mission is to produce ground-breaking exhibitions and contents that explores the way in which contemporary art practices engage in radical changes and innovation in a global context, with the artists and audience. In addition to providing ongoing professional representation, promotion, and academic research for dynamic and unique artists, Enclave Contemporary will also actively offer constructive and forward-looking advice and services to art institutions and collectors with a global perspective.
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