学习就是力量 | 【欲上·合囤】川音成都美术学院油画系研究生提名展

学习就是力量

今年5月，在川音成都美院的研究生毕业展上，我向油画系主任魏言提出，可以在适当时候在我的美术馆办一个我院研究生的展览。如今，这个展览已经策划完成，即将呈现，并且被纳入2021成都双年展的特邀展系列。无论如何，这是个好事——从学院来说，参展艺术家都是自己的导师推荐，算是一个阶段性小结；对于学生，能集结成展，进入成都双年展序列，在他们的艺术历史中也算光彩的记录。对于我，多年来一直在为青年艺术家提供展出机会方面略尽绵力，这次能在自己的美术馆推出（和D空间联展），也是一个荣幸。 

在艺术领域，学院体系占有绝对优势。也就是说，现在活跃的艺术家基本来自各个艺术学院，这是一个现实。有鉴于此，本文来谈谈师承。

以我为例，我出身成都师范学院美术班、四川美术学院绘画系本科和研究生班。从资历上，算典型的学院派。对这个名词，当下褒贬不一。但关于这一点，有一个情况可能有说服力。当年和我一起业余学画的朋友很多，如今他们在专业圈子里消失了——他们后来都没考美院。不管这算不算一个原因，就我来说，能走到今天，首先要归功于我的老师们。比如我在川美的老师马一平先生，他教给我“转调”的概念和方法，至今受益匪浅。老师们训练了我，也改变了我，使我的作品有了今天的面貌——时进时退，正负相加——一个长期而复杂的过程的叠加。我不知道这次参展的学生是否有同样体会。不争的事实是，他们都经历过学习，如果他们选择成为专业艺术家，那么这个学习模式将伴随他们一生。

展览空境 何多苓美术馆

 “学院派”之所以被质疑，可能因为现代艺术就是从对此的反叛中诞生和发展的。以我来说，并不算典型的当代画家，但也早已不用在学院里学到的风格工作。我也经常告诉我的学生，有些东西学到手后就要遗忘——我其实指的是，某些学问已经进入肌肉记忆，不需要去想到它，但并不代表它不起作用。比如上文提到的“转调”，好比一位作曲家，用手而不是脑子在操作，而这正是多年脑子学习的结果。

再谈学习。昨晚看了一个视频音乐讲座，谈肖邦五岁时写的一首曲子。同为神童，和莫扎特对比，在这首曲子的成熟度上，肖邦胜出。但主讲人指出：这是因为前后关系——莫扎特在前，肖邦学习了他，所以……所以我要谈学习的另一个（也许更重要的）方面，就是向前人学习。

不久前在深圳艺博会的活动上，和几位不同领域的人士座谈。一位建筑师说，现在我们已经不是在向自然学习，而是师法前人，即使用自己的眼睛，也是站在前人的肩膀上。我发现建筑界谈起这一点很坦率——不知何故，艺术界对此有点羞羞答答。可能，当代艺术的成功基本上在于原创。所以大家都想成为杜尚。但我要说，你生已晚，语言都被前辈（甚至包括同辈中的先觉者）用完了。你只能先学到他们的语言，然后争取说得更好。这就要说到“引用”了。

上文说到语言的原创时代已经结束。中国当代艺术起步晚，加速的方法就是学习和引用。这也是一个客观事实。每一位成功艺术家的后面都站着一位过去的大师；尽管艺术界不大谈师承——谁也看得出谁的父本是谁。当然，我也遵循潜规则，心照不宣；然后理直气壮地劝学生，喜欢谁就学谁，喜欢什么已有的符号就加以引用。不以为耻，反以为荣。须知，在某些领域，引用乃是逼格很高的事儿。古文时代，不会用典的诗人都不好意思说自己是诗人。画得像谁没关系——一来你本来是学生，二来只要像好东西即可。在艺术门类，口头能传授的学问有限。视觉艺术主要靠视觉。我告诉学生，首先要学会“看”。瞻前顾后、左顾右盼，看历史，看当代。看大师也看素人画家。看老师也看你的同学。看画册、看画展。别的领域也不能忽略——我从建筑中学到了很多无法从美院里学到的。要听音乐——不能想象一位优秀的画家不热爱音乐。如果可能，看看乐谱。音符有视觉之美，因为它改变了世界。画画的要多看摄影，画油画的要多看水墨画，搞当代的要多看传统——学习不可耻，不学习可耻。先学习，再思考，边走边学，边学边丢——最后就是你自己。

中国传统画界很乐于说师承。师承某某某，这是炫耀家底。虽然我宁愿我的学生不像我，也不像历史上任何一位画家。但我们也不用回避血统。因为它存在。

何多苓

2021.10.17晚

Learning is strength

In May of this year, at the 2021 Graduate Graduation Exhibition of Oil Painting Department of Chengdu Academy of Fine art, I proposed to Wei Yan, the director of the oil painting department, that an exhibition of graduate students of our school could be hold in my museum at an appropriate time. Now, this exhibition has been well planned and will be presenting soon, and it will be included in the Special Invitation Exhibition of Chengdu Biennale 2021. Anyhow, it is a good matter. For the college, the participating artists are recommended by their own instructors, which is a stage summary. For students, being able to gather into an exhibition and enter the Chengdu Biennale sequence is also a glorious record in their art history. For me, I have been doing my best in providing exhibition opportunities for young artists for many years. It is also an honor to be able to launch this time in my museum (joint exhibition with D Space).

In the field of art, the college system has an absolute advantage. In other words, this is a reality that the active artists are basically from various art schools. In this context, this article will talk about the mentorship.

展览空境 D空间

Take me as an example, I graduated from the fine arts class of Chengdu Normal University and the undergraduate and postgraduate classes of the painting department of Sichuan Fine Arts Institute. In terms of qualifications, regarded as a typical academism. There are mixed reviews for this term at the moment. But on this point, there is a situation that may be convincing. Back then, many friends studied painting with me together in their spare time. Now they disappeared from the professional circle, none of them were admitted to the Academy of Fine Arts. Regardless of whether this is a cause, as far as I am concerned, I can go to this day, first of all, thanks to my teachers. For example, Mr. Ma Yiping, my teacher at Sichuan Fine Arts Institute, taught me the concept and method of "Modulation" and has benefited a lot so far. The teachers have trained me and changed me so that my work has the same appearance as it is today, moving forward or back, increase or reduce, sometimes. I don't know if the students participating in this exhibition have the same experience. The indisputable fact is that they have all experienced learning. If they choose to become professional artists, then this learning mode will accompany them throughout their lives.

The reason why "academism" is being questioned, maybe because modern art was born and developed from the rebellion against this. As far as I am concerned, I am not a typical contemporary painter, but I no longer have to work with the style I learned in the academy. I also tell my students that some things should be forgotten after they have learned them —— What I am actually referring to is that certain knowledge has entered muscle memory and there is no need to think about it, but it does not mean that it does not work. For example, the "Modulation" mentioned above is like a composer operating with his hands instead of his brain, and this is the result of years of brain learning.

Let's talk about learning. I watched a video music lecture talked about a song written by Chopin when he was five years old last night. They are all child prodigies. Compared with Mozart, Chopin won the song in terms of maturity. But the speaker pointed out: It's because of context, Mozart was in front, Chopin learned from him, So I want to talk about another aspect perhaps more important of learning, which is to learn from the predecessors.

Discuss with several people in different fields at the Shenzhen International Art Fair not long ago, an architect said that now we are not learning from nature, but learning from our predecessors. Even using our own eyes, we are standing on the shoulders of predecessors. I find that the architecture world is very frank about this, somehow, the art world is a little shy to answer this. That is possible, that the success of contemporary art basically lies in originality. But I want to say that you are too late in your life, and your language has been used up by your predecessors (and even the awakeners among your peers). You can only learn their language first, and then strive to speak better. This is about "quoting".

展览空境 D空间

As mentioned above, the era of the original language is over. Chinese contemporary art started late, and the way to accelerate it is to learn and quote. This is also an objective fact. Behind every successful artist stands a master of the past; Although the art world doesn't talk much about mentorship -- you can always tell who your father is. Of course, I also follow the unspoken rules, tacitly; Then confidently urge the students to learn whoever they like, and to quote any existing symbols they like. Of course, I also follow the unspoken rules, tacitly; Then confidently urge the students to learn whoever they like, and to quote any existing symbols they like. Don't be ashamed of it, but proud of it. It’s important to know that in some areas, the quote is a high-level thing. In ancient times, poets who can't use allusions are embarrassed to say that they are poets. It doesn't matter your painting looks like someone else's painting. First, you were originally a student, the second is as long as it looks like a good thing. In the art category, the knowledge that can be taught orally is limited. Visual art mainly relies on vision. I told students that they must learn how to "look" first. Looking forward and backward, looking left and right, looking at history, looking at the present. Look at the master and look at the amateur painter. Look at the teacher and look at your classmates. Look at the picture album, watch the art exhibition. Other areas of knowledge cannot be ignored yet.  I learned a lot from architecture that I cannot learn from the Academy of Fine Arts. Listen to music, I can not imagine that a good painter who doesn't love music. If possible, If possible, have a look at the sheet of music. Musical notes have their visual beauty because they change the world. Those who paint should look more at photography, those who paint oil paintings should look more at Chinese Ink Painting, the contemporary artist should look more at the traditional things. It is not shameful to learn, and it is shameful not to learn. Learn first, think again, learn while growing, learn while losing, in the end, you are yourself.

The world of Chinese traditional painting is very glad to talk about mentorship. To learn from someone is to show off his value. Although I would rather my students are not like me or any painter in history. But we don’t have to avoid pedigree. Because it exists.

He Duoling

In the night, 17th October, 2021

序

艺术作品具有自己的个体经验，同时也有社会的共同记忆。通过不同的媒介表达自己的观念和对当代社会的思考。

川音成都美院油画系历届研究生提名展，不仅是对青年艺术家的关注，同时也是关注成都当代艺术的传承。这次展览是系统性艺术研讨，更是一次文化脉络的梳理。

何多苓美术馆长期为推动本土青年艺术家提供平台，以推动本土艺术,提升公共文化美学教育为基础,为公众提供欣赏艺术的机会,展示艺术研究方面的学术成果。

川音成都美院油画系创建于2000年，是由著名美术教育家马一平院长亲手建立，在历届系主任：刘虹教授、刘勇教授的先后主持下，逐渐形成集绘画基础课、语言实验探索课、艺术创作以及艺术理论课为一体的教学系统。在现任系主任魏建翔副教授组织带领下，将该教学体系又得到了更一步的深化和完备。

展览空境 何多苓美术馆

油画系开收研究生从2003年（第一届）至今已经是19届了，大约有200余人在此毕业。本次研究生提名展由油画系硕导群共同提名和筛选，共有有29位艺术家参展，这里面既有最早一批毕业的研究生，也有2020级在读的研究生。

展出包括油画、水彩、综合材料、雕塑以及影像多个种类，共计92件作品。集中呈现艺术与当下社会碰撞中绽放的多元化的面貌，折射他们目前的创作生态和精神内涵。

何多苓美术馆馆长

赵欢

2021.10.17

Preface

The artwork has its individual experience, but also the common memory of society.  Express the ideas through different media and thinking about contemporary society.

This exhibition is a systematic art seminar, It’s more of a cultural context combing，and also for the attention of young artists, At the same time,  also concerned about the inheritance of Chengdu contemporary art.

He Duoling Art Museum has provided a platform for promoting local young artists for a long time, based on promoting local art and enhancing public cultural aesthetics education, providing the public with opportunities to appreciate art, and exhibiting academic achievements in art research for a long time. To promote local art, enhance public cultural aesthetics education as the basis, provide opportunities for the public to appreciate art, show academic achievements in art research.

展览空境 何多苓美术馆

The Oil Painting Department of Chengdu Academy of Fine art been founded in 2000. It was personally established by the famous art educator Ma Yiping, Dean. Under the presidency of successive deans: Professor Liu Hong and Professor Liu Yong, gradually, a teaching system integrating basic painting courses, language experiment exploration courses, artistic creation, and art theory courses have been formed. under the leadership of the current department head, Associate Professor Wei Jianxiang, the teaching system has been further deepened and completed. The Department of Oil Painting began to recruit graduate students from 2003 (the first year), it has been 19 years, and about 200 students graduated here.

 

This postgraduate nomination exhibition is jointly nominated and selected by the master tutor group of the Oil Painting Department. There are a total of 29 artists participating in the exhibition. There are not only the first batch of graduate students but also the 2020 graduate students.

The exhibition includes oil paintings, watercolors, mixed materials, sculptures, and videos, with a total of 92 works. Focusing on the diversified faces blooming in the collision between art and current society, it reflects their current creative ecology and spiritual connotation.

By Zhao Huan, Director of He Duoling Art Museum

2021.10.17

布展中，敬请期待......

【展览信息】

2021成都双年展特别邀请展

“欲上.合囤”

——川音成都美术学院油画系研究生提名展

开幕式：2021年11月2日晚上19:30

展览时间：2021年11月3日——12月15日

策展人：魏言

艺术总监：赵欢

展务执行：白东亮、吕静、马甜甜、胡豪、孙轩、张艳

主办机构：何多苓美术馆

联办机构：成都D空间

展览地点：

何多苓美术馆

（成都蓝顶当代艺术基地3期75栋）

成都D空间

（成都蓝顶当代艺术基地3期85栋一单元1号）

出品人：

川音成都美术学院油画系

四川音乐学院美术研究院

参展艺术家：邓皓天、朱可染、刘纬、刘娇、任俊超、李梓瑄、李明、何千里、何帖子宏、张靖、吴奇睿、张洪宇、张斯羽、张瑞翔、伊文兵、林广海、陈岚楠、胡佳颖、罗仕鹏、段睿、涂侃、唐果 高蜜、殷果、黄子萱、温泉、熊垚宇、冀玺冰、魏书龙