2019年8月初,丁一军带着他的新主题,结合他在微信群和网络的视频、图片,在大浦为我们做了大致解说。在他每一个完成的系列里，我们都能体会到他达成目标的能力。难得的是,各种承袭和影响充斥的当代艺术圈里，丁一军总能把个人直觉发挥得淋漓尽致，从而摆脱羁绊,实现他自己的意图。他时而绘画、时而制陶、时而摆弄一大堆木器，但他又从来不拘泥于材质，他总是能够通过调动各种材质的潜力，来呈现他自己的观念。
卢士刚 苏男初 东奴 马利 丁一军 第1次展览工作讨论会
和传统艺术不同，当代艺术,存在一个十分吊诡的游戏规则，它似乎默许了在观念和手法上的开放性尝试，但事实上,你既可能因为不守规则而出局,也可能因为恪守规则而迷失。因此在我看来，它是一个在遵守规则和反体制之间的平衡游戏，毫无疑问，这同样是丁一军所面对的挑战。如果说艺术是构筑人类文化最底层的发明。这一发明从一开始就是人充分利用了天然物的形状和痕迹能够投影人们的某些共同感觉这一原理而创生的，由此，人类可以通过自己创造的物象实现记忆和交流。这个创造，不仅是艺术的开端，也是文字语言和人类历史的开端。借助天然物“像似”加以“补笔”，不仅是艺术创生最初的灵光乍现，用贡布里奇和艺术科学学派的解释，把这种现象称之为“投射与补笔”。也是延续最久远的一种创作手法。我们在霍去病墓的那些誉之为“沉雄伟大”的石刻作品里，同样能发现利用自然之形,顺势而为“应物象形”的手法。同时，顺自然力且不逾自然力而为之一直是传统中国文化奠基性的理念。说到“投射现象”无论是史前人类在岩壁上画出的野牛、驯鹿还是当代艺术家在画布或废机器上拼装式样，其实都源于相应时代的人们念兹在兹的观念和萦绕不去的心像的外化。从这个意义上讲，我们人类每一次打量这个世界都毫无例外的代入了自己头脑的观点，时代的烙印。此次所要展示的系列，虽然依然延续他刻薄而不失诙谐的风格，不过,不同他以往的器具表现力和绘画的结合，也不同于当代艺术中把自然物当成现成艺术通过体制来自动呈现的手法，他似乎是想以原始艺术和中国传统器具雕刻艺术利用自然形状的补笔作为出发点，通过涂鸦和润色而起到“借枝还魂”的赋魅效果。他在奇形怪状的树根上勾画出神态各异的表情，或惊讶、或谄媚、或得意、或狡诈；树根一旦有了表情，它们被涂成肉色的枝杈一下子就变成了躯体，于是，那些仿佛幽灵附体的树根就变得气血充盈、生机勃发，成了充满了欲望的奇异生物，它们看上去既陌生又熟悉，陌生的是它们奇形怪状，而熟悉的是在这些形状上投射出当下我们这个时代最不可名状却比比皆是的肢体语言和面部表情。当他为了进一步强化他的主题的时候，一个新的想法就此萌生，于是，他又在整整一面墙，肆意张扬地把无数粉色的怪兽画进一片黑色的背景中......一个类似《尼德兰箴言》般的荒诞的丛林世界，夺壁而出。这幅壁画和小怪兽的实物主题相互指涉，把整个展场变作一个想象中的幽暗丛林，而这片丛林,又让我们忍不住想到我们自己的处境。就这一点而言，丁一军从来都不是一个形式主义者，你会注意到，无论是他的绘画、陶器、木器在他多产而不断推出的新系列里,俗世众生的意象和他们貌似滑稽、无厘头的动作、表情的背后，是他想要和公众分享的,他对我们这个反乌托邦时代和众生的看法。丁一军作品在大浦当代艺术馆展出，肯定是一个好主意，这座白色的,奉行极简风格的建筑就坐落在天府新区的小百货、按摩房、苍蝇馆子和一片老住户社区和蜿蜒的府河的环伺当中，象欧洲村落里的小教堂，为无所皈依的市井居民提供一个精神的彼岸。我们试想，当那些外卖小哥、渣渣面店老板娘、富二代和退休科长、尤其是那些涉世未深的孩子......他们也许很少有机会和心情登临城际展馆这样高大而且感觉有点寒气的地方，比起那种居高临下，也许他们更容易也乐意走进这个更有人情味儿的空间里。当他们看到那些奇形异状的小怪兽的时候，我想他们一定会感到新奇也许还会惊讶.....除此之外他们还会想到什么呢？我不得而知。可有一点是毋容置疑的，当他们调动起感知和想象力来试图理解这些作品的时候，新艺术的互动和建设就即将开始。In early August, Yijun Ding explained to us about his new theme with the videos and pictures on Wechat Groups and internet in Dapu. In each of his completed series, we can appreciate his ability to achieve goals. It is rare that Ding can always give full play to his potentials full of inheritance and influence in the contemporary art circle. He can always exert his personal intuition to realize his own intentions getting rid of embarrassment. He sometimes paints, sometimes makes pottery, and sometimes fiddles with a lot of wood, but he is never constrained to the material. He can always present his ideas by mobilizing the potential of various materials.Unlike traditional art, there is a very sloppy game rule in contemporary art. It seems to acquiesce to open attempts in concepts and techniques. But in fact, you may either be out of the game because you do not obey the rules, or you may be lost because you abide by the rules. Therefore, in my opinion, it is a balanced game between abiding by rules and anti-system, which undoubtedly is also a challenge faced by Ding .If we say that art is the lowest invention in constructing of human cultures, from the beginning, this invention was created by making full use of the principle. The shapes and traces of natural objects can project people’s common feelings. Thus, human beings can realize memory and communication through the objects they create. This creation is not only the beginning of art, but also the beginning of written language and human history.It is not only the first glimmer of artistic creation to "supplement the pen" with the aid of "resemblance" of natural objects. This phenomenon is called "projection and supplement" with the explanation of Gombridge and the school of art science. It is also a creative method that lasts for the longest time.In the stone carvings of the tomb of Qubing Huo, which are known as "Splendid Wonder", we can also find the way to use the shapes of nature and take advantage of the situation to be "images of objects." At the same time, it is always the foundation concept of traditional Chinese culture, which acts in accordance with nature and does not exceed natural forces.When it comes to "projection phenomenon", whether it is a bison, a reindeer painted on the rock wall by prehistoric people or a assembly pattern of contemporary artists on canvas or waste machines, they are actually based on the concept of the people of the corresponding era. The art is the externalization of the heart and mind. In this sense, every time we humans look at the world, there is no exception but the expression of our mind, which has the mark of the times.The series to be displayed this time still continues Ding’s succinct but witty style. However, it is different from his combination of instrument expressiveness and painting in the past, and from the way that natural objects are automatically presented through the system as ready-made art in contemporary art . He seems to use the primitive and Chinese traditional instrument carving art with the natural shape as the starting point, through graffiti and embellishment to play a "borrow the branch to return the soul" charming effect.He sketched different expressions on the grotesque roots: or surprise, or flattery, or pride, or cunning; once the roots had expressions, flesh-colored branches became bodies themselves. Therefore, the roots seemed to have ghostly spirits full of blood and vitality. They became odd creatures full of desires. They seem to be strange and familiar. They are strange in shapes, but they are familiar with the most indescribable and ubiquitous body language and facial expressions,which are projected on these shapes in our time.When he tried to further strengthen his theme, a new idea came into being. So he arbitrarily drew countless pink monsters in a black background on a whole wall. A similar absurd jungle world like the "Netherland Proverbs" came to the fore. This mural and the theme of Little Monster refers to each other, turning the entire exhibition hall into an imaginary dark jungle. This jungle makes us can not help but think of our own situation. In this regard, Ding has never been a formalist. You will notice that his paintings, pottery, and woodwork in his new series are prolific and constantly introduced. The works are the images of the worldly beings, which seem funny full of nonsense movements and expressions. Actually what he would like to share with the public is his perspectives on the anti-Utopian era and all sentient beings.It is such a good idea that Ding’s works could be exhibited in Tuff Contemporary Art Museum. This white, minimalist building is surrounded by small department stores, foot wash rooms, deli food shops, an old residential community and the winding Fuhe river in Tianfu New Area. It is like a chapel in a European village, which provides a spiritual shore for the inhabitants of the city. Let's imagine those takeaway delivery men, noodle shop owners, the rich second generation and retired section chiefs, especially those children who are not deeply involved in the world....They may seldom have the chance and mood to go to a large and somewhat chilly place like Intercity Exhibition Hall. Perhaps they are more willing or it is easier to enter this more humanized design space rather than museums. When they see those strange “Little Monsters”, I think they may feel new or perhaps surprised....What else would they think of? I don't know. But there is no doubt that when they mobilize their perception and imagination trying to understand these works, the interaction and construction of new art is about to begin.
策展人丨崔付利 学术观察丨卢士刚 展览统筹丨东奴
并非丛林丁一军个展 大浦当代艺术馆
预展酒会丨2019年12月31日下午15:00
公众开放丨2019年12月31日—2020年3月31日
展览地点丨成都天府新区华阳街道向阳街79号
Tuff Contemporary Art Meseum
Preview reception丨15:00 p.m. on December 31, 2019
Open to the public丨31 December 2019-31 March 2020
Exhibition venue丨No. 79 Xiangyang Street. Huayang
并非丛林丁一军个展 X空间
展览时间丨2019年12月31日—2020年2月15日
展览地点丨成都市高新区天府一街856号
X Space
Exhibition time丨December 31, 2019 - February 15, 2020
Exhibition venue丨856 Tianfu First Street, Chengdu High-tech Zone