Page 134 - 当代艺术夜场（一）

艺术家简历 ARTIST BIOGRAPHIES

肉欲化、溃烂、腐败的经验，有如人体内部在癌变，典型代表作是《你喜欢肉？》系列。《你喜欢肉？》
和《游泳》系列进一步阐述刘炜日渐成熟的笔功，而迈入2000年后，学院人像造型的溃败正值刘炜重新投
入其风景创作的时期。新风景画尤如混沌初开，即是阴阳开判，也是人世始启；其静物画更是点物成鲜，
凸显艺术家作画技巧炉火纯青的境界。刘炜的这种发展反映了一个深刻的现象，那就是西洋现代性的完整
形象在中国开始瓦解，开始被彻底质疑。
1999年从德国短期创作回来以后的几年中，刘炜的艺术进入了黑色时期。在这段时期里，他从对周围事物
的关注转向了对人本身的自问和思考，《Who am I》系列正体现了他对自己的那些内心叩问。作品画面充
满了凌乱的线条，灰色为主的冷色调占据了整幅作品，人物肖像五官模糊，神色凝重，西装革履打扮的形
象，显示出一种荒诞不经的艺术效果。这样的人物肖像身份已经不重要了，其背后透露出的某种难以言说
的精神性。刘炜的艺术往往呈现出感性的表达，而艺术家自身的细腻敏感，又让这种表达通往一种极致，
它自由、开放、没有限制，充满了浓浓的刘炜味，有着超乎想象的组成和张力，让观者猝不及防，又深陷
其中。
近年来，刘炜每天都在抄写中国古典诗词《诗经》，加强自己对水墨画技法的理解。他认为现代人的精神
和心理与祖先非常相似。不过，他的作品与传统风景画大不相同，更贴近文人“墨戏”，质朴、野性、醇
厚、童稚。也许刘炜的性格有两层——幻想和嘲笑的躯壳下跳动着一颗现世的内核。刘炜似乎有能力将腐
朽化为神奇。“我绝不容忍重复。”画家说。他的作品没有一件完全相同，甚至版画也不一样。也许他的
创作方程式中唯一不变的是他的自我颠覆和坚持创新。
刘炜作品现藏于旧金山现代美术馆（美国）、洛桑州立美术馆（瑞士）、香港M+美术馆（香港）以及瑞士
藏家乌利·希克先生私人收藏。
个展: 2018年 “刘炜：图像 180”，Sean Kelly 画廊，纽约，美国；“刘炜：图像 180”，尤伦斯当代艺
术中心，北京；2015年 “超现实主义的现实——刘炜”，路德维希美术馆，科布伦茨，德国；2012年“一
人儿画”，大未来林舍画廊，台北；2010年 “刘炜个人作品展”，AYE 画廊，北京，中国

Born in Beijing in 1965, he graduated from the Printmaking Department of the Central
Academy of Fine Arts in 1989. Currently lives and works in Beijing. Liu Wei was one of the first
artists to establish roots in Songzhuang, Beijing, and became known to the West through the
1989 exhibition "Chinese Modern Art". The avant-garde art that emerged in China in the 1980s
inspired Liu Wei, and his images often featured symbols representing certain value systems,
such as the military. With his bizarre and absurd paintings of soldiers in the Revolutionary
Family series, he quickly became a key member of the Cynical Realism movement, and these
early works incorporated styles from Chinese calligraphy to Expressionism, both ancient and
modern, refining what the art critic Li Xianting called "crooked" images. In the early 1990s,
the Revolutionary Family series won international acclaim at the Venice Biennale and the São
Paulo Biennale, and Liu Wei became one of the first Chinese contemporary artists to receive
global recognition.
By the mid- to late-1990s, Liu Wei enjoyed flirting with his friends and relatives to draw
material for his cynical works. Their wretched state of existence was out of touch with the
times, their social relationships were absurd and undisciplined, and their human desires
and situations were unregulated, all of which became the subjects of Liu Wei's flirtations.
However, Liu Wei's descriptions of sexuality and flesh gradually developed into a view of the
body that was different from that of his peers, breaking the taboos of rituals on the body and
overturning the Western concept of the body defended in the traditional modeling of academia.
The human body under Liu Wei's writing began to appear deflated and ulcerated. This festering
was not caused by external aggression, but by the experience of carnalization, festering, and
corruption deep inside the body, as if the body was internally cancerous. series. You Like Meat?
and "Swimming" series further illustrate Liu Wei's maturing brushwork, while the collapse
of the academic portrait modeling in the 2000s coincided with Liu Wei's re-investment in his
landscape creation. The new landscapes are like the beginning of chaos, i.e. the opening of the
yin and yang, and the beginning of the human world; his still life paintings are even more fresh,