Page 142 - 当代艺术夜场（一）

艺术家简历 ARTIST BIOGRAPHIES

惧，仿佛他们是自己角色的受害者。透过面具这个主题，曾梵志表达着这个没有安全感的现实世界。他作
品的情绪渲染得敏感微妙，难以预料：常常暗示着某些过去的暴力，最近的或很久以前的，这些我们可以
追溯线索的——但从来都没能完全明白。而且他的绘画，比起通常的讽刺图像要更加深刻，更加有意味。
曾梵志带来了一种全新感觉的艺术，但这感觉并非存在于前提之中，而是在那残酷却也精妙的，生动却也
持续的自我超越和开创中。他近期的创作意味着其注意力从对存在的不确定性的密切关注，转移到了对我
们自身如何和自然互动的兴趣上。然后——在他新的风景绘画创作里，有着一个概念，就是永恒的逃逸，
仿佛是在尝试对不适于居住的地方进行占领。这些画抽象地表达着，在粉红、黑色和蓝色的阴影制约下，
呈现出一种不相容的共同性的张力，和人类的孤独落寞。易碎和脆弱同样也包含在了这些画的概念里；就
像对于创造一个同时占领个人特征和风景描述的不确定地带的尝试，这些绘画带有一定的启示性，也有着
精彩的技法。当在观看的时候，常常使人感觉这些绘画在发展中创造出了一种新的特别的效果和印象。这
些绘画作为一种映像，同样也代表着由多重符号系统组成的社会现实，而这些风景，也是其中一部分。
个展：2020年“曾梵志作品全集1984-2004-新书发布，艺术家座谈会暨展览”，艺元空间，武汉；2019年
“曾梵志，洛杉矶郡立美术馆”，洛杉矶，美国；2018年“曾梵志”，HAUSER & WIRTH画廊，香港；“曾
梵志“，HAUSER & WIRTH画廊，伦敦，英国；“曾梵志”，HAUSER & WIRTH画廊，苏黎世，瑞士；2017
年“曾梵志｜梵高，一个中国当代艺术家眼中的梵高”，梵高美术馆，阿姆斯特丹，荷兰；2016年，“曾
梵志：散步”，尤伦斯当代艺术中心，北京；2015年“曾梵志：油画、纸上作品及雕塑”，高古轩画廊，
纽约，美国；“曾梵志：卢浮宫计划”，香格纳北京，北京；2014年，“曾梵志，卢浮宫”，巴黎，法
国；2013年“曾梵志”，巴黎现代艺术博物馆，巴黎，法国。

Zeng Fanzhi was born in 1964 in Wuhan province and studied oil painting at the Wuhan Art
Academy. In the beginning of his artistic career in the late 80's, Zeng Fanzhi painted apocalyptic,
expressionist images, thus manipulating modernist compositional effects to intensify his
sinister version of reality. His representational work reveals the place of the unconscious and
aberrant in the construction of experience. The over-sized, clenched hands of his subjects are
almost more remarkable than their stereotyped faces and wide-open eyes. Zeng Fanzhi's art
simulates the fatigue of the contemporary experience: the rush to acquire and consume to the
point of alienation and detachment. Working in idiosyncratic ways, he reminds us how effective
art can be when it collapses these various experiences. He traces the eruption of the corporeal
into the optical sedition of visual art.
Zeng Fanzhi's notorious mask series conducted in the mid 90's marks a turn in his aesthetics.
All the figures in the series wear white masks fused closely with the facial features. The masks
nevertheless possess a peculiar, haunting power. His figures look anxious or fearful, as if they
are victims of their own roles. Through the mask motif, Zeng Fanzhi expresses suspended
reality. The mood of his work is subtle unsettlement: it often suggests some past violence,
recent or old, from which we can unravel clues - but never completely understand. His
paintings are much more than sardonically recycled imagery. Zeng Fanzhi delivers an art that
feels new, not in its premises but in its refined vitality. His late paintings signify a shift in his
focus from a formal concern with the representation of existential unsettlement to an interest
in how we imagine ourselves interacting with nature. Still, in his newly developed landscape
paintings, there is a notion of permanent escape - an attempt to inhabit the uninhabitable.
These images are expressively abstract. Rendered in cool shades of pink, black and blue,
they represent the tension of failed community and human loneliness. Within these large-
scale images there is a notion of fragility and vulnerability; like an attempt to create a terrain
of uncertainty that inhabits both characters and landscape depicted. The grand scale of the
paintings lends them a certain suggestive and sublime appearance. When viewed, the paintings
constantly seem to evolve and create new particular impressions. The images reflect a social
reality that is made up of multiple signifying systems of which the landscape is just one.
Solo Exhibitions：2020 “Zeng Fanzhi Catalogue Raisonne, 1984-2004-Book Launch", Seminar
& Exhibition”, Yiyuan Space, Wuhan; 2019 “Collection Exhibition: Zeng Fanzhi”, Los Angeles