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1/4——薛若冰个展 Only a little bit I could express

发表时间:2020-10-22 18:27作者:admin


2020年10月17日下午,“1/4——薛若冰个展 only a little bit I could express“在森林中国美术馆举行展览开幕式。开幕式由学术主持杨维民教授致开幕辞,策展人李涵琪致辞介绍展览,艺术家薛若冰的导师、天津美术学院周世麟教授致辞祝贺,艺术家薛若冰致答谢辞。



开幕式现场



▲学术主持杨维民教授致开幕辞


杨维民教授欢迎各位嘉宾和朋友的到来,并讲到在疫情的影响下,从一开始的薛若冰参加多人展的想法一直到现在个展的成功开幕是十分幸运的,在艺术家出国深造前在森林中国美术馆做的此次个展是对研究生阶段的一个总结,也是对未来的美好期盼。



▲策展人李涵琪致辞


李涵琪是此次展览的策展人,之所以展览定义为“只是我能表达的一小部分”,是她在和薛若冰交流时,发现薛若冰对很多种艺术表达手法都颇有兴趣,这些年也在结合着思考一直进行众多的尝试。艺术家的创作之旅刚刚起航,想要表达的,希望传递给世界的情感和思想现在还只是一小部分。同时,她非常感谢杨维民教授的信任与支持,并介绍她与艺术家薛若冰认识。从最初的想法雏形到最后的展览执行整个过程都合作地很愉快也很高效。期待薛若冰创作更多有思考有胆量的作品,并且祝福若冰去英国的学习生活顺利。



▲天津美术学院周世麟教授致贺辞


艺术家薛若冰的导师、天津美术学院周世麟教授总结到,这些年看着若冰每个系列作品的变化,看到了她的成长也感叹她的想象力与爆发力。周教授强调说现在的年轻艺术家就是应该像若冰这样有胆量尝试,不断地思考进步,相信她去英国深造后会有更多新的想法。



▲艺术家薛若冰致答谢辞


艺术家薛若冰在致答谢辞中讲到,感谢大家的到来,感谢研究生导师周世麟教授这些年的栽培与帮助、杨维民教授对此次展览持续的支持和关注、郝青松博士给予的学术支持以及与李涵琪的融洽合作。


研讨会现场


“1/4——薛若冰个展”学术研讨会随后在森林中国美术馆会议室举行,由学术主持杨维民教授主持。天津美术学院周世麟教授、清华大学美术学院郝青松博士及青年批评家谷祺、靳浩、田志伟、王彦冰、朱贺、周胜男、丰凡顺、王柱达、张宇、周子云、李晓蕊等相继发言。现场的年轻艺术家蒋润欣、张彤、李欣琪、冷艺丹也先后发言,从不同角度对本次展览发表言论。随后艺术家薛若冰分享个人创作与心路历程,并再次感谢大家对她艺术的关注与鼓励。专程从河北赶来的衡水学院季焕荣副教授、河北工业职业技术学院赵秀娟教授共同出席了开幕式和研讨会。




展览现场










展览空间








展览信息



1/4——薛若冰个展 Only a little bit I could express


学术主持:杨维民

策展人:李涵琪

学术支持:周世麟、郝青松

出品:森林中国绿色发展基金

展馆:森林中国美术馆

地址:北京朝阳区观湖国际1座12层

展览统筹:李敏

学术助理:靳浩

策展团队:安子瑜、谷祺、田志伟、王彦冰、朱贺、周胜男、丰凡顺、王柱达、张宇、周子云

展期:2020年10月10日-11月30日

开幕式/研讨会:2020年10月17日(周六)下午2:30


前言

Preface

文/李涵琪

Writing by Evelyn Li


初见若冰的作品时我就被她的用色吸引了,好像颜色在她的笔下被赋予了生机,不同媒介不同处理方式的色彩抒发着不同的情感。

I was instantly drawn to Ruobing’s use of color when I first saw her work, it was like colors were animated under her brush, and different medium and processing method expressed different emotions.

“1/4—only a little bit I could express”是薛若冰的个人展览,选取并汇集了画家从2016年到2020年的布面丙烯、喷漆、油画、装置以及影像作品。作为策展人,之所以展览定义为“只是我能表达的一小部分”,是在和若冰交流时发现她对很多种艺术表达手法都颇有兴趣,这些年也在结合着思考一直进行众多的尝试。艺术家的创作之旅刚刚起航,想要表达的,希望传递给世界的情感和思想现在还只是一小部分。

“1/4—only a little bit I could express” is Ruobing Xue’s solo exhibition, which includes her artworks from 2016 to 2020, ranging from acrylic and oil paintings to installations and time-based media works. The exhibition is defined as “only a little bit I could express”, and as the curator, naming it this way was because when talking to Ruobing, her extreme passion for trying new ways of artistic expression combined with her constant pondering and reflection over the years was very impressive. Her artistic trip has just set sail, what she wants to express and what she hopes to bring into the world now is merely a small fraction.

看若冰这些年各个阶段的画给我两重冲击,一是色彩——在不断变化的媒介上始终不变的是色彩,二是敢于探索与尝试——艺术家的生命,就是在不断的探索和创新中升华,若冰作为年轻艺术家更是如此。画家前期的作品偏具象,色彩在这里多为填充和叙事目的,辅助着我们可识别的物体和线条,让我们可以在脑海中构建出一些故事性的情节。 在色彩上看到了她很多的思考,慢慢的从“叙事性”和“象征性”中脱离出来,让颜色成为独立的个体。这两年的作品可以看到很多立体主义和抽象表现主义的影子,装置作品也可以看到达达主义中现成品艺术的影响。若冰笔下的色彩成为了她表达情感最强有力的工具:从对几何和颜色的尝试,到渐渐融合不同的色彩块,到更加和谐的更加整体化的共同表达,甚至让人感觉颜色可以继续无限延伸,不受画布的限制。

Looking at Ruobing’s work from various stages gives me two direct impressions: one is color, how it remains unchanged with her ever-changing use of different medium; and the other one is her unwavering attempt to explore and experiment—the life of an artist is to constantly explore and innovate, Ruobing as a young artist is even more so. The painter's early works are more concrete, and the colors are mostly for narrative purposes. They help us identify objects and lines, so that we can construct some kind of stories in our mind. We can see her pondering over which role should colors assume here, and we see her gradually shifted away from “narrative” and “figurative”, and let colors become independent individuals. Her paintings from the past two years show a lot of influence of Cubism and Abstract Expressionism, and from her installation work echoes the “readymade” from Dadaism.

在更加仔细地阅读若冰对色彩的掌控后又能看到很多对立面——碎片与整体、规则与混乱、表达与思、理性与情感、克制与爆发等等。就好像她的画中充满机理和情感一样,细品若冰的作品也让我看到了无限的内涵和她这些年来对自身,色彩,情感表达的思考与呈现。

After reading Ruobing’s control of colors more carefully, many paradoxes surface: fragmentation and wholeness, order and chaos, expression and thinking, reason and emotion, constraint and explosion, etc. In the same way that her artworks are full of texture and sentiment, her musings and exploration over the years on self, colors and the expression of emotions are also all over her canvases.

作为年轻艺术家,未来有无限可能。可以继续读书深造,可以多寻找创作方向,站在无数艺术大师的肩上,结合自己对生命的执着探索与对当今社会现象的深刻思考,若冰的艺术创作之旅无限且广阔。

As a young artist, Ruobing has endless possibilities in the future. She can keep working in school, or she can continue to find more inspirations and artistic directions. She stands on the shoulders of countless art masters and with her vehement search of life and acute standpoint on many current societal phenomenon, Ruobing’s artistic journey is promising and has a lot of potential.


关于艺术家




薛若冰



简介


1995年出生于河北省衡水市

2017年本科毕业于天津美术学院油画系

2020年研究生毕业于天津美术学院油画系,师从周世麟教授

2020年就读于英国南安普顿自由艺术专业

天津市河北区美术家协会会员


近年展览


2020年

A60米兰 “The Body”国际主题展,碇泊第五届苏州金鸡湖双年展平行展第二届艺术对话展,天津滨海美术馆青年艺术家邀请展,Hi艺术新锐艺术市集

2019年

“挖掘当代梵高”——中国当代中青年艺术品征集大赛,上海大艺博,西安首届1935三年展碰撞与蜕变,北京时代美术馆艺术周,马利画材展

2018年

暖冬生活节绘画作品展,东方来信—inter-youth国际青年绘画展,意视界天津滨海美术馆全国当代绘画作品展,凤凰画材展

2017年

叙·事—中国重点美术院校油画教学联展,马利画材展

2016年

inter-youth国际青年绘画展,马利画材展,“小手传大爱”—第四届中澳国际书画展,天津美术学院会生活绘心情展


关于策展人



李涵琪


简介


1998年出生

2020年毕业于美国Mount Holyoke College(曼荷莲文理学院),主修艺术史和法语

其中2018-2019学年于法国Université Paul Valéry(蒙彼利埃第三大学)交换生


参与活动


2020年于北京今日美术馆展览部实习,参与策划“她水墨—百位女性艺术家大展”,“李雄伊油画展”,“白云浩个展”以及协助“Bob Dylan艺术大展“的展务。

2019年于纽约FRESCO Collective实习,负责独立组织策划为期两周的艺术节,拉近公众与艺术之间的距离。

2019年于法国蒙彼利埃InSitu法语学校实习,独立研究策划蒙彼利埃街头艺术之旅,带领学生掌握法语同时感受艺术魅力。

2018年于上海乔空间/油罐艺术中心实习,参与组织活动和展览推广。


导师展评


若冰的艺术

Ruobing's Art

周世麟/天津美术学院教授

Zhou Shilin/Professor of Tianjin Academy of Fine Arts


在我的研究生中,若冰的年纪最小,但是千万别小瞧她,生性勇猛,不惧失败,敢于实践与追求,这是她骨子里的长处。

Among my graduate students, Ruobing is the smallest, but don’t underestimate her, she is brave and never afraid of failure; she is always practicing and pursuing to be better. These are the good qualities of her heart.

她的绘画经历大致分为三个阶段。第一阶段中她的创作作品画面大多粗犷有力,笔触与肌理错落丰富,笔意中透露着激情与书写的气势,大块色彩纵横,表现作品的分量与深度。你很难想到是出自一个小女生之手,泼辣的画面与不拘泥细节是她的特征。

Her painting experience could be divided into three parts. In the first part, there were more straightforward and vigorous sense in her creation works. Brush strokes and veins of frames are interlaced and ample. The feeling of strokes are impassioned and imposing. The massive colours are in good orders, and convey the depth sense. You can hardly imagine that it was created by a young girl. Strong painting feeling and not limited to details are her characters.

第二阶段时不知何时对色彩色块过多的迷恋于喜爱,这段时间的作品色彩浓重艳丽而装饰,画面多是展现出并置、构成,对接与颠倒,有意思的形与色组成丰富浪漫的动感画面,立体与平面的叠加使画面更细腻与别致。她此时还觉得不过瘾,又把平面的作品转移到空间上去发展,小型的装置与构造运用材料又一次把自己的想法向前推了一步。作品虽不完美,但能从中看到她不甘心已有的收获,急切的从材料和色彩上寻求突破,实现自己内心的追求。

In the second part, she was interested in colours and colour blocks. In this period, her paintings are thick colourful and ornamental. There are many elements of constitution, design and reset. Interesting shapes and colours form a rich and romantic dynamic painting, and the position of three-dimensional and plane makes the painting more delicate and unique. She was not addicted at this time, and turned the flat works to spaces for develop. Small installations and structural materials once again pushed her ideas forward. Although the work is not perfect, we can see from that she is unwilling to achieve what she has gained, and is eager to seek a breakthrough from materials and colours to realise her inner pursuit.

毕业创作临近了,她边补英语边创作,花上不少的夜晚来完成毕业创作的要求与任务。她的这些作品中无论大小,画面厚重的笔触消失了,肌理减弱了,但是整体的作品让人们再次看到灿烂鲜活的色彩,有力的线条与穿插有序的节奏,画面清爽而艳丽,色彩对比而刺激,给人一种清新的鲜活感,别样的色构,别样的画面,她将其称之为“原始的内部抽象世界地图上的思维导图。”

When the graduation creation is approaching, she spends a lot of nights to complete requirements and tasks of graduation creation, and in the same time she is going to have some English classes. In all her works, regardless of size, the thick strokes have disappeared and the veins of frames has weakened, but the overall painting makes people see bright and vivid colours again. The powerful lines and orderly rhythms are clear and gorgeous, and the colours are contrastive and exciting, giving the people a fresh sense. Different colour structures and different frames, she called it “Thinking maps on the original internal abstract world map.

若冰现在正在为赴英留学做准备,为进一步提高艺术专业水平学习。愿她不断进取,永不满足,走出自己的艺术新路,我们祝福与期待她的未来。

Now Ruobing is preparing for study in the UK to further improve her professional study in art. May she continue to be progressive and never satisfied, and walk out of her new artistic way. We wish and look forward to her future.


青年批评家展评节选


“信息和图像交流的速度加快,流行文化压制私人经验领域的能力增强了。如今大众传媒的信息文化被导入到趋于将信息呈现同质化的统一格式中。”艺术家面对上述背景和如此丰富的信息、图像资源这一当下艺术文化现实,解决艺术创作最具竞争力的并非是技术手段,仍然还是创造力本身。在当下图像复制的时代,这种作为具有问题意识的艺术具有着现实意义,它需要艺术家们在庞大繁杂的图像中保持着清醒和机警,努力摆脱来自流行文化与大众传媒的同质化影响,以前卫的姿态从更用独特的视角呈现出当代社会所面临的的各种问题以及个人的社会观感也许才是鲜活的、真诚的也是具有问题意识的。新的生产生活方式为人们带来了新的生活习惯和社会形态,当下,人们审美视角、关注对象的转移,这需要艺术家切实地将自身的艺术创作融入生活,而艺术创造的高度也许就在于对现实的体验与认识的深度。

——靳浩 《以“1/4薛若冰个展”来看当代青年艺术家的当下创作》

“As the pace of the exchange of information and images is accelerating, popular culture is increasingly minimizing private individual expertise. Nowadays, the information culture of mass media has been led to presenting said information in a unifying and homogeneous way.” The artist, facing the situation above and the cultural reality of abundant info and imagery resources, is in dire need of creativity itself and not technique to stay competitive in artistic creation. In today’s age of replicating images, this kind of art that is based on questioning has a lot of realistic values, it requires the artists to stay alert in this inclusive and complicated scene, to steer clear of homogeneity which comes from the influence of the popular culture and mass media, and to present their avant-garde and one-of-a-kind point of views on current societal problems. New ways of living have brought us new habits and new social norms, the shift in how people define aesthetics and to what people pay attention is exactly the topic artists should focus on. They can incorporate artistic creation into their lives, and maybe the height of creating art can be achieved by their experience of reality and an in-depth awareness.

——Jin Hao “Looking at young artists creating nowadays through “1/4” Xue Ruobing solo exhibition”


在本次展出的作品中,艺术家不断用到蓝色。在自然界中其实很少存在纯正的蓝色,因此蓝色常常被赋予神秘、高贵的含义。在西方文化当中,蓝色大多具有象征意义,从中世纪开始,艺术作品中圣母都身披宝石蓝色的袍子,梵高和毕加索的早期作品中,也出现大量的蓝色。艺术家在《Desire》中用蓝色榴莲来承担作品题眼的功能,在《Deep blue》这组三联画中,也用不同程度的蓝色来分割画面,组成三联画。不同于传统三联画中通过描绘圣经故事或圣经人物以宣扬教义,艺术家抛弃了再现的手段,尝试用几何分割的现代绘画语言来表达宗教意识,用颜色和结构给予观众神秘的宗教体验。

——安子瑜《关注与观察》

The artist has repeatedly used the color blue in this exhibition. There is not a lot of pure blues in the natural world, hence this color is usually deemed with mysterious and noble qualities. In the Western culture, blue mostly has symbolic significance. Since the Middle Ages, the artworks always have Virgin Mary in a blue robe, this color is also present in many early works of Van Gogh and Picasso. In Ruobing’s “Desire”, the blue durian captures our eyes. In “Deep blue”, she uses different shades of blue to divide the three canvas. Different from traditional triptychs which reenact bible stories or characters, the artist forsakes this method and tries to use geometry and contemporary artistic language to express religious ideas, and gives the audience a mystical biblical experience using colors and structure.

——An Ziyu “Concentration and observation”


随着社会的发展,数字信息的膨胀代替了原本基本的生活需求和休闲娱乐。在电子图像包裹了人类视觉经验的时代,人们很少能够体味出绘画给予人的视觉欣赏与冲击极大的区别于电子图像经验,过去还是在追求一种传统绘画的呈现方式,信息化时代一切东西都被批量生产,图像传递方式的转变也使得现代艺术家反对用传统的原则去进行创作,摒弃了传统的语言和表现方式,用新时代的手法去阐述自我。在#E6E6FA乱码系列的作品中,作者在绘画中进行了大胆的实验,探求电子化的图像语言和绘画的图像语言间的转换关系。通过对电子屏图像的视觉感受,整合出独特的意象表达方式,以新奇的思路展现传统绘画方式,绘画中运用拼贴的手法,将从电子屏中汲取的符号和元素用自己的绘画语言加以置换、截取、整合。在看似无规律跳动的色块间又有着对图像生成的理性的分析与思考。

——谷祺《构建画面新秩序》

With the rapid development of society, digital information has replaced people’s previous living necessities and entertainment. In an era where people are engulfed by digital images, they can rarely experience the visual pleasure brought by paintings. People in the past followed a traditional representational method, whereas the digital era has mass produced everything, and the shift in imagery delivery has the artists opposing said traditional way when creating artworks. They are leaving the previous representing methods behind, and use contemporary touches to express themselves. In Ruobing’s #E6E6FA series, she experiments boldly in her work, exploring an exchange between digital and pictorial imaging language. The artist compiles a unique expressing method through her visual reception of digital images, and she uses collage to incorporate the symbols and elements from digital screens in her paintings, which are embedded with Ruobing’s rational analysis and thinking.

——Gu Qi “Constructing the new order in paintings”


“deep blue”系列和“desire”系列,两者皆在通过艺术的表现方式探讨个人与公共或者社会之间的关系,压抑、束缚、规范是个人与社会关系最显眼的代名词,个人的天性是自然的、与生俱来的,而受制于社会和公共关系也是亘古不变的,艺术家一方面探讨社会公共关系的制约影响到了人的天性,另一方面也表达出个人的行为准则也必须受到社会道德规范的约束。过度遵从个人天性难免会触碰社会道德规范,但完全的遵守道德规范就会压抑个人,很难展现一个人的完整天性,矛盾便产生于此。

——田志伟《色彩、天性与道德》

The “Deep blue” and “Desire” series both examine the relationship between individuals and the public or the society. Repression, boundaries, and exemplary are the most representative key words when it comes to individuals and society. The human instinct is natural and we are born with it, but at the same time, the public relationship that is suppressed by society is also unchanging. The artist, on the one hand, talks about the restraints when it comes to our relationships with the society and how it represses our instincts, and on the other expresses how one’s code of conduct should be controlled by societal morals. Overly letting our instincts takeover would definitely clash with social norms, but following societal morals completely would suppress our individuality, making it difficult to show our true nature, and thus lies the paradox.

——Tian Zhiwei “Color, nature and moral”


在薛若冰的作品中色彩都是非常丰富的,她对色彩的探索受到了德国艺术家Katharina grosse的影响。色彩是Katharina grosse作品中的主要特征,她像一位视觉和色彩创意专家,通过色彩推动边界拓展和想象力,探讨了颜色对常规材料、物品表现和建筑物的影响。这在薛若冰的作品中也可以很明显的体会到,例如蓝色的榴莲、视频中蓝色的卫生间。在薛若冰的创作中,她注重色彩的实践,比如在”Deep blue”系列作品中通过使用综合材料削弱色彩颜料的质感,想要最大化色彩本身的情感表达。

——王彦冰《我所表达的四分之一》

Color is very rich in Ruobing’s artworks, and her use of color is influenced by German artist Katharina Grosse. In fact, color is the most important element in Grosse’s work, as she is a visual and color creative expert. Grosse uses color to push the boundaries of canvas and uses imagination to explore the influence color has on daily materials, objects and architecture. We can distinctively feel the same way in Ruobing’s work, the blue durian, the blue restroom in her video, etc. In her paintings, she focuses on the application of colors, for example, in the “deep blue” series, she uses mixed media to weaken the texture of paint, and maximize her own emotional expressions.

——Wang Yanbing “1/4 of what I express”


湮灭系列这组作品蓝色部分的色调偏重于蓝黑色,夹带着一种难以名状的情愫。这种情愫将我带入一个童话故事当中去,这个故事带有一丝神伤,亦有一丝唯美。在类似于插画的清新的画风里,“一念天堂,一念地狱”的思绪仿佛在空气中回荡。张开的行李箱、上升的热气球还有渐行渐远的女孩背影都在诉说着一种离愁。薛若冰用她细腻的女性视角将美好与忧思、深情与漠然塑造出来,直戳内心。直面人性系列相比之下就更加女性视角化了,值得注意的是,人物碎花的服装是采取拼贴的方式贴上去的,蓝色与红色的结合使主体一下跳脱出来,增强了一种视觉的冲击力。有的人身上有尾巴,有的身上有蝴蝶翅膀,体现出人性与动物性的一种结合。在对“性”的诠释中,有一丝Helen Beard的大胆,但又能做到收放自如,从第三视角更加客观的看待。

——朱贺《徜徉于蓝色之美》

The tonal emphasis in “Annihilation” series is the hue of blackish blue, laced with a kind of emotion that is hard to describe. This said emotion brings me into a fairytale world that has a sadness filled beauty. The fresh and pure tone of this series, like illustrations, echoes “heaven and hell is only within a flash of thought.” The opened suitcase, hot balloons going up, and the silhouette of the girl departing all murmurs a kind of sorrow. Ruobing, using her tender point of view as a female, combines happiness, nostalgia, affections, and indifference together, piercing our hearts. The “Confronting humanity” series is even more so created from the female perspective. It is worth noting that the costumes of the figures are collages, and the blue and red combination makes the main subject more distinctive, emphasizing the visual impact of her works. Moreover, some figures in her paintings have tails, some have butterfly wings, demonstrating a combination of humanity and bestiality. In her representation of “sexuality”, we can see the boldness of Helen Beard, but also a balance between control and let loose, and a kind of impartiality that comes from a third-person perspective.

——Zhu He “Swimming in the beauty of blue”


当艺术家以个体角度出发对境遇作出反馈,并将个人反馈推向观者,此刻表达与个体才同样生效,两者之间就在这一瞬之间在探讨人的价值与意义上这一纬度上生效。当我们探讨艺术家或者艺术作品时,似乎就是在以个体生效的立场之上反窥艺术本身。在此,再次回归到艺术作品的探讨,《直面人性》系列作品,似乎向观者展示社会中人与人之间呈现出胶着状态的关系,这或许是每个个体存在于群体关系中无法逃避问题与境遇,薛若冰通过作品做出了反馈,使个体生效。

以观者角度看,关系、境遇、思考似乎是薛若冰此次个展的作品中共同触及的词汇,这似乎并非仅仅是出现在薛若冰个人的生命历程中,是所有人共同面对的课业,诸多个体以不同的视角、方式、功能等等维度思考反馈,这些问题似乎被每个人反复探讨,但似乎从来不曾失去意义,薛若冰选择以此为创作的主要内容时,选择了自己的态度,以个体生效,坚定作境遇的反馈者。

——周胜男《以个体生效 坚定做境遇的反馈者》

When the artist gives feedback to the situation from the perspective of the individual and pushes the personal feedback to the viewer, the expression and the individual are equally effective at this moment. When we discuss artists or works of art, it seems that we are looking at art itself from the standpoint of individuality. Here, returning to the discussion of the artwork, the series of "facing humanity" seems to show the audience that there is an adhesive relationship between people in the society. This may be that each individual cannot escape problems and circumstances in the group relationship. From the perspective of viewers, relationship, situation and thinking seem to be the key words in Xue Ruobing's works in this exhibition. It seems that these words do not only appear in Xue Ruobing's personal life, but also are the lessons that all people face together. When Xue Ruobing chose this as the main content of her work, she chose her own attitude, as an individual, and firmly acted to give feedbacks of many societal circumstances.

——Zhou Shengnan “Individuality and responsive to circumstances”


如果我们继续从研究她作品指称含义的多义性和模糊性出发,我们甚至可以看到若冰在创作时赋予了她抽象平面绘画的多重不同的含义。在她的乱码系列作品中,若冰好像将现实生活中的图像视频经大脑碎片化和抽象化提炼后,整合转化为全新的平面图示,因此不免存在苏珊·朗格符号论中谈及的情感表达作用。种种类似“符号”的平面抽象表达,仿佛都体现着若冰对于现代文明中过多使用电子图像,而整体忽视实体绘画的不满,希冀人们能经过她绘画语言的转化而进行反思,重新反观绘画本身的价值,从而重视绘画自身不可取代的永恒魅力。

——丰凡顺《欲的符号》

If we continue to study the polysemy and fuzziness of the referential meaning in her works, we can even see that Ruobing has given her multiple different meanings in her abstract paintings. In her series of random code, Ruobing seems to integrate and transform real-life images and videos into brand-new graphics after mental fragmentation and abstraction. Therefore, the emotional expression function mentioned in Susan Langer's Semiotics can be found in her work. All kinds of abstract expressions similar to "symbols" seem to reflect Ruobing's dissatisfaction with the excessive use of electronic images in modern civilization and the neglect of physical paintings. She hopes that people can reflect on the value of said paintings through the transformation of her artistic language, and pay more attention to the irreplaceable eternal charm of painting itself.

——Feng Fanshun “The symbol of desire”


20世纪90年代以来,中国当代女性艺术走向繁荣,艺术形态愈趋多样,在时代主旋律中寻求个性突破。趋向于非官方、去政治化、去意识形态等具有鲜明女性主义特色的自由表现,不断创建自己的艺术空间和话语体系。薛若冰毕业于天津美术学院油画系,以其自身的创作理念和艺术感染力,通过作品表达其叛逆精神和艺术家本人对于社会热点话题,社会发展所带来的矛盾的关注。她的作品不仅有自我情感体验与再现,还有着现代都市知识女性对于现实处境的思考与探索。

——王柱达《关于薛若冰个展〈1/4〉》

Since the 1990s, Chinese contemporary women's artwork has become increasingly prosperous, and its artistic forms have gradually become more diverse, seeking a breakthrough in personalities the theme of the era. Their artworks tend to be unofficial, depoliticized and ideologically-free, and they constantly create their own artistic space and language. Xue Ruobing, graduated Tianjin Academy of Fine Arts, using her own creative ideas and artistic appeal, expresses her rebellious spirit and her concern for societal problems and contradictions through her work. Ruobing’s art pieces not only recreate and express her own emotions, but they also represent and reflect contemporary female intellectuals examining and exploring their current situations.

——Wang Zhuda “About Xue Ruobing’s solo exhibition”


现如今当代艺术打破了艺术的传统疆界,探寻各种可能的个性语言,天马行空的奇思玄想,自由的构思理念,是艺术的风格呈现出爆炸式的多样化,当代艺术代表了这一个时代的一种自由表达,自现代以来,艺术逐渐进入了寻常百姓家,艺术与非艺术的边界消解,艺术与生活的界限模糊,也体现了自由平等所创造的的主流价值和文明进步

——张宇《观薛若冰作品展》

Nowadays, contemporary art has broken the traditional boundaries of art, which explores all kinds of possible individual languages, fantastic and care-free ideas. The style of art shows explosive diversification. Contemporary art represents a kind of free expression of this era. Since modern times, art has gradually come into common people's houses, and the boundary between art and non-art has been taken down. This blurred boundary between art and life also reflects the mainstream value and civilization progress created by freedom and equality.

——Zhang Yu “Looking at Xue Ruobing’s exhibition”


在早期系列作品《直面人性》《湮灭》中,作品仍具有较明显的具象痕迹,叙事性较强。色彩本身的意义更倾向于辅助造型,丰富画面的“赋彩”功用,并未强调放大情感表达的功能。而在后续的《Deep Blue》《迷踪》系列里,随着创作的推进与感受的递增,若冰赋予了色彩更多的情绪职能,其中蓝色在若冰的作品中有着重要意义。康定斯基认为,色彩的性质与精神的内在结构有所联系,颜色的冷暖明暗会给观者产生视觉上的离心/向心运动,蓝色在物理运动中,表现为后缩,远离观者。

——周子云《蓝色生长》

In the early series of "facing humanity" and "annihilation", the paintings still have obvious concrete traces and strong narratives. The function of color is more inclined to assist the whole picture, and does not emphasize the emotional expressions. In the following "deep blue" series, with the development of creation and the increasing of emotions, Ruobing has given the color blue a more important role in her work. Kandinsky believes that the nature of color is related to the inner structure of spirit. The cold and warm hue will produce visual centrifugal or centripetal experience for the viewer. Hence, in physical movement, the color blue feels like it is moving away from the viewer.

——Zhou Ziyun “Blue”


今天的观看是一种被媒介中介化的间接观看,“纯真之眼”很大程度上已被“机械之眼”所替代。技术崇拜似乎让我们走上了一条不归路:先是在创造中用技术彰显自己的灵性,随后却在自己的创造中被技术俘获,成为技术的奴仆。如何处理我们的自主性和计算机的灵性之间的关系?如何在虚拟实践中保持理性?也许,薛若冰创造出的“媒介的幻觉”为我们提供了答案——无论媒介的演进有多么令人瞠目,它都不过是我们人类工具理性的延伸,作为人类创造成果的艺术,其本质也不会发生改变。在赛博空间巡游的我们,需要的不仅是技术的护持,更是主体信念的加强,是人类独有的自省和纠错的理性精神。

——李常胜 《媒介的幻觉》

Today's viewing mode is an indirect way mediated by media, the "pure eye" has been replaced by the "mechanical eye" in all aspects. The worship of technology seems to lead us on a road of with no exit: we start to use technology to show our dominance in creation, but then we are captured by technology in and become its slaves. How to deal with the relationship between our autonomy and the spirituality of computers? How to keep our rationality in virtual spaces? Perhaps the "media illusion" created by Xue Ruobing provides us with the answer - no matter how amazing the evolution of media is, it is merely the extension of our human instrumental rationality. As an art of human creation, its essence will not change. In cyberspace, what we need is not only the protection of technology, but also the strengthening of subjective belief, which is the unique rational spirit of human self-examination.

——Li Changsheng “Media illusion”


编后记

学术主持 杨维民教授


我总觉得“红、黄、绿”是规中规矩的颜色,这也许是交通指示灯所选颜色的缘故,所以大红大绿时而成为一些艺术品的主色调。七色之中的蓝色,以其深邃自在的“蓝调”不易调和随搭且不为左右。当我去年看到薛若冰的艺术创作主打“蓝调”时,不由得刮目相看。于是提议我的研究生们为薛若冰和几位在读周世麟教授、郑岱教授油画表现艺术方向的研究生先在天美做个群展,然后等薛若冰毕业创作完成了再在北京做个展。我还与靳浩、王彦冰同学去油画研究生的教室、画室一边看作品、一边沟通……后来包括疫情在内多种原因群展搁置了。

今年暑假国内疫情好转,薛若冰研究生毕业在等待今年年底赴英国就学深造;李涵琪海外留学回国内实习一年,正在今日美术馆展览部实习。大家一拍即合,开启“薛若冰个展”,展览在北京森林中国美术馆展出,画册在今日美术馆出版编辑中心设计制作。开幕式同期举行研讨会邀请周世麟教授、郝青松博士出席。线下展览前还邀请了靳浩、李常胜等12位青年批评家举办了“薛若冰个展”线上论坛。关于展览的标题,策展人与艺术家二人初有“果断·踌躇”之说,我也曾提议为“回车”,现在的展览标题“四分之一”是若冰与涵琪多次讨论而定。我以为此次展览也许可以理解为,她们两位二十多岁的中国女艺术家以世界人文艺术大时代为背景,回望她们人生四分之一小时代的心路历程,再启未来新的国际艺术征程。她们异口同声:“NO!远远不是这样。Only a little bit I could express.”我茫然了,也许“你懂得”。

2020年10月8日写于京城嘉园


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