秦风作品展《西风东水》——北京
策展人：朱彤
Curator: Zhu Tong
学术主持：罗伯特·摩根
Academic Host: Robert Morgan
展览日期 Duration
2021.10.3~2021.10.17
11:00～18:00
展览地点 Address
北京市朝阳区亮马桥路48号四季酒店二层
幻艺术中心
Dreamland Art Center, Four Seasons Hotel Beijing, Second Floor, Liang Ma Qiao 48, Chaoyang District, Beijing, China
西風東水
West Breeze, East water
“人们渐渐发展出这样的信念，即前卫艺术真正的和重要的功能不是‘实验’，而是发现一条在意识形态混乱暴力中使文化得以前行的道路。”1
"People gradually developed the belief that the true and important function of avant-garde art was not to 'experiment' but to discover a way for culture to move forward in the midst of ideological chaos and violence."1
诺亚方舟 Noah's Ark Series 2012
400 cm × 1160 cm
亚麻布 油彩 Linen, Grease Paint Quadruple Paint
欲望风景 Desire Scenery 2016
476 cm × 135 cm 纸本 丙烯 Linen Paper, Propylene
秦风的作品充满超维度的智慧，充满对人内心的关注，在人类文明或意识形态的“增熵”过程中，多元化在重构世界观的同时又在瓦解弥足可贵的艺术灵晕。后自然主义带给人们在观念上的重建，似乎需要我们重新审视他笔墨下的“风景”。
Qin Feng's works demonstrate extraordinary wisdom with emphasis on people's inner feelings. In the process of "entropy increase" of human civilization or ideology, pluralism is reconstructing our world outlook and disintegrating the precious artistic spirit. The reconstruction of people's ideas brought by post-naturalism seems to require us to re-examine the "landscape" under Qin’s masterpiece.
坠落的天使系列 Falling Angel Series 2012
直径 Diameter 300 cm 亚麻布 丙烯 Linen Cloth, Propylene
绘画的书写性之二 The writing of painting two 2016
96 cm × 180 cm 亚麻布 丙烯 Linen Paper, Propylene
我们相信秦风的绘画首先是具有音乐性的。他的作品的是无限趋于音乐的——这种被沃尔特・佩特一直交赞的理想的艺术门科，并声称“音乐这门艺术最大程度的实现了这种艺术理想，达到内容和形式的完美统一”2。秦风在作品中所彰显的形与势，在目的和手段、内容与形式、主题和表达方面互为有机部分，彼此完全渗透；其次，在气韵与张力上平衡且交相辉映的同时，又极具一种“富有想象力的理性”；再者，我们从其作品在空间的呈现中，又能感受到每种想法和感觉又与其可感知的相似物或者象征物孪生存在。这种思想也不仅仅体现在西方的美学之中。早在《礼记》中，先人就提出“乐者，天地之和也，礼者，天地之序也。”“礼”和“乐”，不可分开，是天地万物的秩序，是秦风笔下的“阴阳”。在艺术家的汉字书写系列中，我们能感受到音乐与诗歌的互文，那是中国山水诗中表达的音乐境界：“目送归鸿，手挥五弦。俯仰自得，游心太虚。”3 秦风从自身原本的界限中部分偏离出来，而两种艺术不是取代彼此，而是为彼此提供新的力量。
There is a reason to believe that Qin Feng's paintings are principally musically-inspired. His works are infinitely inclined to music, the ideal category of art that Walter Pater has always higly regarded. He claimed that "music is the kind of art that maximizes the realization of the artistic ideal and the perfect unity of content and form" 2.The form that Qin Feng shows in his works are organic parts of each other in terms of purpose and means, content and form, theme and expression.Secondly, it has a kind of "imaginative rationality" while balancing rhythmic vitality and spiritual tension. Moreover, by indulging in the display of Qin’s works in the ambience, we can feel that every idea and feeling is twinned with its palpable analogue or symbol, in which this idea is not only embodied in western aesthetics alone. As early as in The Book of Rites, our ancestors propose that "music is the harmony of heaven and earth, and manner is the order of heaven and earth.Hence,"manner" and "music” are inseparable and together create the order of heaven and earth, as well as Qin Feng's "Yin and Yang".In the artist's series of Chinese characters writing, we can feel the intertextuality of music and poetry, which is just like the musical realm expressed in Chinese landscape poetry: "While looking thoughtfully after the swan goose returning south, he stroked the banjo. His mind wandered in the world of nature, and he comprehended the way of nature at all times and places."3. Qin Feng partially deviate himself from his original boundaries. The two types of arts do not replace each other, but mutually revitalize with new energy.
绘画的书写性/上下
The writing of painting/Up and Down 2016
117 cm × 236 cm 亚麻布 丙烯 Linen Paper, Propylene
天物 Celestial Serles Series 2020
60 × 130 cm（单幅 Single piece）
纸本丙烯 Linen Paper, Propylene
绘画的书写性/念 The writing of painting/Thought 2019
146 cm × 330 cm 亚麻纸 丙烯 Linen Paper, Propylene
我们同样可以在秦风的作品中看到中国水墨由传统走向现代的应证。西方现代主义是绘画是逐步走向平面化的过程，中国传统绘画的出口或许应是秦风作品之中的面貌——他既接引了西方现代主义绘画的笔法，又融合了东方禅宗的哲学思想。秦风的作品是这两者融汇的载体，恰似一对螺旋分子结构，构成了他作品的DNA序列，让我们消解了对西方现代主义意识形态的疑惑，又打破了对佛教禅宗的刻板印象，从而开始思考禅宗与当代艺术的全新关系语境。展览“西风东水”，来源于艺术家在2012年创作的同名作品，这件作品的题目与本次展览形成时间上的偶合以及对仗关系，除此之外，更是如上这层关系中的点睛之笔，充满神秘主义色彩，并在哲学、风水学、宗教学与艺术家创作脉络在各个层面的双关语。
The fact that traditional Chinese ink painting is stepping towards modernity is well proved and demonstrated in Qin Feng’s works. Western modernism is the evolution that painting gradually moves towards flatness. The manifestation of traditional Chinese painting resides in the state of Qin Feng's works – Eastern Zen philosophy fused with the form that is absorbed from western modernism. Qin Feng's works are the bearer of the integration of the two, just like a pair of spiral molecular structures, which constitute the DNA sequence of his works. They eliminate our doubts on the ideology of Western modernism and reconfigure the stereotype impression of Zen Buddhism, thus prompting us to start contemplating on the relationship between Zen and contemporary art in this new context.The exhibition "west breeze east water" acquires its name from the artist's masterpiece bearing the same name created in 2012. The title of this masterpiece forms a relationship of coincidence and antithesis with this exhibition. In addition, the title is the punchline of this relationship, full of mysticism, and puns at various levels in philosophy, feng shui, religion and artistic creation.
绘画的书写性之三 The writing of painting three 2020
97 cm × 180 cm（单幅 Single piece）
亚麻布 丙烯 Linen Paper, Propylene
绘画的书写性/无 The writing of painting/Nothing 2019
146 cm × 162 cm 亚麻纸 丙烯 Linen Paper, Propylene
绘画的书写性/中 2019 The writing of painting/Middle
146 cm × 214 cm 亚麻纸 丙烯 Linen Paper, Propylene
秦风作为艺术家和学者，对国际交流做出了卓越的贡献。秦风不仅对传统精神进行了发扬，对于西方绘画有着独到的理解。从塞尚之后，艺术家们开始重视绘画的笔法与其精神，减弱绘画的故事性从而增强其绘画性，即我们所说的笔墨。恰如八大山人所说：“墨点无多泪点多，山河仍是旧山河”，极简的画面内核是高度的精神性的凝练，并饱含情感。从新疆到柏林，再到纽约，秦风在世界各地的巡礼，使得地缘政治性在其作品之中的显现似乎关乎每一个个体但又具有普世意义。作为生长在新疆的艺术家，在秦风的作品中，能看到多元文化、民族交融凝结而成的力量，也能洞见振聋发聩的时代之声，每一笔的挥洒中，都兼顾对浪漫的克制与自由的挥洒，我们甚至不能对此妄下定义，以此勘正东方世界在后殖民主义语境下“他者”的话语权，这是超越了种族、民族的文明的共振。从自在艺术的至高境界上，中西方艺术自会臻于通会之境。
As an artist and scholar, Qin Feng had made outstanding contributions to international exchange of art knowledege. Qin Feng has not only propogated the traditional spirit, but also possesses a unique understanding of western painting. Subsequent to Cezanne era, artists began to emphasize the brushwork and its ideology of painting, minimizing the narrative quality of painting in order to enhance its painterliness, that is, what we call Brush & Ink Just as The Eight Mountain Dwellers once said, "There is not much ink dots but much tears instead, while the mountains and rivers are still the mountains and rivers", the core of the minimalist picture is to be highly spiritual, condensed, and full of emotion. Qin Feng's travels around the world, from Xinjiang to Berlin and to New York, has made the geopolitics of his work seem to be both individualistic yet universally significant. Since Qin Feng is an artist who grew up in Xinjiang, the power of multicultural and ethnic integration, as well as the deafening sound of the era could be experiencced in his works. Every stroke of painting gives emphasis to the restraint of romance and the freedom of expression. We are even unable to define it arbitrarily, so as to correct the discourse of the "other" in the post-colonial context of the Eastern world. This is the resonance of civilization that transcends the race, ethnicity and nationality. From the ultimatum realm of art, Chinese and Western art will reach the realm of integration.
绘画的书写性/道生一
The writing of painting/Life of tao 2017
140 cm × 500 cm 亚麻布 丙烯 Linen Paper, Propylene
欲望风景之七 Desire Scenery Seven 2022
80 cm × 230 cm 纸本 丙烯 Linen Paper, Propylene
绘画的书写性 The writing of painting 2018
117 × 236 cm 纸本丙烯 Linen Paper, Propylene
回到身体书写的角度。时间追溯至上个世纪40年代的美国，抽象表现主义的时代正在二战后和冷战的夹缝中重新思考绘画与世界的联系。正如巴内特・纽曼在宣言中所提到的共识：“在世界废墟上发生的这场道德危机，已经不再有什么仍然绘画旧事情的可能性。”也亦如德库宁所说：“要画在画布上的绝不是一幅图像，而是一个活动”。处于世纪变革之中的艺术家，试图将人类与真实的自然和人的真相重新进行关联。他们不再强调以故事、宗教等具体主题的绘画之中的叙事，而是强调形式要素中的形、色、线、面的“纯抽象”本质，要求“任意、充分地发挥自我”，艺术家们竭尽所能运用各种技法和工具，从而将笔墨发挥到最佳。而这种形式要素恰恰在时空意义上与传统国画的泼墨形成历史性的对应。我们时常有感于秦风在超大尺幅作品中的惊人毅力。身体的爆发力实际是将所有气韵凝结于笔尖，虽然在表面上看到的是身体的发力，其“气”往往贯穿于身体内部，形成一股洪荒之力。但是最终呈现于世人面前的，却是举重若轻的从容不迫，是一种高于一切人为可控的技术层面的视觉经验，这种气质与西方艺术所追求最为抽象和高级的神性有某种相同之处，但底层基因却又是截然不同的。
Back in the 1940s in the United States, the era of Abstract expressionism was readdressing the relationship between painting and the world in the aftermath of the Second World War and the Cold War. As Barnett Newman addressed his reckoning in the manifesto: "The moral crisis at the ruins of the world no longer makes it possible to still paint the old things." As De Kooning said, "What is to be painted on the canvas is not an image, but an activity". Artists in the midst of a century of change attempting to reconnect human beings with the real nature and human truth.They no longer emphasize the narrative in the paintings with specific themes such as stories and religions, but emphasize the "pure abstract" nature of form, color, line and surface, requiring "arbitrary and full expression of self". Artists trying their best via various techniques and tools, to optimize the utilization of brush and ink.This kind of form well corresponds to the splash-ink technique of traditional Chinese painting in the sense of time and space. We are often impressed by Qin Feng's amazing perseverance in his oversized works. The explosive power of the body is actually created by all the condensed “Qi” in every brushstroke. Although the force of the body can be seen on the surface, its "Qi" often flows through the inner parts of the body, forming a primordial force. However, what is finally presented is the extreme calmness and hasteless, the visual experience beyond all controllable technicalities. This aura shares similarity with the utmost abstract and advanced divinity pursued the by Western art, but with completely different fundamental elements.
闰月 Leap Month 2021
140 cm × 140 cm （单幅 Single piece）
亚麻纸 丙烯 Linen Paper, Propylene
文明景观 Civilised landscape 1996
140 cm × 200 cm（单幅 Single piece）
布面油画 Canvas painting
欲望风景系列 Desire Scenery Series 2015-2017
160 cm × 75 cm（单幅 Single piece）
纸本 丙烯 Linen Paper, Propylene
最终，艺术还是要回归信念，直抵本心。秦风践行的“后现代水墨”之道路是多元且复杂的，但又是表现力极强的。他在画布上的“活动”使我们看到了一个艺术家探索真理的痕迹，这不完全是绘画性和观念性之间简单的二元博弈。秦风的作品天然去雕琢，从时代之中走出，在历史中追本溯源，曾筑起歌剧一般恢宏凝固的建筑，从艺术的精神世界中生长开花。心之所向，步履以往，用行动的绘画而不是语言，艺术家正在重建内心深处最宝贵的精神高地。
After all, art still reverts to the fundamental faith and heart. Qin Feng's path of "postmodern ink painting" is diverse and complex, but it is also highly expressive. His "activities" on the canvas enable us to see the traces of an artist's search for truth, which is not a simple dualistic interaction between painterly and conceptual elements. Qin Feng's works are carved naturally and transcend the times, reminiscing the origins in history, by erecting the poetic and solidified structure which flourish in the spirit and world of art. “Where the heart is, walk the past”. Painting is an action and it is not a language. Artists are in the midst of rebuilding the most precious spiritual realm deep in their inner hearts.
文/朱彤
Written by : Zhu Tong
注释：
1 克莱门特·格林伯格（美），《艺术与文化》，广西师范大学出版社
2 沃尔特・佩特（英），《文艺复兴》，“音乐法则”， 外语教学与研究出版社
3 嵇康（三国） 《赠秀才入军·其十四 》
Annotation:
1. Clement Greenberg (US), Art and Culture, Guangxi Normal University Press
2. Walter Pater (UK), Renaissance, ‘The Law of Music’, Foreign Language Teaching and Research Press
3. Ji Kang (Three Kingdoms period) "To Send A Scholar to Join the Army: the Fourteenth"
展览现场
Exhibition Review
展览现场 Exhibition Review
艺术家秦风接受采访
Interview of Artist Qin Feng
策展人朱彤接受采访
Interview of Curator Zhu Tong
主办方代表-永乐文化创始人赵旭接受采访
Interview of Yongle Culture Representative Zhao Xu
展览现场 Exhibition Review
艺术家介绍
About the Artist
秦风，北京当代艺术馆创办人，哈佛大学当代艺术研究员，曾客教于柏林艺术大学及中央美术学院。秦风在欧美获得多项艺术奖项及国家艺术贡献奖，作品以「后现代水墨」而著称，是世界各地博物馆及国际顶级艺术机构收藏作品最多的当代艺术家之一。
Qin Feng taught as a guest at the Berlin University of the Arts and the Central Academy of Fine Arts. He founded the Beijing Museum of Contemporary Art in 1993. He is currently the dean of the Central Academy of Arts and Crafts and a contemporary art researcher at Harvard University. Qin Feng has won many art awards and the National Art Contribution Award in Berlin, Europe and the United States. Known as "post-modern ink and wash", his works are one of the contemporary artists with the largest collection of works in museums and art institutions around the world. Works have been selected by the British Museum, the Metropolitan Museum of New York, the Boston Museum of Fine Arts, the California Asia Pacific Museum, the Venetian Sini Foundation, the Ford Foundation, the Rockefeller Foundation, the National Museum of China, the Fogg Art Museum at Harvard University, the Yale University Art Museum, and the Smith Institute of Fine Arts There are dozens of museums, art institutions and nearly a hundred individual collections such as the United States Ministry of Foreign Affairs, the British Ministry of Foreign Affairs, the Italian Ministry of Foreign Affairs, and the Himalayan Art Museum.
作为一个横跨东西方文化的艺术家及学者，秦风的作品诗意般地兼容了西方表现主义哲学的浪漫与中国水墨的气韵，通过多媒介研究创作，传统与现代材媒的研发与应用，使形式语言和表现语言更具东西文化精神品格的兼容，构建并形成个人独特的语言和风格。
As an artist and scholar spanning Eastern and Western cultures, Qin Feng’s works are poetically compatible with the romance of Western expressionist philosophy and the spirit of Chinese ink painting. Through multi-media research and creation, the development and application of traditional and modern materials, Formal language and expressive language are more compatible with the spiritual character of Eastern and Western cultures. Build and form a personal unique language and style.
获奖 Awards
秦风作为艺术家和学者，对国际交流做出了卓越的贡献。获得了全国美展创作奖、柏林市政府奖、波士顿国际艺文奖、道格拉斯基金会新世纪奖&国家贡献奖等若干奖项。
National Art Exhibition Creation Award, the Berlin City Government Award, the Boston International Art Prize, the Douglas Foundation New Century Award & National Contribution Awards and several other.
机构收藏 Selected Institutional Collections
大英博物馆，纽约大都会博物馆，波士顿美术馆，加利弗尼亚州亚太博物馆，美国福特基金会，迈克道拉斯基金会，洛克菲勒基金会，中国国家博物馆，哈佛大学FOGG美术馆，耶鲁大学美术馆，史密斯学院美术馆，法国国家基金会，喜马拉雅美术馆等数十家博物馆、艺术机构及近百个人收藏。
The British Museum, Metropolitan Museum of Art, Boston Museum of Art, California Asia Pacific
Museum, Ford Foundation, Mike Dallas Foundation, Rockefeller Foundation, National Museum of
China, Harvard University Fogg Art Museum, Yale University Art Museum, the Smith College Art
Gallery, the French National Foundation, Himalayan Art Museum, countlessm.
部分个展 Selected Solo Exhibitions
2020
从天而降《神殤》 大皇宫博物馆 (米兰)
'Out of Blue' Palazzo Reale (Milan)
秦风个展Volta艺博会 (纽约)
Qin Feng's Solo Exhibition Volta (New York)
2019
遇见时空 Crossing Art画廊 (纽约)
Encountering Rhythm of Tme Crossing Art (New York)
2018
斯坦福大学艺术中心“零界”展（加州）
Stanford University Art Center “Zero World” Exhibition NordArt (German Northern Art Center)
2017
“邂逅天使”圣凯瑟琳大教堂个展（汉堡）
“Meeting Angels” St. Catherine’s Cathedral Solo Exhibition (Hamburg)
“憧憬”G7特邀展（博洛尼亚博物馆） 佩斯画廊（纽约）
“LONGING” G7Invitational Exhibition (Bologna Museum)Pace Gallery (New York)
2016
威尼斯建筑双年展“秦风特展”（圣乔治教堂）
Venice Architecture Biennale “Qin Feng Special Exhibition” (St. George’s Church)
Ben Brown Fine Arts（香港） (Hong Kong)
台北亚洲艺术中心（台北）
Taipei Asian Art Center (Taipei)
Masterpiece 博览会（伦敦）
Masterpiece Expo (London)
Milton画廊（伦敦）
Milton Gallery (London)
2015
“秦墨风尚”上海纽约大学美术馆开馆展（上海）
“Qin Mo Fashion” Shanghai New York University Art Museum Opening Exhibition (Shanghai)
瑞士巴塞尔艺术中心（巴塞尔）
Basel Art Center, Switzerland (Basel)
瑞士圣•乌尔班当代艺术博物馆（卢塞恩）
Swiss St. Urbanan Museum of Contemporary Art (Lucerne)
2014
贝肯艺术中心（纽约）
Beacon Center for the Arts (New York)
Ode to Art （新加坡 Singapore）
纽约州柯恩艺术中心（纽约）
Cohen Art Center, New York (New York)
香港世界画廊（香港）
Hong Kong World Gallery (Hong Kong)
上海国际当代艺术博览会“秦风特展”（上海）
Shanghai International Contemporary Art Fair “Qin Feng Special Exhibition” (Shanghai)
2013
Goedhuis 现代艺术画廊（伦敦）
Goedhuis Modern Art Gallery (London)
Ethan Cohen 画廊（纽约）
Ethan Cohen Gallery (New York)
2012
上海美术馆（上海）
Shanghai Art Museum (Shanghai)
佛罗斯特美术馆（迈阿密）
Frost Art Gallery (Miami)
克罗亚洲艺术馆（达拉斯）
Crowe Asian Art Museum (Dallas)
2011
Ethan Cohen 画廊（纽约）
Ethan Cohen Gallery (New York)
瑜舍画廊（北京）
Opposite House Gallery (Beijing)
北京艺博会特邀展（北京）
Beijing Art Fair Special Exhibition (Beijing),
上海艺博会特邀展（上海）
Shanghai Art Fair Special Exhibition (Shanghai)
2009
佩斯画廊（纽约）
Pace Gallery (New York)
上上国际美术馆（北京）
Shangshang International Art Museum (Beijing)
2008
哈佛大学（波士顿）
Harvard University (Boston)
北京当代艺术馆（北京）
Beijing Museum of Contemporary Art (Beijing),,
Goedhuis现代艺术画廊（纽约、伦敦）
Goedhuis Modern Art Gallery (New York, London)
Nicholas Robinson画廊（纽约）
Nicholas Robinson Gallery (New York)
2007
Raab画廊（柏林）
Raab Gallery (Berlin)
Goedhuis 现代艺术画廊（纽约、伦敦）
Goedhuis Modern Art Gallery (New York, London)
Ethan Cohen画廊（纽约）中央美术学院（北京）
Ethan Cohen Gallery (New York), Central Academy of Fine Arts (Beijing)
2006
北京现代美术馆（北京）
Beijing Modern Art Museum (Beijing)
Townhouse画廊（开罗）
Townhouse Gallery (Cairo)
2005
Goedhuis现代艺术画廊（纽约、伦敦）
Goedhuis Modern Art Gallery (New York, London)
2004
Raab画廊（柏林）
Raab Gallery (Berlin)
精艺轩画廊（香港）
Jing Yi Xuan Gallery (Hong Kong)
2003
纽约亚洲博物馆（纽约）
New York Asian Museum (New York)
Ethan Cohen画廊（纽约）
Ethan Cohen Gallery (New York)
2002
Tao Water画廊（马萨诸塞州）
Tao Water Gallery (Massachusetts)
海上山国际艺术中心（上海）
Sea Mountain International Art Center (Shanghai)
2001
迈克道拉斯基金会（新罕布什尔州）
Mike Dallas Foundation (New Hampshire)
Revolving博物馆（波士顿）
Revolving Museum (Boston)
亚洲文化中心（纽约）
Asian Cultural Center (New York)
德国外交部（柏林）
German Ministry of Foreign Affairs (Berlin)
2000
Trmont画廊（波士顿）
Trmont Gallery (Boston)
1999
马丁路德大学画廊（威登伯格）
Martin Luther University Gallery (Wittenberg)
1998
Raab画廊（柏林）
Raab Gallery (Berlin)
1997
Tacheles画廊（柏林）
Tacheles Gallery (Berlin)
1996
Benario画廊（柏林）
Benario Gallery (Berlin)
1995
海牙文化中心（海牙）
The Hague Cultural Center (The Hague)
1994
中国职业画家作品陈列馆（北京）
Chinese Professional Painter’s Works Exhibition Hall (Beijing)
