學(xué)術(shù)主持：冀少峰 ACADEMIC HOST: JI SHAOFENG

消逝的木構(gòu)

DISAPPEARING WOODEN STRUCTURE

學(xué)術(shù)主持：冀少峰 ACADEMIC HOST: JI SHAOFENG

冀少峰個(gè)照

在傅中望身上有著很多固化的標(biāo)簽和光環(huán)，比如他的《榫卯》系列所彰顯出的原創(chuàng)品質(zhì)及作品背后所彌漫著的關(guān)系與關(guān)系的思考，而他于798的“開物”個(gè)展所引起的震蕩一直成為今天藝術(shù)界津津樂道的話題。時(shí)至今日，人們熱議的“武漢現(xiàn)象”“武漢的當(dāng)代藝術(shù)又火起來”的諸多聲音，很顯然是和傅中望有著密切的關(guān)聯(lián)，這就是一個(gè)區(qū)域美術(shù)館在構(gòu)建區(qū)域文化的繁盛與發(fā)展方面所表現(xiàn)出的不可替代的作用。作為湖北美術(shù)館的首任館長(zhǎng)，在他身上體現(xiàn)出了一個(gè)美術(shù)館人的責(zé)任意識(shí)、奉獻(xiàn)精神和學(xué)術(shù)眼光。在他的帶領(lǐng)下，湖北美術(shù)館成為文化部首批國家重點(diǎn)美術(shù)館之一。他開創(chuàng)性地集四年時(shí)間按國、油、版、雕、水彩分類對(duì)湖北區(qū)域的美術(shù)發(fā)展進(jìn)行了帶有藝術(shù)史性質(zhì)的鉤沉和梳理，進(jìn)而形成了“百年縱橫：20世紀(jì)湖北美術(shù)文獻(xiàn)展”，從而完成了美術(shù)館由美術(shù)展覽館向美術(shù)博物館的轉(zhuǎn)型。為了提高知識(shí)服務(wù)質(zhì)量，在原創(chuàng)品牌展覽上，他提出了“三個(gè)三年展，一個(gè)固定陳列展，一個(gè)年度展，一個(gè)美術(shù)館論壇”的戰(zhàn)略構(gòu)想，從而使“大漆世界：湖北國際漆藝三年展”“工業(yè)版畫三年展”“美術(shù)文獻(xiàn)三年展”“三官殿1號(hào)藝術(shù)展”展覽構(gòu)架充實(shí)與完善，也使美術(shù)館走入了越來越廣闊的公共空間。而湖北美術(shù)館論壇單年以美術(shù)批評(píng)、關(guān)注美術(shù)界的動(dòng)態(tài)熱點(diǎn)及批評(píng)問題，雙年則對(duì)美術(shù)館系統(tǒng)問題展開研討。2014年的“展陳與觀看”，2015年則以“85美術(shù)史實(shí)考據(jù)”為主題，均在藝術(shù)界留下了很深的印象。在文化交流方面，阿涅斯·瓦爾達(dá)、邁克爾·克雷格·馬丁、肖恩·斯庫利等著名藝術(shù)家的展覽、法國雷諾系列收藏展等先后在湖北美術(shù)館展出。從中不難發(fā)現(xiàn)，一個(gè)美術(shù)館的經(jīng)歷與歷史就是這樣產(chǎn)生的。而當(dāng)代活躍的藝術(shù)家，魏光慶、丁乙、方力鈞，不約而同把自己的個(gè)展選擇在湖北美術(shù)館，從中亦可發(fā)現(xiàn)美術(shù)館得到藝術(shù)家在專業(yè)上的認(rèn)同。如果沒有傅中望在學(xué)術(shù)上的把握和專業(yè)上的堅(jiān)持，沒有湖北美術(shù)館在展覽服務(wù)上的優(yōu)質(zhì)與高效，這一切是很難實(shí)現(xiàn)的。難能可貴的是，傅中望不僅在美術(shù)館專業(yè)系統(tǒng)上提出并實(shí)施了很多構(gòu)想，更在人才隊(duì)伍上進(jìn)行了前瞻性的合理化建設(shè)，從而能夠形成一個(gè)充滿著人文精神關(guān)愛和情懷并能深得藝術(shù)界信賴的工作團(tuán)隊(duì)，而一個(gè)專業(yè)化的工作團(tuán)隊(duì)在今天越來越成為美術(shù)館未來的一個(gè)核心競(jìng)爭(zhēng)力。

這些光環(huán)標(biāo)簽之后，傅中望還有一個(gè)鮮為人知的身份：他是一位優(yōu)秀的美術(shù)教育工作者。他為人處世低調(diào)含蓄與才情內(nèi)斂，他在教學(xué)上的寬容、包容與兼容精神，深深影響著一代又一代學(xué)生。他對(duì)學(xué)生和后輩的影響并不是某種風(fēng)格和技巧，而是自由創(chuàng)造的精神，他用自己的為人之道，從藝經(jīng)驗(yàn)，建構(gòu)起了一種生活方式——行云流水般的瀟灑，不媚俗，不媚權(quán)，特立獨(dú)行，他自信，開闊，包容，力量柔韌而長(zhǎng)遠(yuǎn)。在藝術(shù)上受其影響的晚輩和受教于他的青年學(xué)生：史金淞、華韡華、賀棣秋、宋建樹、王思順、項(xiàng)祎、葉曉東、徐江明、汪甜、李有維、張振、邵璇、廖茹瓊……這些同質(zhì)當(dāng)中又有著鮮活而又差異化的視覺講述，他們以一種明顯的師承和代際關(guān)系，不同代際迥異的文化認(rèn)知和批判精神，以介入社會(huì)的態(tài)度去介入現(xiàn)實(shí)進(jìn)而表達(dá)出自我對(duì)當(dāng)代社會(huì)和藝術(shù)人生的激情講述和洞察性表達(dá)。他們不斷拓展自己的領(lǐng)域和空間，進(jìn)而創(chuàng)造出一種新的空間關(guān)系，在同質(zhì)性中去尋覓、發(fā)現(xiàn)、構(gòu)想、改造進(jìn)而創(chuàng)造出一種新的異質(zhì)化的視覺經(jīng)驗(yàn)。而對(duì)于置身消費(fèi)社會(huì)的藝術(shù)青年而言，都市化消費(fèi)社會(huì)的深層病態(tài)亦成為學(xué)術(shù)母題。而日常化的生存經(jīng)驗(yàn)、陌生化的視覺體驗(yàn)及永遠(yuǎn)變動(dòng)的生存狀態(tài)，使他們的視覺講述又都浸潤(rùn)著底層文化視角和邊緣文化身份認(rèn)同，折射出了文化關(guān)注點(diǎn)和精神指向的不同。

他們差異化的視覺講述背后，及他們的生活經(jīng)歷、人生閱歷、師承關(guān)系，從某種意義上就是一部鮮活的當(dāng)代藝術(shù)發(fā)展史。期間的風(fēng)格與樣式、交游與師承，不僅表達(dá)出了豐富的人性、社會(huì)性，更從他們的個(gè)人敘事和不間斷努力中，帶給閱讀者的是一個(gè)別樣的在當(dāng)代雕塑界的“傅家軍”形象。畢竟，傅中望以一種獨(dú)特的魅力和榜樣的力量，深深感染著并激勵(lì)著一代代藝術(shù)青年，激發(fā)著他們對(duì)當(dāng)代藝術(shù)的一種無盡的想象……

因?yàn)槲乙采钌畹乇桓抵型?lì)著，感染著……

2016年10月11日18∶ 00于

東湖三官殿

There are a lot of cured labels and auras in Fu Zhongwang， such as the original quality highlighted in his "Mortise and Tenon Joint" series and the reflection over relationships diffuse behind the works. The sensation caused by his solo exhibition of "Heavenly Creations" held in 798 has always been a quotable topic in today' s art circles. Even to this day， the much discussed topics of "Wuhan phenomenon" and "Wuhan contemporary art booms again" are clearly closely linked with Fu Zhongwang. This is exactly the irreplaceable role of a regional art museum in the prosperity and development of regional culture. As the first director of Hubei Museum of Art， he embodies the sense of responsibility，dedication spirit and academic vision of an art museum staff. Under his leadership， Hubei Museum of Art becomes is among the first batch of key art museums of approved by Ministry of Culture. He was the first person to spend four years to trace and comb the art history of fine art development in Hubei in categories of Chinese painting， oil painting， print， carving and watercolor and held "A Documentary Exhibition of Art in 20th-Century Hubei"， thus realizing the transformation of Hubei Museum of Art from art exhibition hall to art museum. In order to improve the quality of knowledge services， he put forward the strategic concept of "three triennials， a fixed exhibition， an annual exhibition and an art museum forum" in the field of original exhibition. In this way， "World of Lacquer∶ Hubei International Lacquer Triennial"， "Triennial of Chinese Industrial Art Prints"， "Triennial of Fine Arts Literature" and "Sanguandian 1# Art Exhibition" were enriched and improved， and Hubei Museum of Art also entered a broader public space. The Forum of Hubei Museum of Art discusses art criticism， dynamic hot issues and critical issues in art circles in odd-numbered years， and discusses topics of art museum systems in even-numbered years. The "Exhibition and Appreciation" in 2014 and "Truth and Facts about '85 New Wave in China" in 2015 both left a deep impression in art circles. In terms of cultural exchange， exhibitions of famous artists such as Agnès Varda， Michael Craig Martin and Sean Scully， and French Renault Art Collection were successively held in Hubei Museum of Art. It' s not difficult to find that the experience and history of an art museum is generated in this way. Contemporary active artists such as Wei Guangqing， Ding Yi and Fang Lijun invariably hold their solo exhibitions in Hubei Museum of Art， which demonstrates that the museum is recognized by professional artists. Without Fu Zhongwang' s academic grasp and professional insistence， Hubei Museum of Art would not have high quality and efficiency in exhibition service. It is commendable that Fu Zhongwang not only put forward and implemented a lot of ideas in the professional system of art museum， but also carried out prospective and rationalized construction of talent team to build a work team which is full of humanistic spirit and care and can be trusted by the art world. A professional work team is increasingly a core competitiveness of the museum' s future.

Behind all these auras and labels， Fu Zhongwang also has a little-known identity∶ he is an outstanding art educator. He is low-key and implicit with talents introverted. His tolerance， forgiveness and compatibility spirit in teaching profoundly influence generations of students. His impact on his students and the younger generations lies in the spirit of free creation， rather than some kind of style or technique. He has constructed a lifestyle with his personality， behaviors and artistic experience - an unrestrained life comparable to the floating clouds and flowing water， insisting on his own way without any worship of vulgarity or power. He is confident and broad-minded with inclusiveness and enduring flexibility.The younger generation who are artistically influenced him and his young students include∶ Shi Jinsong， Hua Weihua， He Diqiu，Song Jianshu， Wang Sishun， Xiang Yi， Ye Xiaodong， Xu Jiangming， Wang Tian， Li Youwei， Zhang Zhen， Shao Xuan， Liao Ruqiong… There are fresh and differentiated visual narrations in the homogeneity. They have an obvious succession of teachings from the teacher and intergenerational relations， as well as different cultural awareness and critical spirit of different generations. They intervene in the reality with an attitude to intervene in society， thus express their passionate narrative and insightful voice about contemporary society and artistic life. They keep expanding their own areas and space， and then create a new spatial relationship. They seek， find， conceive， transform and create a new heterogeneous visual experience in homogeneity. And for young artists in consumer society， the deep pathosis of urbanized consumer society has also become an academic subject. The daily survival experience， unfamiliar visual experience and the ever-changing living condition make their visual narration infiltrated with the bottom cultural perspective and marginal cultural identity，which reflects the difference between cultural concerns and spiritual orientations. Behind their differentiated visual narrations， their living history， life experience and succession of teachers， in a sense， is a vivid development history of contemporary art. The styles and patterns， contact and teachers， not only show rich human nature and sociality， but also show the audiences a different image of "Fu Army" in contemporary sculpture with their personal narrative and uninterrupted efforts. After all， Fu Zhongwang， with a unique charm and strength of example， deeply infects and inspires generations of young artists，motivating their endless imagination about contemporary art…

For I' m also deeply inspired and infected by Fu Zhongwang…

Ji Shaofeng

6∶00 p.m. October 11， 2016

East Lake Sanguandian