「绘画艺术的理性与情感」王海川:集体记忆重构

Original Dudu Du Laboratory 2023-05-03

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#德意志归来，欧洲艺术家工作室，柏林画廊周 93 个

#ART 22 条 99 个

#学者访谈 58 个

#新·艺术生产者 90 个

#毕业十年 65 个

『绘画艺术中的理性与情感』，是Du/laboratory以主题性策划发布的一个推送。此次我们邀请艺术家分享他的艺术实践。Du/laboratory后续会发布不同主题性推荐。

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艺术家 / 王海川

在王海川的艺术实践中，⽣长出了⼀套⽤于拆解现实的独特语⾔体系，⼀种认知世界的全新⽅式。运⽤在绘画和雕塑作品⾥，他的⽅法能把全不相⼲的元素拼凑，效果极妙，若追寻连贯叙事只会步⼊歧途。⽆论⼈物、形状或那些旧家具的碎⽚，都从原⽣语境脱离，⾃我重塑以⾄向媒介的既定框架外延伸。这种创作⽅法导向的是⼀场美学游戏，结合具象和抽象技法，启发观者积极参与回应，⽽⾮⼀味主导观者的体验。王海川的素材囊括⽇常⽣活、建筑和艺术历史，他翻阅着历史的书页，为当下现实编撰新的时间线。⽤他⾃⼰的话来说：“我的绘画涉及的是⼀个集体记忆的问题，也就是我们能从我们的历史中找到什么” [赵⼦龙采访王海川，2010年5⽉14⽇]。正如集体记忆本⾝，王海川的作品并不指向确凿的结论，只是将种种散落的迹象收录汇集成整体。

In Wang Haichuan's artistic practice, a unique language system for dismantling reality has grown, a new way of understanding the world. Applied to painting and sculpture, his method of piecing together disparate elements works so well that the pursuit of a coherent narrative leads only astray. The figures, shapes, or fragments of old furniture are all detached from their original context, reinventing themselves to extend beyond the established framework of the medium. This creative approach leads to an aesthetic game, combining figurative and abstract techniques, that inspires the viewer to actively participate in the response rather than dominate the viewer's experience. Wang Haichuan's materials include daily life, architecture and art history. He flips through the pages of history and compiles a new timeline for the current reality. In his own words: "My painting deals with a question of collective memory, that is, what can we find from our history" [Zhao Zilong interviews Wang Haichuan, May 14, 2010]. Just like collective memory itself, Wang Haichuan's works do not point to definite conclusions, but merely collect and collect scattered signs into a whole.

2017年《何不在问”第⼗⼀届上海双年展》

上海当代博物馆美术馆

11th Shanghai Biennale　　

Power Station of Art　　

shanghai ，china

王海川⼀直对集体记忆和集体主义建筑⼗分痴迷，这也尤其清晰地体现在他2009年创作的关于重庆铜元局街区的作品项⽬中。这⾥原是铸造铜元的⼚房，相连着筒⼦楼住宅，王海川本来打算研究的是这⾥的建筑形态，后逐步演变出⼀连串系列作品，探究城市发展如何影像个⼈之于集体的认知框架。⼏年间，王海川不断往返铜元局，了解那⾥的空间和居民⽣活，也见证了这个社区在物理和社会层⾯上的变迁，上演中国飞速发展城市的共同叙事。

在2012年和倪昆的⼀次采访中，王海川描述他正逐渐为⼀个“图像收集者”[ 倪昆采访王海川，2012年6月14⽇的⾓⾊。这个⾃我定位和他作品中迷⼈的拼贴果相呼应，也正符合他将零散意象成功在画中并置，这独⼀⽆⼆的⽅法。他就像是历史的托管⼈：他和铜元局区的居民建⽴联结，深⼊了解他们的故事和他们称之为园的物理居所，王海川将他们过去的遗存收纳合⼀。王海川对作品的设想随着他在铜元局收集材料、累积经历和社区架构的认识，逐渐成型。虽然并不是所有收集⽽来素材最终都出现在了作品⾥，这些资料的价值不⾔⽽喻有的可能只是⼏句简短的家常对话，或是居民旧屋⾥的余物件。

——谭骊

《⻔板7#door 7#》
丙烯、镀锌板、油画、照⽚在⻔板上
Acrylic Galvanized sheet oil painting
on wooden door
160cmx190cm 2019

《艺术写作》布⾯丙烯

《Artistic Writing》Acrylic on canvas 150x200cm 2020

《⼤神Superstition》布⾯丙烯

Acrylic on canvas1 160x300cm 2019

《外交Diplomatic》布⾯丙烯

Acrylic on canvas1 140x250cm 2019

《现代主义3#modernism 3#》布⾯丙烯

Acrylic on canvas 60cmx130cm 2021

《现代主义3#modernism 4#》布⾯丙烯

Acrylic on canvas 60cmx130cm 2021

《⻆⾊Character》布⾯丙烯

Acrylic on canvas 150x150cm 2021

454 藏纸丙烯 25.5x37.5cm 2020

《疫情⽇记Diary on COVID-19》藏纸丙烯

Acrylic on Tibetan paper 51x77cm 2020

《吽（hòng）》布⾯丙烯

Acrylic on canvas 250cmx400cm 2021

《艺术⽣活Art and life》布⾯丙烯

Acrylic on canvas 100cmx200cm 2021

《身体body》布⾯丙烯

Acrylic on canvas 150x150cm 2021

《deplorable》布⾯丙烯

Acrylic on canvas 150x200cm 2020

《正确Political correctness》布⾯丙烯

Acrylic on canvas 150x200cm 2010

《建筑》布⾯油画

Oil on canvas 150x200cm 2022

《2021年14#》布⾯油画
Oil on canvas 80x150cm

《2021年15#》布⾯油画

Oil on canvas 80x150cm

《2021年16#》布⾯油画
Oil on canvas 80x150cm

《曲径》⽊板丙烯 70 x 50 cm 2018

《Pathway》Acrylic on Wooden Board

70 x 50 cm 2018

《拼板 #4》旧⻔窗家具 80x80x20cm 2018

《Collage #4》Wooden Parts from Vintage Window

and Door Frames

80 x 80 x 20cm 2018

《拼板 #13》旧⻔窗家具 60x80x13cm 2019

《Collage #13》Wooden Parts from Vintage

Window and Door Frames

60x80x13cm 2019

《拼板 #15》⽊板丙烯 29x42x51cm 2019

《Collage #15》Acrylic on Wooden Board

29x42x51cm 2019

《拼板 #17》旧⻔窗家具 187x125x21.8cm 2019

《Collage #17》Wooden Parts from Vintage

Window and Door Frames

187x125x21.8cm 2019

《⻦笼 #3》新造旧家具 144x54x46cm 2017

《Birdcage #3》Renewed Vintage Furnitures

144x54x46cm 2017

《⻦笼 #5》旧⻔窗家具 140x54x51cm 2017

《Birdcage #5》Renewed Vintage Furnitures

140x54x51cm 2017

《鸳鸯椅( 阴)》新造旧家具 107x54x52.5cm 2017

《Yin-Yang Chair (Yin)》Renewed Vintage Furnitures

107x54x52.5cm 2017

《鸳鸯椅( 阳)》旧⻔窗家具 130x64x40cm 2017

《Yin-Yang Chair (Yang)》Renewed Vintage Furnitures

130x64x40cm 2017

Wang Haichuan has always been fascinated by collective memory and collectivist architecture, which is especially clearly reflected in his 2009 project on the Tongyuanju District in Chongqing. This place was originally a mansion where copper coins were cast, and it was connected to a house with a bunker. Wang Haichuan originally planned to study the architectural form of this place, and then gradually evolved a series of works to explore how urban development mirrors the individual to the collective. cognitive framework. Over the past few years, Wang Haichuan has been going back and forth to the Tongyuan Bureau to learn about the space and the life of the residents there. He has also witnessed the physical and social changes of this community, and staged a common narrative of China's rapidly developing cities.

In a 2012 interview with Ni Kun, Wang Haichuan described his role as an "image collector" [Ni Kun interview with Wang Haichuan, June 14, 2012. This self-positioning echoes the fascinating collages in his works, and it is also in line with his unique method of successfully juxtaposing scattered images in his paintings. He is like a custodian of history: he connects with the residents of the Tongyuanju District, learns deeply about their stories and the physical residence they call the garden, and Wang Haichuan integrates the remains of their past. Wang Haichuan's vision for the work gradually took shape as he collected materials, accumulated experience and understood the community structure in the Tongyuan Bureau. Although not all the collected materials end up in the works, the value of these materials is self-evident, and some of them may be just a few short sentences of household conversations or leftovers from the old houses of residents.

-Tan Li

《屏⻛ #5》⻔板、丙烯 190x103cm 2019

《Folding Screen #5》Acrylic on Wooden Door

190x103cm 2019

王海川工作室

王海川

1968年出生于吉林。
1997年毕业于中国重庆四川美术学院油画系工作、
生活在重庆

个展
2010年《居 • 注》高地画廊北京
2010年《藏纸》斯克纳画廊布拉格
2011年《铜元局－16.9M²》（外省青年）重庆铜元局现场
2012年《铜元局－旅行》重庆铜元局现场
2012年《铜元局－七天》重庆器空间
2015年《中间风景／王海川张武运双个展》元画廊，上海
2017年《雨伞，缝纫机在手术台上的偶遇》上海ART+画廊
2017年《女工之家》23界中国国际家具博览会上海
2019年《剩余》艺术仓库艺术中心北京
2021年《拼图》吴善艺术重庆

群展

2009年《六合当代油画艺术展》A4画廊成都
2009年《开放的视域-中国当代艺术展》捷克国家美术馆布拉格
2009年《时态第一回：零零散散》四川大学美术馆成都
2010年《改造历史 2000-2009年的中国新艺术》国家会议中心北京
2010年《上海艺博会青年艺术家推介展》上海
2010年《当代修辞》岭画廊重庆
2010年《ART HK 10香港国际艺术展》香港
2011年《新色》那特画廊成都
2011年《时态第二回：当代艺术交流展》岭空间重庆
2011年《成都双年展－特别邀请展之“云根过影” 》成都当代美术馆成都
2012年《时态第三回：观看方式研究》喜玛拉雅空间重庆
2013年《时态第四回：现实－转译》望江公舍重庆
2013年《第五元素——全国中青年油画作品邀请展》苏州美术馆
2013年《自我生成来自川美油画系20年的实验与实践（1992-2012）邀请展》苏州美术馆
2013年《浮华• 世相》先锋当代艺术中心南京
2013年《圣· 莫里茨艺术大师展》圣·莫里茨瑞士
2013年《中伊交流展》Mohsen Galler y 德黑兰
2013年《红线》Gallery Soap 北九州日本
2014年时态第五回:不适的现场》铜元局T1活动室重庆
2014年《积极空间》时代美术馆广州
2014年《So F ar So Close》器空间重庆
2014年《上交会》激烈空间上海
2015年《地方－贵阳／重庆当代艺术联展》贵阳左藏三库艺术区，贵阳
2015年《TOP TIME》LP艺术空间重庆
2015年《惊奇的房间》惊奇的房间北京
2015年《亚洲酒店计划》重庆／曼谷／北九州
2015年《上交会》激烈空间上海
2015年《外销画项目》时代美术馆广州
2015年《第二届南京国际美术展》南京
2016年《惊奇房间第二回》南京大学美术馆南京
2016年《链接－在地游牧》星汇美术馆重庆
2017年《第八届深港城市／建筑双城双年展》深圳
2017年《非常持续 — 环保启示录》银川当代美术馆银川
2017年《现实尴尬》杜塞尔多夫文化局展厅杜塞尔多夫
2017年《“何不在问”第十一届上海双年展》上海当代博物馆美术馆上海
2018年《当媒介成为日常》星汇当代美术馆（GCA）重庆
2019年《漫无目的》Halle6 慕尼黑
2021年《世界最美的地方》亚洲酒店计划2021 CAMK熊本市现代美术馆熊本

——————

1968 Born in Jilin, China
1997 Graduated from Sichuan Fine Arts Institute
Lives in Chongqing

Solo Exhibition
2010 The Note of Staying, Gaodi Gallery , Beijing, China
2010 Tibetan Paper, Zdeněk Sklenář Gallery,Prague, Czech
2011 Tong Yuan Ju 16.9M²（Provincial Youth) Tong Yuan Ju,Chongqing, China
2012 Tong Yuan Ju TRAVEL, Tong Yuan Ju, Chongqing, China
2012 Tong Yuan Ju 7 DAYS, Organhaus Art Space, Chongqing,China
2015 Intermediate & Sceneries, Meta Gallery , Shanghai, China
2017 The Fortuitous Encounter Of A Sewing Machine And An
2017 Umbrella On A Dissecting Table, Art+ Shanghai Gallery,Shanghai, China
2017 Her Universe, 23rd China International Furniture Expo,Shanghai, China
2019 Remainder, ArtDepot Center, Beijing, China
2021 Collage, Wushan Art , Chongqing, china

Group Exhibitions
2009 Six Directions — Contemporary Art Exhibition, A4 Gallery, Chengdu,China
2009 Open Vision – Exhibition of Contemporary Chines Collection, Modern and Contemporary Art of the National Gallery , Prague, Czech
2009 Eurekaaaa !!! 1: Art Exhibition, Sichuan University Museum, Chengdu,China
2010 Reshaping History of Chinese New Art from 2000 to 2009, Beijing,China
2010 Shanghai Art Fair Emerging Artists Exhibition, Shanghai, China
2010 Ways of Seeing, Ceiling Gallery, Chongqing, China
2010 ART HK 10, HongKong, China
2011 New Color — L-Art Gallery Grand Opening Exhibition, L-Art Gallery,Chengdu, China
2011 Eurekaaaa !!! 2: Contemporary Art Exhibition, Ceiling Gallery,Chongqing, China
2011 Chengdu Biennale CHANGING VISTAS, Museum of Contemporary
2011 Art Chengdu, Chengdu, China
2012 Eurekaaaa !!!3: A Study on The Way of Seeing, Himalayan Space,Chongqing, China
2013 Eurekaaaa !!!4: Reality and The Aesthetic Regime of Art, Wangjiang Commune, Chongqing, China
2013 The 5th Elements, Suzhou Art Museum, Suzhou, China
2013 Be conscious of yourself, Suzhou Art Museum, Suzhou, China
2013 Flashiness - Society, Avant-Garde Contemporary Art Center, Nanjing,China
2013 St. Moritz Art Masters, St. Moritz, Engadin, Swiss
2013 Artist Exchange Program (Iran-China), Mohsen Gallery , Tehran, Iran
2013 Red Line, Gallery Soap, Kitakyushu, Japan
2014 Eurekaaaa !!!5: Malaisedans l’esthétique, Tong Yuan Ju, Chongqing,China
2014 Positive Space, Guangdong Times Museum, Guangzhou, China
2014 So Far So Close, Organhaus Art Space, Chongqing, China
2014 Shanghai Deal, Radical Space, Shanghai, China
2015 PLACE — Contemporary Art Exhibition, Guiyang, China
2015 Top Time, LP Art Space, Chongqing, China
2015 The Cabinet of W onder, THE CABINET OF WONDER, Beijing, China
2015 Hotel Asia Project, Chongqing (China), Bangkok (Thailand), Kitakyushu
(Japan)
2015 Shanghai Deal, Radical Space, Shanghai, China
2015 Export Painting, Guangdong Times Museum, Guangzhou, China
2015 2nd NANJING INTERNATIONAL ART FESTIVAL, Nanjing, China
2016 SILK ROAD INTERNATIONAL, Art Museum of Nanjing University of the Arts, Nanjing, China
2016 LINKS-LOCALITY AND NOMADISM, GCA Center, Chongqing, China
2017 REALISTIC EMBARRASSMENT, Kulturamt der Landeshauptstadt
2017 Düsseldorf, Düsseldorf, Germany
2017 Bi-City Biennale of Urbanism / Architecture, Shenzhen, China
2017 Very Sustainable-Environmental Revelation, MOCA Yinchuan,Yinchuan, China
2017 11th Shanghai Biennale, Power Station of Art, Shanghai, China
2018 Questioning Photography Now, GCA Center, Chongqing, China
2019 TO BE WITHOUT A GOAL, Halle 6, Munich, Germany
2021 “HOTEL ASIA PROJECT 2021” THE HAPPIEST

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Du/Laboratory is a comprehensive experimental platform, involving creative media spanning all levels of contemporary art, maintaining a vigilance against the international contemporary art trend that airs everywhere, and at the same time committing to the full and in-depth excavation of the artist's own system, continuously Focus on practices that hover in the "middle state" on the fringes of art and non-art.

Du/Laboratory是一个综合性的试验平台，涉及的创作媒介跨越当代艺术的各个层面，对四处空降的国际化当代艺术潮流保持一种警惕性，同时致力于艺术家自身系统的充分、深入挖掘，持续关注徘徊在艺术和非艺术边缘“中间状态”的实践。

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