展览地点:空间站 北京市朝阳区酒仙桥路4号798艺术区中一街





付晓东(以下简称 “付”):我在观察新时代里文人画画的状况,或者说当代的知识分子画画跟职业画家有什么不同,是一个有意思的现象,可能反而能看清职业艺术家的处境。文人和文人画,技术和手法都已经饱和了,再则怎么花样翻新,都不能满足艺术品鉴的需求了。

Fu: I am observing the state of literati painting in the new era, or how the contemporary intellectual’s paintings are different from professional painters. It is an interesting phenomenon, which may help us see the situation of professional artists clearly. Literati and literati painting as well as the techniques and skills are saturated, and no matter how they are refurbished, they cannot meet the needs of art appreciation.

王霖(以下简称 “王”):画画的最终极状态,其实应该就是一个用画笔当思考工具的状态。而且势必要对趣昧之外的更大问题有深度的关注,然后他的艺术才会突破一般艺术家。

Wang: The painting should actually be a state of using a brush as a tool for thinking. And it is bound to have a in-depth attention to the larger issues beyond taste, which makes the art tower over ordinary artists.


Fu: So it evolved from the aesthetic of paintings to the aesthetic of people.


Wang: I used to think that the highest ideal of painting is a perfect match between technique and taste. But in fact, without breakthrough out of the art, it will never be possible to look back at the technique and taste, and to have a proper understanding and criticism of the both. Then it is impossible to recognize how to match perfectly. Moreover, the perfect match is just a by-product which is no longer the ultimate goal of art.


Fu: Good point. The paintings can't completely focus on the technology inheritance of art history and the minor details of refurbishment, but there must be a greater normal change, and a natural change in the problem awareness and aesthetic concepts. When we really went to the end, we can discover that the problems important before may not be really that important. The language suddenly becomes a by-product.


Wang: There is no complete difference in the pursuit of realm between Chinese and Western art at different stages. There are great artists in each cultural tradition who are making efforts to emerge from the cocoon.Those artists who can make great breakthroughs in form, technique, and taste must not be confined or constrained by the category of art in their mind.


In fact, literati painting is a state, but literati is not a good word. In contrast, today's professional painters are certainly less sensitive to the taste, and they hardly think about any problem.


Fu: What word should I change?


Wang: It is just my own opinion. As I have been talking about the ancient paintings all these years, and I am also thinking about this question, i.e. what does literati painting and literati mean on earth?


Fu: Is it the development trend after the art is highly mature? At the beginning, I felt that the professional artists are currently suppressed by the capital and the market, and they are easily over-professional. They lose their drive to explore more pure origins, and don’t reflect clearly enough.The phenomenon of literati painting may be closer to the original intention of art.


Wang: The art history recognizes the language and especially the language, and those who can provide the real vitality of artistic language are those artists who are not limited by their professionalism and have more profound ideas. Although they may not necessarily make the same outstanding achievements as art in other fields, the real nourishment of art is precisely in other fields. Of course this refers to the great people.


Fu: It’s more like an escape. Whether a carrying of thoughts or self-relaxation, they draw for themselves, build a system and have a backlog of things to express.


Wang: In the past, I didn't understand why literati painters often said that they couldn’t paint well because of lacking thousands of books in their minds. Later, I realized that reading books is not to embellish my knowledge, but to get a subtle taste, and it is the most important means to have an overall understanding and grasp of art history.


Fu: The greatest function of art is nothing but for availability. All the artificial states of innovation are undoubtedly like the absurdity in the movie "Achilles and the Tortoise". However, the overflowing and gushing which is based on a powerful thought system is just the essence of creativity condensed by the times.


王鹏杰 I Wang Pengjie

生于 1987 年,艺术家、学者。四川美术学院造型艺术学院教师。从事艺术创作、艺术批评、艺术史及理论研究、艺术教育及策展工作。1987 年生于中国辽宁省海城市。2010 年毕业于四川美术学院油画系,2013年获硕士学位。2018年毕业于清华大学美术学院艺术史论系,获艺术学博士学位,研究方向:现当代艺术理论及批评实践、中国现代艺术史及思想史、绘画史及绘画理论。

康学儒 I Kang Xueru

2008年毕业于四川美术学院。现主要生活、工作在北京。2008至2010年担任数本杂志的编辑工作,2011至2016年担任《艺术时代》杂志主编。2013年与他人共同创建“我们说要有空间于是就有了空间”。2015 年创建“惊奇的房间”艺术机构。

刘文炯 I Liu Wenjiong

70 后,生于河北,现工作、生活于北京。中央美术学院博士,北京大学历史学系博士后。

齐鹏 I Qi Peng

1974年生于安徽省合肥市。1997年毕业于中国戏曲学院舞台美术系,获文学学士学位。2003年毕业于中央美术学院美术史系,获美术学硕士学位。2007年毕业于中央美术学院美术史系,获美术学博士学位。2007年到 2017 年工作于中央美术学院美术馆。2017年至今工作于中央美术学院研究生院,壁画系硕士生导师,副研究员。

姜俊 I Jiang Jun

艺术史家、策展人、艺术评论家,凤凰艺术专栏作家生活和工作于上海和杭州。自从2015年开始在中国美术学院,以及其他美术学院,如上海美术学院、明斯特艺术学院教授艺术史和艺术理论。从2019年6月起他作为讲师和研究员职教于上海视觉艺术学院数字媒体专业。他是国际公共艺术协会(IPA)研究员、中国工业设计协会信息与交互设计专业委员会(IIDC)会员、上海虹桥美术馆学术委员。2020 年起兼职担任几点当代艺术中心策展人和研究员。

蔡萌 I Cai Meng

生于 1978 年,美术学博士,中央美术学院美术馆学术部副主任,副研究员,策展人。曾供职于中国艺术研究院和广东美术馆。其硕士和博士论文均以 1976 年以来的中国当代摄影为研究方向,从美术史研究的视角与方法出发,探讨中国当代摄影发展演变的内部逻辑及其对应的艺术思潮与外部文化问题。