【惠书文｜专栏】王小双 · 20年代：透质的微光与凝望

Original AnArtSpace 一甸艺术 2022-09-20

收录于合集 #策展人惠书文专栏 67个

艺术家王小双

ARTIST｜WANG XIAOSHUANG

20年代：透质的微光与凝望

TRANSPARENT GLIMMER AND GAZE

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艺术家王小双对于女性人物的内心描绘，具备着与生俱来的洞究力。深入其中的敏感度和平实语言，在拭去物理空间上的时间差后，逐渐淡化“个体身份”的所指性和概念记忆：一张张充满透质的微光与凝望的面孔在画面中悠转、停滞，沉沁的诗意所嵌入的荒谬感和空无的梦境并存发生。

这般人物气质的显露，不仅体现在她对女性心理结构的内在捕捉，也是一种从心灵到肉体上的“同质姿态”的绘画反叛，继而照映着她对女性这一特殊地位的身份，在当代社会中的视角反思——坚强，脆弱的身体感官，以及那无尽的忧思绵絮与悠厚深情。

——惠书文

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—— 透质的微光与凝望 ——

【文 / 惠书文】

Article/Hui Shuwen

当我们在判断一个艺术家的作品是否具有个人的语言特征时，首先是将其置于当下的社会语境和环境背景下来进行讨论：艺术、科技、宗教；第二点是作为不同身份的观者，是否能够被作品本身所散发出的气质（Temperament）所打动，类如画面中人物心理层面的触摸与描绘，以及在绘画艺术中的语言强度、速度，和自我敏感度之间的较量。

When we judge whether an artist's work has individual linguistic characteristics, we first discuss it in the context of the current social context and environment: art, science and technology, religion; The second point is whether viewers with different identities can be impressed by the Temperament (Temperament) of the work itself, such as the psychological touch and description of the characters in the picture, as well as the competition between the language strength, speed and self-sensitivity of the painting.

三是绘画的符号辨识性，即如何切入个体成长与外部世界融合、链接等因素，形成的一种特质的图式风貌；而这也是我们在观察艺术家作品时，成为进入和理解她/他个人内部世界的一个关键通道。

Third, the symbol identification of painting, that is, how to enter into the integration of individual growth and the external world, links and other factors, the formation of a characteristic of the schema style; This is also a key channel for us to enter and understand the inner world of an artist when we observe his or her work.

二十世纪七十年代以来，女性主义艺术一度成为推动艺术发展的重要动力之一。时至今日，它仍然是当代文化思想和社会活动的一个核心组成部分。女性主义艺术是一种独特的艺术潮流，不同时代语境下，都将通过主体意识的逻辑性线索和自然判断，诉诸以个体性的身心经历及生活体验，并诠释着对所遇事态、观念和性别情绪的综合精神的表达，这些现状的过程感受，也承载着她们对个体文化和艺术关照的立场和态度。

Since 1970s, feminist art has become one of the important driving forces for the development of art. Today, it is still a core part of contemporary cultural thought and social activities. Feminist art is a unique art trend, the context of different times, will be through the logical clue and the natural subject consciousness, resorted to to individual's physical and mental experience and life experience, and interpretation to meet the situation, the expression of ideas and gender emotional comprehensive spirit, the present situation of the process, also is carrying their position and attitude for individual culture and art patronage.

诚如：“一部没有女性主义艺术家的现代艺术史是不完整的艺术史。”而在20年代的今天，当我们再次反观王小双的绘画作品时，其艺术价值的厚度和深度，则烙印着作为女性艺术家在当代绘画艺术中的重要印记。如果说绘画艺术是自我心绪的外在流溢的话，那么人物面貌的主观性呈现，则是绘画图示的另一层情感表述。

"A modern history of art without feminist artists is an incomplete history of art." However, in the 1920s, when we look at wang xiaoshuang's paintings again, the thickness and depth of their artistic value are imprinted with the important mark of female artists in contemporary painting art. If the art of painting is the external flow of one's mind, then the subjective presentation of the figure's face is another emotional expression of the painting.

在处于密闭与开合的生活空间里，社会容器下的多特征的女性人物的身体表情，被王小双一一地修正浮现和徐缓定格。她即以运用平实的色层铺叠和色域组织的构造，以及温润的笔触和力度走势，在人物每一处的表情处留下透质的微光，侧面反应了艺术家王小双对于绘画语言的凝练把握与魅力自信。

In the closed and open living space, the body expressions of the multi-characteristic female characters under the social container were revised and frozen by wang xiaoshuang one by one. She USES the structure of plain color layer overlay and color gambit organization, as well as the gentle brushwork and strength trend, leaving a glimmer of quality in every expression of the characters, which reflects the artist wang xiaoshuang's concise grasp of the painting language and his confidence in charm.

《时间与记忆》画面布局以横构图方式展开，一幅以九位女性为主的全身像人物站立于地表之上，皆以平缓宁静的动势朝向不同方向、角度，她们或若有所思，或静穆淡然……在画面的右侧，有一位着有黑色长衣裙的女性人物，轻微地弯着腰，紧闭眼眸；左手持有的红色花朵，徐徐地向画面中央踱步走来，于远处背景的湖光山色下愈显强烈的身影，她似乎在祷告着什么，又状如庄重般的虔诚式的信仰念及。在剩余的五位黑色长衣裙的女性中，其中三位的头部动态同时相望于树的上方，或在笃定的思考，并聆听来自远方的某种声音。我想，这种“障碍”物的设置，应是艺术家王小双对于未来和时空相互交集所带来的多种思绪的反射，也是她在都市时尚和消费群体里作为女性角色观察她们的真实状态。

The layout of "time and memory" is developed by horizontal composition. A full-length portrait of nine female figures stands on the surface of the earth. All of them face different directions and angles in a gentle and quiet manner. On the right, a woman in a long black dress bends slightly and closes her eyes. The red flower held in her left hand is walking slowly towards the center of the picture. In the background of the lake and the mountain, the figure is more and more intense. Of the remaining five women in long black dresses, three of them were looking over the trees at the same time, or thinking, or listening to something in the distance. In my opinion, the setting up of such "obstacles" should be the reflection of artist wang xiaoshuang's multiple thoughts brought by the intersection of future and space and time, and also the true state of her observation of female characters in urban fashion and consumer groups.

生活的本质，是自我无数次体验的累积和叠加的影射。绘画艺术的生命之永恒，在于艺术家附之以性生情的一类映像与载体物。从这个层面来说，艺术家王小双对于女性人物的内心描绘，具备着与生俱来的洞究力。深入其中的敏感度和平实语言，在拭去物理空间上的时间差后，逐渐淡化“个体身份”的所指性和概念记忆：一张张充满透质的微光与凝望的面孔在画面中悠转、停滞，沉沁的诗意所嵌入的荒谬感和空无的梦境并存发生。

The essence of life is the accumulation and superposition of countless experiences of the self. The eternal life of painting art lies in a kind of image and carrier attached by the artist. From this point of view, the artist wang xiaoshuang has the innate ability to explore the inner depiction of female characters. The sensitivity and plain language, after wiping out the time difference in the physical space, gradually dilute the referential and conceptual memory of "individual identity" : a picture of glimmered light full of transparent quality and staring face in the picture leisurely and motionless, the sense of absurdity embedded by deep poetic sense and empty dream coexist.

Such characters temperament, not only reflected in her inner capture of female psychological structure, is also a kind of from the heart to physical "homogeneous" painting rebel, then the reflecting pool with her for identity, the special status of female perspective reflection in the contemporary society - strong, weak body senses, as well as the endless sorrow is hushed into batting with thick deep feeling.

◐ 关于艺术家·王小双

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WANG XIAOSHUANG

王小双｜WANG XIAOSHUANG

1986年生于重庆，2010年毕业于四川音乐学院美术学院油画系，现工作生活于成都。

个展

2019

众妙之妳·王小双个展（芳草地画廊798 北京）

2017

城市·两个年轻人的目光（芳草地画廊798 北京）

部分联展

叠印·意中当代艺术展（罗马意大利）

守望·2019城市艺术汇（文轩美术馆成都）

艺术北京（农展馆北京）

公共收藏

《面孔No.1》澳大利亚白兔美术馆藏；《黑伞》、《夜幕No.2》西安十八度灰艺术馆藏；《恶之花》、《游离4》、《宁静的片刻》上海S.O艺术空间藏等。

◐ 关于策展人·惠书文

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HUI SHUWEN

惠书文｜HUI SHUWEN

独立策展人、艺术写作者。CONUTER-FEIT 猎质当代艺术双年展品牌创办人，猎质当代艺术展总策展人。Rainbow box project发起人，An Art Space策展人。主要从事中国当代艺术史论研究与写作、当代艺术批评实践、展览策划及独立艺术空间的创建与运营等工作。

主要讲座与艺术项目包括：清华大学美术学院（惠书文：猎质行动——青年策展实践与思考）；鲁迅美术学院（惠书文：策展年记——关于艺术家的成长与自我塑造）；西南大学美术学院·学术讲座（惠书文：行动中的猎质——策展实践与思考）；中国当代艺术权力资本与市场·学术论坛（论坛主持：惠书文）；《2020 我们如何面对今天的艺术？》艺术项目总策划；中国商丘抽象国际邀请展联合策展人，首届夜郎谷现场艺术周学术观察。

曾策划与合作个展的艺术家包括：杨加勇、曾朴、刘亭君、鲍贤杰、罗天志、曹亮、陈清勇、陈蜀、董冰清、黄凌云、蒋佑胜、李浩、李勇、林惠兴、刘强、米小西、邱兴健、时永华、孙小川、王朝、王琳、王韦、王文聃、王旭、吴江涛、谢蓓、谢珍良、杨涛、曾臻、张丹、张海君、郑大弓、郑龙一海、朱峰等。

往期精彩回顾

2020年深圳「端于高处，“险” “贵”同与」

弗朗西斯·培根 FRANCIS BACON｜Works全集

【首发】杨加勇｜20年代：艺术，是一种特质的复合光体

TIMES FIGURE｜方凯：时代人物中的肖像气质