“表现之上”——张方白+封加樑+乐坚三人展：乐坚
参展艺术家：张方白、封加樑、乐坚
开幕时间：2023.10.1 16：30
展览时间：2023.10.1-2023.11.1
地点：中国▪上海▪普陀区莫干山路50号4A-109
发行人：沃夫冈▪那爱（德国）
策展人：薛红艳（中国）
学术主持：马丁▪伦德尔（德国）
Participating artists: Zhang Fangbai, Feng Jialiang, and Le Jian
Opening time: 16:30, October 10, 2023
Exhibition time: October 1, 2023- November 1, 2023
Adress：4A 109, No. 50 Moganshan Road,Putuo District, Shanghai, China
Publisher：Wolfgang Neu（Germany）
Curator：Xue Hongyan（China）
Academic Chair：Martin Rendel（Germany）
01
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艺术家简介（Artist Introduction）
乐坚，1961 年生于上海，1985 年就读上海大学美术学院国画系，1999 年起任上海人民美术出版社副总编辑，现任中国互联网艺术大会艺术总监。
02
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艺术家作品（Artistic works）
木本木
The essence of wood is wood
纸本水墨 Ink on paper
40x75cm
乐坚 Le Jian
2022
木本木
The essence of wood is wood
纸本水墨 Ink on paper
40x75cm
乐坚 Le Jian
2022
木本木
The essence of wood is wood
纸本水墨 Ink on paper
40x75cm
乐坚 Le Jian
2022
乐坚笔下枯枝碎片的生长力
乐坚先生的作品也是典型的“表现抽象”。其作品采用了类似枯木、残片的样式，似乎在言说有关过往历史与当代生命的话题。在空旷的尘世里，一根弯曲的枯木或残片横空出世，带着几分疲惫、满目的沧桑，这是美术史的曲折演绎？还是艺术家人生曲折的写意？抑或是“天地不仁以万物为刍狗”的景象描摹？老子说：“人法地,地法天,天法道,道法自然”，也就是说世间万物都是遵从“道”来自生自灭，不用“有为”来横加干涉。你的“有为”只会违背“道”的本意。在老子眼中，并没有好坏善恶忠奸，只有遵“道”无为和逆“道”有为。
同样都是枯枝或残片，乐坚先生参展的三张作品却显示了迥异的文化气质。我们可以将其想象为富有年轮的时空，也可以将其视为已经腐朽的文化，亦可视为坚挺的生命气质，或美丽或沧桑，从枯木或残片中散发出独特的气味。正如乐坚先生所说：“表现抽象也或是第二自然，即绘画语言表面看似具象实则意境有抽象概念。”
艺术家在创作的时候，会依托一个承载物言说表现某种意象。乐坚先生选择了“枯木、残片”作为言说表现的艺术创作载体。透过灰色或者深灰色甚至几近黑色的水墨，我们看到了流淌般的质地，或生涩、或圆润、或长线、或短线、或流淌、或凝固……此刻，水墨只是表现的一个工具，乐坚先生突破了或者抛却了中国传统水墨画的技法，在一根“枯枝或残片”上反复琢磨、实验，在极其微小的物件中考察了中国当代表现的大文化。表现，不只是西方的特权，中国自古就有大写意，只是书写的载体有所差异而已。
团状的“枯枝、残片”与细碎的水墨笔触相呼应，在中国水墨实验中拓展了当代表现的内涵与外延。在讨好献媚的时代，这种语境显然是边缘的，边缘的是小众的，小众的亦是饱含了艺术家的哲思。（作者/薛红艳）
The Growth Power of Dead Branch and Fragments in Le Jian's Painting
Mr. Le Jian's works are also typical of 'abstract expression'. His works adopt a style similar to dead wood and fragments, seemingly speaking about topics related to past history and contemporary life.In the open world, a curved dead wood or fragment emerges in the air, carrying a bit of fatigue and a dazzling vicissitudes. Is this a tortuous interpretation of art history? Or is it the intricate freehand brushwork of an artist's life? Or is it a depiction of the scene of "heaven and earth being inhumane and all things being cud dogs"?Laozi said, "People follow the earth, the earth follows the heavens, the heavens follow the Tao, and the Tao follows nature." This means that all things in the world follow the "Tao" and come from birth and death, without the need for "action" to interfere.Your 'achievements' will only go against the original intention of' Dao '. In Laozi's eyes, there is no good or bad, good or evil, loyalty or treachery, only inaction in following the "Tao" and action against the "Tao".
Both are dead branches or fragments, but the three works exhibited by Mr. Le Jian demonstrate vastly different cultural qualities. We can imagine it as a time and space rich in growth rings, or as a decayed culture, or as a strong temperament of life, or as beauty or vicissitudes, emitting unique odors from dead trees or debris.As Mr. Le Jian said, "The expression of abstraction is also the second nature, which means that the surface of the painting language may seem concrete, but the artistic conception has abstract concepts."
When artists create, they rely on a carrier to express a certain image. Mr. Le Jian chose "dead wood and fragments" as the artistic creation carrier for speech and expression.Through the gray, dark gray, and even almost black ink, we can see a flowing texture, either astringent, rounded, long, short, flowing, or solidified... At this moment, ink is just a tool for expression. Mr. Le Jian has broken through or abandoned the traditional techniques of Chinese ink painting, repeatedly pondering and experimenting on a "dead branch or fragment", Examined the grand culture of contemporary Chinese expression in extremely small objects.Performance is not just a privilege of the West. China has had great freehand brushwork since ancient times, but there are differences in the carriers of writing.
The combination of clumpy "dead branches and fragments" and delicate ink strokes has expanded the connotation and extension of contemporary expression in Chinese ink experiments. In the era of flattery and flattery, this context is clearly peripheral, with the periphery being niche and the niche also embodying the artist's philosophy.（Writer/Xue Hongyan）
03
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开幕场景花絮（Opening Scene Gags）
