01
“西岸艺博会DREAM xiàn chăng单元”
"DREAM xiàn chăng section"
GATE M 西岸梦中心-梦工场
2024.11.07-11.10
王一全新大型装置作品《雅各宾5号》参加西岸艺博会"DREAM xiàn chăng"单元。王一探索着抽象形状和工业材料对自然和城市介入和再造，观者形态将在抽象化的山水迷宫穿梭间被漂浮的影子包围不断消解。远古时代的人类将对自身肉体、动物、神衹的模拟或想象刻凿于洞窟或岩石上，企图记录并构建永恒不变的事物，而在保罗·塞尚对维克多山反复解构后的现代主义艺术之中，自然元素的精神性和神秘性落入了缺席或失语的境地。
在作品《雅各宾5号》中艺术家使用A.I.将地理图景等数据结合，虚构出人与自然共生共存的异化形态，巨大而荒诞的脸庞从地下浮现，它们是无名者同时也可以是任何人，是圣徒亦是魔鬼，这些奇美拉般的形状显得不纯熟甚至粗陋可笑。但是王一从中发现了能够与“达达”和“荒诞戏剧”的共通之处，直喻的粗暴杂糅正恰工业时代人类对自然的态度，原本怪异的剪影连续成一座座弗兰肯斯坦式的疯狂山脉。同时他将空间想象成开放的庞大腔体，器官位置般的玻璃山象征着永恒性的创立与消散，坚硬而易碎，自然光线在其间折射变化，卷曲缭绕的电缆像好像黑色静脉联通着心跳鼓动。是风景塑造我们还是我们造就了此番风景？最终在观者的行走中搭建起一座支离破碎的抽象主义荒诞剧场。夜晚红光灼烁的旧梦中倒下巨人的血肉融化成土石山川，我们的身形亦将成为影子留待未来时切割、言说、重铸。
Wang Yi's new installation work Jacobin No. 5 is featured in the "DREAM xiàn chăng" section of the West Bund Art & Design Fair. Wang Yi explores how abstract shapes and industrial materials intervene in and reshape nature and the city. As viewers wander through an abstracted maze of landscapes, they’re enveloped by floating shadows that continuously dissolve their forms. In ancient times, humans inscribed or imagined representations of their bodies, animals, and deities onto caves or rocks, striving to create and record the eternal. In modernist art, following Paul Cézanne’s repeated deconstructions of Mont Sainte-Victoire, the spirituality and mystique of natural elements seem absent or muted.
In the work Jacobin No. 5, the artist uses computer programs to merge geographical landscape data, creating an imagined, symbiotic, yet alien relationship between humans and nature. These chimeric forms are rough, even comically crude. However, Wang Yi finds common ground with “Dada” and “Theater of the Absurd,” where the blunt and chaotic mix parallels humanity’s industrial-age attitude toward nature. Strange and grotesque silhouettes coalesce into towering, Frankenstein-like mountain ranges.
He imagines space as a vast, open cavity. Glass mountains, positioned like organs, symbolize the establishment and dissolution of permanence-solid yet fragile. Natural light refracts and shifts within, and coiled cables, like black veins, pulse with life. Do we shape the landscape, or does it shape us? In a crimson-tinted memory, the flesh of fallen giants melts into earth and stone, while our forms become shadows, left to be redefined in future narratives. Ultimately, a fragmented, absurdist stage is built as viewers traverse through this abstract theater.
王一，《雅各宾5号》，2024，黑透钢化玻璃，黑色不锈钢底座，陶瓷灯座，红色钨丝灯泡，黑色电线，尺寸可变；“西岸艺博会 DREAM xiàn chăng 单元”，展览现场，GATE M 西岸梦中心-梦工场，上海，中国，2024
Wang Yi, Jacobine No.5, 2024, black tempered glass, black stainless steel base, ceramic lamp holder, red tungsten filament bulb, black electric wire, dimensions variable; "DREAM xiàn chăng" section of the West Bund Art & Design Fair, installation views, GATE M, Shanghai, China, 2024
02
“人智时代—第三届济南国际艺术双年展”
"The Age of Human Wisdom
-The 3rd Jinan International Biennale"
山东美术馆 Shandong Art Museum
2024.12.15-2025.05
每周二(Tue)至周日(Sun)，09:00-17:00
王一参加“人智时代—第三届济南国际双年展”。展览以“人智时代”为主题，探讨新技术对当下艺术实践以及对社会、生活产生怎样的影响。展览共展出来自21个国家和地区215位艺术家的291件/组作品，首次引进表演艺术、大地艺术、电影艺术等门类，并与参展艺术家合作，将作品与自媒体创作进行结合，让不同形式的作品相互碰撞、相互启发，为观众提供多元的艺术视觉体验。
Wang Yi participated in the "The Age of Human Wisdom-The 3rd Jinan International Biennale". The exhibition centers on the theme of the "The Age of Human Wisdom", examining the influence of new technologies on contemporary artistic practices, as well as their implications for society and daily life.
The exhibition features a selection of 291 works by 215 artists from 21 countries and regions. Notably, it introduces for the first time categories such as performance art, land art, and film art. In collaboration with participating artists, the exhibition integrates their works with media creations, fostering an exchange between diverse artistic forms that encourages interaction and inspiration. This multifaceted approach offers audiences a rich and varied visual experience, highlighting the dynamic intersection of art and technology.
“人智时代—第三届济南国际双年展”，展览现场，山东美术馆，济南，中国，2024
"The Age of Human Wisdom-The 3rd Jinan International Biennale", installation views, Shandong Art Museum, Jinan, China, 2024
03
“万相琉璃—Marisfrolg冬季琉璃工坊艺术展”
"Glass Flows in Myriad Forms"
玛丝菲尔大厦 Marisfrolg Building
2024.09.21-10.14
王一受品牌玛丝菲尔邀请参加群展“万相琉璃—Marisfrolg冬季琉璃工坊艺术展”。展览在深圳玛丝菲尔大厦举行，邀请了来自世界各地不同文化与思考维度的琉璃艺术作品。深圳的玛丝菲尔大厦是一组绚丽的建筑，仿生式的结构贯穿了整体，而细节的点缀繁复而华丽。“万相琉璃”艺术展身在其中，以炼制琉璃的晶石山为灵感，空间被改造成一座半开放式的迷宫，单向回环、包罗万境。
Wang Yi was invited by the brand Marisfrolg to participate in the group exhibition "Glass Flows in Myriad Forms". This exhibition, held at the Marisfrolg Building in Shenzhen, features an array of glass artworks that reflect a diverse range of cultural influences and perspectives from around the world.
The Marisfrolg Building itself is a striking architectural marvel characterized by its biomimetic design, which integrates organic forms with sophisticated detailing. Within this context, the "Glass Flows in Myriad Forms" exhibition draws inspiration from the geological formations associated with glassmaking, transforming the space into a semi-open labyrinth that offers a unique experience through its one-way pathways and immersive environment.
“万相琉璃—Marisfrolg冬季琉璃工坊艺术展”，展览现场，玛丝菲尔大厦，深圳，中国，2024
"Glass Flows in Myriad Forms", installation views, Marisfrolg Building, Shenzhen, China, 2024
04
“把新叙事作为方法”
"The New Narrative as Method"
杨浦文化艺术中心
Yangpu Cutural and Arts Center
2024.11.22-2025.01.05
周一(Mon)至周日(Sun)，08:30-20:30
王一参加由杨浦区文化和旅游局与中国上海国际艺术节中心联合主办的杨浦文化艺术中心开馆展“把新叙事作为方法”。展览以“新叙事”为主线，采用流动的视觉语言，将焦点投射在中国当代艺术的青年创作群体，共计展出17位（组）中国青年艺术家的40件（组）艺术作品。这些作品或为新创之作，专为场地量身定制，展现出艺术家对空间的深刻理解与巧妙运用；或为既有作品的创造性改编，赋予了新的生命与意义，展现了新一代艺术家们对艺术的不断探索与创新。
Wang Yi participated in the opening exhibition "The New Narrative as Method" at the Yangpu Cultural and Arts Center, jointly organized by the Yangpu District Cultural and Tourism Bureau and the China Shanghai International Arts Festival Center. The exhibition, centered around the theme of "New Narratives," utilizes a dynamic visual language to spotlight the emerging creative community of young contemporary artists in China. Total of 40 artworks by 17 individual or collective young Chinese artists are on display. These works may include new creations specifically tailored for the venue, demonstrating the artists' profound understanding and innovative use of space, or they may represent creative adaptations of existing pieces, infusing them with new life and meaning. Collectively, they reflect the ongoing exploration and innovation of a new generation of artists in the realm of art.
“把新叙事作为方法”，展览现场，杨浦文化艺术中心，上海，中国，2024
"The New Narrative as Method", installation views, Yangpu Cultural and Arts Center, Shanghai, China, 2024
05
“重启：形而上2024抽象艺术展”
"Metaphysics 2024: Restart"
上海浦东碧云美术馆 Being Art Museum
2024.11.07-2025.01.05
周二(Tue)至周日(Sun)，10:00-17:00
王一作品《初级结构》系列参加上海浦东碧云美术馆群展“重启：形而上2024抽象艺术展”。以“形而上"命名的系列抽象艺术展是资深策展人李旭自2001年起创立的一个学术品牌，也是首个在中国公立美术馆诞生的抽象系列展览项目，曾先后在上海美术馆成功举办过4届，已成为上海乃至全国抽象艺术发展历程中的经典学术项目。2024年，策展人李旭以“形而上2024:重启”为主题策划新一届抽象展，作为一个二十多年的“沪上品牌”，本届抽象大展聚焦于上海艺术家（含沪籍或常年生活于上海的艺术家）近些年的重要抽象作品。
王一在展览中呈现了作品《初级结构》系列。作品最初来源于绘画表面树脂层的剩余物，艺术家将其收集入一些无用的容器中便于丢弃。而这些层层叠叠的色层在数年间的无心之举下最终凝结成了留存时间与光的“琥珀”。
Wang Yi's artwork from the "Primary Structure" series is featured in the group exhibition titled "Metaphysics 2024: Restart" at the Being Art Museum in Pudong, Shanghai. The "Metaphysics" series of abstract art exhibitions was inaugurated in 2001 by the distinguished curator Li Xu and has since developed into a significant academic brand. It represents the first series of abstract exhibitions to be hosted in a public art museum in China. To date, it has successfully conducted four iterations at the Shanghai Art Museum, establishing itself as a foundational academic initiative in the narrative of abstract art development both in Shanghai and nationwide. In 2024, curator Li Xu has conceptualized a new edition of this exhibition under the theme "Metaphysics 2024: Restart." As a venerable "Shanghai brand" with a history spanning over two decades, this year’s exhibition aims to spotlight significant recent abstract works by artists based in Shanghai, including both native residents and long-term inhabitants of the city.
In the exhibition, artist Wang Yi presented his work "Primary Structure" series. Originally derived from the residual layers of resin on painted surfaces, the artist collected these remnants into various discarded containers for disposal. Over the years, these layered color strata unintentionally coalesced, ultimately forming an "amber" that preserves both time and light.
Wang Yi, Primary Structure series, 2016-2020, resin, dimension variable; "Metaphysics 2024: Restart", installation views, Being Art Museum, Shanghai, China, 2024
文字与图片由艺术家惠允。
Texts and images courtesy of the artist.
关于艺术家
ABOUT THE ARTIST
王一，1991年出生于上海，2016年硕士毕业于中国美术学院油画系，现生活工作于上海。
王一的创作围绕着对城市和自然环境的抽象化表达，探讨绘画的形式、材料和观念的转换。他试图通过用缓慢的个人手工劳作对峙快速生产消费的模式，以当代性的视觉感受回溯对于古典绘画艺术的敬意。王一的艺术创作是新一代中国抽象艺术家的典型之一，他们中的许多人选择了在创作中放弃任何对政治或社会的明显评论。在纯粹形式的探讨之外，王一则保留了部分根源于现实社会和自然的线索，他在作品中通过将单一的结构元素反复组合，讨论“一与全”的社会关系，同时指涉出网络环境中单元和集体、特性与统一间的相互消涨。
王一近期的个展包括“当明有暗当暗有明”，AIKE，上海，中国，2020；“一切现象都是几何的”，蜂巢当代艺术中心，深圳，中国，2018；“表里：克洛德·维尔拉&王一”，HdM画廊，北京，中国，2018；“一日光”，AIKE，上海，中国，2016；“王一”，HdM画廊，杭州，2014；“无物”，J:GALLERY，上海，中国，2012。
Wang Yi was born in 1991 in Shanghai, China. He graduated with an MFA from the Oil Painting Department at the China Academy of Art. Currently, he lives and works in Shanghai.
Wang Yi's artistic creations revolve around the abstract expression of urban and natural environments, exploring the transformations in the form, material, and concept of painting. He attempts to confront the rapid production and consumption model through slow-paced, individual manual labor, invoking a contemporary visual appreciation that pays homage to classical art. Wang Yi exemplifies the new generation of Chinese abstract artists, many of whom consciously abstain from overt political or social commentary in their artworks. Beyond pure formal exploration, Wang Yi retains elements rooted in real societal and natural contexts. In his pieces, he repeatedly combines singular structural elements to discuss the social relationships between the individual and the collective, also hinting at the interplay between units and collectives, uniqueness and uniformity within the context of network environments.
His recent solo exhibitions include “Dark Light Bright Night”, AIKE, Shanghai, China, 2020; “Geometry Rules All Phenomena: Wang Yi”, Hive Centre for Contemporary Art, Shenzhen, China, 2018; “Inside and Outside: Claude Viallat & Wang Yi”, HdM Gallery, Beijing, China, 2018; “Yi Ri Guang”, AIKE, Shanghai, China, 2016; “Wang Yi”, HdM Gallery, Hangzhou, China, 2014; “Nothing”, J:Gallery, Shanghai, China, 2012.
