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The Only Perfectly Matched Painting in the World
项目策划：王亚敏 Proeject curator: Wang Yamin《世上唯一契合的绘画》中的绘画们看起来似乎主动表示各种“不契合”。它包含了一系列以成双成对的形象构成一张画的作品。这些形象在画家提及的的造型和用笔等方面相互俩俩对照。这些作品被他怀疑似乎是“画家想要努力凸显个人语言”。他转而探索一种似乎可以被称为讲着某种“通用语言”的绘画：展览中的一部分手工快照般的绘画，某种庸俗的照相写实绘画，这种通用语言在他看来具有某种“无意义”。但是，除了他一以贯之的在作品之间的词语关联，这些作品之间仍存在成双成对的对照关系：一幅画表现另一幅画，一幅画来自他将另一幅画装置化。并且，展览中的还有另一些作品似乎仍旧逃逸在上述言语之外，例如作为展览海报素材的《犍陀罗，暴雨将至》。
是否真的存在这样一种通用语言的绘画？是否存在一种通用绘画或一种一般绘画？这是一种关于绘画的意识形状吗？在某种媒介的时代错位中，今天的画家及其拥护者似乎很容易会被各种关于绘画的意识形状幻觉所困扰。这种幻觉挥之不去，剪不断理还乱，需要我们加倍努力地主动展示和清理它。一方面，绘画，在其媒介的时代错位中，其本体如何能论？另一方面今天的生态政治要求我们转向更新的生态媒介论视角。因而，问题是如何能够把绘画纳入今天的媒介论讨论中去。总体上，今天的绘画似乎仍旧主要是个体劳动的，是最古典的极简类型的自雇企业劳动，画家是自由的经济人。而今天，恰恰是劳动，是劳动作为一种麦肯齐·沃克所谓的“人介”进入了媒介讨论的视角。劳动作为一种“人介”需要我们清理关于绘画的一整套意识残余。画作《世上唯一契合的灵魂》，一台空调与一块木板相互依偎。画家的《世上唯一契合的绘画》，一些绘画依傍着另一些绘画，绘画在世上注视着你。What Does Painting Mean Today? What Is the Message of Painting Itself?The Only Perfectly Matched Painting in the World seem to actively express various forms of "incompatibility." The exhibition features a series of works where paired images come together to form a single painting. These images contrast with one another in terms of form and brushwork, as referenced by the artist. The artist questions whether these works might reflect a painter’s attempt to highlight their personal artistic language. In response, he shifts his focus to exploring what might be called a painting that speaks a kind of "universal language": a portion of the exhibition consisting of handcrafted snapshot-like paintings—works resembling a vulgar form of photorealism. In his view, this universal language carries an inherent "meaninglessness."Yet beyond the consistent verbal connections he creates between works, the paintings themselves still maintain paired relationships: one painting represents another, one painting emerges from the artist transforming another into an installation. Additionally, some works in the exhibition seem to escape the framework of this universal language altogether, such as Gandhara, The Storm is Coming, which was used as the source material for the exhibition poster.Does Such a Universal Language of Painting Truly Exist? Does a universal or general form of painting exist? Is this merely an ideology imposed on painting? In the temporal dislocation of media, contemporary painters and their advocates seem easily ensnared by various illusions about the painting. These illusions persist, tangled and difficult to resolve, requiring active efforts to both reveal and clarify them.On one hand, in the temporal dislocation of its medium, how can the ontology of painting be articulated? On the other hand, today’s ecological politics call for a turn toward newer perspectives informed by eco-media theory. How, then, can painting be integrated into contemporary media theory discussions? Broadly speaking, painting today still appears to be primarily individual labor—perhaps the most classical and minimalist form of self-employed work, where the painter is an autonomous economic agent. And yet, in our time, labor itself—as McKenzie Wark describes it, a form of "human-interface"—has entered the perspective of media theory. Labor, as a "human-interface," requires us to reevaluate and dismantle the residual conceptual frameworks surrounding painting as a practice.In The Only Perfectly Matched Painting in the World, an air conditioner and a wooden plank lean against each other. In the artist’s The Only Perfectly Matched Soul in the Worl, some paintings acompany others. Painting, in this world, gazes back at you.
校外参观者可预约看展
步骤如下：
4.来校类型，选择“观展通道（周一闭馆，不可预约）”；
编辑 ｜ 倪清蓉
初审 ｜ 刘婷
复审 ｜ 徐轩露
终审 ｜ 林书传
