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Légendes de gauche à droite :
1/ Fang Lijun - 方力钧, Autumn 2012 - 2012秋, ink and color on paper - 水墨, 24.5×33.5 cm, 2012.
2/ Fang Lijun - 方力钧, 2013.8.9, porcelain - 陶瓷, 142×116×80 cm, 2013.
3/ Fang Lijun - 方力钧, 2012.7.11, ink on paper - 水墨, 37×43 cm, 2012.
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présentation - 展览介绍 :
Curator: Gary Xu
The opening ceremony of Mr. Fang Lijun's solo exhibition "Fang Lijun 2013," curated by Gary G. Xu, will be held at Springs Center of Art, 4:00 to 6:00pm, Oct. 12th, 2013. This exhibition consists of three parts, each demonstrating Fang Lijun’s mastery of a different medium: the ceramic sculpture, the ink-and-brush painting, and the oil painting.
Fang Lijun (1963-), the energetic artist known for his “cynical realism,” has said, “when it comes to the ways in which individuals are connected to the society, the most important one is the touches and feels of the everyday. When you piece together those scattered personal experiences, you will get a whole picture of those touches and feels. This picture differs greatly from what has been taught and shown through the official channels of propaganda.” This revelation sufficiently explains Fang’s ambitions underlying his projects, including this show, “Fang Lijun 2013.” In short, he wants to write a history that revises the official history on behalf of the individuals, a kind of history that preserves through a variety of visual tools the feelings and experiences of the everyday.
In making the group of ceramic sculptures at Jingdezhen, Fang Lijun deliberately skipped the step of drying in the ceramic making process: he rolled small plastic squares in wet clay, applied glaze, stacked up the squares, and then sent the stacked-up structure directly into a kiln. The result, understandably, is deformity. The wet clay would bulge under intense heat, the plastic wrappers would dissolve, and the glazed ceramics would crack up or even pop open. The entire structure would collapse in unpredictable directions and into unpredictable shapes. Ceramics is universally loved because of its smooth surface, perfection in shapes, and versatile functionality. Through a balanced combination of clay, glaze, heat, and craftsmanship, ceramics reaches a moment of perfection. That moment is congealed and made eternal. Fang Lijun breaks the perfection, freezing not the moment of completion, but the process of collapsing. The “touches and feels” become visible layer by layer.
Fang Lijun on multiple occasions has talked about the symbolic meaning of the myriad of insects, babies, and children in his brush-and-ink and oil paintings. “Contemporary Chinese society is full of desires and anxieties,” he said in his October 2010 lecture at the University of Illinois, “and all these creatures are toiling around the clock to fulfill their materialistic desires.” In featuring these creatures, does he have a clear agenda? Is he being “cynical”? Is he being critical? Is he simply being a spectator? His ambivalences invite multiple answers from different angles.
Most of Fang Lijun’s works are untitled because it is difficult to summarize his rich and open-ended visual elements in specific themes. This solo show featuring his recent works is also untitled for the same reason. “2013,” however, perfectly describes what Fang Lijun expresses in these works. He is a man of his times; his reflections upon himself, upon art, and upon the times are non-distinguished.
策展人: 徐钢
由徐钢担任策展人，泉空间主办的方力钧新作展《方力钧2013》将于2013年10月12日下午4：00-6:00在798泉空间开幕，这次展览由三部分作品组成：陶瓷雕塑，水墨和油画，此次展览也是泉空间的开幕展。展览将持续到2013年12月12日。
方力钧说：“对于个体生命来说，对于社会的状态，最重要的一个就是质感，你生活在这个年代，将一些非常零碎的经验串起来后，会发现这种质感跟宣传跟教育出来的是两码事。”这段话非常精确地概括了方力钧艺术创作的真实意旨：他要创造的是一种个人的历史，一种不同于用于“宣传和教育”的官方历史，而这种个人的历史是基于我们所经验过的日常生活的质感的基础上的。
在他最新的陶瓷作品中，熟悉陶瓷制作全部过程的方力钧反其道而行之，通过湿烧而打破陶瓷的完美。在很多层面上，陶瓷本身就是一个时间的寓言。通过泥质、釉彩、炉温、工匠精雕细琢的工艺等一系列因素的均衡调节，陶瓷将一瞬间的完美永恒地凝固起来。而方力钧凝固起来的不是瞬间的完美，却是坍塌的过程。通过各种自然的力量在烧制过程中的纠结、拉动，从而破坏掉完美。这不再是寓言，而是过程的直观的层层凝固，也就是方力钧所说的“零碎的经验串起来后的质感”。
而关于他的水墨和油画，方力钧在不止一个场合都谈到其中数不尽的昆虫、孩童和其它细小事物的象征意义：“中国当代社会充满各种欲望和焦虑，而这些生物便是这些欲望和焦虑的具体表现，永远不停息地奔忙，以期达到欲望的满足。”他的作品将这样的欲望更加复杂化，因为问题被提出，而答案则是含糊而歧义。他有没有一个清楚的政治构想？他是否还是在“讽世”？他是否在批评？还是只是维持一个旁观者的身份？都留待观者来评价。
方力钧绝大部分作品都是无题的，因为很难用一个词来概括他的丰富歧义的开放性的视觉形象。这次的新作展，也因为同样的原因而无题。可是事实上，“2013”最恰当概括了方力钧想要在这批作品里要表达的意思。他是这个时代的人，而他对他自己、对艺术、和对这个时代的反思是合而为一区分不开的。
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