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légendes de gauche à droite
1/ Wang Luyan - 王鲁炎, Sawing or being sawed - Revolving Madonna Litta D10-06 - 被锯的锯 - 转身的哺乳圣母D10-06, acrylic on canvas - 布面丙烯, 300×200 cm, 2010.
2/ Wang Luyan - 王鲁炎, W Six Party Wrist Watch D07-02 - W 六方腕表 D07-02, acrylic on canvas - 布面丙烯, 300×400 cm, 2007.
3/ Wang Luyan - 王鲁炎, Sawing or being sawed - Revolving Madonna Lisa D10-02 - 转身的蒙娜丽莎D10-02, acrylic on canvas - 布面丙烯, 300×200 cm, 2010.
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présentation - 展览介绍 :
Curator: Wu Hung - 策展人：巫鸿
Preface of Exhibition
Wang Luyan: Diagramming Allegory
by Wu Hung
One of the most important Chinese conceptual artists working today, Wang Luyan (b. 1956) has been actively engaged in the Chinese avant-garde art movement from its very beginning. He was a member of the Stars Painting Society and participated in the Society’s ground-breaking exhibitions in 1979 and 1980. During the ’85 Art New Wave and its aftermath, he helped found the Tactile Sensation Group, Analyst Group, and New Measurement Group, exploring the nature of art and the subjectivity of the artist through experimental projects. He then withdrew from the public eye after the mid-1990s, taking up a life of solitude to engage in artistic rethinking. In abundant sketches and notes, he accumulated great quantities of conceptual resources and materials.
This exhibition is the largest in Wang Luyan’s thirty-year career. It does not, however, look back over the past but instead presents new works that he has created in recent years. Presented to the public for the first time, these works include large-scale mural and installations, sculptures, paintings, and sketches. The title of the exhibition, Diagramming Allegory, sums up two interpretive dimensions in this set of works: “diagramming” refers to a particular kind of visual technique, while “allegory” is connected to the content and ideas of the images. First, “diagramming” (tu) differs from “picturing” (hua) in its visual logic: it is rational and didactic, not mimetic and representational. “Diagramming” and “picturing” are in fact two massive visual systems, each having its own inherent principles and development. In terms of visual logic, Wang Luyan’s images belong to the realm of “diagramming,” a unique and not yet well-researched mode in contemporary art. Second, the original meaning of the Chinese term yuyan is “borrowed words.” As a method of reasoning it is close to the English term “allegory,” which is why it is usually translated as such. A standard definition of allegory is “a representation of abstract ideas or principles by characters, figures, or events in narrative, dramatic, or pictorial form.” This use of concrete images to reveal abstract principles could be said to be the shared trait of the artworks in this exhibition. Often taking the form of giant two-dimensional designs, they aim to reveal essential paradoxes in international relations, political theory, and religious worship.
Overall, this exhibition presents a group of significant works of contemporary art, which are unique in transcending the dualist frameworks of “representational” vs. “abstract,” or “expressional” vs. “conceptual.” Employing the methods of “diagramming” and “allegory” to reflect on important problems in today’s world, Wang Luyan constructs a special visual language.
展览前言
王鲁炎：图 • 寓言
文 / 巫鸿
作为目前中国最重要的观念艺术家之一，王鲁炎（1956年生）从中国前卫艺术的萌生伊始就积极地投入了这个运动。作为“星星画会”的成员，他参加了该画会在1979和1980 年组织的具有历史意义的两次展览。随后在席卷全国的“85美术新潮”中，他与其它几位观念艺术家一起创办了具有前沿性的“触觉”、“解析”和“新刻度”实验艺术小组，从1988至1995年不间断地对艺术的本体性和艺术家的主体性进行了严肃的探索。在其后的十余年中他从公众性展示中隐退，以离群索居的方式，把草图和笔记本作为媒介进行艺术思考，积累了大量的观念资源和素材。
本次展览是王鲁炎三十余年艺术生涯中最大的一次展览。但它并不是对以往的回顾，而是呈现了他在最近几年中所创作的，从未向公众展示过的新作，包括巨大的装置式壁画、雕塑以及多幅绘画和设计图。展览的主题“图 • 寓言”总括了整套作品的两个解释性维度：“图”所指的是视觉形式，“寓言”则关系到内容和理念。更具体的说，首先，“图”与“画”代表了视觉艺术中两种不同逻辑。“画”是表现性的，“图”则是理性归纳式的。这是两个庞大的视觉表现系统，各有各的规律和传承。王鲁炎的作品在形式逻辑上属于“图”的范畴，是当代艺术中一个特殊的、尚未被充分研究的模式。再者，“寓言”在汉语中的原意是“寄託之言”。它是一種說理方式，其含义与英文中的allegory 接近----该英文词的一个基本含义是“使用角色、人物或故事、戏剧、图像形式中的情节以表达抽象的观念或原理”（“The representation of abstract ideas or principles by characters, figures, or events in narrative, dramatic, or pictorial form.”）。这种以具体图像揭示抽象原理的表达可以说是这个展览中作品的共性。这些作品常以巨大的二维设计的形式出现，所揭示的原理则牵涉到国际关系、政治理论和宗教崇拜中的一些本质性的悖论。
总的说来，这个展览所呈现给观众的是一批相当重要的当代艺术作品。它们的一个特殊之处在于超越了“具象”与“抽象”、“表现性艺术”与“概念艺术”的二元论框架，以“图”和“寓言”的方式反思当今世界上存在的重要现实问题，从而实现了对一种特殊视觉语言的建构。
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