兵马俑到798的距离（中国新闻周刊网站版）
模糊的，兴奋的，被太阳漂白的绘画有着一段令人尊重的历史。从60年代的Vija Clemins和Gerhard Richter开始80年代的Ellen Phelan到更近期的Luc Tuymans。现在年轻北京画家宋琨也加入了成功的行列。
在Walter Maciel画廊，宋展出20幅2008年以来的油画作品。都是横幅，18英寸高成24英寸宽，处一些单幅作品和一个三幅一组之外，大多是双幅一组的。
有的，象“鹿城1，2”展示同一主题的不同视角－“鹿城1，2”描绘一个山地风景中一个纯白的鹿，光泽的，细腻的，雕像似的，那个鹿实际上就是一个雕像。其它的作品描绘不同的主题。一个神秘的风景在一个与公共汽车上打盹的男人的近照放在一起，或者一个黑暗的上海景色和一个不知名的亭子的轮廓列在一起。
其效果是梦一般的隐隐约约的灾难感。这种效果鼓励人们进一步观察这些不连贯的远景，这些远景拒绝被拼凑在一起和彻底地被揭露。宋的画是灰，白和浅褐色调，只有一点点隐约的真实的颜色浮在表面，如同雾里冒出的景致。一种内涵的陌生感把艺术家（和观众）与画面上的芸芸众生分割开了。
宋在两年前在Hammer美术馆展出了她在美国的头一次个展“It's My Life" (2005-06)。她在一年之中的每一天画一张视觉日记，用传统的中国和西方绘画符号纪录她每一天的思想。但是Hammer美术馆的展览让人觉得艺术家有些过火以至于给观众没有什麽印象和感觉。
她的新作却不是这样。没有比那个三幅一组的描绘一个以一年轻女歌手为主的摇滚乐队在一个Club台上表演的作品更吸引人的。每个画面的左下脚，在舞台的刺眼灯光照耀下，一个穿制服的士兵或警察被对着观众在观察台上。
宋不断变换Club内的视角，但是被穿制服的人观察的女人似乎是画的主题。不论是一个演员被一个不可预料的歌迷关注，还是在政府代表严格监控下年轻人的逆反的象征或是艺术被阴暗的禁止所监控的比喻，这三幅一组的作品深深触动人心。 这次展览是由凯利尚艺术顾问策划的宋在美国头一次的画廊展览，有很大的进步。
Song Kun at Walter Maciel Gallery
By CHRISTOPHER KNIGHT Art Critic
October 2, 2009
Paintings with a fuzzy, blissed-out, sun-bleached look have a venerable contemporary history, beginning with Vija Celmins and Gerhard Richter in the 1960s, continuing with Ellen Phelan in the 1980s and then on to Luc Tuymans more recently. Now, among others, add young Beijing painter Song Kun to the accomplished roster.
At Walter Maciel Gallery, Song is showing 20 oil paintings made since 2008. All horizontal, all 18 inches high and 24 inches wide, they include a few single-panel works and one triptych; most are diptychs.
Some, like "The Deer City I & II," show different views of the same subject -- in this case a mountainous landscape with a pure white deer that is so sleek, smooth and statuesque that it appears to be, well, a statue. Others shift the view completely from one panel to the next. A mysterious landscape is next to a close-up of a man who has fallen asleep on the bus, or a dark nighttime view of Shanghai abuts an unidentified pagoda in silhouette.
The effect is dreamlike and vaguely ominous. It encourages close scrutiny of disjointed vistas that refuse to coalesce and fully disclose themselves. Song paints in grays, whites and sepia tones, with only hints of lifelike color rising from the surface, like a vision emerging from fog. A sense of unrelieved estrangement separates the artist (and the viewer) from the quotidian world recorded in the pictures.
Song showed a painting series called "It's My Life "(2005-06) at the UCLA Hammer Museum two years ago, her American solo debut. Every day for a year she made one small painting as a kind of visual diary of whatever was on her mind, filtered through traditional Chinese and European painterly motifs. But the Hammer selection felt blasé and apathetic.
The new work doesn't. Nowhere is it more engaged than in the triptych, where panels show views of a rock band playing on a club's stage, fronted by a young female singer. In the lower left quadrant of each, illuminated by stage lights that blare into your eyes, a uniformed soldier or po:iceman is seen from behind, watching.
Song keeps shifting our point of view on the club action, but it's the official watching the woman who seems to be the work's true subject. Whether a performer being checked out by an unexpected fan, a symbol of youthful rebellion under the watchful eye of a representative of government control or perhaps art being metaphorically monitored by shadowy proscriptions, the triptych mesmerizes. The show, curated by Kelley & Shang Art Consulting, is Song's U.S. gallery debut and represents a big step forward.
Walter Maciel Gallery, 2642 S. La Cienega Blvd., Culver City, (310) 839-1840, through Oct. 31. Closed Sundays and Mondays. www.waltermacielgallery.com
在Walter Maciel画廊，宋展出20幅2008年以来的油画作品。都是横幅，18英寸高成24英寸宽，处一些单幅作品和一个三幅一组之外，大多是双幅一组的。
有的，象“鹿城1，2”展示同一主题的不同视角－“鹿城1，2”描绘一个山地风景中一个纯白的鹿，光泽的，细腻的，雕像似的，那个鹿实际上就是一个雕像。其它的作品描绘不同的主题。一个神秘的风景在一个与公共汽车上打盹的男人的近照放在一起，或者一个黑暗的上海景色和一个不知名的亭子的轮廓列在一起。
其效果是梦一般的隐隐约约的灾难感。这种效果鼓励人们进一步观察这些不连贯的远景，这些远景拒绝被拼凑在一起和彻底地被揭露。宋的画是灰，白和浅褐色调，只有一点点隐约的真实的颜色浮在表面，如同雾里冒出的景致。一种内涵的陌生感把艺术家（和观众）与画面上的芸芸众生分割开了。
宋在两年前在Hammer美术馆展出了她在美国的头一次个展“It's My Life" (2005-06)。她在一年之中的每一天画一张视觉日记，用传统的中国和西方绘画符号纪录她每一天的思想。但是Hammer美术馆的展览让人觉得艺术家有些过火以至于给观众没有什麽印象和感觉。
她的新作却不是这样。没有比那个三幅一组的描绘一个以一年轻女歌手为主的摇滚乐队在一个Club台上表演的作品更吸引人的。每个画面的左下脚，在舞台的刺眼灯光照耀下，一个穿制服的士兵或警察被对着观众在观察台上。
宋不断变换Club内的视角，但是被穿制服的人观察的女人似乎是画的主题。不论是一个演员被一个不可预料的歌迷关注，还是在政府代表严格监控下年轻人的逆反的象征或是艺术被阴暗的禁止所监控的比喻，这三幅一组的作品深深触动人心。 这次展览是由凯利尚艺术顾问策划的宋在美国头一次的画廊展览，有很大的进步。
Song Kun at Walter Maciel Gallery
By CHRISTOPHER KNIGHT Art Critic
October 2, 2009
Paintings with a fuzzy, blissed-out, sun-bleached look have a venerable contemporary history, beginning with Vija Celmins and Gerhard Richter in the 1960s, continuing with Ellen Phelan in the 1980s and then on to Luc Tuymans more recently. Now, among others, add young Beijing painter Song Kun to the accomplished roster.
At Walter Maciel Gallery, Song is showing 20 oil paintings made since 2008. All horizontal, all 18 inches high and 24 inches wide, they include a few single-panel works and one triptych; most are diptychs.
Some, like "The Deer City I & II," show different views of the same subject -- in this case a mountainous landscape with a pure white deer that is so sleek, smooth and statuesque that it appears to be, well, a statue. Others shift the view completely from one panel to the next. A mysterious landscape is next to a close-up of a man who has fallen asleep on the bus, or a dark nighttime view of Shanghai abuts an unidentified pagoda in silhouette.
The effect is dreamlike and vaguely ominous. It encourages close scrutiny of disjointed vistas that refuse to coalesce and fully disclose themselves. Song paints in grays, whites and sepia tones, with only hints of lifelike color rising from the surface, like a vision emerging from fog. A sense of unrelieved estrangement separates the artist (and the viewer) from the quotidian world recorded in the pictures.
Song showed a painting series called "It's My Life "(2005-06) at the UCLA Hammer Museum two years ago, her American solo debut. Every day for a year she made one small painting as a kind of visual diary of whatever was on her mind, filtered through traditional Chinese and European painterly motifs. But the Hammer selection felt blasé and apathetic.
The new work doesn't. Nowhere is it more engaged than in the triptych, where panels show views of a rock band playing on a club's stage, fronted by a young female singer. In the lower left quadrant of each, illuminated by stage lights that blare into your eyes, a uniformed soldier or po:iceman is seen from behind, watching.
Song keeps shifting our point of view on the club action, but it's the official watching the woman who seems to be the work's true subject. Whether a performer being checked out by an unexpected fan, a symbol of youthful rebellion under the watchful eye of a representative of government control or perhaps art being metaphorically monitored by shadowy proscriptions, the triptych mesmerizes. The show, curated by Kelley & Shang Art Consulting, is Song's U.S. gallery debut and represents a big step forward.
Walter Maciel Gallery, 2642 S. La Cienega Blvd., Culver City, (310) 839-1840, through Oct. 31. Closed Sundays and Mondays. www.waltermacielgallery.com
三流画廊的展览，还来宣传，皮力大脑进水了
有图吗？听上去不错。把Hammer的图也上一些，比较比较。
这年头，卖得好就好！
卖的好吗？ 有图吗？
感觉不一样。是进步多了。
