出 品：千高原艺术空间、四川大学美术馆
艺术总监：刘杰
策 展 人：冯石
艺 术 家（按照姓氏笔画排序）： 王永成、刘信义、豆周艳、张益升、杨翊、陈琳、林帆伟、赵苹曲、陶纲、赖静、蔡承翰

开幕时间：2011年10月22日，15：00
展览时间：2011年10月22日 —2011年11月12日
展览地点：四川省成都市四川大学美术馆（四川大学江安校区）
咨询电话：028-85126358

Sponsor: A Thousand Plateaus Art Space, Sichuan University Art Museum
Art Director: Liu Jie
Curator: Feng Shi
Artists: Wang Yongcheng, Liu Xinyi, Dou Zhouyan, Zhang Yisheng, Yang Yi, Chen Lin, Lin Fanwei, Zhao Pingqu, Tao Gang, Lai Jing, Cai Chenghan

Opening time: Oct. 22nd, 2011 at 15:00
Exhibition Duration: Oct. 22nd – Nov. 12nd, 2011
Venue: (Jiang’an Campus) Sichuan University Art Museum, Chengdu, Sichuan
Tel:028-85126358

多年以来，在当代文化语境下谈论水墨艺术，似乎都是一个尴尬的话题。

中国水墨在经历了上世纪80年代对文革的反思，以及随之而来的对社会主义现实主义的反拨与疏离，对传统水墨的反抗与拒绝，对西方现代艺术和后现代艺术语言的接纳与吸收以后，水墨的当代性始终处于模糊、含混与焦灼的状态，众多学者甚至认为中国水墨已经失去了曾经赖以生存与发展的文化土壤。进入90年代以后，由于中国社会、文化情景发生了巨大的转变，特别是在全球化的背景下，当代水墨试图逐渐进入与传统自觉链接并重新建构当代价值的阶段，这一阶段的创作成果不仅使当代水墨的形态边界得以拓展，而且将作品创作与本土文化的问题以及水墨自身演进轨迹联系起来，在理论上赋予当代水墨建立价值尺度和批评话语的可能性。

在如今全球化语境下，当代水墨必然是与传统水墨相对应，以当代中国社会文化的问题语境为基础，以当代中国人精神价值诉求为内涵，并在艺术史的上下文关系中转换传统水墨资源的艺术语言，它应更多的属于当代艺术而不是水墨艺术。

《延伸的距离——“漂移社”当代水墨第三回展》，标题的“延伸”二字尽管有“传承”之意，但这种“延伸”不是单向的，它是多纬度的，试图融入当代社会文化语境并进行转换，从而形成与历史传统的“距离”，并引发当代观者的情感共鸣与解读认可。

值得一提的是，“漂移社”作为11位来自大陆与台湾的青年艺术家所组成的当代水墨社团，对传统水墨的解构性吸收和对艺术语言的当代性转换具有时间性与空间性的双重意义：对每一位参展艺术家而言，当代与传统的文化传承与离距、大陆与台湾的文化联系与差异、以及他们多年来对水墨艺术当代性的文化探索，都是吸引他们走在一起、共同前进的力量源泉。

同样醉心于水墨技法与效果，张益升和王永成的笔下却生出了截然不同的城市景观；同样面对“性与生命”的问题，陶纲选择用一种理性的形式主义描画出生命幻象，而赵苹曲却用瑰丽的色彩怒放出生命之花；当蔡承翰用墨色和线条勾勒出当代人破碎的面孔，豆周艳笔下的青年更是早已精神颓废、遍体鳞伤；同样诉说着小女生的心思，杨翊和赖静笔下的故事，一个活泼天真，一个则含蓄委婉；而作为偏重于工笔创作的艺术家，陈琳笔下的花鸟单纯而唯美，刘信义的画面却总是透出浓浓的奇幻色彩；林帆伟作为新加入的社员，其对“坏画”的眷恋尽管显得尤其“离经叛道”，却仍需感谢传统让其有“道”可“叛”。

当然，11位青年艺术家在自己的艺术道路上各有自己的方向与速度，我乐于看着他们这样走下去。延伸的结果也许并不那么重要，最好的状态是：一直走在追求的路上。（冯石/文）


Over the years, it has always been an awkward topic when we talk about wash painting under the context of contemporary culture.
After Chinese wash painting has experienced a reflection of Cultural Revolution in the 1980s, and the ensuing rebellion and alienation to socialist realism, as well as resistance and rejection about traditional wash painting, and the acceptation and absorption about western contemporary art and post-modern art languages, Chinese wash painting was positioned in a blur, vague and anxious state.
Many scholars even think that Chinese wash painting has lost its culture for survival and development. Into the 1990s, due to China''''''''s social, cultural contexts has undergone tremendous changes, especially in the context of globalization, contemporary wash painting consciously link and re-construct by connecting itself to traditional wash painting, in order to get a contemporary value. This not only expands the boundaries of contemporary wash painting, but also connects works with local culture and evolution track of wash painting. Theoretically, it has provides possibilities for contemporary wash painting to establish its value scale and critical discourse.
In today''''''''s context of globalization, contemporary and traditional wash painting must correspond to each other. In the contemporary Chinese social and cultural context, with the connotation of Chinese people’s spiritual demands, with the conversion of traditional art language, contemporary wash painting belongs to contemporary art than to wash painting.

In the title of Extended Distance –“Drift Art Group” Third Exhibition of Contemporary Wash Painting, “extended” although has meaning of “heritage”, however the extension is not in one-way, but with more latitude, trying to integrate into the contemporary social and cultural context and transform, making “distance” with traditional teaching, and lead to the emotional resonance and interpretation recognition of the viewers.
It is worth mentioning that the “Drift Art Group” is composed of 11 young artists from mainland and Taiwan. It has time and space meanings of deconstruction and absorption of traditional wash painting and transformation of contemporary painting language: for every participating artist, contemporary and traditional cultural heritage and the distance from the mainland and Taiwan''''''''s cultural links and differences, and their many years of wash painting has helped to explore contemporary culture, which attract them to get together and move forward together. Obsessed with ink technique and effects, both Zhang Yisheng and Wang Yongcheng built very different urban landscape with their brushes; facing the subject of “sex and life”, Tao Gang has choose a rational formalism to paint illusion of life, when Zhao Pingqu uses magnificent colors to bring flowers of life in full bloom; Cai Chenghan outline the broken faces of contemporary people with broken lines, Dou Zhouyan is describing spirit of decadence, black and blue; by also telling little girls'''''''' minds, Yang Yi and Lai Jing, one makes stories of young and happiness, the other withdraw; claborate-style painter Chen Lin draws pure beauty of flower and birds; paintings of Liu Xinyi always outpour intensely illusionary fantasies; as a new member, Lin Fanwei shows his rebellious in his “bad painting”, however thankful to the traditional “teachings” to rebel. Without doubt, the 11 young artists have their own artistic direction and their pace, so I am happy to see them walk on continuously. The result of extension is not that important any more, the best state would be: on the road of pursuit. （by Feng Shi）