走出波浪 ——A+A第六回展
策展人：王新友、焦雪雁
艺术家：Detlef Waschkau、高波、姜吉安、李岱昀、卢征远、马文甲、蒙志刚、田田、王俊艺、袁佳、张业兴、钟照
展览时间：2012年3月23日—4月21日 10:00～18:00（周一休息）开幕时间：2012年3月23日16：00～18：00（星期五）展览地点：偏锋新艺术空间 北京市朝阳区酒仙桥路798艺术区2号院B-11电话： 86 10 59789562邮箱：info@pifo.cn网站：www.pifo.cn
“走出波浪”A+A第六回展将在3月23日开幕。“A+A”作为偏锋新艺术空间从创办开始就一直在推广的展览项目，至今已有六届，从2010年开始，采取双年展的模式向前推进。七年六届的时间中，共92名全国各地艺术家参与，其中25人多次参加，他们通过“A+A”这个展览平台被大家熟知。
本次展览邀请了12位艺术家，他们是：Detlef Waschkau、高波、姜吉安、李岱昀、卢征远、马文甲、蒙志刚、田田、王俊艺、袁佳、张业兴、钟照。
“走出波浪”之后是“Everything”, 一切皆有可能，个个都可言说。正如“A+A”起始之初，不是因为风格手法的趋同，也不是表达主题和内容的相似而有了持续的六届展览。恰恰是“A+A”字面上所凸显、坚持和关注的态度——即正视个体独立和个体差异的态度，这是参展艺术家的创作态度，是策展人选择参展作品的态度，更是“A+A”这个展览始终想要传达给观众观看作品的态度。一路高低起伏走来，远不是坐看云起之时，现在急切要听到的是如何才能踏上自己的节拍。
本次展览将持续到4月21日。
Everything —The Sixth A+A
Curators: Wang Xinyou、 Jiao Xueyan
Artists: Detlef Waschkau、Gao Bo、Jiang Ji’an、Li Daiyun、Lu Zhengyuan、Ma Wenjia、Meng Zhigang、Tian Tian、Wang Junyi、Yuan Jia、Zhang Yexing、Zhong Zhao
Duration: March 23th— April 21th 2012 10:00～18:00（Except Monday)
Opening: March 23th 2012 16:00～18:00（Friday)
Address: PIFO Gallery
B-11, 798 Art Area,No.2 Jiuxianqiao Rd, Chaoyang District, Beijing, China
Tel: 86 10 59789562
E-mail: info@pifo.cn
Web: www.pifo.cn
“Everything: The 6th A+A” will open on March 23. Having begun as PIFO Gallery’s annual exhibition, A+A adopted a biennial format in 2010. In seven years and six exhibitions, 92 artists have participated, and 25 have participated more than once. Many of these artists have become known through the A+A platform.
This exhibition has invited 12 artists: Detlef Waschkau\Gao Bo\Jiang Ji’an\Li Daiyun\Lu Zhengyuan\Ma Wenjia\Meng Zhigang\Tian Tian\Wang Junyi\Yuan Jia\Zhang Yexing\Zhong Zhao.
“Everything” is possible; all ideas are expressed. It’s not a convergence of style and method, or a similarity in subject and content that makes this continuing exhibition possible. It’s the attitude A+A conveys—facing head on individual independence and individual differences. This is the attitude of the participating artists, the attitude of the curator in choosing the pieces, and the attitude of the pieces A+A displays. As we move along on our journey, we can’t just sit back and accept what comes; what we need to know now is how to march to our own beat.
The exhibition will continue until April 21.
踏上自己的节拍
一“A+A”作为偏锋新艺术空间从创办开始就一直在推广的展览项目，至今已有六届。从2010年开始，采取双年展的模式向前推进。七年六届的时间中共有92名全国各地的艺术家参与，其中25人多次参加，他们通过“A+A”这个展览平台逐渐被大家熟知。
这种展览形式最初从美院学生需要展示作品的强烈需求中产生，但与此同时，在展览的过程中，它又是作品再创造、作品再发声的一部分。大家意识到：展览活动、批评活动和创作活动之间的界限逐渐被模糊，真正的主题“如何表达自己的态度”显现出来。
从2006年开始，“A+A”展览见证和参与了中国当代艺术的起伏变化。在当代艺术市场一片大好，各种流行、模仿大行其道的时候，展览选择了一条坚持自我的道路：有内心、不盲从。
二
A+A第六回展邀请了Detlef Waschkau、高波、姜吉安、李岱昀、卢征远、马文甲、蒙志刚、田田、王俊艺、袁佳、张业兴、钟照等12位艺术家。在全球地理疆界和内在感触逐渐被形式化的今天，德国艺术家Detlef Waschkau加入到展览的队伍中，怎样表达成为调和剂把处于不同文化核心的地域艺术家变得相互理解和沟通，成为一部属于想象性的小说。这也是“A+A”展览在以后会一直延续的自由做法，自由抵制限制。
卢征远创作媒介是丰富多彩的，这里展出的是他的写实绘画。但写实技术在这里成为了艺术家要表达的主题，艺术作品是既表现时间又是使时间具体化的混合物；
姜吉安检验个体在媒介（宣纸）中的存在，是通过反复的在宣纸上渲染产生的，身体在时间的推进中达到高难度的技术宣泄，将个体的工作精神融入画面中，传达出来极个人的冷静的膨胀意识；
在搜索“时间”这一概念时，田田发现特定时间的情境无孔不入，情感的智力齿轮在特设的时间场景中自觉自愿地流出温暖；
Detlef Waschkau的画面由很多不同时间段中时间和空间事件组成，用德国人的视角，通过木刻浅雕的蒙太奇手法，表现中国当代生活中五花八门的视觉百态；
高波作品仿佛都藏着一种秘密，这是一个恰到好处的立场，是一种包容的认识态度。浪漫、暧昧、清晰可辨，是对世界复杂性的一种超脱认可；
拍摄日常可见的物体，再将此拍摄之物进行微观化放大处理是王俊艺作品的运用手法，他将日常的所见之物进行放大，熟悉的事物变成另一种物质，以此来引导对视觉的思考；
蒙志刚置身于对空间的探索中，将其进行人文性地表达；
张业兴把描绘的场景设置成为自我的藏身之处，通过对现实物件的描绘避开了掌控他人和被他人所掌控的可能性，将自我形象缓慢地隐藏在表象之后；
李岱昀的画面存在多种可观看的视角，画面中的形象成为她气质散发的载体，既运用了形象，同时又超越了形象本身，使得各种观看方式成为可能。画面自然而然地带出强烈的情绪和气场，女红似的工作方法与外在筋骨的结合，外似粗犷不羁，实际上是细腻之后的释怀；
钟照挪用老房子被拆掉的木门和砖头这些生活中的现成品，用绘画的工作方法将这二者融合。木门和砖头在这种转化中其本身材料的社会性又被重新解释，卸掉的门和被拆碎的砖头是我们正处于各种变化状态中的代名词；
都在使用木头作为材料，马文甲偏重对雕塑中以物反物和古典形式的探索，作品加入很多人文观点在里面。藏在木头书和档案袋里的眼睛，我们可以说物体本身在空间中的存在是一种有意识的存在；袁佳的作品则是诙谐的，工科组装式的结构更像是一个大玩具。相对于马文甲，袁佳并不过多关注意识活动，而更重视作品在情境中是如何生效的，作品中多次出现能与主体发生关系的配角，整个作品更像是一个剧场性和浪漫性很强的生活乐园。
对不同形象的热情发掘，使艺术多种不同的表达变得可寻。在中国当代艺术一直线性运动发展的今天， 一切皆有可能，个个都可言说。正如“A+A”起始之初，不是因为风格手法的趋同，也不是表达主题和内容的相似而有了持续的六届展览。恰恰是“A+A”字面上所凸显、坚持和关注的态度——即正视个体独立和个体差异的态度，这是参展艺术家的创作态度，是策展人选择参展作品的态度，更是“A+A”这个展览始终想要传达给观众观看作品的态度。一路高低起伏走来，远不是坐看云起之时，现在急切要听到的是如何才能踏上自己的节拍。“A+A”这个展览平台会一直精神饱满地向前推动。
文／焦雪雁
Step to Your Own Beat
I.
A+A, beginning as an annual exhibition at PIFO Gallery, adopted a biennial format in 2010. In seven years and six exhibitions, 89 artists have participated, and 25 have participated more than once. Many of these artists have become known through the A+A platform.
A+A got its start from the requests of CAFA students for a place to exhibit their work, but over the years it has become a space for new creations and given works a voice. The boundaries between opportunities for exhibition, discussion and creativity have melted away, and the true theme has emerged: “expression of individual approach”.
From 2006, A+A has witnessed and participated in the changes in Chinese contemporary art. As various fads and imitations dominate the contemporary art market, the exhibition has chosen an independent road of determination and non-conformity.
II.
The sixth A+A has invited Detlef Waschkau, Gao Bo, Jiang Ji’an, Li Daiyun, Lu Zhengyuan, Ma Wenjia, Meng Zhigang, Tian Tian, Wang Junyi, Yuan Jia, Zhang Yexing and Zhong Zhao. As they observe each other, the question is asked how to make comparisons between artists from a mixture of different cultural cores and backgrounds, and the exhibition thus becomes a kind of dialogue.
Lu Zhengyuan’s creative medium is rich with color. Beyond pure realism, his realistic skill has become the subject he wants to express. The pieces are the end result of a process passing through time.
Jiang Ji’an examines the existence of individualism by repeating strokes again and again on rice paper. As time propels itself forward, bringing us along with it, a high level of mastery is achieved, and the spirit of the canvas swells with a calm awareness of extreme individualism.
While analyzing the concept of “time”, Tian Tian discovered the pervasiveness of specific “moments” in time. The intelligent gears of emotion infuse each second of our lives with consciousness.
Detlef Waschkau shows us scenes specific to one location during different periods of time. From a German perspective, he captures visually scenes of contemporary Chinese life.
There are secrets held within Gao Bo’s works, and this is exactly what he wants to express, an acceptance of all that is known and not known. His romanticism and ambiguity is an aloof acknowledgement of the complexities of the world.
Everyday objects enlarged under the lens are the subjects of Wang Junyi’s artistic method. The enlargement of ordinary seen objects gives familiar materials a new appearance, inviting reflections on visual understanding.
Meng Zhigang undertakes an exploration of spatial perspective that exists only in the view of its inhabitants.
By portraying realistic objects, Zhang Yexing avoids the possibility of both manipulating and being manipulated, while he slowly conceals himself within his ideas.
There persist in Li Daiyun’s works multiple observable viewpoints, as the forms on the canvas become a vehicle to transmit her personality. She both uses form and at the same time transcends form itself, making it possible to view the works from different angles. The canvases exude a natural intensity, with the combination of repeated strokes and an external roughness; the finished product is a sigh of release after painstaking work.
Zhong Zhao’s choice of media, old wooden doors and bricks from demolished houses, turns everyday objects into art pieces. The social significance of these original materials in transition has been re-interpreted, the cast-off door and jagged bricks synonyms for the changing circumstances we find ourselves in.
Two more artists working with wood are Ma Wenjia and Yuan Jia. Ma Wenjia emphasizes the investigation of replicated and classical forms in sculpture, and all the while the pieces are taking on a human aspect. With eyes hidden in wooden books and file folders, we can say that the existence of objects is an existence of consciousness. Yuan Jia’s pieces, on the other hand, are humorous, the assembled structures like large toys. Yuan Jia’s works don’t take us through the same process of awareness as Ma Wenjia’s, but place more importance on how the objects are understood in relation to their atmosphere. In the relationship between the leading and supporting roles of the objects, the pieces resemble an intensely theatrical and romantic fantasy.
This passionate exploration of different forms reveals a multitude of artistic expression. In the continuous linear development of Chinese contemporary art, “Everything” is possible; all ideas are expressed. It’s not a convergence of style and method, or a similarity in subject and content that makes this continuing exhibition possible. It’s the attitude A+A conveys—facing head on individual independence and individual differences. This is the attitude of the participating artists, the attitude of the curator in choosing the pieces, and the attitude of the pieces A+A displays. As we move along on our journey, we can’t just sit back and accept what comes; what we need to know now is how to step to our own beat.
Jiao Xueyan
策展人：王新友、焦雪雁
艺术家：Detlef Waschkau、高波、姜吉安、李岱昀、卢征远、马文甲、蒙志刚、田田、王俊艺、袁佳、张业兴、钟照
展览时间：2012年3月23日—4月21日 10:00～18:00（周一休息）开幕时间：2012年3月23日16：00～18：00（星期五）展览地点：偏锋新艺术空间 北京市朝阳区酒仙桥路798艺术区2号院B-11电话： 86 10 59789562邮箱：info@pifo.cn网站：www.pifo.cn
“走出波浪”A+A第六回展将在3月23日开幕。“A+A”作为偏锋新艺术空间从创办开始就一直在推广的展览项目，至今已有六届，从2010年开始，采取双年展的模式向前推进。七年六届的时间中，共92名全国各地艺术家参与，其中25人多次参加，他们通过“A+A”这个展览平台被大家熟知。
本次展览邀请了12位艺术家，他们是：Detlef Waschkau、高波、姜吉安、李岱昀、卢征远、马文甲、蒙志刚、田田、王俊艺、袁佳、张业兴、钟照。
“走出波浪”之后是“Everything”, 一切皆有可能，个个都可言说。正如“A+A”起始之初，不是因为风格手法的趋同，也不是表达主题和内容的相似而有了持续的六届展览。恰恰是“A+A”字面上所凸显、坚持和关注的态度——即正视个体独立和个体差异的态度，这是参展艺术家的创作态度，是策展人选择参展作品的态度，更是“A+A”这个展览始终想要传达给观众观看作品的态度。一路高低起伏走来，远不是坐看云起之时，现在急切要听到的是如何才能踏上自己的节拍。
本次展览将持续到4月21日。
Everything —The Sixth A+A
Curators: Wang Xinyou、 Jiao Xueyan
Artists: Detlef Waschkau、Gao Bo、Jiang Ji’an、Li Daiyun、Lu Zhengyuan、Ma Wenjia、Meng Zhigang、Tian Tian、Wang Junyi、Yuan Jia、Zhang Yexing、Zhong Zhao
Duration: March 23th— April 21th 2012 10:00～18:00（Except Monday)
Opening: March 23th 2012 16:00～18:00（Friday)
Address: PIFO Gallery
B-11, 798 Art Area,No.2 Jiuxianqiao Rd, Chaoyang District, Beijing, China
Tel: 86 10 59789562
E-mail: info@pifo.cn
Web: www.pifo.cn
“Everything: The 6th A+A” will open on March 23. Having begun as PIFO Gallery’s annual exhibition, A+A adopted a biennial format in 2010. In seven years and six exhibitions, 92 artists have participated, and 25 have participated more than once. Many of these artists have become known through the A+A platform.
This exhibition has invited 12 artists: Detlef Waschkau\Gao Bo\Jiang Ji’an\Li Daiyun\Lu Zhengyuan\Ma Wenjia\Meng Zhigang\Tian Tian\Wang Junyi\Yuan Jia\Zhang Yexing\Zhong Zhao.
“Everything” is possible; all ideas are expressed. It’s not a convergence of style and method, or a similarity in subject and content that makes this continuing exhibition possible. It’s the attitude A+A conveys—facing head on individual independence and individual differences. This is the attitude of the participating artists, the attitude of the curator in choosing the pieces, and the attitude of the pieces A+A displays. As we move along on our journey, we can’t just sit back and accept what comes; what we need to know now is how to march to our own beat.
The exhibition will continue until April 21.
踏上自己的节拍
一“A+A”作为偏锋新艺术空间从创办开始就一直在推广的展览项目，至今已有六届。从2010年开始，采取双年展的模式向前推进。七年六届的时间中共有92名全国各地的艺术家参与，其中25人多次参加，他们通过“A+A”这个展览平台逐渐被大家熟知。
这种展览形式最初从美院学生需要展示作品的强烈需求中产生，但与此同时，在展览的过程中，它又是作品再创造、作品再发声的一部分。大家意识到：展览活动、批评活动和创作活动之间的界限逐渐被模糊，真正的主题“如何表达自己的态度”显现出来。
从2006年开始，“A+A”展览见证和参与了中国当代艺术的起伏变化。在当代艺术市场一片大好，各种流行、模仿大行其道的时候，展览选择了一条坚持自我的道路：有内心、不盲从。
二
A+A第六回展邀请了Detlef Waschkau、高波、姜吉安、李岱昀、卢征远、马文甲、蒙志刚、田田、王俊艺、袁佳、张业兴、钟照等12位艺术家。在全球地理疆界和内在感触逐渐被形式化的今天，德国艺术家Detlef Waschkau加入到展览的队伍中，怎样表达成为调和剂把处于不同文化核心的地域艺术家变得相互理解和沟通，成为一部属于想象性的小说。这也是“A+A”展览在以后会一直延续的自由做法，自由抵制限制。
卢征远创作媒介是丰富多彩的，这里展出的是他的写实绘画。但写实技术在这里成为了艺术家要表达的主题，艺术作品是既表现时间又是使时间具体化的混合物；
姜吉安检验个体在媒介（宣纸）中的存在，是通过反复的在宣纸上渲染产生的，身体在时间的推进中达到高难度的技术宣泄，将个体的工作精神融入画面中，传达出来极个人的冷静的膨胀意识；
在搜索“时间”这一概念时，田田发现特定时间的情境无孔不入，情感的智力齿轮在特设的时间场景中自觉自愿地流出温暖；
Detlef Waschkau的画面由很多不同时间段中时间和空间事件组成，用德国人的视角，通过木刻浅雕的蒙太奇手法，表现中国当代生活中五花八门的视觉百态；
高波作品仿佛都藏着一种秘密，这是一个恰到好处的立场，是一种包容的认识态度。浪漫、暧昧、清晰可辨，是对世界复杂性的一种超脱认可；
拍摄日常可见的物体，再将此拍摄之物进行微观化放大处理是王俊艺作品的运用手法，他将日常的所见之物进行放大，熟悉的事物变成另一种物质，以此来引导对视觉的思考；
蒙志刚置身于对空间的探索中，将其进行人文性地表达；
张业兴把描绘的场景设置成为自我的藏身之处，通过对现实物件的描绘避开了掌控他人和被他人所掌控的可能性，将自我形象缓慢地隐藏在表象之后；
李岱昀的画面存在多种可观看的视角，画面中的形象成为她气质散发的载体，既运用了形象，同时又超越了形象本身，使得各种观看方式成为可能。画面自然而然地带出强烈的情绪和气场，女红似的工作方法与外在筋骨的结合，外似粗犷不羁，实际上是细腻之后的释怀；
钟照挪用老房子被拆掉的木门和砖头这些生活中的现成品，用绘画的工作方法将这二者融合。木门和砖头在这种转化中其本身材料的社会性又被重新解释，卸掉的门和被拆碎的砖头是我们正处于各种变化状态中的代名词；
都在使用木头作为材料，马文甲偏重对雕塑中以物反物和古典形式的探索，作品加入很多人文观点在里面。藏在木头书和档案袋里的眼睛，我们可以说物体本身在空间中的存在是一种有意识的存在；袁佳的作品则是诙谐的，工科组装式的结构更像是一个大玩具。相对于马文甲，袁佳并不过多关注意识活动，而更重视作品在情境中是如何生效的，作品中多次出现能与主体发生关系的配角，整个作品更像是一个剧场性和浪漫性很强的生活乐园。
对不同形象的热情发掘，使艺术多种不同的表达变得可寻。在中国当代艺术一直线性运动发展的今天， 一切皆有可能，个个都可言说。正如“A+A”起始之初，不是因为风格手法的趋同，也不是表达主题和内容的相似而有了持续的六届展览。恰恰是“A+A”字面上所凸显、坚持和关注的态度——即正视个体独立和个体差异的态度，这是参展艺术家的创作态度，是策展人选择参展作品的态度，更是“A+A”这个展览始终想要传达给观众观看作品的态度。一路高低起伏走来，远不是坐看云起之时，现在急切要听到的是如何才能踏上自己的节拍。“A+A”这个展览平台会一直精神饱满地向前推动。
文／焦雪雁
Step to Your Own Beat
I.
A+A, beginning as an annual exhibition at PIFO Gallery, adopted a biennial format in 2010. In seven years and six exhibitions, 89 artists have participated, and 25 have participated more than once. Many of these artists have become known through the A+A platform.
A+A got its start from the requests of CAFA students for a place to exhibit their work, but over the years it has become a space for new creations and given works a voice. The boundaries between opportunities for exhibition, discussion and creativity have melted away, and the true theme has emerged: “expression of individual approach”.
From 2006, A+A has witnessed and participated in the changes in Chinese contemporary art. As various fads and imitations dominate the contemporary art market, the exhibition has chosen an independent road of determination and non-conformity.
II.
The sixth A+A has invited Detlef Waschkau, Gao Bo, Jiang Ji’an, Li Daiyun, Lu Zhengyuan, Ma Wenjia, Meng Zhigang, Tian Tian, Wang Junyi, Yuan Jia, Zhang Yexing and Zhong Zhao. As they observe each other, the question is asked how to make comparisons between artists from a mixture of different cultural cores and backgrounds, and the exhibition thus becomes a kind of dialogue.
Lu Zhengyuan’s creative medium is rich with color. Beyond pure realism, his realistic skill has become the subject he wants to express. The pieces are the end result of a process passing through time.
Jiang Ji’an examines the existence of individualism by repeating strokes again and again on rice paper. As time propels itself forward, bringing us along with it, a high level of mastery is achieved, and the spirit of the canvas swells with a calm awareness of extreme individualism.
While analyzing the concept of “time”, Tian Tian discovered the pervasiveness of specific “moments” in time. The intelligent gears of emotion infuse each second of our lives with consciousness.
Detlef Waschkau shows us scenes specific to one location during different periods of time. From a German perspective, he captures visually scenes of contemporary Chinese life.
There are secrets held within Gao Bo’s works, and this is exactly what he wants to express, an acceptance of all that is known and not known. His romanticism and ambiguity is an aloof acknowledgement of the complexities of the world.
Everyday objects enlarged under the lens are the subjects of Wang Junyi’s artistic method. The enlargement of ordinary seen objects gives familiar materials a new appearance, inviting reflections on visual understanding.
Meng Zhigang undertakes an exploration of spatial perspective that exists only in the view of its inhabitants.
By portraying realistic objects, Zhang Yexing avoids the possibility of both manipulating and being manipulated, while he slowly conceals himself within his ideas.
There persist in Li Daiyun’s works multiple observable viewpoints, as the forms on the canvas become a vehicle to transmit her personality. She both uses form and at the same time transcends form itself, making it possible to view the works from different angles. The canvases exude a natural intensity, with the combination of repeated strokes and an external roughness; the finished product is a sigh of release after painstaking work.
Zhong Zhao’s choice of media, old wooden doors and bricks from demolished houses, turns everyday objects into art pieces. The social significance of these original materials in transition has been re-interpreted, the cast-off door and jagged bricks synonyms for the changing circumstances we find ourselves in.
Two more artists working with wood are Ma Wenjia and Yuan Jia. Ma Wenjia emphasizes the investigation of replicated and classical forms in sculpture, and all the while the pieces are taking on a human aspect. With eyes hidden in wooden books and file folders, we can say that the existence of objects is an existence of consciousness. Yuan Jia’s pieces, on the other hand, are humorous, the assembled structures like large toys. Yuan Jia’s works don’t take us through the same process of awareness as Ma Wenjia’s, but place more importance on how the objects are understood in relation to their atmosphere. In the relationship between the leading and supporting roles of the objects, the pieces resemble an intensely theatrical and romantic fantasy.
This passionate exploration of different forms reveals a multitude of artistic expression. In the continuous linear development of Chinese contemporary art, “Everything” is possible; all ideas are expressed. It’s not a convergence of style and method, or a similarity in subject and content that makes this continuing exhibition possible. It’s the attitude A+A conveys—facing head on individual independence and individual differences. This is the attitude of the participating artists, the attitude of the curator in choosing the pieces, and the attitude of the pieces A+A displays. As we move along on our journey, we can’t just sit back and accept what comes; what we need to know now is how to step to our own beat.
Jiao Xueyan
