展讯 | “刻画存在” - 申效武个人作品展将于10月12日开幕

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展讯 | “刻画存在” - 申效武个人作品展将于10月12日开幕

来源: 礼县博物馆发布时间：2024-01-26 09:35 浏览次数：2741次

学习二十大

弘扬史文化

举旗帜聚民心育新人兴文化展形象

刻画存在--申效武个人作品展

Portraying “Being”---Individual Exhibition of Shen Xiaowu

开幕酒会：10月12日上午11点20 星期四

Opening: 11:20, 12^th October, 2023

展期：2023.10.12--2023.10.21

Durition: 12^th October,2023- 21^thOctober, 2023

地点：甘肃秦文化博物馆

Exhibition Adress: Lixian Museum

展览统筹：曹波

学术主持：孟小为

主办：礼县文学艺术界联合会

承办：礼县美术馆、礼县博物馆、

协办：礼县美术家协会

前言

申效武同学在本科期间就表现出较为突出极具特色的绘画能力，屡次在年展上露面与获奖。读研时我担任他的研究生导师，他能认真从事自己的研究课题，在自己已经形成的艺术语言上不断的进行探索和推敲，在创作上有自己独立的思考与展现。

此次的展览是他对家乡人民的一个回报，也是一次汇报，是对他这十多年来比较全面的一个创作路径的呈现。从素描到油画人物，到身体局部，到风景和纸本绘画能看到他艺术探索上一路走来的艰辛，看到他对人生和生命存在的思考，看到他坚实的绘画基础，以及对造型、色彩和绘画语言的探索和研究。

艺术的道路是艰难又漫长的，希望申效武同学在生活中坚守自己的信念，把生活的风雨当作艺术的养料和土壤，开出不败的花朵。

预祝展览成功!

庞茂琨（中国美术家协会副主席、四川美术学院院长、中国美术家协会油画艺委会主任）

创作自述

在大学期间，我对素描产生了浓厚的兴趣。我的创作最早是从素描入手，从课堂作业式的光影、透视、解剖学院素描到对线的主观无意识表现，我经历了很长时间的探索和挣扎。本科毕业时，我画了同学和身边的朋友。在素描向油画转变的探索中，我曾面临思想无的放矢，找不到表达出口，找不到表达路径的痛苦。记得当我画出第一张从素描里脱胎出来的油画时，我感觉我的任督二脉瞬间被打通了，柳喑花明那是仿佛看到了新大陆，找到新航线一样的兴奋感。在我看来，比起学院素描的光影明暗，线更具有生命力和想象力以及活力。早期的绘画里我始终在探索那种无意识的、未知的、抽象的、缭乱的线和人物的某些内在情感的呼应。

During my college years, I developed a strong interest in sketching. My oil painting started with sketching, and I have experienced a long time of exploration and struggle, from light and shadow, perspectivity, anatomy, acdemism sketch to subjective unconscious expression of lines. In the graduate exhibition, my oil paintings were about my classmates and friends around me. In the process of exploration, I suffered from lots of pains because I couldn’t express my thoughts properly and find an appropriate way to express myself. I still remember my feeling at the moment I successfully drew the first oil painting. I felt as excited as if I had seen a new continent and found a new route because I found my way to express my thoughts. In my opinion, lines are more vital, imaginative, and dynamic compared to the light and shadow in acdemism sketches.In my early paintings, I always explored the unconscious, unknown, abstract, and confusing lines that echoed certain inner emotions of human beings.

《人体》纸本素描全开申晓舞 2008年

《死去的光·2》布面油画 160cm×180cm 申晓舞 2010年

本科毕业时，我写了一篇《浅谈从素描训练到油画创作》的文章，来梳理自己对素描和创作关系的认识。在攻读研究生期间,我持续着自己以人物为主题的创作，同时也画了些局部如：脚、手等。画局部更多的想强调人的“存在”和肉体生命的人，而不是以前创作中具体的某一个社会属性的人。如：《相》系列，中国人自古有看手相算命一说，我想通过“手”来表达对人生命自身存在的思考和对命运的质询。研究生毕业时，我写了一篇《浅析具象绘画中的存在主义美学意识及当代意义》的文章。简单的梳理了存在主义美学作为一种美学思想对具象绘画实践的影响及当代意义，其实也可以视为存在主义美学对表现主义绘画的影响。

When I graduated from undergraduate studies, I wrote a paper titled “On the Transition from Sketch Training to Oil Painting Creation” to illustrate my understanding of the relationship between the creation of sketch and oil painting. During my postgraduate studies, I continued to paint in the same direction as before and also started drawing some parts of human beings such as feet and hands. By drawing parts, I aimed to emphasize the “being” of human beings and their physical life, rather than the specific people based on the social identities in previous paintings. For example, in my paintings collected in the “Xiang” series, I wanted to use the “hand” to express my thoughts on the existence of human life and question about fate. My inpiration was from a traditional custom among Chinese people--fortune telling is based on palmistry. When I graduated from graduate school, I wrote a thesis titled “A Analysis of Existentialist Aesthetic Consciousness and Contemporary Significance in Oil Painting”. I briefly reviewed the impact and contemporary significance of existential aesthetics as an aesthetic ideology on oil painting practice, in other words, the impact of existential aesthetics on expressionist painting.

《相·3》 200cmx160cm 申晓舞布面油画

研究生毕业后，离开学校的温床，离开川美那片艺术的乐土，我像一粒撒向荒野的种籽。那一年，我的生活发生了很大的变化，遭遇了一些困顿。进入社会后，曾经的自己被现实击碎。我通过艺术来疗愈自己，在一定的程度上它促使我学习，时刻提醒我阻止生命活性的消失，激励我保持初心和激情，同时也约束着我坚守底线。在现实的肉搏中，我这才意识到以前零碎的阅读获得的知识更多是苍白的概念。在遭遇现实时，这些知识才转化为我刻骨铭心的经验，也让我明白了绘画经验的获得更多的应该建立在体验的基础上，而不是呆在画室里天天看画册。海德格尔在《存在与自由》一书里提到“向死而生”的意义，即只有你无限接近死亡，才能深切感知生命的意义。在存在主义美学的概念中，荒诞、孤独、痛苦是人精神存在的应有结构之义。如果一个人无法体验到荒诞，那么他的存在就无关紧要。桌子感受不到痛苦，石头感受不到孤独，树叶也感受不到孤独。然而，正是生活中的荒诞孕育了艺术。我通过艺术这种表达方式或者说借助于绘画来呈现个体对生命的自觉想象，这也是我自本科到读研究以来创作的主线。艺术应该引发人们对情感和生命意义的深入思考，从而让人活的更像人。艺术也弥补着人生的不足，使生命在诗意层面上获得完整，驱散虚无。

Graduating from graduate school, I left the hotbed and paradise of art—Sichuan Fines Arts Institute. I felt like a seed scattered on the wilderness at that time. That year, my life also underwent significant changes and I felt exhausted at one time. After entering society, my past self was shattered by reality. Then I tried to heal myself through painting. Actually, creation to some extent motivated me to learn, kept reminding me to prevent the disappearance of life vitality, inspired me to maintain my original intention and passion, and also constrained me to stick to the bottom line of morality. Combating with reality for several years, I realized that the knowledge I gained through fragmented reading before was more of plain concepts. I didn’t truly understand the knowledge I gained through reading until I experienced more in society. I also realized that the improvement of painting should be based more on firsthand experience, rather than staying in room and looking at painting books every day. In the book “Being and Time”, Heidegger mentioned the meaning of “living towards death” -- only when you are infinitely close to death can you deeply perceive the meaning of life. Likewise, in the concept of existentialist aesthetics, absurdity, loneliness, and pain are the natural feelings of human beings, which is a sign of spiritual existence. If a person cannot feel absurdity, his life would be meaningless, living like tables, stones and leaves. Because tables cannot feel pain, stones cannot feel loneliness, and leaves cannot feel loneliness. It is the absurdity in life that nurtures art. Painting is my way to present my individual conscious imagination of life, which also is the theme of my painting from undergraduate to graduate studies. In my opinion, art should stimulate people’s deep thinking about their emotions and the meaning of life to make people live like themselves. Art also can compensate for the missing of certain aspects in life, making it complete on the poetic level and dispelling nihility.

《冬天最后的一块冰》40cm×30cm 布面油画申晓舞

《冬天最后的雪》80cm×60cm 布面油画2019年申晓舞

在底层工作，远离主流和中心。环境给了我看待社会和生活特殊视角的同时，也吞噬着我。艺术时常让我自我麻醉，让我分裂，让我完整，又让我自我生成，侵蚀有时也是滋养。我也经常警惕自己的参与，始终保持一种距离，以便让自己更有意义的去参与“游戏”。

Working at a county art museum and being away from the mainstream and center of power. The working environment not only gave me a special perspective to see the society and life, but also engulfed me. Painting often anesthetized and split me, but at the same time cured and enhanced me. So eroding sometimes can be nourishing. I am often vigilant about my participation in some social activities and always maintain a distance with some people in order to participate in the “game” more meaningfully.

《演员》四开纸本申晓舞 2017年

驻村帮扶时，创作上为了方便我开始了纸本材料的探索。其实也仅仅是换了一种材料，零碎的小画不成系统，碎片化的记录更像是对不甘坠落的回响。水性材料的流淌性除了有种治愈感，更多的是如日记般地真切。探索风景，主要是因为我喜欢北方的山，当然我并不是像古人一样要去追求天人合一的境界或者诉诸于视觉的感官美。在风景的载体上如何表现个体的存在价值、主体的痛苦、社会的气息这才是我持续努力探索的方向，然而至今我仍在探索的路上。生活的不确定性主导着艺术发展的可能性。今天，我想不管画什么，生活中最触动人心的，往往不是美而是真。

During the time when I worked in countryside, I started to explore painting on paper for the sake of convenience. In fact, it’s just a change of painting material. During that time, my paintings were small in size and fragmented in theme, and could not form a system. The fragmented records were more like my resistance to fall. The fluidity of painting materials could cure me, and the paintings were like my life diary. I like exploring natural scenery because I like the mountains of my hometown in northern China. However, my drawing of mountains is not to pursue the harmony between heaven and man like the ancients or resort to visual sensory beauty. My focus is how to express the value of individual existence, the pain of humans, and the atmosphere of society by painting scenery, and I am still on the way of exploring. The uncertainty of life dominates the possibility of artistic development. So currently, I think that whatever you paint, the most touching thing is often not beauty but truth.