遊戲開始-文晢個展7月23日開幕丨飛地藝術空間

雖然文晢在他已成為「文晢」的時候就熟練地「用一種藝術表達其他既定的藝術門類」，但他現在認為那是乏味的。過去並不讓他產生厭倦，新的領域甚至在他還沒有完全整理出其規則的時候就已經擺在他面前了，只不過他現在終於變成了他自己的哲學家，自由地編織著一個仿佛只為一代新人所迷戀的系統，試圖說服所有的人去相信現實世界之外的另一個世界。於是，我們有限的藝術經驗不得不重新去檢驗形式與內容之間的既定規則，像作者一樣，把遊戲的理論從遊戲玩弄人變成創作玩弄遊戲。

此處我們應該儘量想起繁體「龍」。

關於這一點，文晢所指也許正是我猜到的:他曾經以參與課題的形式臨摹了大量的古代工筆畫，其中就有《唐人宮樂圖》，這正是我理解的「用一種藝術形式表達其他既定的藝術門類」的典範。說得誇張一點，歷史上除了文晢和我，似乎沒有人把「用藝術表現藝術」當成問題；而且文晢從遊戲是否是藝術這個「問題進行時」入手，似乎也是為了避開「反映現實生活」這個更加既定的藝術法則。在我看來，文晢繼續運用工筆畫和具象手段，卻避免成為現實的俘虜，這得益於他首先在理論上完成了一個跟時代緊密相關的命題。即便我們不得不繼續待在現實世界或歷史過去時中，也會對這樣一種觀念探索充滿好奇。

《VOXEL-201-能量單元》

50x50cm，絹本設色、礦植物顏料 、宣紙，2022

《CAVE-101-規則 》

99x99cm，絹本設色、礦植物顏料、金箔， 2022

《CAVE-012-封禁 》

33x24cm，絹本設色、礦植物顏料、鋁箔、宣紙， 2021

GAME - RULE

For the first people who know Wen Zhe，Wen Zhe is Wen Long.

「Long」 (龍; dragon, a symbol of classical Chinese aesthetics) has become 「Zhe」 (晢; bright, apparent, similar to the character for philosophy), just as in this exhibition the intricate traditional Chinese naturalistic painting technique of gongbi has become code and online game. The artistic technique has broken free from its defined and familiar cultural context to become the set of rules that inhabit a virtual world and govern an online game – a conversion from totem worship to digital faith. As the artist puts it, the allure of these rules as they appear in artistic form is a result of the fact that their aesthetic nature has yet to be discussed.

When Wen Zhe truly became 「Wen Zhe,」 he was already familiar with the idea of 「using art to express other established forms of art,」 but now he finds this approach lacking. It is not that the past bores him – new fields appear before him before he has even had the chance to put their rules in order – it’s just that he has finally had the chance to become his own philosopher; freely creating a new system that will apparently only appeal to a new generation, attempting to convince everyone that another world exists beyond our reality. As such, our limited artistic experience has no choice but to test once again the established rules of the relation between form and content – to transform, as the artist himself does, the theory of games from the question of games playing with humans into that of art playing with games.

Here we must try to remember the traditional character for dragon, 龍, the right side of which resembles a totem.

I suspect what Wen Zhe is referring to here is the way in which as a participant in projects he used to trace numerous ancient gongbi paintings, such as the famous work A Palace Concert. This is precisely what I understand to be a typical example of 「using art to express other established forms of art.」 To put it in somewhat overblown terms, aside from Wen Zhe and myself, there does not seem to have ever been anyone who has really considered the question of 「using art to render manifest art.」 It seems that Wen Zhe begins in media res from a question in progress – the question of whether online games are art – to avoid the established artistic concern of 「reflecting real life.」 In my opinion, Wen Zhe can continue to use the concrete technique of gongbi while avoiding becoming a slave to reality in large part because he first completed the theoretical work of considering a question that is pertinent to our age. Although we cannot help but remain in this reality or historical past, we can still be full of intrigue about this conceptual exploration.

Chen Tong

Translated by Stephen Nashef

關於藝術家

About the Artist

文晢，生於1990年，現工作、生活於杭州和廣州。畢業於廣州美術學院中國畫系，2012年獲學士學位，2015年獲碩士學位，兼任廣州美術學院中國畫學院外聘教師。

文晢的創作以工筆畫為主要媒介，畫面語言深受中國傳統繪畫的啟發，圍繞散點透視、歸納簡明、純凈透疊展開探索，試圖結合個人表達以讓古老的語彙催生出新的感知體驗。

在近年的創作中，藝術家以電子遊戲的生產模式作為創作方法，讓中國傳統繪畫語言與遊戲數碼語言在畫面中充分對話。現實情境和遊戲意象由此解構交錯成慢慢滋生的虛擬世界，傳統繪畫中的思維空間成為了遊戲與藝術之間的通道。在那裡，數碼擬象與工筆寫實、正交視圖與散點透視、素材拼貼與造型模件，在古今虛實之間，一種「莊周夢蝶」式的空間被渲染出來，呼應著當下諸多年輕人的生存狀態。

文晢個展有《遊戲開始》，飛地藝術空間，深圳（2022）；參加過的部分展覽有：「藝術深圳」，深圳會展中心/飛地藝術空間，深圳（2021）；《學院新方陣第十二屆年展》，今日美術館，北京（2019）；「國之光——從《神州國光集》到《中國歷代繪畫大系》」，浙江大學藝術與考古博物館，杭州（2019）；《青春心印——2019 第六屆關山月美術館青年工筆畫展》，關山月美術館，深圳（2019）；《青春心印——2018 第五屆關山月美術館青年工筆畫展》，關山月美術館，深圳（2018）；《新人·新水墨——2017 五行會籌款義賣水墨專場》，博爾赫斯書店藝術機構，廣州（2017）；《省城》，本來畫廊， 廣州（2016）；《今日美術館2015藝術院校大學生年度提名展》，今日美術館，北京（2015）。且作品被博爾赫斯書店藝術機構、楊鋒藝術與教育基金會、關山月美術館、廣州美術學院和陝西歷史博物館所收藏。

Wen Zhewas born in 1990. He graduated from the Chinese Painting Department in the Guangzhou Academy of Fine Arts with bachelor’s degree in 2012 and master’s degree in 2015. He currently works and lives between Hangzhou and Guangzhou. He also teaches in the Guangzhou Academy of Fine Arts.

Wen Zhe’s primary medium is gongbi and his work is profoundly influenced by Chinese traditional painting. Using the techniques of combining multiple perspectives into one vista, condensing a scene to its key elements, and depicting transparent overlapping figures, he attempts to draw on the powers of individual expression to inject the vocabulary of classical painting with new perceptual qualities.

In recent years, Wen Zhe has made the mode of production of online games his artistic method, forcing the languages of Chinese traditional painting and online game code into dialogue with one another. Through this act of deconstruction, the interplay between real situations and online game images gives rise to a virtual world in which the imagined space of traditional painting becomes a conduit between game and art. It is a space that lies between the digital simulacrum and gongbi representation, Cartesian three-dimensional space and the multiperspective vista, artistic collage and modular frameworks, the past and the present, the real and the virtual. A space is rendered that recalls Zhuangzi’s dream of the butterfly and reflects many young people’s contemporary existence.

Wen Zhe’s recent solo exhibition includes: GAME ON , Enclave Contemporary, Shenzhen (2022). He also participated in the following exhibitions: Art Shenzhenin the Shenzhen Convention & Exhibition Center and Enclave Contemporary, Shenzhen (2021); The 12th Anniversary Exhibition New Academy Elite in Today Art Museum, Beijing (2019); Light of a Nation – From 「National Light of the Divine Land」 to 「A Compendium of Chinese Painting Through the Ages」 in Zhejiang University Museum of Art and Archaeology, Hangzhou (2019); Youth Koans – The Sixth Guan Shanyue Art Museum Youth Gongbi Exhibition 2019 in Guan Shanyue Art Museum, Shenzhen (2019); Youth Koans – The Fifth Guan Shanyue Art Museum Youth Gongbi Exhibition 2018 in Guan Shanyue Art Museum, Shenzhen (2018); New Human, New Ink Wash – The Wuxing Association Charity Ink Wash Sale in the Libreria Borges Contemporary Art Organization, Guangzhou (2017); Sang Shing in bonacon gallery, Guangzhou (2016); and 2015 Annual Nomination Exhibition for Students of Contemporary Art Academies in Today Art Museum, Beijing (2015). His work is featured in the collections of Libreria Borges Contemporary Art Organization, the Yang Feng Art and Education Foundation, Guan Shanyue Art Museum, the Guangzhou Academy of Fine Arts and the Shaanxi History Museum.

關於策展人

About the Curator

陳 侗，1962年生於湖南寧鄉，1983年畢業於廣州美術學院中國畫系，現任廣州美術學院中國畫學院副院長。

自1992年起，創辦有「實驗藝術叢書」、博爾赫斯書店及其藝術機構、午夜文叢、錄像局(聯合)和本來畫廊等項目和機構。2010年獲法國文化部頒發「文學藝術騎士勳章」。

Chen Tong, born in 1962 in Ningxiang, Hunan Province, graduated from the Chinese Painting Department of Guangzhou Academy of Fine Arts in 1983, and is currently the Vice President of the Chinese Painting School of Guangzhou Academy of Fine Arts.

Since 1992, he has founded projects and institutions such as 「Experimental Art Series」, Libreria Borges and its art institutions, Midnight Series, Video Bureau and Bonacon Gallery. 2010, he was awarded the "Chevalier de l'Ordre des Arts et des Lettres" by the French Ministry of Culture.

Related Readings

文晢，古今虛實間的工筆圖冊｜飛地藝術空間

藝術家和飛地藝術空間

圖片由藝術家提供

排版：湯若冰 王海納

海報製作助理：覃煜祺

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關於飛地藝術空間

About Enclave Contemporary

作為飛地品牌旗下的全新畫廊，飛地藝術空間ENCLAVE CONTEMPORARY立足中國大灣區深圳，以輸出開創性的展覽與內容為核心己任，與今天的藝術家和觀眾共同探討全球語境和背景下的當代藝術如何參與社會與時代的激變和革新。除了為充滿活力與獨創性的藝術家們提供持續專業的代理、推廣與學術研究工作，飛地藝術空間也將積極為全球視野下的藝術機構與收藏家提供具有建設性和前瞻力的諮詢與服務。

As a new gallery under the Enclave flagship, ENCLAVE CONTEMPORARY, based in Shenzhen, an essential integral of the Greater Bay Area of China, whose core mission is to produce ground-breaking exhibitions and contents that explores the way in which contemporary art practices engage in radical changes and innovation in a global context, with the artists and audience. In addition to providing ongoing professional representation, promotion, and academic research for dynamic and unique artists, Enclave Contemporary will also actively offer constructive and forward-looking advice and services to art institutions and collectors with a global perspective.

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