梳理——重启中国当代艺术4月19日在北京索卡艺术中心举办此次展览，旨在梳理中国当代艺术发展之脉络。
本次展览参展艺术家包括从早期的林风眠、吴冠中、赵无极到当代的刘丹、徐累等中国当代艺术史中的大师。他们的作品突破媒材，不仅有采用中国传统的媒材——水墨，也有借鉴西方艺术的油画技巧与观念。虽然所用媒材各异，但是在思想上，艺术家们都是以东方传统美学出发，以中体西用的美学价值作为自己艺术的追求目标，他们在当代的基础上融合东西方艺术并探索出新的艺术语言，使他们的艺术具备了大时代中的当代审美价值。
此展将持续至2014年6月7日。
梳理——重启中国当代艺术
夏可君（中国人民大学教授、博士、艺术评论家、策展人）
中国当代艺术来到了它的节骨眼上：一方面，过去二十年以玩世和艳俗以及卡通为代表的当代艺术模式已经式微，它缺乏绘画本体语言上的贡献，也缺乏深度的文化历史感与精神深度；另一方面，如何重新挖掘已经做出贡献的艺术家及其作品，“梳理”出这些被忽视作品的历史地位，并作为未来中国艺术的起点，“重启”一种新的可能性，无疑这是当下最为紧迫的工作。
因此，首先的任务是“梳理”出不同于已有叙述的另一种模式，它能够贯通历史，帮助我们寻找到中国艺术内在性转化的道路。这个起点也是为了让中国艺术走向世界，其实，二十世纪的华人艺术已经贡献了世界性的艺术家，比如赵无极与朱德群。我们要建立的是一个贯穿历史传统，穿越二十世纪现代艺术，走向未来与世界的总体蓝图，本次索卡艺术空间的《梳理——重启中国当代艺术》大展就是通过十四位艺术家的作品，为中国当代艺术“重启”一个新的方向。
那么，这次展览的艺术家及其作品就相当重要了，这是索卡艺术空间过去二十多年精心的收藏展，它有着多个方面艺术史的贡献：
其一，这是索卡空间负责人萧富元先生个人的收藏展，体现出他个人的独特品味以及对艺术史的敏感，他避开了过去二十年的波普艺术，因为作为一个台湾人他有着自己的收藏追求，这些收藏体现出他个人的深厚文化背景以及艺术旨趣。从八十年代对林风眠最早的收藏开始，到后来收藏赵无极与朱德群，以及徐冰与洪凌的作品，萧先生接续的是中国艺术内在转化的脉络，是一条东西方艺术结合的道路，从这个展览可以看出索卡艺术空间自己几十年的风格。而且这次展览，在地域上横跨大陆与台湾海峡两岸，以及欧洲旧大陆与美国新大陆，体现出中国当代艺术全球性的幅度。
其二，本次展览为我们梳理出一个新的艺术进路，是一次重写中国现代艺术史的展览，由此可以开展出一条新的艺术道路。作为最早一批留学国外，并且尝试与中国文化，尤其是水墨精神有所结合的艺术家，林风眠作为老师也是第一代的开创者，而随后的吴冠中以及赵无极等人，都曾留学法国，这个谱系不同于后来被官方的意识形态所征用的徐悲鸿的现实主义，而是更为强调艺术家生命经验与艺术本体语言的追求，是追求意境建构与语言创新的创作，这不是民族国家的叙事，不是意识形态的诉求，而是对艺术本身的探索成为一生的目标，而且有着共有的方向，即试图寻找到东西方艺术的结合点，以融合东西方艺术来探索出一种新的普遍语言。
其三，本次展览也是为未来的中国艺术确定一个方向，是重启中国艺术，是建立一个新的开端，通过一个个艺术家的作品，通过他们形成的艺术语言，试图提供一个可能的方向，这就为我们讨论中国当代艺术提供了一些蓝图，有着极强的学术性。
因为中国传统艺术有着自身独立的语言体系，尤其是水墨艺术，但如何从水墨性的感知模式、思维方式以及精神境界上，实施全方位的转换，而且与西方现代性的艺术对话，这是一个复杂的探索过程，作品的实践迫切需要艺术理论的讨论。我们也可以看到不同的艺术家都有自己的追求与探索，而且也让我们看到一个与西方现代主义艺术逐步对话的过程。
我们可以试着把这个过程区分为几个阶段，它并非是发展或进步的演变，而是不断丰富的过程：
第一个阶段，是留法的两代人，他们主要出生于1910-1920年代，首先是出生于1900年的林风眠这位老师，他把立体派的造型与中国人物画的线条结合，形成了自己简约而富有韵态，透明而沉静的仕女形象，而在风景画上则以空寒而萧瑟的意境取胜。随后的赵无极则是把传统山水画的基本笔法，把勾皴点染的水墨技术融入到油画的笔触之中，以山水画的气感融入到西方色差的光感，走向了抽象抒情的风景，但依然保留了传统的意象，并非纯然抽象；与之同时的朱德群则是把西方明暗对比的强烈光感与山水画中石块生命化的生长性结合，让抽象回到了自然性。如果作为林风眠学生的赵无极和朱德群一直在法国发展，并且以油画的方式做出了卓越贡献。而另外两位弟子则有所不同，都主要以水墨为主，吴冠中回到了中国，把水墨的黑白对比与经过简化后的南方白墙黛瓦的建筑形式结合起来，形成了自己油画的色感，并且从南方千年枯藤的生命线上抽取出水墨线条的生动形式，也与波洛克旋转眩晕的抽象线条展了对话；还有去往美国纽约发展的赵春翔，则以纯然水墨的黑色色块以及书写性的笔触融入生命的激情，结合几何块面和概念式的文化图腾符号，在材质上则以水墨的滴洒和流淌，以及荧光色的华彩和宗教性而引人注目。当然还有去往美国的丁熊泉，以其单纯欢愉的东方色彩，在马蒂斯与常玉之间找到了自己鲜艳的线条和色块造型，女性躯体有着仕女的柔婉以及西方的肉体性感，能够如此沉迷于色彩的欢愉，而且色调如此富有东方韵味，这在中国艺术家中异常罕见的。
我们可以说，第一个阶段的重点是把抽象性的西方形式语言还原为自然性的精神，无论是意境的还是肉体的，在色彩与笔触上，在形体与形式上，都有着极强的东方韵味，但其视觉语言又是国际的。
第二个阶段则以朱铭、刘国松与尚扬为代表，他们主要出生于1930-40年代。这几位艺术家更为自觉回到东方的自然性，纯然从自然性出发，结合制作性与自然性。刘国松早期对宣纸的撕裂制造出肌理触感，对宇宙天空的现代想象，也是重建艺术与自然的感通关系，并且影响了整个中国大陆的现代水墨，是现代水墨的开启者；尚扬《董其昌计划》的巨幅作品则就人类对自然的破坏有着反省，以皴裂、照片拼贴，以及石块的抽象简化等等方式，促使我们反省自然的破坏，而在《册页》等小幅作品上让米氏云烟则以新的迹象再次来临，画面上时间的包浆感让山水画的文化记忆得以余留，是意念的感怀和山水古意的重临。而朱铭的雕塑作品则以其太极系列，把中国的功夫所内涵的身体感，在简化形体与突出精神内涵中，让人触感到石头的身体气息，是典型的东方雕塑。
第三个阶段则以徐冰与蔡国强，刘丹和徐累为代表，这些艺术家主要出生在1950年代，这个阶段的艺术特点是更为强调西方艺术的观念性，除了出生于1960年代的徐累，其它几位主要生活在美国，并都在国外形成了自己的艺术语言。徐冰的《天书》和《中英文书法》，是把汉字做成假字，以多余无用的中国智慧让汉字超越文化的释读，走向纯然的形式，带来了解构式的震惊，而《中英文书法》则超越了东西方文化的局限，让汉字在书写中生成为英语，让自身与他者的现代性主题得到了最佳的艺术体现，并且还余留了书写的仪式性。而蔡国强则是挖掘传统的技术发明，以炸药的瞬间偶发性爆破在纸上留下痕迹，拓展了水墨的质感，不仅仅是水性，还有火性，很好地结合了观念性与制作的偶发性。另外两位艺术家，则更为回到古典，却把古典带往现代的感受之中，刘丹的水墨作品把西方的古典雕像、北宋的山水画以及视觉上的日常错置，以其严谨的构造与细腻的笔法，把绘画重新带入到经典的地位，保留了东方山水的自然质地，试图重新呈现中国艺术的永恒性，这是未来中国艺术的一个根本方向。而徐累则虚化了工笔，把自然的月亮与象征梦境的马并置，带来视觉的朦胧，有着梦幻一般的诗意。
而尤为需要重点讨论的是出生于1950年代画家——洪凌的作品，作为北方艺术家却自觉回到了南方自然的怀抱，与黄山二十年的深度交流，全方位把山水画的感知模式与思维方式与西方风景画的色彩结合，尤其是对雪景图的反复表现之中，彻底复活了传统空寒与荒寒的意境，拓展了赵无极的精神意境，比之前的抽象抒情更为彻底地回到了自然性，达到了心灵与自然的默契。
通过这三阶段以及三代人的基本考察，我们看到了这些艺术家都是从传统的各个方面出发，来试图与西方的现代性艺术对话，形成个体的语言风格，同时试图复兴中国艺术的永恒性，中国式绘画艺术的任务就在于：在赵无极之后，如何更为彻底与丰富地重建自然精神与现代生活的关系，融合山水画与风景画，这就有必要重新激活自然造化、自然生化与自然活化的中国艺术精神，这将势必重启一个新的未来中国艺术。
Combing Out - Restarting Chinese Contemporary Art
Xia Kejun
Chinese contemporary art has arrived at a critical juncture. On one hand, the light, flashy, and cartoonish representations of the contemporary art model over the past two decades have been in a state of decline. They lacked the contributions that body language bestows on a painting as well as any spiritual, cultural, or historical depth. On the other hand, how do we re-excavate artists who have already made their contributions, and their artworks? “Combing out” the historical status of neglected works serves as a starting point for the future of Chinese art and the “restart" of new possibilities. This is, without a doubt, the most urgent task at the moment.
Thus, the first mission is to “comb out” an alternative model different from those already narrated. This model would be able to link history and help us find the transformative road that lies innately within Chinese contemporary art. This would act as a starting point for Chinese contemporary art to take a further step into the world at large. In fact, 20th century Chinese artists, such as Zao Wou-Ki and Teh Chun-Chu, have already made their contributions to the world of art. We want to establish a link of historical traditions that passes through 20th century modern art and towards an aggregate blueprint for the future and the world. At Soka Art Center, this exhibition, Combing Out - Restarting Chinese Contemporary Art, puts on display the works of fourteen artists as an attempt to “restart” a new direction for Chinese contemporary art.
And so, the artists and their works in this exhibition can be considered relatively important. It displays the results of meticulous collection by Soka Art Center over the past twenty years, which serve as contributions to many aspects of art history:
First, this exhibition displays the personal collection of the director of Soka Art Center, Mr. Xiao Fuyuan. It embodies his personal tastes and unique level of sensitivity towards art history. He has avoided the past two decades of pop art. After all, as a Taiwanese person, he has his own desires for his personal collection. These collections reflect his substantial cultural background and artistic tastes. From his earliest collection of works by Lin Fengmian in the 1980’s to the later works of Zao Wou-Ki, Teh Chun-Chu, Xu Bing, and Hong Ling, Xiao continues the context regarding the innate transformation of Chinese art - a path that combines Eastern and Western art. From this exhibition, we are able to observe the unique style that has belonged to Soka Art Center for decades. This exhibition crosses the regions of China and Taiwan, as well as the old world of Europe and the new world of America, to manifest the global scale of contemporary Chinese art.
Second, this exhibition helps us comb out a new route of art and rewrite the history of Chinese contemporary art, thus paving a new road for art. As a part of the earliest wave of students that went to study abroad, these artists attempt to integrate Chinese culture with the world, especially with the spirit of ink. Lin Fengmian is a teacher who belongs to the first generation of artistic pioneers. Subsequent artists, such as Wu Guanzhong and Zao Wou-Ki, have all studied abroad in France. Their pedigree is different from the later official ideologies expropriated by Xu Beihong’s realism. Instead, more emphasis is put on the life experiences of the artists as well as their pursuit of an artistic body language. This served as a quest for artistic conception and innovative language. This is not a nation-state narrative, nor is it an ideological demand. Instead, the exploration of art itself serves as a goal in life. A mutual direction is held in an attempt to find a point for integrating Eastern and Western art, which unearths a new kind of universal language.
Third, this exhibition sets a definite direction for future Chinese art; it restarts the field and establishes a new beginning. The event attempts to supply a possible direction through the works of the artists and their formation of an artistic language, providing a blueprint to aid our discussion of contemporary Chinese art. This exhibition clearly possesses a strong academic nature.
Traditional Chinese art features an independent language system, especially in ink and brush artworks. Yet, what way is there to implement a full range of conversion along an artistic dialogue with Western modernity through the perceptive modes, thought processes, and spiritual realm of ink? This is a complex process of exploration in which the practice of art is faced with a dire need for discussion regarding art theory. We can see that different artists have their own goals and ambitions. We also see a gradual process of dialogue with Western modernist art.
We can attempt to divide the process into several sections. It is not an evolution of development or progress, but rather a continuous process of enrichment.
This first section focuses on individuals from across two generations who studied in France, Most of these artists were born between 1910 and 1920. The first of these individuals is Professor Lin Fengmian, who was born in 1900. He combined a cubist style with the lines of Chinese figure paintings, forming his own simple yet elegant rhythm. Following him is Zao Wou-Ki, who incorporated the basic strokes of traditional landscape painting and the hook and dip ink skills into the brushstrokes of oil painting. He integrates the ambiance of landscape paintings into the light perceptions of Western chromatic aberration, while moving towards abstract lyrical landscapes. Yet, he still retains traditional imagery so his works are not purely abstract. Meanwhile, Teh Chun-Chu integrates the strong light perception of Western contrasts in brightness with the flourishing vitality of rocks found in landscape paintings, letting abstractions return to their natural state. The students of Lin Fengmian, Zao Wou-Ki and Teh Chun-Chu continued to stay in France, contributing immensely to the world with their oil paintings. Two other disciples of Lin have been different, however, with their preferences in ink. Wu Guanzhong returned to China and combined the architectural forms of southern white walls with black tiles, which were simplified versions of black and white contrasts of ink. This constituted his own sense of oil paintings, which drew out vivid ink lines from millennia of Southern withered lifelines. It has also resulted in the establishment of a dialogue with Pollock’s rotary vertigo abstract lines. Chao Chung-Hsiang went to New York in America to further develop his skills. He integrates pure black ink color blocks and calligraphic strokes into a passion for life, merging geometric patches with cultural totems and symbols. He also uses the beauty and flow of ink on materials to compel fluorescent colors and religious auroras. Another artist, Walasse Ting, went to stay in America. He uses the simple pleasures of Eastern atmospheres, finding his own style of bright lines and colors that echoes those of Henri Matisse and Sanyu. His depiction of female torsos features gentle feminine qualities paired with a sexy Western physique. They are infused with joyful colors and a sense of Eastern charm, which is a sight rarely seen in Chinese artists.
We can say that the key point of the first section lies in restoring the spirit of nature from Western abstract language for forms. Whether it is physical or conceptual, in colors and brushstrokes, or in shapes and forms, they all possess a strong Eastern rhythm along with an international visual language.
The second section places Ju Ming, Liu Guosong, and Shang Yang in the role of representatives. The artists of this stage were mainly born between 1930 and 1940. These artists are more conscious in their return to the natural characteristics of the East. Purely starting from these natural characteristics, they integrate production with nature. Liu Guosung was originally interested in the tearing of rice paper to produce tactile sensation. These works serve as modern imaginations regarding the sky and universe, as well as a reconstruction of the relationship between art and nature. He influenced the entire modern ink movement in mainland China, and is considered the founder of modern ink. Shang Yang’s massive work, The Dong Qichang Project, displays human reflections regarding the destruction of nature. Using methods such as chapped rips, photo collages, and abstract and simplified stones, Yang prompts us to reflect on the destruction of nature. Painting Album and other minor works provide a new look at Mi’s Cloud and Smoke through new traces. The sense of time exuding from across the image enable the retention of cultural memories of landscape paintings, while revealing idealistic sensations and revisiting the ancient atmosphere of landscapes. Ju Ming’s sculptures in the Tai Chi Series enable people to feel the physical ambiance of stone through the essence of Chinese kung fu, using simplified forms with prominent spiritual connotations. They are very classical Eastern sculptures.
The third section consists of Xu Bing, Cai Guo-Qiang, Liu Dan, and Hu Lei. The majority of these artists were born in the 1950’s. The artistic features of this section provide an additional emphasis on the concepts of Western Art. Besides Hu Lei, who was born in 1960, the rest of the artists resided mainly in America, and conceived their own artistic language. Xu Bing’s Book from the Sky and Ancient Air Poem by Libai transform Chinese characters into fake words. It uses excessive Chinese wisdom to elevate the interpretations of Chinese characters into a form of purity, bringing with it a deconstructive shock. Ancient Air Poem by Libai transcends the limitations of Eastern and Western cultures by turning Chinese characters into English and letting the modern art theme of “the self and others” obtain the best artistic expressions. It also invokes a calligraphic ritual. Unearthing traditional technological inventions, Cai Guo-Qiang uses the momentary energy of explosives to leave marks on paper, thus expanding the tactile quality of ink. Not only does it embody the nature of water, but also that of fire, resulting in a good combination of sporadic production and concepts. The two other artists, however, chose to return to the classics, bringing classical styles into contemporary sentiments. Liu Dan’s ink paintings incorporate Western classical statues, Northern Song Dynasty landscape paintings, and daily visual illusions into a rigorous structure through delicate brushwork. He returns paintings to their original classical positions, while retaining the natural essence of Eastern landscapes as an attempt to re-render the eternal nature of Chinese art. This is a fundamental direction for the future of Chinese art. Hu Lei blurred brushwork juxtaposes the natural moon with a horse that symbolizes dreams. It brings with it an obscured vision along with the hint of a poetic fantasy.
The works of Hong Ling, who was born in the 1950’s, are in dire need of discussion. He is a northern artist who felt the need to embrace southern nature. As a result, he conducted an in-depth exchange with Huangshan for twenty years. He fully integrated the perceptions and thought processes behind landscape paintings through the colors of Western paintings of scenery. Especially in his repeated depictions of snowy landscapes, he completely revives the traditional concepts of emptiness and desertion to expand upon the spirituality of Zao Wou-Ki. This approach takes us on a complete return to nature, more so than his previous lyrical abstractions, to reach a tacit level of understanding between nature and our souls.
Through a basic study of these three sections and the three generations represented, we can see that all these artists draw on various aspects of tradition. We attempt to establish a dialogue with Western modern art to form an individual language style and revive the eternal nature of Chinese art. The mission of Chinese painting is summarized with the following question: After Zao Wou-Ki, how can we thoroughly and abundantly rebuild the relationship between the spirit of nature and modern life, while integrating landscape paintings with those of scenery? Indeed, it is necessary to re-stimulate natural elements and activation of a Chinese artistic spirit. This will inevitably restart a new future for Chinese art.
艺术家简介：
林风眠 Lin Fengmian【1900-1991】
1900 生于梅县，广东，中国
1918 赴法国留学习画，第戎、巴黎，法国
1926 任国立北平艺专校长，北京，中国
1928 创办国立艺术院，后改名杭州艺专，杭州，中国
1977 后旅居香港，中国
1991 病逝于香港，中国
1900 Born in Meixian, Guangdong Province, China
1918 Graduated from école des Beaux-Arts, France
1926 Principal of the Beiping State Vocational Art School, Beijing, China
1928 First Principal of the China Academy of Art, Hangzhou, China
1991 Passed away, Hong Kong, China
赵春翔 Chao Chung-Hsiang【1910-1991】
1910 生于河南省太康县
1939 毕业于国立杭州艺专绘画系
1955 获奖学金前往马德里深造，为西班牙皇家美术学会会员，并曾多次代表台湾参加国际性大展。
1957 首次举办个展于巴塞隆那
1982 自美返台，任教于国立师范大学美术系
1991 举办生前最后一次展览于苗栗文化中心
1910 Born in Taikang, Henan Province, China
1939 Graduated from the painting department of the Hangzhou National Art College
1955 Scholarships to Madrid to study, as a member of the Spanish Royal Academy of Arts, and has represented Taiwan in international exhibition.
1957 The first solo exhibition at the Theron
1982 Since the return to Taiwan, teaches in the Department of art of National Taiwan Normal University
1991 Held his last exhibition at the Miaoli Cultural Center
吴冠中 Wu Guanzhong【1919-2010】
1919 生于江苏省宜兴县
1942 毕业于国立艺术专科学校
1946 考取教育部公费留学
1947 到巴黎国立高级美术学校，随苏沸尔学校学习西洋美术史。
1950 返国，先后任教于中央美术学院、清华大学建筑系、北京艺术学院、中央工艺美术学院。
曾任清华大学美术学院教授、中国美术家协会顾问，全国政协委员等职。
2010 病逝于北京
1919 Born in Yixing, Jiangsu Province, China
1942 Graduated from the National College of Art
1946 To the Ministry of Education Scholarship
1947 To Paris National High School of fine arts, with the Soviet Feier school in Western art history.
1950 Return, taught at China Central Academy of Fine Arts, Tsinghua University, Department of architecture, School of the Art Institute of Beijing, the central Academy of Fine Arts.
Former Tsinghua University professor of Academy of Fine Arts, Chinese Artists Association consultant, CPPCC chairman.
2010 Passed away, Beijing, China
丁雄泉 Walasse Ting【1920-2010】
丁雄泉出生于中国无锡，在上海长大，孩童时期就自己开始在街头涂鸦作画。1952年移居巴黎，结识当地眼镜蛇画派（CoBrA group）成员，并结为好友。八年后，再度移居纽约，开始与普普艺术家接触。1964年，他出版了一本他的创作诗集《一分人生》（ One Cent Life），诗集中收录了许多来自美国与欧洲艺术家的版画作品。他在1977年获得古根汉基金会奖学金，并出版了 《红唇》一书，书中充满了大胆情欲诉求的素描及绘画。他的出版作品众多，而其画作也广泛的在世界各地被收藏。
Walasse Ting was born in Wuxi, China, but was raised in Shanghai where, by his own account, he first began painting on sidewalks. In 1952, he moved to Paris where he formed close friendships with members of the CoBrA group. Eight years later, Ting immigrated to New York, where he became involved with pop artists. In 1964 he published a book of his poems entitled One Cent Life illustrated with original lithographs by numerous American and European artists. He was awarded a fellowship from the John Simon Guggenheim Foundation in 1977, and published Red Mouth, a book of erotic drawings and paintings. He is the author of many other books, and has had numerous exhibitions throughout the world.
赵无极 Zao Wou-Ki【1921-2013】
1921 生于北平，河北，中国
1935 进入杭州艺专，师从林风眠学西洋画，杭州，浙江，中国
1941 毕业留校任教，杭州，浙江，中国
1948 赴巴黎继续深造，巴黎，法国
2013 病逝于瑞士沃州
1921 Born in Beijing, Hebei Province, China
1935 Enters in Hangzhou School of Fine Arts, and Learning Oil Painting from Lin Fengmian, Hangzhou, Zhejiang Province, China
1941 After Graduated, He Still Taught in School, Hangzhou, Zhejiang Province, China
1948 Went to Paris to Pursue Advanced Studies, France
2013 Passed away, Vaud, Switzerland
朱德群Chu Teh-Chun【1920-2014】
1920 生于徐州萧县，江苏省，中国
1941 毕业于杭州艺专，杭州，中国
1941-1945 任教于杭州艺专，杭州，中国
1951-1955 任教于台湾于台湾师范学院艺术系，台北，台湾
1955 迁居巴黎，法国
1997 获选为法兰西学院艺术院士
2014 逝于巴黎，法国
1920 Born in Jiangsu, China
1941 Graduated from School of Fine Arts of Hangzhou, Hangzhou, China
1941-1945 Taught drawing at the School of Fine Arts of, Hangzhou, China
1951-1955 Taught drawing at the National Taiwan Normal University, Taipei, Taiwan
1955 Moved to Paris, Paris, France
1997 Honoured by L’ Academie des Beaux-Arts de France and Elected as a Member of the Institute
2014 Passed away, Paris, France
刘国松 Liu Guosong【1932-】
1932 生于蚌埠，安徽，中国
1951-1955 就读台湾师范大学美术系，台北，台湾
1996-1999 台南艺术学院造型艺术研究所教授暨所长，台南，台湾
现生活工作于台湾
1932 Born in Bangbu, China
1951-1955 Studied in Fine Arts Department of National Taiwan, Normal University, Taipei, Taiwan
1996-1999 Head of the Fine Arts Research Institute at the Tainan
National University of the Arts, Tainan, Taiwan
Now Lives and Works in Taiwan
朱铭 Ju Ming【1938-】
1938 出生于苗栗，台湾
1953-57 与李金川学习木刻艺术
1968-76 师从杨英风学习现代雕塑
1976至今 多次举办个展
现生活工作于台湾
1938 Born in Miaoli, Taiwan
1953-57 Studied culpture with Lee Chin-chun
1968-76 He proceeded to learn modern sculpture under the Taiwan Sculpture master YuYuYang
1976- Several solo exhibitions
Now Lives and Works in Taiwan
尚扬 Shang Yang【1942-】
1942 生于湖北，中国
1965 湖北艺术学院美术系油画专业，湖北，中国
1981 湖北美术学院油画硕士研究生毕业，湖北，中国
1997 首都师范大学美术学院教授
现生活工作于北京，中国
1942 Born in Hubei, China
1965 Graduated from Oil-Painting Major of Fine Art Department of Hubei Art Academy, Hubei, China
1981 Graduated with M.A. in Oil Painting Department from Hubei Art Academy, Hubei, China
1997 Professor in Fine Arts Academy of Capital Normal University.
Now Lives and Works in Beijing, China
刘丹 Liu Dan【1953-】
1953 生于南京。
1981 江苏省国画院研究生毕业，后移居美国。
自1983年以来，在美国各地举办多项个展及参加具有重要影响的展事。
1953 Born in Nanjing, China
1981 Graduated from the study of Chinese Painting Institute of Jiangsu Province, then moved to the America.
Since 1983, held an exhibition and attend the exhibition has an important influence in the USA around.
洪凌 Hong Ling【1955-】
1955 生于北京（云南白族人），中国
1979 毕业于北京师范大学美术系，北京，中国
1987 毕业于中英美术学院油画系研修班，北京，中国
现任中央美术学院油画系第三工作室副教授、中国美术家协会会员
现生活工作于北京、安徽，中国
1955 Born in Beijing, China
1979 Graduated from the Art Department of Beijing Normal University, Beijing, China
1987 Completed the graduate program at the Oil Painting Department of the Central Academy of Fine Arts, Beijing, China
Vice Professor of the Oil Painting Department of the Central Academy of Fine Arts and a Member of China Artists Association.
Now Lives and Works in Beijing and Anhui, China
徐冰Xu Bing【1955-】
1955 生于重庆，四川，中国
1981 毕业于中央美术学院版画系，北京，中国
1987 毕业于中央美术学院硕士学位，北京，中国
现生活工作于北京，中国
1955 Born in Chongqing, Sichuan Province, China
1981 Graduated from the Central Academy of Fine Arts Department of Printmaking, Beijing, China
1987 Graduated from Master of the Central Academy of Fine Arts, Beijing, China
Now Lives and Works in Beijing, China
蔡國強 Cai Guo-Qiang【1957-】
1957 生于泉州，福建，中国
1985 毕业于上海戏剧学院舞台美术系，上海，中国
现生活工作于纽约，美国
1957 Born in Quanzhou, Fujian, China
1985 Graduated from Stage Design, Shanghai Theatrical Institute, Shanghai, China
Now Lives and Works in New York, USA.
徐累 Xu Lei【1963-】
1963 生于江苏省南通市；
1984 毕业于南京艺术学院美术系中国画专业，加入江苏省国画院；
现工作于中国艺术研究院创作研究中心，今日美术馆艺术总监，《经典》杂志主编。
1963 Born in Nantong, Jiangsu Province, China
1984 Graduated from the Fine Arts Department of Nanjing Arts Institute China painting, Join the Jiangsu Chinese Painting Institute;
Now working in the creative research center Chinese Art Research Institute, Today Art Museum Art Director, "classic" magazine editor in chief.
