朱维彬绘画作品展——精神与物理属性重叠的“线的形象”表达

作者:张海涛（原宋庄美术馆执行馆长，策展人、艺术评论家）

艺术家朱维彬，云南昆明人。从西南大学美术学院毕业后被分配到北京工作。然而，他并不满足于在圆明园艺术村不断“流浪”的现状。然后，他脱离了体制内的工作，以自由职业者的身份“漂向北方”。在此期间，他坚持创作。2006年来到宋庄，潜心从事艺术创作。朱维彬的经历成为60后知识青年一代生活状况的一个缩影。他创作的作品与他的生活经历密切相关。

因此，朱维彬的作品呈现出一个充满潜在张力、压抑、纠缠和冷漠的意识空间。其实，这个空间既是他个人的内心空间，也是那个时代人们所反映的心理空间。个人自我情感的表达必然与时代背景密切相关;然而，艺术家的真实表达是非常独立、生动、敏锐的。他叛逆地选择了与常人不同，独自在这个世界上生存。此时此刻，作品必须从历史语境和现实背景中超脱出来，转化为最困惑的感受:已知世界与不可知论世界、精神世界与物质世界、个性与共性相互交织、相互反映。

朱维彬逐渐创造出一种看似理性的感性空间。在创作时，他尽力去体验线条自己迅速拉直并滑下来的力量。他选择了各种特殊的工具和材料，这些工具和材料都能有效地表达，并进行了反复的修正。因此，他经常折磨自己，直到精疲力竭。他的创作过程就像他自己生命历程的再现。

线条形象的表达是他的内心选择，而线条的净化则是其作品的更大特点。更重要的是，他选择了立体的线条来形成一个立体的空间，不同于二维的禅宗和“珠笔”，以及极简主义概念的风格特征，我认为他偏执地表达了一种精神和物理属性重叠的“暗物质空间”。

好的艺术应该是艺术家敏锐地把握当代本质或为人类生存提供灵感的作品。这种艺术表现形式既具有个性，又具有超越时代的敏感性。这些艺术家通常被称为异类或不落俗套。我个人不愿意把这种具象中的暗物质归入现代主义时代的抽象艺术范畴。

朱维彬的作品不是由风格化和形式感构成的，更多的是具象范畴内的生活体验。他的作品表达的是手工的人工空间，这种矛盾的概念不是形式感。它像一条时间隧道一样真实地存在着，就像未知的“实体物质空间”。因此，它不属于由现代抽象艺术构成的美学范畴。

在讨论主题与当代性的关系时，说作品主题中出现的时尚符号越现实，就越具有当代性是不正确的;也不是说现代人创作的作品就是当代的，而是艺术家能否将过去、现在、未来和永恒的话题转化为当代的艺术感受。只有这样，艺术的讽喻性和语言性才能发挥决定性的作用。朱维斌没有选择目前流行的符号和语言，而是选择了暗物质空间作为载体。他的作品传达了人的生存状态和感受，带有强烈的时代性。

这就是朱维彬的作品与其他表现当下流行风格的作品的区别。的区别。他的艺术不仅仅是对现实主义主题的注释和翻译，而是从中提取的精神力量的表达。他的作品没有从功利的角度分析艺术应用价值的即时性。艺术更多的是解决现代人思想中的困惑和恐慌，获得生活中的平静。

2011年8月17日，北京

Exhibition of Zhu Weibin’s Paintings—Expression of “Image of Lines” with Overlapping Spirituality and Physical Properties

By: Zhang Haitao

(Former Executive Director of Beijing Songzhuang Art Museum)

Artist Zhu Weibin was born in Kunming, Yunnan Province. He was assigned to work in Beijing after graduating from the Academy of Fine Arts of Southwest University. However, he was unsatisfied with the situation of constantly "wandering" in the Yuanmingyuan Art Village. Then he broke away from the work inside the system, and "drifted north" as a freelancer. During this period, he has persisted in creating. In 2006 he came to Songzhuang, devoting himself to artistic creation. Zhu Weibin's experience has become a microcosm of the living conditions of the intellectual youth generation born in the 1960s. The works he created are closely related to his life experience.

Therefore, Zhu Weibin's works present a conscious space full of potential tension, depression, entanglement, and indifference. In fact, this space is both his personal inner space and the psychological space reflected by people of that era. The expression of personal self-feeling is inevitably closely related to the Time background; However, the genuine expression of the artist is very independent, vivid, and keen. He rebelliously chose to be different from ordinary people and exist alone in this world. At this moment, the work must be detached from the historical context and realistic background and transform into the most perplexed feelings: the Known and Agnostic world, the spiritual and physical world, and the individuality and commonality are intertwined and reflected with each other.

Zhu Weibin gradually created a perceptual space which seems rational. When creating, he tried his best to experience the force of the lines that are being quickly straightened by themselves and slid down. He chose various special tools and materials that were efficient for expression and made repeated corrections. Hence, he often tortures himself to the point of exhaustion. The process of his creation is like the reappearance of his own life journey.

The expression of the image of lines is his inner choice, but the purification of lines is more of the characteristic of his works. More importantly, he chose stereoscopic lines to form a three-dimensional space, which is different from the two-dimensional Zen and "Beads and Brushstrokes", and the stylistic characteristics of the concept of maximalism, I think he paranoidly expresses a type of "Dark Matter Space" where spirit and physical properties overlap.

Good art should be the works from the artist who keenly grasps contemporary nature or provides inspiration for human existence. This type of artistic expression is both individual and containing a sensitivity beyond the times. The artists are often called aliens or the unconventional. I personally do not want to classify the dark matter in this kind of concrete images into the category of abstract art in the era of modernism. Zhu Weibin’s works are not composed of stylization and the sense of form, but more of the life experience in the category of concrete images. His works express the handmade artificial space, and this paradoxical concept is rather than the sense of form. It exists as authentic as a time tunnel, which humans have not yet recognized, just like unknown "The Entity Material Space". So, it does not belong to the aesthetic category composed of modern abstract art.

When discussing the relationship between theme and contemporaneity, it is incorrect to say that the more realistic fashion symbols appear in the theme of the work, the more contemporary it is; nor does it right to say that works created by modern people are contemporary, but it is whether the artist could transform the past, present, and the future and eternal topics into contemporary artistic feelings. Only then will the allegory and linguistic nature of art play a decisive role. Zhu Weibin did not choose the currently popular symbols and languages but chose dark matter space as the carrier. His works convey the current state and feelings of people's existence, which carries a strong contemporary nature. This is the difference between the work of Zhu Weibin and that of others which are expressing current popular styles. the difference. His art is not simply an annotation and translation of realistic themes, but an expression of the spiritual power extracted from them. His works do not analyze the immediacy of the application value of art from a utilitarian perspective. Art is more about solving the confusion and the panic in the thoughts of modern people and acquiring the peace of mind in life.

August 17^th, 2011, in Beijing