艺术头条 
雅昌拍卖图录 
“画墨为光”郑泰均当代水墨展
8.0
展览时间：
2018-06-30 - 2018-08-30
开幕时间：
2018-06-30 15:00
展览城市：
深圳
展览机构：
至美术馆
展览地址：
深圳市宝安区沙井街道后亭社区松安路全至科技创新园
过去还未过去，未来正在到来
——关于郑泰均深圳个展
5年前在大都会博物馆，一场“Ink Art： Past as Present in Contemporary China”将当代水墨的概念植入人心。展览里，水墨的出现，多作为一种媒介，服务于艺术家的各种观念，其具体的表现形式和水墨传统大相径庭。中国艺术展厅在那段时间同往常风格迥异——大幅的观念或实验性水墨作品替代了馆藏的壁画，造像，和古代书画。大都会的此次展览将当代水墨带进了杜尚以后的当代艺术世界。然而这样的百花齐放总是让人觉得缺了些什么。反观其它媒介的绘画，从文艺复兴的登峰造极到“绘画已死”后的百家争鸣，画家对色彩，构图本身的探索和创新从未止步，一次又一次的用作品震慑人心。而水墨这个已有数千年历史的材料，难道已经失去了它作为艺术品本身的活力吗？
郑氏水墨的出现极好的补足了这一空白。画家郑泰均住在深圳梧桐山，每日以小鸟昆虫为伴，面对青山绿水从朝阳画至晚霞。开阔的空间方便他实验性的创作以及大幅连屏画的绘制。也因此“风景”或“大自然”的概念持续出现在他的作品中。这些元素的嵌入，给观者造成了出乎意料的沉浸感。他的作品完美的结合了西方油画在二战后钟情的抽象表现主义和水墨这一传统中国绘画的媒介。他运用水墨材质灵活，成画迅速，且无序的特质，在纸上随意布置留白与被填满的空间，以及画面的流动或固定的效果。仿佛抽象表现主义代表画家之一赵无极一样，气韵被注入到每一笔的挥洒中，让本该在干涸的一刹那就变静止的颜料活了。这种流动跟随着画家创作时内心的波涛汹涌，也牵动了观者内心的一片汪洋，更让时间不再静止。
遵从内心的创作，赋予了失落的文人画传统新生命。在技法和形式上的创新，重新赋予了水墨表现内心世界的能力。像石涛的册页，又像张大千晚年的泼彩，它们完美勾画着艺术家的气魄，只是郑泰均的表现手法更加现代。也许，过去从未真的过去，而未来一定会到来。而这或许也是当代艺术的魅力，传统与未来在眼前交融，就好比科学家在实验室发现一种新的化学反应一样振奋人心。
本次展览并不是一次回顾展，它主要以画家的数件装置作品和水墨及花青这两组绘画组成。“艺术就是艺术家做的事情。”这次的策展希望能够让观者看看艺术家做的事情。《文房四宝》，《拘留所雕佛记》，《大自然》，《真空妙有》这几件装置，邀请观者进入画家的世界，去感受一个真正的艺术家丰盈流淌的内心。而其中的绘画作品则采用了抽象的表达方式，让观者看到画家是如何利用黑白创造出丰富的色彩，空间和时间。透过极度自由的挥洒，郑泰均展现了其在各个非绘画领域的渗透能力，例如装置和雕塑。从策展上也实现了多样的编排：从画幅大小，笔法，绘画主体，作品的安排以及相呼应的效果，一直到色彩的对比及墨色的选择，画面渗透感及环境中的光影变幻，最后至空白与填满的呈现。因此此次展览作为一个整体，相互呼应，邀请观者去认真聆听作品与作品之间的对话。
All as Present: Past and Future
--About Zheng Taijun's Solo Exhibition in Shenzhen
Contemporary ink, as an important genre of contemporary Chinese art, was widely accepted after the exhibition "Ink Art: Past as Present in Contemporary China" at the Metropolitan Museum of Art five years ago. Ink, as a medium, was highly conceptualized throughout the exhibition. The manifestation of it on paper was hardly recognizable as close to traditional Chinese ink art. 'The MET successfuly introduced contemporary ink as such to the contemporary art world through the exhibition. Yet such thriving of the genre is rather incomplete when compared with paintings of the entire contemporary painting scene, where people never ceased to explore the painting itself.
The ink painting of Zheng Taijun might fill the blank. Zheng lives in Wutong Mountain located in Shenzhen, China. He paints each day from the dawn to the dusk with the company of birds, insects, and the beautiful mountains. The open space allows him to experiment with large scale works and therefore, 'landscape' or 'nature' becomes a lasting theme in his compositions. As the artist put it, the presence of nature proves that what is experienced will never leave him and will somehow make its presence in his paintings. Here, abstract expressionism was well articulated through ink. The suppleness of ink, the swiftness of execution it offered, its 'disoriented' quality and the opportunity it afforded the painter to renegotiate relationship between full and empty space, blacks and whites or liquids and solid ground prompted him to undertake a large number of productions in all sizes.
The ink washes were empowered to express the desire. They are drawn from their own substance and the void: there is no driving idea, no drawing or design, nothing but the desire, or, more precisely the intention of painting. They are so strong and lively that even after the painting is finished, they are still flowing. The movement not only flowed with the artist's desire but catches the viewers' inner self. The practice gave life to the literati painting tradition that has long been lost in China. It resembles the album of Shitao, and the splash ink painting of Zhang Daqian in the way that they all perfectly embody the Qi (breath) of the artist. As if the past was never gone and the future is just about to come. Like the scientist finds a new chemistry reaction in the lab, the collision of past and future makes the beauty of contemporary art.
The present exhibition is not a retrospective: it brings together a significant number of large scale paintings and installation works of the artist. "Art is what artists do." The exhibition was curated to allow the audience to see Taijun's daily practice as a sincere artist. The four pieces of installations invites the audience to the artist's world and to sympathize with the artist. The paintings continue to take on 'abstraction' as its expression. The curator, together with the artist, experimented with various choices of works demonstrating new pictorial ideas, formats, motifs, compositions. Contrast, color choice, translucence, empty and full space are all subject to infinite possibilities of reading by the viewers. So please just listen to what the works themselves have to tell you.
——关于郑泰均深圳个展
5年前在大都会博物馆，一场“Ink Art： Past as Present in Contemporary China”将当代水墨的概念植入人心。展览里，水墨的出现，多作为一种媒介，服务于艺术家的各种观念，其具体的表现形式和水墨传统大相径庭。中国艺术展厅在那段时间同往常风格迥异——大幅的观念或实验性水墨作品替代了馆藏的壁画，造像，和古代书画。大都会的此次展览将当代水墨带进了杜尚以后的当代艺术世界。然而这样的百花齐放总是让人觉得缺了些什么。反观其它媒介的绘画，从文艺复兴的登峰造极到“绘画已死”后的百家争鸣，画家对色彩，构图本身的探索和创新从未止步，一次又一次的用作品震慑人心。而水墨这个已有数千年历史的材料，难道已经失去了它作为艺术品本身的活力吗？
郑氏水墨的出现极好的补足了这一空白。画家郑泰均住在深圳梧桐山，每日以小鸟昆虫为伴，面对青山绿水从朝阳画至晚霞。开阔的空间方便他实验性的创作以及大幅连屏画的绘制。也因此“风景”或“大自然”的概念持续出现在他的作品中。这些元素的嵌入，给观者造成了出乎意料的沉浸感。他的作品完美的结合了西方油画在二战后钟情的抽象表现主义和水墨这一传统中国绘画的媒介。他运用水墨材质灵活，成画迅速，且无序的特质，在纸上随意布置留白与被填满的空间，以及画面的流动或固定的效果。仿佛抽象表现主义代表画家之一赵无极一样，气韵被注入到每一笔的挥洒中，让本该在干涸的一刹那就变静止的颜料活了。这种流动跟随着画家创作时内心的波涛汹涌，也牵动了观者内心的一片汪洋，更让时间不再静止。
遵从内心的创作，赋予了失落的文人画传统新生命。在技法和形式上的创新，重新赋予了水墨表现内心世界的能力。像石涛的册页，又像张大千晚年的泼彩，它们完美勾画着艺术家的气魄，只是郑泰均的表现手法更加现代。也许，过去从未真的过去，而未来一定会到来。而这或许也是当代艺术的魅力，传统与未来在眼前交融，就好比科学家在实验室发现一种新的化学反应一样振奋人心。
本次展览并不是一次回顾展，它主要以画家的数件装置作品和水墨及花青这两组绘画组成。“艺术就是艺术家做的事情。”这次的策展希望能够让观者看看艺术家做的事情。《文房四宝》，《拘留所雕佛记》，《大自然》，《真空妙有》这几件装置，邀请观者进入画家的世界，去感受一个真正的艺术家丰盈流淌的内心。而其中的绘画作品则采用了抽象的表达方式，让观者看到画家是如何利用黑白创造出丰富的色彩，空间和时间。透过极度自由的挥洒，郑泰均展现了其在各个非绘画领域的渗透能力，例如装置和雕塑。从策展上也实现了多样的编排：从画幅大小，笔法，绘画主体，作品的安排以及相呼应的效果，一直到色彩的对比及墨色的选择，画面渗透感及环境中的光影变幻，最后至空白与填满的呈现。因此此次展览作为一个整体，相互呼应，邀请观者去认真聆听作品与作品之间的对话。
All as Present: Past and Future
--About Zheng Taijun's Solo Exhibition in Shenzhen
Contemporary ink, as an important genre of contemporary Chinese art, was widely accepted after the exhibition "Ink Art: Past as Present in Contemporary China" at the Metropolitan Museum of Art five years ago. Ink, as a medium, was highly conceptualized throughout the exhibition. The manifestation of it on paper was hardly recognizable as close to traditional Chinese ink art. 'The MET successfuly introduced contemporary ink as such to the contemporary art world through the exhibition. Yet such thriving of the genre is rather incomplete when compared with paintings of the entire contemporary painting scene, where people never ceased to explore the painting itself.
The ink painting of Zheng Taijun might fill the blank. Zheng lives in Wutong Mountain located in Shenzhen, China. He paints each day from the dawn to the dusk with the company of birds, insects, and the beautiful mountains. The open space allows him to experiment with large scale works and therefore, 'landscape' or 'nature' becomes a lasting theme in his compositions. As the artist put it, the presence of nature proves that what is experienced will never leave him and will somehow make its presence in his paintings. Here, abstract expressionism was well articulated through ink. The suppleness of ink, the swiftness of execution it offered, its 'disoriented' quality and the opportunity it afforded the painter to renegotiate relationship between full and empty space, blacks and whites or liquids and solid ground prompted him to undertake a large number of productions in all sizes.
The ink washes were empowered to express the desire. They are drawn from their own substance and the void: there is no driving idea, no drawing or design, nothing but the desire, or, more precisely the intention of painting. They are so strong and lively that even after the painting is finished, they are still flowing. The movement not only flowed with the artist's desire but catches the viewers' inner self. The practice gave life to the literati painting tradition that has long been lost in China. It resembles the album of Shitao, and the splash ink painting of Zhang Daqian in the way that they all perfectly embody the Qi (breath) of the artist. As if the past was never gone and the future is just about to come. Like the scientist finds a new chemistry reaction in the lab, the collision of past and future makes the beauty of contemporary art.
The present exhibition is not a retrospective: it brings together a significant number of large scale paintings and installation works of the artist. "Art is what artists do." The exhibition was curated to allow the audience to see Taijun's daily practice as a sincere artist. The four pieces of installations invites the audience to the artist's world and to sympathize with the artist. The paintings continue to take on 'abstraction' as its expression. The curator, together with the artist, experimented with various choices of works demonstrating new pictorial ideas, formats, motifs, compositions. Contrast, color choice, translucence, empty and full space are all subject to infinite possibilities of reading by the viewers. So please just listen to what the works themselves have to tell you.
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