曾梵志Zeng Fanzhi《江山如此多娇之三 This Land So Rich In Beauty No.3》　布面油画 Oil on Canvas　215x330cm　2006

曾梵志 1964　　生于湖北武汉 1991　　毕业于湖北美术学院油画系 现居北京，职业画家 展览 2006 画廊邀请展 , 上海美术馆 左手于右手- -中、德当代艺术联展， , 北京时态空间文化艺术，北京，中国 2005 Korean and Chinese painting - 2002 New Expression , 汉城艺术中心, 韩国 首届广州三年展 -重新解读：中国实验艺术十年（1990——2000） , 广东美术馆，广州 巴黎－北京 , 皮尔卡丹文化中心，巴黎， 法国 2003 学院与非学院 , 上海艺博画廊 新形象:中国当代绘画二十年大型巡回展 -Twenty Years of Chinese Contemporary Painting, , 中国，北京中国美术馆，上海美术馆，四川省美术馆，广东美术馆 2006 当代中国 , 韩国汉城PKM画廊 2005 中国，当代画 , Fondazione Cassa di Risparmio，博洛尼亚，意大利麻将 -西克的当代艺术收藏展 , 伯尔尼美术博物馆，伯尔尼，瑞士 2000 《未来》澳门当代艺术中心 1999 《开启通道》沈阳东宇当代美术博物馆 《中国现代美术》美国旧金山LIMN画廊 《中国油画五十年》中国北京 《财富论坛画展》中国上海 1998 曾梵志1993-1998，中央美术学院画廊，四合画廊，中国北京，香格纳画廊，中国上海 《IT IS ME》北京太庙 《中国当代艺术》德国伯森 1997 《8+8-1——十五位中国当代艺术家》香港SCHONEI画廊 《“引号”——中国当代艺术展》新加坡国家美术馆 1996 《中国！》德国波恩当代艺术博物馆 《现实：今天与明天——九六中国当代艺术》北京国际艺苑 《首届当代艺术学术邀请展》北京中国美术馆 1995　　《面具》，汉雅轩，中国香港 《中国前卫艺术展》 西班牙巴塞罗那现代艺术博物馆 《从国家意识形态走出——中国新艺术》德国汉堡国际前卫文化中心 1994 《中国批评家提名》北京中国美术馆 《中国油画现状展》香港冯平山博物馆 1993 《中国新艺术展》英国伦敦玛勃洛画廊 1992 《九十年代中国美术（油画）双年展》优秀奖 广州 《后八九中国新艺术展》香港艺术中心 1990　　《曾梵志作品展》，湖北美术学院美术馆，中国武汉。 Zeng Fanzhi In the beginning of his artistic career Zeng Fanzhi painted apocalyptic, expressionist images, thus manipulating modernist compositional effects to intensify his sinister version of reality. His representational work reveals the place of the unconscious, the aberrant, in the construction of experience. The large, clenched hands of his subjects are almost more conspicuous than their stereotyped faces and wide-open eyes. Transcending narrative resolution, these images simply unfold. What Zeng Fanzhi re-creates in his art simulates the fatigue of contemporary experience: the rush to acquire and consume, just to the extent of feeling increasingly alienated and detached. Working in idiosyncratic ways, he reminds us how effective art can be when it collapses these varieties of experience. He traces the eruption of the corporeal into the optical sedition of visual art. Zeng Fanzhi’s notorious mask series mark a turn in his aesthetic expression. All the figures in the series wear a white mask, which fuses so closely to the facial features that it is almost unnoticeable as a face covering. While difficult, the masks nevertheless have a peculiar, haunting power. Zeng still paints oversized, gnarled hands, but the tragedy has been superseded by the disruption of order: his figures acting seemingly tense or fearful, as if they were victims of their roles. Through the motif of the mask, Zeng Fanzhi expresses suspended reality. The mood of his work is subtle unsettlement: It often suggests some past violence, recent or old, to which we can unravel clues – but never completely understand. His paintings are much more than sardonically recycled imagery. Zeng Fanzhi delivers an art that feels new, not in its premises but in its brutal, yet refined, vitality and constant renewal. Zeng Fanzhi was born in 1964 in Wuhan and studied oil painting at the art academy there. Today he lives and works in Beijing. Zeng Fanzhi has exhibited widely at acclaimed institutions such as the Shanghai Art Museum, the National Art Museum, Beijing, Kunst Museum Bonn, Germany, Santa Monica Art Centre, Barcelona, Spain, and at the Art Centre, Hong Kong.