亚洲评论 | 张子康:人文山水景观探索
展名 / Title: 二即一:王绍强个展
IF TWO, THEN ONE: Wang Shaoqiang Solo Exhibition
策展人 / Curator: 张子康 Zhang Zikang
艺术家 / Artist: 王绍强 Wang Shaoqiang
展期 / Duration: 2021.7.24 (Sat) - 9.12 (Sun)
开幕/ Opening: 2021.7.24 (Sat) 3:00pm
地点 / Venue: 亚洲艺术中心(北京)
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区(周一休馆)
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing
✦✦✦
✦✦✦
人文山水景观探索
清朝学者张潮的《幽梦影》中提到:“有地上之山水,有画上之山水,有梦中之山水,有胸中之山水。” 这说明,山水即道,除了是自然景观外,更是中国人的东方精神符号,反映了我们的天下观、宇宙观、生命观。
在明清之前,山水画更像是一门“应用心理”学科,表现山川之妙为人类寻求某种精神寄托。东晋顾恺之《洛神赋图》,体现“人大于山,水不容泛”的艺术风格;唐代“诗佛”王维的水墨山水,写意为主,追求诗中有画、画中有诗;宋代马远、夏圭追求的秀美抒情;一直到明清的山水画从沈周、文征明到石涛,成为画家品格的象征。这时的山水画更多是“心中的山水”,与西方艺术发展遵循科学的探究精神截然异趣。
王绍强,广东汕头人,同时兼具艺术家、策展人、美术馆馆长、杂志出版人、博士生导师等多重身份。这些跨界多元的身份,激发了他对与自己情感相连结的地域文化的思考,他的作品也成为他人生不同角色的浓缩与升华——在对传统文化以及对当代社会的理性思考中,构建出属于自己的“人文山水景观”。
▲ 天光 Heavenly Light
250x738cm (250x123cmx6)
纸本水墨 Ink on Paper
2021
借助水墨的灵性,以复迭、移置、互渗、交融等多种语言的实验,他创作了一种新的当代水墨山水景观图式——方格网状地图下是薄雾缭绕的山峰,深邃意蕴、平和却饱含力量感,赋以自然万物以生态气象的和美之貌。
“后山系列”作品给予我们前所未见的新奇,又让人有一种似曾相识的熟悉感,产生一种共知的审美经验的链接。这种新水墨图式打破了过去我们对山水绘画的认知,提供了一种穿越古今,拓展历史维度的观看角度,传递出一种深刻而玄奥的形上之思。
▲ 夅 Decline
123x123cmx4
纸本水墨 Ink on Paper
2021
▲ 三色九千之二 From 3 to 9000 Hues 02
123x123cm
纸本水墨 Ink on Paper
2020
▲ 边声之一 Borderline 01(左);边声之三 Borderline 03(右)
138x26cm(单幅)
纸本水墨 Ink on Paper
2019
现在很多美术馆都运用社会学的研究方法进行策展,例如法国的人类博物馆结合体质人类学、社会人类学方法,通过展品陈列了解女性文化、头发的变迁等等,具有非常详实的研究。王绍强也把这种科学、社会学、史学的思维训练,融入到自己的创作里。
“站在地上的我们仰望星辰,从古至今不断探索着生命之外的无限;而只有当人类真正翱翔太空后,回过头来才能更好地注视大地,以及自身。天与地,此时又像是万物与自我的灵魂对话。”谈起创作灵感,王绍强曾有这样的论述。
基于大量阅读,他对中国古代山水艺术有了更深入的理解,过去所说的“文人山水”,更多是文人墨客投身于自然山水之中,怡情悦性、吟哦歌咏,但在王绍强眼里,中国山水自古以来都与地理环境息息相关,因此他想通过一种类似物理学或地质学的探讨,以现代科学精神、方法和当下文化的个体经验,重组个人的水墨艺术谱系。
▲ 列宿垂象 The Heaven Hangs out Figures
384x534cm (96x178cmx12)
纸本水墨,光媒体 Ink on Paper, Light Installation
2019
▲ 暮云 Sunset Clouds
136x69cm
纸本水墨 Ink on Paper
2020
在他担任广州美术学院视觉艺术设计学院院长时期,长期的设计教育、编辑工作的经历,令他具有敏锐的问题意识与与众不同的审美力,形成了独特的艺术面貌——他的笔墨在网格、卫星地图标识、水墨材料、山水意象之间建立有效的、美丽优雅的逻辑,自此形成了王绍强艺术风格的主要特征。这些元素组合一起,呈现天地的宏大气象,沧海桑田之感。
▲ 道上云川之九 Path Climbs the Cloud River 09
23x34cm
纸本水墨 Ink on Paper
2020
▲ 千米 Depth
500x123cm (250x123cmx2)
纸本水墨 Ink on Paper
2021
王绍强的创作,是他认识世界的一个手段,关乎个人与社会、个人与时代的全局思考,是思辨性观察下的艺术表达。只有当人意识到宇宙万物的历史变迁,意识到人类命运共同体的世界格局,才能清晰认知个人的定位与使命,让自己的艺术创作与众不同。
凭借学者的严谨态度,王绍强从“科学—史学—美学”出发,从人文地理科学观到对宇宙与哲学等层面孜孜不倦的探索、创新与实践,将精神与观念所满溢的景观图像结合中国传统的水墨语言,构建出独特的“人文山水景观”。
张子康
策展人
中央美术学院美术馆馆长
2021年5月,北京
▲ 玄岚之五 The Mountain at Dawn 05
178x96cm
纸本水墨 Ink on Paper
2019
▲ 紫云末之一 Apex of the Amethyst Cloud 01
133x133cm
纸本水墨 Ink on Paper
2020
。
F
An Exploration of the Landscape as Humanistic Environment
As the Qing Dynasty scholar Zhang Chao mentioned in Quiet Dream Shadows (You Meng Ying), “There are landscapes on the ground, landscapes in paintings, landscapes in dreams, and landscapes in the heart.” This demonstrates that landscapes are guides. Transcending purely natural scenery, landscapes are a symbol of the Chinese people’s Eastern spirit, reflecting our view of the world, the universe and life.
Before the Ming and Qing Dynasties, landscape painting was more like, "applied psychology;” in expressing the wonders of mountains and rivers humankind could seek a form of spiritual sustenance. During the Eastern Jin, Dongpu native Gu Kaizhi's, “Poetic Pictures of the Luo Immortals," embodied the artistic approach, "people are greater than mountains, and water must not flood [the picture].” Tang Dynasty’s, "Poetic Buddha" Wang Wei's ink landscapes focus on freehand brushwork in pursuit of poems within paintings and paintings within poems. Song Dynasty’s Ma Yuan and Xia Gui quested after beauty and lyricism. Until the end of Ming and the beginning of Qing, landscape paintings, from Shen Zhou, Wen Zhengming and onto Shi Tao, were all symbolic expressions of the artist's character. This form of landscape painting is better understood as a, "landscape of the heart.” This landscape paradigm contrasts sharply with the spirit of scientific inquiry within the development of Western art.
Today, the development of Chinese contemporary landscape painting has become integrated with a modern scientific perspective. Through observation, practice, knowledge, and reflection on our social environment, we can describe nature dialectically. Mr. Wang Shaoqiang’s three-dimensional, interdisciplinary, “science, history, and aesthetics” system emerges as the “post-landscape”, a humanistic, geographic, and philosophical experiment in contemporary landscapes.
Wang Shaoqiang is a native of Shantou, Guangdong. He has multiple identities: curator, art gallery director, magazine publisher, and doctoral advisor. These cross-border, diverse identities stimulate his emotionally-connected, regionally-inflected, cultural mediations. Returning to his creative work as an artist, his pieces become the condensation and essence of his various life roles. Rationally reflecting upon both traditional culture and contemporary society, he constructs his unique, “landscape as humanistic environment.”
Helped by the spirituality of ink and wash, he experimented with multiple languages such as overlap, displacement, interpenetration, and blending. He created a new contemporary, ink-wash, scenic, landscape, mapping pattern. Under a square grid map are fog-entangled mountain peaks whose profound meaning, tranquility and potency endows all of nature with an ecological atmosphere and gorgeous appearance.
The works within the “Back Mountain Series” provide unprecedented novelty while simultaneously inducing both an intimate sense of déjà vu and a common, shared aesthetic experience. This new ink-wash diagram style breaks apart our previous understanding of landscape painting. Crossing antiquity and the present, this approach infuses a historical dimension to visual perspective and experience. Wang’s innovation transmits a profound and abstruse form of metaphysical thinking.
Currently, many art museums use sociological research methods in curating. One such example is France’s Anthropology Museum which integrates physical and social anthropological methodologies. For example, exhibit items can be used to understand and research concrete details within women’s culture, such as minute changes in hair customs. Wang Shaoqiang similarly incorporates training in scientific, sociological, and historical thinking into his creative work.
Discussing creative inspiration, Wang Shaoqiang elaborated,
"Standing on the ground, we look up at the stars. From antiquity, we have constantly explored the infinity that exists beyond our mortal lives. Only now, after human beings have actually soared into space, can we turn back and truly gaze at the earth and ourselves. Heaven and earth: this contrast appears like a dialogue between everything material and our own souls."
Through extensive reading, Wang has acquired a profound understanding of ancient Chinese landscape art. In what has been up to now referred to as the paradigmatic, "literati landscape," literati artists threw themselves into the natural landscape, cheering their hearts and composing their minds through chanting and singing. In Wang Shaoqiang’s eyes, however, since antiquity the Chinese landscape has been intimately related to the geographic environment. Therefore, he wants to restructure his personal ink wash pedigree through scientific investigation, like that within physics or geology, using modern scientific vigor, methods, and current culture’s individualistic experience.
This new exhibition, “If Two, Then One: Wang Shaoqiang Solo Exhibition” is an artistic and conceptual summary of Wang Shaoqiang’s experimental exploration of ink and wash. The exhibited “The Heaven Hangs out Figures” is a painting with ink color as the base over which the Milky Way is displayed. Into the tradition of ancient astronomical maps, modern astronomical knowledge is incorporated. This not only gives people a sense of verisimilitude, but also allows for limitless imagination.
Unlike his paper only pieces, "Ordering Constellations Bequeaths Form, No. 2," is a video media series. Wang uses ink on paper to draw rivers, seas, mountains and rivers, and video to indicate the scattering of stars. In the pulsing of images’ light and shadow, the viewer feels as if between heaven and earth; peering down at the earth and looking up at the stars, all creation reappears in the swift track of one’s gaze.
Wang service as Dean of the School of Visual Art and Design of the Guangzhou Academy of Fine Arts is part of his extensive career in design education. This academic background plus valuable experience in editing have given him a keen awareness of problems and an extraordinary aesthetic. They inform his unique artistic outlook. His pen and ink establishes an effective, beautiful, and elegant logic among the grids, satellite map logos, ink wash materials, and landscape imagery constituting the main features of Wang Shaoqiang's artistic style. These combined elements present the magnificent atmosphere of the world and a sense of the vicissitudes of life.
Wang Shaoqiang has mentioned his profound investigation into western China’s natural history. In geological surveys of Zhangye and Dunhuang, the unpredictable changes of nature’s fluctuations are directly arranged before his eyes moving him deeply. The Yadan landform undergoes a life cycle of its own including birth, childhood, maturity, old age, sickness and death. This is a natural fate that, like humans, it cannot resist. He reconstructs these mysterious geographical features by adding wash upon wash of ink and, in so doing, also represents the vicissitudes of history. Under his meticulous management, we perceive an authentic and shocking visual image.
Wang Shaoqiang's creative works are a means for him to recognize the world. They are a comprehensive mediation on the relationships among individuals, their society and their times. His artistic expression proceeds under the auspices of analytical observation. Only when people today become aware of the historical changes affecting everything in the universe, and the global structure of humanity’s collective future, can they clearly recognize their individual positionality and calling. Only thusly, can one’s creative work stand out as Wang Shaoqiang’s does.
Wang Shaoqiang’s rigourous scholarly approach starts by combining, "science, history, and aesthetics.” Using a scientific approach to humanistic geography and the universe as well as layers of philosophy, he has diligently explored, innovated and implemented. Wang incorporates universal images brimming with both ideas and spirituality into the language of traditional Chinese ink wash to build his unique, form of the, "landscape as humanistic environment.”
Zhang Zikang
Curator
Director of the Central Academy of Fine Arts Art Museum
May 2021, Beijing
▲ 紫宸西忆之三 Recall the West's Indigo Palace 03
123x123cm
纸本水墨 Ink on Paper
2020
编辑 / Editor:冉云琪 Seraph Ran
张子康,1964年生于河北,现任中央美术学院美术馆馆长,教授,博士生导师,《美术馆》杂志主编。中央美术学院艺术与科技研究院副院长。兼任中国美术家协会理事,中国美术家协会实验艺术委员会副主任。全国美术馆专业委员会副主任理事,全国高校艺术博物馆联盟主席。
1996年至今,主持策划、编辑出版各类文学、艺术图书千余册,多次荣获国家级图书奖项;著有《美术馆》(合著)、《文化造城》(合著)、《艺术博物馆理论与务实》(合著)、《跨界生存》(专著)、《张子康》油画作品集、《张子康——疆域》影像作品集等,并发表百余篇艺术理论相关文章。策划众多在国内外颇具影响力的大型艺术展览,如“雷安埃利希——太虚之境”、“卡普尔大展”、“悲鸿生命——徐悲鸿艺术大展”、“智识城市——2020深圳公共艺术季”等。作为艺术家, 他创作的绘画作品多次参加国内外重要学术展览。
Zhang Zikang, born in Hebei in 1964, is currently the director of CAFA Art Museum, professor and doctoral advisor of Central Academy of Fine Arts, and the editor-in-chief of Art Museum magazine. He is the deputy dean of Art and Technology Research Institute of Central Academy of Fine Arts. He is also a member of the Chinese Artists Association and the deputy director of the Experimental Art Committee of the Chinese Artists Association. He serves as the deputy director of the Committee of Art Museum in China, and the chairman of the Alliance of University Art Museums of China.
Since 1996, he has planned, edited and published over a thousand of various literary and art books, and won many national books awards. He has co-authored Art Museum, Construct City with Cultural Element, Art Museum Theory and Practice, and authored Cross-Border Survival, published oil painting collections Zhang Zikang, photographic works collection Zhang Zikang - Territory as well as more than a hundred articles related to art theory. He has also curated many large-scale art exhibitions that are influential on home and abroad, such as Leandro Erlich: The Confines of the Great Void; Anish Kapoor; Xu Beihong: Living Art Forever; Intellective City - 2020 Shenzhen Bay Public Art Season, etc. As an artist, his painting works have been exhibited in many major exhibitions at home and abroad.
。
关于艺术家About Artist
重要群展:“花非花”(新加坡画廊,新加坡,2021),“思想与践行:新中国广东美术叙事(1949-2021)——广东美术馆藏品专题展”(湖北美术馆,湖北,2021),“自然的双重性——第二届西安山水邀请展”(崔振宽美术馆,西安,2021),“新潮动力——2021当代艺术与设计展”(潮州美术馆,潮州,2021),“周而复始——综合材料绘画学术邀请展”(国家艺术基金2019年度传播交流推广资助项目)(中央美术学院美术馆,北京,2021),“人与自然——中欧当代艺术邀请展”(广州紫泥堂六号仓艺术馆,广州,2020),“在思想中——中国当代艺术的思想史与方法论”(广东美术馆,广州,2020),“脚踏何地”(尚榕美术馆,广州,2020),“‘2020未来历史学’线上艺术展”(南京师范大学美术学院美术馆,南京,2020),“‘第三届大湾区生活艺术节’——‘重构现场’当代公共艺术展”(大湾区国际艺术品保税产业中心,广州,2020),“空间的再造——深圳首届抽象艺术展”(罗湖美术馆,深圳,2020),“臆象——粤港澳大湾区当代水墨艺术谱系(2000-2020)”(广东美术馆,广州,2020),“济南国际双年展”(山东美术馆,济南,2020),“时代先声——广州文艺百年大展”(广东美术馆,广州,2020),“青青熙春”(羊城晚报艺术研究院,广州,2020),“正如所见·观空间五周年特展”(观空间,广州,2020),“未来历史学”(南京师范大学美术学院美术馆,南京,2020),“2020水墨艺术实验研究展”(宝龙美术馆,上海,2020), “中国表现 - 第一回展”(华泰顶层艺术社区,上海,2020),“水墨进行时:2000-2019”(广东美术馆,广州,2020),“同构——当代艺术作品邀请展”(罗湖美术馆,深圳,2020),“岭南意象——广东当代水墨八人展”(巴黎中国文化中心,法国,2019),“中国写意”(立陶宛国家画廊,立陶宛,2019),“南京水墨艺术双年展——纸性的语言”(南师大美术学院美术馆,南京,2019),“典雅艺博·水墨艺博”(香港会议展览中心 ,中国香港,2019),“新征程:第三届当代艺术双年展”(海上世界文化中心,深圳,2019),“深圳·洛里昂美术作品联展”(深圳画院美术馆,深圳,2019),“墨与物·第二届武汉水墨双年展”(武汉美术馆,武汉,2019),“历史的凝视”(木星美术馆,深圳,2019),“墨攻——武汉水墨双年展”(武汉美术馆,武汉,2019),“后笔墨时代:中国式风景”(广东美术馆,广州;浙江美术馆,杭州,2018),“时代新风·当代中国画大展”(陕西省美术博物馆,西安,2018),“墨因:当代艺术邀请展”(春美术馆,上海,2018),“脚本——广东美术馆藏影像作品展”(斯坦福大学艺术空间,美国,2018),“五柳先生的弦”(东莞万江壹号美术馆,东莞,2018),“水墨的地理与地理的水墨——十四人新水墨探索展”(21空间美术馆,东莞,2018),“闽江——关于水的想象”(威狮国际艺术中心,福州,2018),“时代风华·翰墨天河——广东名家中国画精品展”(天河区文化艺术中心,广州,2018),“足迹——广州美术学院粤东校友美术作品展”(陆丰甲子广东岭南美术馆,汕尾;广州美术学院大学城美术馆,广州,2018),“大潮起珠江——庆祝改革开放40周年全国美术作品展”(中国美术馆,北京;广东美术馆,广州,2018),“‘框架——当代绘画邀请展’第六届广州三年展”(华南农业大学艺术学院美术馆,广州,2018)
策展:“致甜蜜的生活——二十世纪以来岭南风物研究展”(广东美术馆,广州,2021),“交融的激流:广州影像三年展2021”(广东美术馆,广州,2021),“边界的自觉”(广东美术馆,广州,2020),“西游南行——丁立人个展”(广东美术馆,广州,2020),“为水:林若熹个展”(广东美术馆,广州,2020),“青年力量”(广东美术馆,广州,2020),“‘珠江夜游’——后珠三角景观“(广东美术馆,广州,2019),“自然与田园——林丰俗的绘画世界”(广东美术馆,广州,2019),“般若·明悟 郑泽生深圳个展”(深圳画院美术馆,深圳,2019),“磅礴:杨识宏作品展”(广东美术馆,广州,2019),“铭刻时代——汤小铭艺术研究展”(广东美术馆,广州,2019),“伟大的风格——王肇民艺术研究展”(广东美术馆,广州,2019),“注疏韶华——广州雕塑院优秀成果回顾展(1956-2019)”(广东美术馆,广州,2019),“时代印记——广东省优秀美术作品收藏展”(广东美术馆,广州,2019),“弥散的光影:许永城油画作品展”(广东美术馆,广州,2019),“图绘新中国——广东国画的改造与转型”(广东美术馆,广州,2019),“幻——鸥洋、杨缨双个展”(广东美术馆,广州,2019),“墨尚大观——当代长安、当代岭南中国画邀请展”(广东美术馆,广州,2019),“广东画院建院60周年优秀作品展暨院史研究展”(广东美术馆,广州,2019),“莽园画展”(广东美术馆,广州,2019),“润物细无声——许川如作品展”(广东美术馆,广州,2019),“广州市立美术学校文献展”(广东美术馆,广州,2018),“笔墨纸砚——格式与想象”(广东美术馆,广州,2018),“时代风华——二十世纪中国美术名家精品展”(广东美术馆,广州,2018),“大潮起珠江——庆祝改革开放40周年全国美术作品展(广东站)”(参与策划)(广东美术馆,广州,2018),“不仅仅看见——新现实主义水墨研究巡回展(广州站)”(广东美术馆,广州,2018),“1949年的廖冰兄——历史转型期的廖冰兄漫画作品文献展”(广东美术馆,广州,2018),“第六届广州三年展-诚如所思:加速的未来”(总策划)(广东美术馆,广州,2018),“共生·未来——社区当代艺术计划”(华侨城盒子美术馆、佛山市顺德区顺峰山公园,佛山,2018),“未来进行时——中国当代艺术邀请展”(紫泥堂艺术中心、5号仓艺术馆,广州,2018)
公共收藏:中国美术馆(北京)、广东美术馆(广州)、浙江美术馆(杭州)、山东美术馆(济南)、关山月美术馆(深圳)、西安美术馆(西安)、广州美术学院美术馆(广州)、亚洲艺术中心(北京 | 上海 | 台北)
Selected Solo Exhibitions: "If Two, Then One: Wang Shaoqiang Solo Exhibition” (Asia Art Center, Beijing, 2021), "Last Mountain, Heart Flower” (Seven Trees Art Center, Guangzhou, 2021), "Last Mountain, Heart Chart - Wang Shaoqiang’s Exhibition" (Lin Quan Shan Fang of Hushang Magazine, Hangzhou, 2019), “‘Last Mountain - Solo Exhibition of Wang Shaoqiang' Theme Exibition of Art Guangdong” (Guangzhou Liuhua Exhibition & Trade Center, Guangzhou, 2019)
Selected Group Exhibitions: "Flowers, Not” (Singapore Gallery, Singapore, 2021), "Theory and Practice: The Story of New China's Guangdong Art (1949-2021) - Special Exhibition of Guangdong Art Museum Collection” (Hubei Art Museum, Hubei, 2021), "The Twofoldness of Nature - The 2nd Xi'an Invitational Exhibition of Landscape Art” (Cuizhenkuan Art Museum, Xi'an, 2021), "New Trend Power - 2021 Contemporary Art & Design Exhibition” (Chaozhou Art Museum, Chaozhou, 2021), "Round & Develop - Academic Invitational Exhibition of Comprehensive Material Painting" (Central Academy of Fine Arts Art Museum, Beijing, 2021), “Imagerie de Lingnan” (Centre Culturel de Chine, Paris, France, 2019), “Chinese Freehand Style” (National Gallery of Art, Lithuania, 2019), "Paper & Ink Language - Nanjing Ink Art Biennale 2019” (Art Museum of Academy of Fine Arts, Nanjing Normal University, Nanjing, 2019), "Fine Art Asia, Ink Asia” (Hong Kong Convention and Exhibition Center, Hong Kong, 2019), "New start: The 3rd Shenzhen Biennale of Contemporary Art” (The Sea World Culture and Arts Centre, Shenzhen, 2019), "Shenzhen·Lorient Art Works Joint Exhibition” (Shenzhen Fine Art Institute, Shenzhen, 2019), "Ink and things-The Second Biennial Exhibition of Wuhan Ink art” (Wuhan Art Museum, Wuhan, 2019), "The Gaze of History” (Jupiter Museum of Art, Shenzhen, 2019), "Wuhan Ink Art Biennale-Pursuit by Ink” (Wuhan Art Museum, Wuhan, 2019), "Ink Art West Lake-The 2nd International Ink Wash Fair” (Hangzhou Peace International Convention and Exhibition Center, Hangzhou, 2019), “Post-Brushwork Era: Chinese Landscapes” (Guangdong Museum of Art, Guangzhou; Zhejiang Art Museum, Hangzhou, 2018), “Times New Image: Contemporary Chinese Painting Exhibition” (Shanxi Province Art Museum, Xi’an, 2018), “Ink Reasons: Contemporary Chinese Art” (Chun Art Museum, Shanghai, 2018), “Image-Script: The Video Works Collection of Guangdong Museum of Art” (Stanford Art Gallery, USA, 2018), “Chen Jing, Contemporary Art Invitational Exhibition” (Wanjiang No.1 Art Museum, Dongguan, 2018), “The Geography of Ink & The Ink of Geography: An Exhibition of 14 Artist’s New Ink Exploration” (21 Space Art Museum, Dongguan, 2018), “Minjiang: Imagination about Water” (SeeWell International Art Center, Fuzhou, 2018), “Times Elegance: Ink Art Tianhe: Guangdong Masters’ Chinese Painting Works” (Tianhe Culture & Art Center, Guangzhou, 2018), “Footmarks: Eastern Guangdong Alumnus’ Art Works of Guangzhou Academy of Fine Arts” (Lufeng Jiazi Culture Art Centre, Lingnan Museum of Art, Shenwei; Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, 2018), “Great Tides Surge Along the Pearl River: 40 Years of Reform and Opening-up in Guangdong” (The National Art Museum of China, Beijing; Guangdong Museum of Art, Guangzhou, 2018), “Framework: Contemporary Painting Invitation Exhibition, the 6th GZ Triennial” (Art Museum of South China Agricultural University, Guangzhou, 2018)
Public Collections: The National Art Museum of China (Beijing), Guangdong Museum of Art (Guangzhou), Zhejiang Art Museum (Hangzhou), Shandong Art Museum (Jinan), Guan Shanyue Art Museum (Shenzhen), Xi'an Art Museum (Xi’an), Art Museum of Guangzhou Academy of Fine Arts (Guangzhou), Asia Art Center (Beijing | Shanghai | Taipei)
相关阅读
* 亚洲报道 | “二即一:王绍强个展”入围雅昌月度(2021年7月)画廊影响力、策展人影响力榜单
* 亚洲讲堂 | 王绍强:我的创作
* 亚洲现场 | 二即一:王绍强个展
* 亚洲展讯 | 二即一:王绍强个展
正在展出 Current Exhibitions
最新消息 Lastest News