天地之间，万物相联。
艺术家傅文俊探寻当代艺术的创新，至今已持续了30余年。他将摄影与水墨画、油画、雕塑等多种艺术媒介有机联结，创作出趣味独到、内涵丰富的综合媒介作品。这一独特的艺术风格被称为“数绘摄影”。
本次展览选取傅文俊2014-2018年间创作的《摄影叙事》和《错位》系列中的15幅数绘摄影作品，承载着艺术家经过长期广泛的阅读与游历，对自然、城市、东西方历史、文化、人文等多方面事物的体悟与思考。他挖掘事物之间千丝万缕的联系，以不一样的视角，讲述着我们瞬息万变的世界。
Between earth and heaven, everything is connected.
For more than 30 years, Fu Wenjun has been exploring the innovation of contemporary art. He effectively connects photography with a variety of art media such as ink painting, oil painting, and sculpture, creating mixed media artworks with a unique taste and rich connotations. This original art style is called “Digital Pictorial Photography”.
The exhibition selects and presents 15 pieces of artwork from the series “Photographic Narrative” and “Misplacement” that Fu Wenjun produced from 2014 to 2018. They manifest the artist understanding and reflection, after a long period of intensive reading and traveling, on various things related to the Eastern and Western history, culture and humanity. Fu Wenjun explores the inextricable connections between things, and looks at our changing world from different perspectives.
近些年，我多数时间在国际上参展交流，这让我将视野放到了文化的跨界和比较之中。所以，近期作品也并不在一个自足性质的“文本”中来叙述，而是跨越到更加复杂的文化背景，古代的、今天的、中国的、西方的等等，而这种叙事可以说是“超文本”叙事，甚至是在消解“叙事”。因为，它不是讲述历史，而是在说当代。当代没有完结，所以叙事应当是开敞中持续进行着的。
In recent years, I spent many time on exhibitions and international exchanges, which has allowed me to focus on crossover and comparison of the cultures. Therefore, the recent works are not narrated in a self-contained “text”, but cross over more complex cultural backgrounds: ancient, today, Chinese, Western, etc., It can be said to be a “hypertext” narrative, and even is dispelling the “narrative”. Because it is not about history, but about the current times. The contemporary era is not over, so the narrative should continue in an open way.
Nepotism, Digital Pictorial Photography
140x175cm, 2014-2015
《唯马首是瞻》数绘摄影
Take the Horse Head as Guide, Digital Pictorial Photography
140x175cm, 2014-2015
《窈窕淑女》数绘摄影
Fair Lady, Digital Pictorial Photography
140x175cm, 2014-2015
对于最近作品来说，我想要尽力做到的便是避开符号化的商业操作和直白的中国符号，想要达到一直向往的非具象的状态。因为这种状态更加适合我的创作状态，混沌但保有力量。
About the recent works, I try my best to avoid symbolic commercial operations and straightforward Chinese symbols. I want to reach a non-figurative state that I always long for. As this state is more suitable for my art creation, chaotic but powerful.
Expectation, Digital Pictorial Photography
140x175cm, 2014-2015
《云里雾里》数绘摄影
Among the Clouds, Digital Pictorial Photography
140x175cm, 2014-2015
《民以食为天》数绘摄影
Food Is the God of People, Digital Pictorial Photography
140x175cm, 2014-2015
《穹顶之下》数绘摄影
Under the Dome, Digital Pictorial Photography
140x175cm, 2014-2015
摄影是平面的，如果陷入了这种定义中它的表达是有限的了。在我的作品中其实融入了很多对中国传统艺术的体会……很多人说我的作品“不像摄影”，但是“不像摄影”，反而是一种新的呈现方式，我们可以改变任何东西，做一些跳脱常识性的改变。
Photography is two-dimensional. But if we fall into this definition, our expression with photography would be limited. In my works I integrate many personal understandings of Chinese traditional art… Someone says my works “do not look like photography”, but the “unlike photography” on the contrary is a new way of presentation. We could change anything and make changes beyond the common sense.
《迪拜的鱼》数绘摄影综合媒介
Dubai Fish, Digital Pictorial Photography mixed media
100x100cm, 2017-2018
《天堂鸟不在天堂》数绘摄影综合媒介
The Bird of Paradise Is not in the Paradise, Digital Pictorial Photography mixed media
100x100cm, 2017-2018
《逆风如解意》数绘摄影综合媒介
If the Wind Understands, Digital Pictorial Photography mixed media
100x100cm, 2017-2018
我在川美学习时我的摄影艺术创作就已经开始了，对于摄影在当代艺术表现中的可能我做过诸多的思考与尝试。我发现，当摄影这项发明用来快速记录场景图像的技术工具成为艺术表达媒介之后，它展现出了宽广强大的容纳度与承载力，存在于我脑海中对于生与死、自我与社会、历史与未来、中国与世界等等事情的想法有了“畅所欲言”的地方。
When I was studying at Sichuan Fine Arts Institute, I started to create with photography. I have been thinking and experimenting a lot on the possibility of photography in contemporary art. I have found that when the photography, a technical tool used to quickly record scene images, become an artistic expression medium, it manifests a great capacity to contain and to carry. The ideas in my mind about life and death, self and society, history and future, China and the world, and many others have found a place to “speak freely”.
《涌动的岩浆》数绘摄影综合媒介
Flowing Magma, Digital Pictorial Photography mixed media
100x100cm, 2017-2018
从左至右：《城市丛林》《缘来远去》《八点三十分》《相看两不厌》数绘摄影综合媒介
From left to right: City Jungle, Come and Go, Eight Thirty in the Morning, Never Get Tired of Looking at Each Other
Digital Pictorial Photography mixed media
100x100cm, 2017-2018
当代艺术重要的是批判性，它不是当代社会投机和消遣的游戏，当代艺术家的责任是凭借其敏锐的感知、独特的视角尖锐地指出问题所在，并试图进行解析。我始终坚持着这样的批判思考原则进行摄影艺术的创作实践。多年来游历各国，拍摄了大量图片，当这些原始素材聚集在电脑屏幕上时，灵感如流星般地砸向我，我将它们撕裂、分割、拼贴、重组，不在乎形象上、时间上、空间上的种种限制，让头脑中长久酝酿的想法“自动”书写，信手拈来、驾轻就熟地将各种元素放置在一起，对纷繁复杂、林林总总的世界做出清晰而理性的批判。
What matters to contemporary art is to criticize. It is not a game of speculation and pastime in contemporary society. The responsibility of contemporary artists is to sharply point out the problems with their sensitive perception and unique perspective, and try to analyze it. I always adhere to such critical thinking principles in my art practice. I travel in various countries for many years and take a lot of pictures. When these original materials are gathered on the computer screen, the inspiration hit me like a meteor. I tear, split, collage, and reorganize them. Without taking care of the various limitations on figure, time, space, I automatically “write down” the many ideas in my mind. I put numerous elements in a seemingly random and skilled way, to give a clear and rational critique on the complex world.
关于艺术家：
傅文俊被认为是中国当代最重要的艺术家之一。他从20世纪80年代末开始艺术创作，致力于创新地融合中西方视觉手法，拓展艺术表现的边界，并不断反思东西方历史、文化与人文的各种问题，擅长把看似难以理解的信息转化为平易近人的概念。
傅文俊1955年生于重庆，1987年毕业于四川美术学院绘画系，现生活和工作在重庆。他的作品在国内外重要艺术机构广泛展出，如中国美术馆（2020）、德意志博物馆（2018）、广东美术馆（2015）、海牙美术馆（2010）、日本东京都美术馆（2009）等。主要个展包括：“再次进场——傅文俊数绘摄影作品展”，重庆美术馆，重庆（2019）；“相机绘画：傅文俊的摄影创作”，香港大学，香港（2019）；“内心的自省：傅文俊数绘摄影的艺术表达”，欧洲现代艺术博物馆，巴塞罗那（2017）；“和而不同：傅文俊数绘摄影展”，中国美术馆，北京（2017）；“迷思之像——傅文俊抽象观念摄影作品展”，广东美术馆，广州（2015）；“精神的图示”，北京圆明园遗址博物馆，北京（2010）；“走过场——傅文俊历史观念摄影展”，今日美术馆，北京（2010）。
About the artist
One of the most important artists in China, Fu Wenjun’s artistic practice dates back to the late 1980s. His oeuvre integrates innovatively the visual techniques of East and West art, expanding the boundaries of artistic expression. Fu Wenjun keeps reflecting on various issues related to the Western and Eastern history, culture and humanity, and is good at transforming what may seem to be an inaccessible message into a highly approachable concept.
Fu Wenjun was born in 1955 in Chongqing, and graduated from the Painting Department of Sichuan Fine Arts Institute, Chongqing in 1987. Today he continues to live and work in this city. His work has been presented in numerous prestigious venues worldwide, including National Art Museum of China (2020), Deutsches Museum (2018), Guangdong Museum of Art (2015), Gemeentemuseum Den Haag (2010), Yokohama Art Museum (2009). Solo exhibitions include “Again Enter the Scene — Fu Wenjun Digital Pictorial Photography Exhibition”, Chongqing Art Museum, Chongqing (2019); “Digital Brush: The Photographic Process of Fu Wenjun”, The University of Hong Kong, Hong Kong (2019); “Introspection of Soul. Artistic Expression in the Digital Pictorial Photography of Wenjun Fu”, Museu Europeu de Arte Moderno, Barcelona (2017); “Harmony in Diversity — Fu Wenjun’s Digital Pictorial Photography Exhibition”, National Art Museum of China, Beijing (2017); “Thoughtful Images — Fu Wenjun’s Abstract Photography Exhibition”, Guangdong Museum of Art, Guangzhou (2015); “Graphic Expression of Spirit”, The Old Summer Palace Museum, Beijing (2010); “Show of Formality”, Today Art Museum, Beijing (2010).