当代博物馆：傅文俊数绘摄影个展
Contemporary Museum: Solo Exhibition of Fu Wenjun’s Digital Pictorial Photography
展览时间：2017年4月3日-30日
Exhibition duration: 3rd – 30th April, 2017
傅文俊的全新当代艺术博物馆
文/莱蒂齐娅·兰扎罗蒂（意大利艺术批评家）
现实生活中，众多的图像让我们感到困扰。目光所及之处，看到的都不再仅仅是一个景物，而是多重的、在纵向和横向上由成千上万个像素塑造出来的事物。人们已经没有能力辨别图像的真实性。
过去的艺术家只是将他们看到的复制下来，而当代艺术家们则认为，有必要对图像进行加工，以表达他们对图像的理解。艺术家的观点总是能引导那些被时代光辉遮住双眼的人们，让这些人重新看到真实，找回丧失许久的真实感。
傅文俊通过图像的叠加创造出一个维度，一座兼具历史性和艺术性的丰富的“博物馆”，让人们看到现实。
傅文俊，艺术大师、古代文明的推崇者，通过一段“历史之旅”为人们指引方向，创造出一座庞大的、由图像组成的当代艺术博物馆；这些图像虽然是人们已经看过的，但艺术家用他天才的、已寻得新真理的头脑重新将图像过滤，然后再呈现出来。精髓和简练是这种呈现的关键词，这也是每位艺术家所渴望做到的。而傅文俊已完成了这个宏伟的目标，现在他要告诉我们如何去“观看”。
首先他向我们讲述最古老、真实的理想：美。他的作品所表现出的美是宽广的、拥有多重意义的；它们拥有一种“蕴含于自身的美”，与柏拉图提出的属于理想世界的概念相呼应。这种美是西方的，来自古代西方哲学和古希腊艺术，同时融入罗马时代“各部分和谐统一”的思想，各种相互冲突的力量完美地融合在了一起；同时这种美也是东方的，拥有阴阳的平衡；这种美一如身心的健康与平衡。
有的作品展现出重叠效果，有的作品则以夸张的方式呈现；这些来自语言修辞方面的手法运用到了摄影之中；虽然艺术形式不同，但终点却是相同的。作品画面采用或被重叠或被削减的色彩，表现出艺术家内心所渴求的艺术精髓，这样的精髓就如同让当代艺术的幸存者得以停靠的一块大陆。
还有其它作品能够像《公元前350年》一样从历史出发，经过一段漫长的旅程，探究美的理想这一亘古的概念，最终通过图像重叠与现代社会相和谐统一吗？古老的维纳斯雕塑与代表历史进步、造型圆满的车轮完美结合；阳刚的暖色调与阴柔的女性形象和圆形造型完美地组合。
完美与平衡同样表现在《花花世界》中。作为新古典主义精髓的符号被结合在图像的过度表现中，画面好似虚无世界的碎片，生命的空虚替代了人生的真实与永恒。然而，作为先知、天才和创造精髓的艺术大师傅文俊，用对立的事物展现出最美。在这里竖立起一座符号的圣坛，拥有无法模仿的风格和不可比拟的体验。作品中，艺术家对神圣与世俗之爱的探究成为对立事物和谐统一的象征；同时展现出人类的生与死、男与女、纯洁与污秽。但是傅文俊的作品和世界上所有的艺术杰作一样，都没有忽视对人类思想的陶冶和净化。为此艺术家找到一条逃避人类苦难的道路，这条道路联系起相互对立的事物，在神圣与世俗中找到真理，艺术家的天才之作将这些真理阐述得清楚明了。如此，诞生了黑白色调的观念摄影作品《民以食为天》。投身艺术与艺术史的傅文俊作为可靠的摆渡者，将人们带向理想的世界、当代艺术的博物馆、不可毁灭的美的庙宇。
Fu Wenjun’s New Contemporary Museum
Letizia Lanzarotti (Italy), Art critic
In nowadays’ reality, images persecute us. Everywhere we look, there is no single view, but a multiple view, inside and next to others, which are themselves formed by myriads of pixels which create new ones. Man is no longer able to distinguish reality from images.
The artist in the past just reproduced what he saw. Contemporary mind, on the contrary, feels the need to work on images, to help the beneficiary to understand. The vision of the artist has always been a guide for men who, blinded by the flashes of his own era, needed to be leaded back to authenticity and to the sense of reality they had lost.
Wenjun manages to create a dimension, a sort of “Museum” full of historical and artistic references, where you can, through the overlapping of these images, see the reality.
Fu Wenjun, the artist, the Master and estimator of ancient cultures, through a “journey in history”, guides mankind, creates a huge Contemporary Museum of “already seen” images, which are filtered by the gifted mind of the artist, which gets to a new truth. Essentiality and synthesis are key words, words for which every Artist should strive. Fu Wenjun already achieved this exceptional goal and now he wants to teach us to see.
First of all, through the most ancestral and authentic idea: beauty. His artworks are “beautiful” in the most universal acceptation. They own “the beauty in themselves”, defined by Platone, as a concept which belongs to the world of the ideas. The beauty within western culture was analysed by old philosophers and from the Greek Art, lately reproduced by Romans, “the harmony among the parts”, perfect coincidence among opposites forces, and at the same time within eastern culture, meant as the balance between Yin and Yang; beauty as health.
Artworks which are “superimpositions”, sometimes “overexposures”; a game which starts from words to get to photography, in a symposium of different Arts which have the same aim.
Images which sometimes are superimposed in colour, sometimes in the subtraction of the colour, in the so desired essentiality; solid ground to which the Contemporary castaway arrives. The best way to describe a long journey which starts from history, analyses the ideal of beauty, gets to the harmony with a modern superimposition of images to analyse the ancestral concepts, is through a masterpiece like 350 B.C. The form of an ancient Venus is superimposed upon the perfection of the wheel, the symbol of progress, and at the same time harmonious form. The warm tones, yang, are in perfect balance with femininity and roundness, which are more yin.
We find the same characteristics of perfection and universal balance in “The Showy World” where the symbol of neoclassicism joins in an “overexposure” of images like fragments of a groundless world, based on vanity of life which took the place of its authentic and immortal value. Fu Wenjun offers the best, being a real poet, genius, Creative Mind, in the power of contrasts. In this way he creates the altar of the sign, of inimitable style, of incomparable experience. The artwork “inherence” includes everything: the research of love between holy and profane becomes the symbol of the cohesion of the opposites; birth and death, man and woman, purity and contamination. But like all the greatest Masterpieces in the world, Wenjun’s artworks also involve their cathartic function. In this way the artist finds a way to escape from human suffering and always within the opposites, between holy and profane, he finds truth, which is already evident but clearly revealed by the artist in his gifted craftsmanship. Therefore he created the monochromatic artwork “Food is the man’s God”. Fu Wenjun is the real ferryman of mankind towards the ideal world, the Contemporary Museum, indestructible Temple of beauty.