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任剑 扈海风——双人展
开幕酒会： 2007年 4月8日 下午4：30
展览日期： 2007年4月8日至5月6日10：00 - 17：00（周一休息）
展览地点： 中国北京市朝阳区王四营甲2号-观60号 桥舍画廊（100023）
主 办： 桥舍画廊 北京文化发展基金会
Reception: 4:30 pm, April 8, 2007
Exhibition Dates: April 8-May 6, 2007
Opening Hours:10am-5pm (Tuesday-Sunday)
Address:Guan60,A.2,WangsiyingTown,ChaoyangDis,Beijing100023,P.R.China
Http ：//www.bridge-gallery.com
任剑 扈海风——双人作品展序
精神•花园
文 梁 洁
当今在很多艺术家陷入西方现代文化理念、思维方式、经验和审美习惯很深的时候，还有一些艺术家在不懈地探索新的语言和表述方式，他们希望依托于中国传统文化本体所进行的独特思考，能给今天的当代艺术带来一些新鲜的思路。
任剑的作品体现的是一种精神倾向，在抽象与具象间寻找文化渊源的关系，而不再是一个纯粹形式上或者样式上的完善，而以很平静的方式介入了当代文化的语境，虽然借助了传统的文化符号，却提升到了一个精神的目的，作品的精神性是靠作品本身的空旷和静宁的视觉效果来感悟。也就是说艺术家把并非视觉性的东西予以了视觉化。我从任剑的作品中感受到的更多的是一种情绪的空间，并渗透着中国传统的哲学精神。
扈海风的作品把本土文化构造下的传统语言，引向了一个新的视觉境界。具有传统的人文色彩的背景下，扭曲的人体形成了一种晦涩的意象，似乎也在表达着一种刻意虚构的视觉冲突。中国样式的用笔在有些媚艳的背景色调中，使画面产生了一种荒诞而富有象征的效果。这就是艺术家在不断地揭示新的文化场景中，以一种精神存活的方式与艺术语言发生着某种关系，也是艺术家一种内心化的保存，通过不断的文化积累，对自身艺术语言的一种校正。
在扈海风的作品中强调的是身体语言和花园图景，画面极力营造着一种与现实脱节的神秘氛围：扭曲漂浮的身体，无序任意的景物，单纯但老艳的色彩。这一切都隐约在传达着属于现代人的空洞、困顿和盲惑。
我很认同王林所说：“艺术在当下的社会背景下，承担了很重要的使命。它必须去保持真正属于个人的心理体验和精神要求，去保持个体意识的完整性、丰富性和生长性。”
Spirit•Garden
By Jessie Liang
When most of the contemporary artists immersed themselves deeply into western modern cultural propositions, thinking, experience and aesthetic habits, some other artists are persistently exploiting new language and new representation, with a hope that their unique thinking, backed by traditional cultural identity of China, could bring about some new thoughts to the contemporary art. Renjian’s works represent a spiritual tendency, a search in the abstract and the concretized, for relationship between the cultural origins. It is no longer an improvement purely on the means or the pattern, but rather, a peaceful intervention into the contemporary cultural context. Although it still adopts traditional cultural symbols, an improvement in the spiritual realm is achieved by delivering a visual effect that is both open and tranquil in his art works. That is, the artist has visualized something that is not visual in nature. I can feel, from Renjian’s works, more of an emotion saturated with traditional Chinese philosophy.
Haifeng Hu’s works lead the traditional language developed under local culture to a new visual sphere. With the background of traditional humanism touch, contorted bodies form some obscure imagery, also expressing some visual conflict invented on purpose. The application of Chinese-style strokes, together with the somewhat seductively gorgeous background tone, give the picture an absurd and symbolic impression. This is a correlation between a means of spiritual existence and art language, resulted from the artist’s continuous revealment of new cultural scenarios. It is also a deposit in the bottom of the heart of the artist, a correction of his own art language through unceasing cultural accumulation.
Haifeng Hu’s works emphasize body language and garden views. The picture builds, to its utmost, a mysterious atmosphere that is disjointed from the reality, with the twisted floating body, disordered arbitrary scenery, simple but gorgeous colour. All of these are trying to convey, in a subtle way, the hollowness, confusion and blindness of modern people.
I agree with Lin Wang, “Under the current social background, art assumes very import mission. It must maintain mental experience and spiritual requirement that really belong to the individual, and maintain the completeness, enrichment and growth of individual consciousness”.