编者按

 

广东美术馆自主策划的“GDMoA 年度艺术家学术提名展”，作为馆内重点展览项目，始终聚焦当下中国及海外华人艺术家的革新思考与实验。本届学术提名展以小型个案研究的方式，提名并呈现五位入选艺术家的作品，深刻反映了当代艺术的演化与发展。

 

庞茂琨，作为当代艺术领域中极具影响力的艺术家，以其精湛的绘画技艺和深邃的艺术思考脱颖而出。他的作品以油画为媒介，通过对经典艺术语言的重新诠释与当代视角的融合，展现了对人性、文化与社会的深刻洞察。本次推送将带你深入庞茂琨的艺术世界，探索他如何以油画为语言，构建起古典与现代、传统与创新之间的独特对话。

 

 

 

1963年生于重庆，1978年至1981年就读于四川美术学院附中，1981年至1988年就读于四川美术学院油画系并获油画专业硕士学位。

 

原四川美院院长，现为中国美术家协会副主席、重庆文联副主席、重庆美术家协会主席、中国美术家协会油画艺委会主任、中国油画学会副会长，四川美术学院二级教授、博士生导师。

 

1980年代中后期，庞茂琨开始致力于古典油画语言的研究与探索。对于庞茂琨来说，如何在古典的话语中融入当代人的视觉经验、观看经验、文化经验，使其水乳交融，是真正的目的。

 

Born in 1963 in Chongqing. 

He studied at the Affiliated Senior High School of Sichuan Fine Arts Institute from 1978 to 1981 and at the Oil Painting Department of Sichuan Fine Arts Institute from 1981 to 1988, where he received his master’s degree. Pang is the former President of Sichuan Fine Arts Institute and currently serves as the Deputy Chairman of China Artists Association, Deputy Chairman of Chongqing Federation of Literary and Art Circles, Chairman of the Chongqing Artists Association, Director of the Oil Painting Art Committee of the China Artists Association and Vice President of the China Oil Painting Society. He is also a second-level professor and doctoral supervisor at Sichuan Fine Arts Institute.

In the mid to late 1980s, Pang devoted himself to the research and exploration of classical oil painting language. For Pang, the true goal is to integrate contemporary visual, viewing, and cultural experiences into classical discourse, so that they blend together seamlessly.

 

 

 

 

展览现场

 

 

斜倚的妮娜 No.2

 

Reclining Nina No.2

 

布面油画

 

Oil on canvas

 

116 × 91cm

 

2020

 

© 庞茂琨，鸣谢: 千高原艺术空间

 

© Pang Maokun, Courtesy of A Thousand Plateaus

 

 

以室内女子为题材的作品表达的先是艺术家的感受，然后才是观者的感受，对艺术家感受的感受......如此频繁地就一个类似的主题做反复的探索，证明庞茂琨对于观看角度的迷恋......在庞茂琨的大量作品中，女性占据了显著的位置，从早期描绘彝族女性到后期描绘城市女性……

 

庞茂琨的速写与素描是一体的……速写是一种初级素描，具有更率意的草图性，更贴近思维的原初状态，像一种突然的爆发，一种灵感的闪现。而素描，我在这里说的不是那种标准的课堂长期作业式的素描，而是一种当场的写生，则应视为是深度速写，包含了更多的观看因素，以及对细节的探索，并通过直接观看与细节探索，寻找甚至固置一种与之对应的观看形式。形象说就是，速写是恍惚间直接感受的及时捕捉，而素描则是对其中逐渐成形的思维的尝试性描绘。

 

文 / 杨小彦,《不动声色的凝视》，2011；《手绘的意志——从庞茂琨的手绘习作谈起》，2012

 

The indoor women series first expresses the artist’s feeling, then the feeling of the observer, and then observer’s responses towards the painter’s feeling......The repeated exploration of a similar theme reflects Pang Maokun’s fascination with the act of viewing and perspective. (...) Female figures hold a prominent place in his numerous works, (...) from the Yi women in his early works to the modern women in his later works......

 

Pang Maokun's quick sketches and drawings are one and the same, (...) Pang's quick sketches are a preliminary drawing, with a more spontaneous sketchiness, bringing closer to the original state of thinking—like a sudden outburst, a flash of inspiration. Drawing, on the other hand—and I'm not referring to the standard long-term classroom exercises here, but rather to Xiesheng (on-site sketching)—should be considered as an in-depth quick sketching, with a deeper level of observation and detailed exploration. Through direct engagement with the subject and an investigation of details, it seeks to establish and even solidify a mode of perception. Figuratively speaking, quick sketching is the immediate capture of a fleeting sensation, while drawing is an attempt to depict the evolving thought process behind it.

 

Text / Yang Xiaoyan, "Gaze in Silence - Observing Consciousness and Subject Organization In Pang Maokun’s Oil Painting", 2011; "The Mystery of Freehand Sketching", 2012

 

被直播的现场

 

Live Broadcast

 

布面油画

 

Oil on canvas

 

280 × 230cm

 

2017

 

© 庞茂琨，鸣谢: 千高原艺术空间

 

© Pang Maokun, Courtesy of A Thousand Plateaus

 

画家在尊重原作*的同时又有意在画面上或置换和增添人物和物件，如宫殿上方就加入了无人机的俯拍，其下方原画描绘向公主行提裙礼的宫娥，其身后站立一男一女仆从被置换成另两个人物，一位抬头仰视无人机的女性，与她比肩的是画家齐白石目光正视前方。而在画的右下方侏儒旁倾身的一个小女孩被修改成一位东方面孔的女性持手机自拍杆突然闯入画面，似乎瞬间把《宫娥》转化成自拍的背景。值得注意的是，在画左下方，庞茂琨在画面中增添了一位摄影师，架起照相机正在拍摄现场合照，呈现一种富有戏剧化寓意的生动场面。画家并没有对画里与画外之间的关系和界限做以明晰的区隔，而是主观给以模糊化的处理，即把过去的人与现在的人在时间和空间上进行了剧场化的并置和重叠——使画内与画外、镜头内与镜头外、 剧场内与剧场外合而为一。

 

文 / 黄笃，《折叠的肖像》，2017

 

*原作为西班牙画家迭戈·委拉斯贵支于1656年创作的油画作品《宫娥》(Las Meninas)。

 

Taking respect for the original work* as a precondition, the artist adds more people and objects in the work Live Broadcast. (...) The artist does not separate the relationship between the inside and outside of the picture, but blurs them in a subjective manner. By resetting and diverting people across different time and spaces, he unites the inside and outside of the picture and the dramatic situation.

 

Text / Huang Du, “Folded Portraits”, 2017

 

* Las Meninas, oil painting created in 1656 by Spanish artist Diego Velázquez. 

 

 

 

庞茂琨在作品中深刻探讨了人工智能的诞生，这些作品将未来追溯到艺术史上一些最重要的画作中。仿佛未来的机器人把自己画进了我们的过去，它们一直是我们的一部分，等待着诞生。                      

——秦思源

 

Pang Maokun profoundly explores the birth of artificial intelligence in his works, tracing the future back through someof the most important paintings in the history of art.

——Colin Siyuan Chinnery

 

 

第三届GDMOA年度艺术家学术提名展（2025）

 

 

 

展期: 2025年4月11日 (星期五) – 2025年7月27日 (星期天)

 

展览地点：广东美术馆新馆二楼7、8号厅

 

指导单位：广东省文化和旅游厅

 

主办单位：广东美术馆

 

总策划：王绍强

 

学术委员：贝亚特·艾芬沙德 Beate Reifenscheid（德国）德国科布伦茨路德维希博物馆馆长 \ 尹吉男（中国）中央美术学院教授、广州美术学院图像与历史高等研究院院长 \ 秦思源 Colin Siyuan Chinnery（英国）声音艺术博物馆联合创始人 \ 王晓松（中国）艺术评论家兼策展人 \ 姜俊（中国）独立策展人兼艺术批评家

 

获提名艺术家：庞茂琨（中国）\ 沈少民（澳大利亚）\ 向京（中国）\ 张培力（中国）\ 郑重宾（美国）

 

展览统筹：胡锐韬 \ 江飞

 

策展团队：黄海蓉 \ 刘竹静 \ 石裕榕 \ 颜宇禧

 

展览组织：洪雯雯 \ 江梅

 

藏品管理：吕子华 \ 林蕾 \ 刘晓妍

 

展览陈列：赵婉君 \ 廖沙泥 \ 苏利民 \ 梁卓然 \ 郑妍琳

 

宣传推广：涂晓庞 \ 曾睿洁 \ 张萌 \ 刘丹妮 \ 李伟杰 \ 张振康 \ 杜悦儿 \ 刘世新

 

公共教育：赵梦 \ 植凯鹏 \ 戚祖晴 \ 徐云熵

 

文献管理：胡宇清 \ 周善怡

 

展览协调：谢雪藩 \ 苏小玲

 

展品保护：刘端玲 \ 莫述文 \ 黄浩星 \ 麦润怡 \ 徐倩 \ 曾峥

 

视觉设计：another design

 

空间设计：INVIS DESIGN

 

 

The 3rd Exhibition of GDMoA Annual Artist Nomination 2025

 

 

 

Date：2025.4.11(Fri.)-7.27(Sun.)

 

Venue: Hall 7/8, 2F, Guangdong Museum of Art (BAIETAN)

 

Supervising Organization：Department of Culture and Tourism of Guangdong Province

 

Organizer：Guangdong Museum of Art

 

Director：Wang Shaoqiang

 

Academic Committee: Beate Reifenscheid (DEU)  Director of the Ludwig Museum in Koblenz, Germany \ Yin Jinan (CHN) Professor at the Central Academy of Fine Arts & Director of the Institute for Advanced Study in Image and History at the Guangzhou Academy of Fine Arts \ Colin Siyuan Chinnery (GBR) Co-Founder of Sound Art Museum\ Wang Xiaosong (CHN) Art Critic & Curator \ Jiang Jun (CHN) Independent Curator & Art Critic 

 

Artist Nominees: Pang Maokun (CHN) \ Shen Shaomin (AUS) \ Xiang Jing (CHN), Zhang Peili (CHN) \ Zheng Chongbin (USA)

 

Exhibition Supervision：Hu Ruitao \ Jiang Fei

 

Curatorial Team：Huang Hairong \ Liu Zhujing \ Shi Yurong \ Yan Yuxi

 

Exhibition Administration：Hong Wenwen \ Jiang Mei

 

Collection Management：Lu Zihua \ Lin Lei \ Liu Xiaoyan

 

Exhibition Installation：Zhao Wanjun \ Liao Shani \ Su Limin \ Liang Zhuoran \ Zheng Yanlin

 

Media Promotion：Tu Xiaopang \ Zeng Ruijie \ Zhang Meng \ Liu Danni \ Li Weijie \ Zhang Zhenkang \ Du Yueer \ Liu Shixin

 

Education Program：Zhao Meng \ Zhi Kaipeng \ Qi Zuqing \ Xu Yunshang

 

Documents & Archives：Hu Yuqing \ Zhou Shanyi

 

Exhibition Coordination：Xie Xuefan \ Su Xiaoling

 

Exhibits Conservation: Liu Duanling \ Mo Shuwen \ Wang Haoxing \ Mai Runyi \ Xu Qian, Zeng Zheng

 

Graphic Design: another design

 

Space Design: INVIS DESIGN

 

 

审定 / 涂晓庞

 

审校 / 曾睿洁

 

排版设计 / another design

 

供稿 / 刘竹静

 

视频 / 艺术家提供

 

摄影 / 杜悦儿

 

编辑 / 张萌