“1/2 - An Artist‘s ExperimentalReport of Painting over a Decade”

　　Date of Exhibition： October 15，2017-November 25， 2017

　　Opening： 3：30 pm， October 15，2017

　　Address： Renke Art Gallery (No. 1， North Zhongshan Road，Hangzhou City)

Stones or Books， 36.5cmx20cm， color on paper， 2017

　　井士剑自2005年起，至2007年，在中国美术馆，上海美术馆，上海张江当代艺术馆所举办《艺术地理》、《漫步江湖》、《江湖泛舟》三个系列个展之后，十年之后，推出的关于绘画实验的个展。他集中地反映了艺术家关注艺术的发生地与艺术的本源问题的视觉呈现。

　　From 2005 to 2007， Jing Shijian held three series solo exhibitions of “Art Geography”， “Walking the Arena” and “Rafting in the World” in the National Art Museum of China，Shanghai Art Museum and Z-art Center. After a decade， he has launchedthis exhibition on painting experiment， which focuses on the visual presentation of the artist’s concern about the locality and origin of art.

Lakes of the Garden， 36.5cmx20cm， color on paper， 2017

　　这里的作品，最早的源于上世纪90年代至2007年的艺术思考与研究，而更多的呈现的是来自2017年的艺术实验报告，艺术家在最无用的材料中寻找艺术的价值。艺术家试图在当代艺术创作中，寻找出一条属于自己的艺术之路、艺术所思所想和创作。《1/2》是它2007年推出的《小中见大》系列研究的另一个艺术重要课题，在当今的艺术创作具有十分重要的意义。1/2，源于对一种深厚的艺术历史文化，演绎成今天的一种重新创造并形成一个强有力的具有自身逻辑与内涵的艺术框架与构造。它是艺术家在重返艺术创造的发生地与文化的溯源重新萌发此时的艺术创造。通过这样一种对艺术源发生地的还原和人作为尺度的此时此在，重构出一幅幅世界的景观图像和艺术家的艺术世界的景观绘画。

　　The works， the earliest of which originate from the artistic thinking and research from the 1990s to 2007， present more of the artistic experimental report from 2017 and the artist tries to find the value of art from the most useless material， aimed at seeking his own unique road of art， thinking and creation in the contemporary art creations. “1/2” is another important topic of the “Much in Little” series launched in 2007， which is of great significance in today‘s artistic creation. 1/2， derived from a profound artistic history and culture， is interpreted as a re-creation and has formed a powerful artistic framework and structure with its own logic and contents. It is an artistic creation upon the artist’s returning to the locality of the art and cultural re-germination. Thus， a variety of landscapes and images of the world as well as the landscape painting of the artist‘s art world come into being through returning to the locality of art with people as the measurement.

Viewof the Garden， 36.5cmx20cm， color on paper， 2017

　　1/2所阐述的是，片段的世界其任何一个事物非完整与完整的世界形象的显现。在这里1/2更重要的是一的概念，它是一种初始是一种本源，更是一种明晰的视觉再现。从早期的无论是从关于“破碎的理念”到哲学思想上所探讨的二分法、二元论等，这不仅仅是试图通过不断排除不可能的东西，最终找到一种可需求东西的方法或排除法，更重要的是也不是他在可能和不可能当中寻找一种绝对的选择。在这里，二分法成为一种可能和不可能之间的平衡与确立。同时，它在这种定理与悖论之间，寻找一种判断的新奇性。问题在于，它也不是质疑本体论两个精神与物质本源的相对性与绝对性，形而上学与存在事物，心灵与肉体，物质与精神。

　　What 1/2 illustrates are the fragment of the world as well as the presentation of the incomplete and complete world image of any things. Here， 1/2 lays great emphasis on one. It is one beginning and one origin， as well as one clear visual reproduction. From the early “broken idea” to the dichotomy and dualismdiscussed in philosophical thinking， it is not just an attempt to find out what is impossible and ultimately find a way of searching and excluding. More importantly， it is also not to find an absolute choice from the possible and impossible. Here， the dichotomy becomes a balance and establishment between the possible and the impossible. At the same time， it aims to seek the novelty of judgment between this theorem and the paradox. The problem is that it does not question the relativity and absolutism， metaphysics and the existence of things， minds and flesh， material and spirit of the two spiritual and material origins.

People of the Garden， 36.5cmx20cm， color on paper， 2017

　　艺术家井士剑在这里所呈现的单纯的视觉，还原最初的视觉感受，那他就是直观的清晰的一分为二的，整体与局部的，片段与完整，所有事物之间的一种相互吸引与相互联系又各自独立的艺术景观图像。它孕育出艺术家所看到的真实，他是经过视觉的直接折射通过心灵的映像。这种映像不是简单地直接地将这种映像还原为“一”的概念，这种“一”即成为这个世界自然的本源和人心灵所思的一种本源。“二”在这里不是任何一个孤立的一种片段和完整，而是相互对峙之后的总和。在同一相同尺度的平面，延续出两幅割裂或相解或独立的视觉景观。1/2是一种空缺的预留，整体的一部分和等同的一部分对峙在相交或互渗在完整之中，在一种或缺的状态下，还原一种世界景观。与此同时，片段成为一种独立的特质，形成自身的形状，如同双眼所形成的视觉，角度的偏移会使视觉改变，本源的所处和存在于一种所指，1/2成为一个绝对的整数。

　　The simple vision restored by Jing Shijian shows that he presents intuitive， clear and divided， whole and partial， fragmental and complete artistic landscape imageswhich are mutually attractive and connected as well as independent among all things. It nurtures the realities the artist see and it is an image directly refracted visually to the mind. This kind of image is not a simple and direct restoration to the concept of “one”. Instead， “one” becomes the origin of the natural world and the thinking of the human beings. “Two”， here， is the sum of mutual confrontation rather than an isolated fragment. On the same plane of the same scale extend two visual landscapes either split or independent. 1/2 is a vacant reservation with the whole part and the equivalent part confronting in the intersection or interpenetrated completely. And a world landscape is restored in the state of vacancy. Meanwhile， the fragment becomes an independent trait， forming its own shape， just as the vision formed by the eyes， which will be changed by the deviation of the angle. The locality and existence of the origin lies in the sign and 1/2 becomes an absolute integer.

Hills of the Garden， 36.5cmx20cm， color on paper， 2017

　　无论是从柏拉图到康德等人的二元论还是朱熹的理与气，再到斯宾诺莎等的关于世界本源的阐述，我们是否可以从众多对应的理论框架中最终寻找出绘画自身的存在。还原视觉才是解决绘画的本质之道。我们可以追溯与此时他时的三位伟大艺术家--马远，夏圭，梁楷等探讨这种艺术的本质。艺术家井士剑试图在这艺术史长河中，在这经典之中重新挖掘事物，在具有厚重底蕴的在南宋绘画中探索并重新夯实浓厚的视觉之像，将其叠印在此时此地，印刻在星空与大地之间，勾勒出一幅特有的一种理与气的艺术图像。

　　Whether it is the dualism of Plato， Kant， etc. or Zhu Xi’s thinking and existence， or elaboration of the origin of the world of Spinoza， etc.， can we seek the existence of the painting itself ultimately from those corresponding theoretical framework? Restoring the vision is the essence of painting. We can trace Ma Yuan， Xia Gui， Liang Kai and other great artists to discuss the essence of the art. The Artist， Jing Shijian， strives to re-excavate in the long course of art and classics， exploring and re-solidifying the strong visual image in the paintings of the Song Dynasty， to imprint them here at this time and engrave them between the stars and the earth， sketching out a unique kind of physical and artistic image.

Angle and Side， 36cmx50cmx3cm， color on board， 2017

　　自然与社会景观呈现出无比丰富和无尽边际的秩序自在形式并周而复始，事物的线性与事件发生的触点不断演绎在时间的刻度，波动以展开和退隐的方式击打外部世界。事物的感知成为感受，人作为一种感受力，意志、情感、行为等付诸予自身的判断。艺术家将这种景观赋为自我内省与发问，并进入属于他自己的炼丹迷宫。去发現可见与不可见之在。

Mountains and Rivers， 20cmx16cmx5cm， color on board， 2017

　　Natural and social landscape presents incomparable and endless order again and again with the touching points of the linear and events constantly deducted in the scale of the time and the fluctuations hitting the outside world by means of unfolding and retreating. The perception of things becomes of a feeling and human beings， as a sensibility， will be judged by the will， emotion， act， etc. The artist endows this kind of landscape to self-introspection and questioning and enters the alchemy maze of his own to find the visible and invisible.