王易罡 個(gè)人展

Wang Yigang Solo Exhibition

展覽信息

展覽名稱：空氣罐頭-顏料ICU

展期：2025.06.20-2025.07.20

開(kāi)幕式：2025.06.20 15:00

展覽時(shí)間：10:00-18:00

地址：沈陽(yáng)市和平區(qū)十一緯路10號(hào)花旗美術(shù)館

Exhibition Information

Exhibition Name: Air Can - Pigment ICUExhibition Period: June 20, 2025 - July 20, 2025Opening Ceremony: 15:00, June 20, 2025Exhibition Hours: 10:00 - 18:00Address: No. 10, Shi Yi Wei Road, Heping District, Shenyang

當(dāng)藝術(shù)淪為視覺(jué)經(jīng)驗(yàn)與傳統(tǒng)范式的囚徒，一場(chǎng)關(guān)乎自由與反叛的革命正在悄然醞釀。藝術(shù)家王易罡即將攜其極具顛覆性的“懸吊繪畫(huà)”創(chuàng)作實(shí)踐，于沈陽(yáng)花麒美術(shù)館舉辦個(gè)人藝術(shù)展，以“解構(gòu)與重生：身體敘事下的藝術(shù)革命”為主題，向藝術(shù)界發(fā)起一場(chǎng)震撼靈魂的宣言。

When art becomes a prisoner of visual experience and traditional paradigms, a revolution about freedom and rebellion is quietly brewing. Artist Wang Yigang is about to launch his highly subversive creative practice of "Suspended Painting" at a solo art exhibition titled"Deconstruction and Rebirth: The Artistic Revolution under Bodily Narrative"at Shenyang Huaqi Art Museum. This exhibition serves as a soul-stirring manifesto to the art world, challenging conventional norms through his revolutionary exploration.

在王易罡的藝術(shù)世界里，“空氣罐頭”不僅是意象符號(hào)，更隱喻著被知識(shí)體系禁錮的創(chuàng)作生命力。他以打破常規(guī)的勇氣，將身體轉(zhuǎn)化為最具力量的“畫(huà)筆”。在“懸吊繪畫(huà)”系列作品中，藝術(shù)家主動(dòng)摒棄視覺(jué)主導(dǎo)的創(chuàng)作邏輯，以“無(wú)目視創(chuàng)作”的激進(jìn)方式，讓身體在重力牽引下與顏料、空間展開(kāi)即時(shí)對(duì)話。飛濺的色點(diǎn)、流淌的油跡、交錯(cuò)的色塊不再是刻意設(shè)計(jì)的產(chǎn)物，而是潛意識(shí)與身體記憶的本能釋放，每一道痕跡都成為掙脫藝術(shù)枷鎖的鮮活印記。

In Wang Yigang's artistic universe, "Air Can" is not merely an iconic symbol but a metaphor for creative vitality imprisoned by knowledge systems. With the courage to break conventions, he transforms the body into the most powerful "brush." In hisSuspended Paintingseries, the artist deliberately abandons vision-dominated creative logic, adopting the radical approach of "sightless creation"—allowing the body to engage in immediate dialogue with pigments and space under the pull of gravity. Splattering color dots, flowing oil traces, and interlacing color patches are no longer products of deliberate design but instinctive releases of subconsciousness and bodily memory. Every mark becomes a living imprint breaking free from artistic shackles.

區(qū)別于傳統(tǒng)藝術(shù)創(chuàng)作對(duì)視覺(jué)結(jié)果的執(zhí)著，王易罡更強(qiáng)調(diào)創(chuàng)作的“當(dāng)下性”。這種理念恰似禪學(xué)中“活在當(dāng)下”的智慧——放棄固有繪畫(huà)方式，拒絕理性與經(jīng)驗(yàn)的桎梏，讓藝術(shù)回歸情感與生命的原始震顫。他的每一次顏料揮灑，都是對(duì)創(chuàng)作本質(zhì)的純粹回歸，是身體與藝術(shù)空間的深度共舞。“唯有放下知識(shí)、文化與既有的一切，方能觸及最本真的表達(dá)?！蓖跻最傅乃囆g(shù)宣言，深刻彰顯著對(duì)“慣性經(jīng)驗(yàn)”的審慎態(tài)度。這種突破常規(guī)的創(chuàng)作理念，使他的作品突破西方抽象表現(xiàn)主義的固有框架，將中國(guó)禪宗“無(wú)執(zhí)”思想融入藝術(shù)創(chuàng)作。在他的認(rèn)知里，畫(huà)布不僅是顏料的載體，更是生活留下的印記；身體也不再局限于創(chuàng)作者本身，而是成為藝術(shù)媒介的自然延伸。

Distinct from traditional art’s obsession with visual outcomes, WangYigang emphasizes the "immediacy" of creation. This philosophy mirrors the Zen wisdom of "living in the present"—abandoning fixed painting methods and rejecting the fetters of reason and experience to allow art to return to the primal tremors of emotion and life. Each of pigment in his work is a pure regression to the essence of creation, a profound duet between body and artistic space."Only by letting go of knowledge, culture, and all that is pre-existing can one touch the most authentic expression." Wang Yigang's artistic manifesto profoundly reflects his cautious attitude toward "habitual experience." This unconventional creative philosophy enables his works to transcend the established frameworks of Western abstract expressionism, integrating the Chinese Zen concept of "non-attachment" into artistic creation. In his view, the canvas is not merely a carrier for pigments but an imprint of life itself; the body is no longer confined to the creator but becomes a natural extension of the artistic medium.

在勝利 V 系列中，王易罡以重復(fù)性書(shū)寫為利刃，精準(zhǔn)切割固有創(chuàng)作經(jīng)驗(yàn)的枷鎖，讓隨機(jī)性表達(dá)從藝術(shù)邊緣躍至舞臺(tái)中央，成為生命在場(chǎng)的鮮活見(jiàn)證。他的創(chuàng)作不再局限于視覺(jué)層面的二維呈現(xiàn)，而是以“行動(dòng)抽象” 為橋梁，巧妙打通東方哲學(xué)與西方藝術(shù)語(yǔ)言的壁壘，構(gòu)筑起兩者交融共生的獨(dú)特場(chǎng)域。每一次充滿張力的創(chuàng)作實(shí)踐，都是他向藝術(shù)界發(fā)出的宣言 —— 自由絕非遙不可及的烏托邦，而是藝術(shù)創(chuàng)造的本質(zhì)內(nèi)核。王易罡以顛覆性的探索，為當(dāng)代藝術(shù)注入全新的思考維度，指引著后來(lái)者突破藩籬，追尋創(chuàng)作的無(wú)限可能。本次展覽將立體呈現(xiàn)其藝術(shù)實(shí)踐的演變脈絡(luò)：繪畫(huà)中抽象筆觸的肆意迸發(fā)、裝置作品的多維敘事、現(xiàn)成品的觀念重構(gòu)，與空間場(chǎng)域的沉浸式營(yíng)造相互激蕩，共同構(gòu)建出充滿哲思的藝術(shù)現(xiàn)場(chǎng)。在這里，觀眾將面終極叩問(wèn)——當(dāng)身體取代畫(huà)筆成為媒介，當(dāng)藝術(shù)掙脫視覺(jué)邏輯的枷鎖，自由的邊界將如何被重新定義？

In theVictory V Series, Wang Yigang employs repetitive writing as a blade to precisely sever the shackles of ingrained creative experience, elevating random expressions from the margins of art to its central stage as vivid testimony to the presence of life. His practice no longer remains confined to two-dimensional visual representation; instead, takingAction Abstractionas a bridge, he ingeniously breaks down the barriers between Eastern philosophy and Western artistic languages, constructing a unique field where the two intermingle and coexist. Each tension-filled creative act serves as his manifesto to the art world—freedom is not an unattainable utopia, but the essential core of artistic creation. Through his subversive exploration, Wang Yigang infuses contemporary art with fresh dimensions of thought, guiding successors to break through constraints and pursue the boundless possibilities of creation.This exhibition will offer a multidimensional presentation of his artistic trajectory: the unrestrained outbursts of abstract brushstrokes in painting, the multidimensional narratives of installation works, the conceptual reconstruction of ready-mades, and the immersive construction of spatial fields intertwine and resonate, collectively forming a philosophical art scene. Here, audiences will confront the ultimate question: when the body replaces the brush as a medium, and when art breaks free from the shackles of visual logic, how will the boundaries of freedom be redefined?

文/李小暖