《 失重：從宏大到平常的間奏 》

WEIGHTLESSNESS

A INTERLUDE FROM THE GRAND TO THE ORDINARY

藝術(shù)家：汪鵬飛

Artist: Wang Pengfei

策展人：劉序之

Curator: Liu Xuzhi

主辦單位：橋藝術(shù)空間

Organizer:Art Bridge Gallery

展覽時(shí)間：2026年1月3日——2026年3月1日

Exhibition Date:Jan.3,2026 - Mar.1,2026

開(kāi)幕時(shí)間：2026年1月3日 下午4:00

Opening time:Jan.3.2026 at4:00p.m

展覽地址：北京798藝術(shù)區(qū)D09-1 橋藝術(shù)空間

Venue: D09-1 Art Bridge Gallery,798 Art Zone,Beijing

媒體支持:藝術(shù)中國(guó)/Hi藝術(shù)/藝?yán)迕?騰訊新聞/今日頭條/新華網(wǎng)/中國(guó)網(wǎng)/中國(guó)美術(shù)報(bào)/人民藝術(shù)

Media:art.china,cn/hiartspace/artcm/view.inews.qq.com/toutiao.com/Xinhuanet/China.com/China Art News/People Art

萊比錫劇作家理查德·瓦格納于19世紀(jì)40年代創(chuàng)作了一部關(guān)于沖突與代價(jià)的歌劇《唐懷瑟與瓦爾特堡的歌賽》。當(dāng)演出至第一幕的尾聲，吟游詩(shī)人唐懷瑟離開(kāi)蔓延著血色熔巖、象征欲望的巖洞，踏上通往瓦爾特堡的山道，遠(yuǎn)處傳來(lái)朝圣者的合唱，清晨的濃霧隨著日升沉降，而維納斯的魅惑歌聲仍從地底的深淵里冒出：來(lái)我這里，跟著我，唐懷瑟，回來(lái)……大幕隨之緩緩落下，間奏響起，又驟然結(jié)束，大幕急速升起，唐懷瑟仍佇立舞臺(tái)中央，但已置身瓦爾特堡透著冷白天光的賽歌大廳！

對(duì)于觀眾而言，這是一種不違背預(yù)期、不令人起疑，卻又極為失真的體驗(yàn)：唐懷瑟從一個(gè)時(shí)空抵達(dá)另一個(gè)時(shí)空——只在燈光明滅、音樂(lè)起落、帷幕升降之間。

本次個(gè)展中的汪鵬飛正如舞臺(tái)上的唐懷瑟一樣，已抵達(dá)另一片天地，至于如何抵達(dá)的，不得而知。

▲《花季》

布面油畫(huà)

200×160cm

2025年

羈旅歸途

藝術(shù)的追隨者們?cè)缫褜?duì)一類事情習(xí)以為常，即習(xí)慣了琢磨藝術(shù)家的想法和技法，抽絲剝繭般梳理藝術(shù)作品的來(lái)龍去脈，將藝術(shù)探索視為一條迂回曲折或筆直坦蕩的道路，藝術(shù)的創(chuàng)作者們?cè)谏厦嬉徊揭粋€(gè)腳印的前行，而他們則不斷的為其注明坐標(biāo)，仿佛可以知曉每一個(gè)腳印的來(lái)由和去向。這樣的認(rèn)知未免太過(guò)傲慢，難怪庫(kù)爾貝曾言：我要以我的作品驚嚇有產(chǎn)階級(jí)。本次展出的汪鵬飛近作也似乎不斷提醒著我們：有的人熱衷于為藝術(shù)迷宮繪制地圖，而我只是在這座迷宮里閑逛。

今時(shí)的我恰好逛到了某處，遇見(jiàn)了今時(shí)的你們。

也許人類被設(shè)計(jì)了一條不可被篡改的基因代碼：初生之人定將遠(yuǎn)行，而行遠(yuǎn)之人定會(huì)迷戀出發(fā)的地方。汪鵬飛作為一個(gè)遠(yuǎn)行者，今時(shí)將目光聚焦或失焦在中世紀(jì)的繪畫(huà)上——那是油畫(huà)的出發(fā)地。

▲《驚愕》

布面油畫(huà)

200×160cm

2025年

在他的畫(huà)中，類似濕壁畫(huà)常用的純粹青藍(lán)、橙橘顏色被巨大的白色包裹在一個(gè)干凈、質(zhì)地透明的空間里，卻用以刻畫(huà)不經(jīng)篩選的對(duì)象與場(chǎng)景，試著以一種“去抉擇化”的方式來(lái)實(shí)現(xiàn)他所追求的“日?！?。值得注意的是，畫(huà)中的對(duì)象與場(chǎng)景并無(wú)須經(jīng)汪鵬飛“親眼”所見(jiàn)，而是來(lái)自圖像的圖像——圖像已浩浩蕩蕩的躋身日常的日常。

畫(huà)面還時(shí)常被刻意制造成門(mén)窗的形狀，像是他為自己準(zhǔn)備的“緊急出口”，讓人聯(lián)想到古老教堂里的祭壇畫(huà)邊緣。但汪鵬飛并不考古，他所要的是讓歷史再次發(fā)生，或者說(shuō)，今天發(fā)生的一切，至于明天，不也是歷史嗎？

“我想用最原初的精神與愿望來(lái)畫(huà)當(dāng)下的日常模樣”是汪鵬飛的原話。

▲《大大的水花》

布面油畫(huà)

200×160cm

2025年

輕盈自省

我去到汪鵬飛的畫(huà)室的時(shí)候，墻上靠著一張未完成的大畫(huà)，旁邊的紙箱里裝著一箱羽毛，汪鵬飛正嘗試著將羽毛粘到畫(huà)面厚重的顏料上，但效果似乎不理想，汪鵬飛自嘲：呵呵，搞得一地雞毛！

汪鵬飛曾在文章里寫(xiě)道：“原本最期待有一間大畫(huà)室，而且一定要帶天窗，但當(dāng)真的擁有了帶天窗的大畫(huà)室后，就再也沒(méi)有畫(huà)出滿意的畫(huà)來(lái)。”這段平實(shí)的表述里，至少隱藏了兩條畫(huà)家的自?。阂皇峭豉i飛隱約警覺(jué)物質(zhì)基礎(chǔ)并不能左右或者助力藝術(shù)創(chuàng)作，二是警覺(jué)“滿意”并非恒定的標(biāo)準(zhǔn)，而是隨著認(rèn)知上下浮動(dòng)、忽遠(yuǎn)忽近的島嶼。真正的畫(huà)家怕是難以踩上彼岸的沙灘了。

同樣令他警覺(jué)的，是他的成長(zhǎng)時(shí)代與從藝經(jīng)歷。汪鵬飛成長(zhǎng)、從藝在一個(gè)充斥著落后焦慮的時(shí)代，那是“沉重”得以生長(zhǎng)的土壤，存在的危機(jī)感使分量被列為價(jià)值體系中重要的度量單位以抗衡藝術(shù)自古給人帶來(lái)的愉悅，這也成為了汪鵬飛今時(shí)美學(xué)回溯的底色。

▲《開(kāi)幕式》

布面油畫(huà)

200×160cm

2024年

汪鵬飛先是在與進(jìn)步、退步的較量中學(xué)會(huì)了看輕繪畫(huà)與自己，哪怕僅是“看”輕。而后在悲劇與喜劇，犧牲與尋歡，英雄與丑角之間選擇了平常，進(jìn)而回到了平常，融入了平常。此時(shí)，“舉重若輕”變得不再那么獨(dú)特而可取，代之常以為習(xí)，作為他藝術(shù)里暫時(shí)的答案。

如果將汪鵬飛早先的作品視為泥土、砂礫、巖石，而本次個(gè)展呈現(xiàn)的更像是一片羽毛，我們已無(wú)暇爭(zhēng)辯哪一批作品更能嵌入我們的記憶里，或是更能沐浴在未來(lái)的日光里呼吸，因?yàn)槊恳慌髌范紝⒊蔀檫^(guò)去的作品，而每一批過(guò)去的作品都將作為一個(gè)切片、一圈年輪，或一段鏈接上一幕與下一幕戲碼的間奏（Bridge），期盼他一次次抵達(dá)彼岸。

劉序之

2025年12月于南寧

▲《凝望-2》

布面油畫(huà)

35×35cm

2025年

Preface

In the 1840s, Leipzig-based dramatist Richard Wagner composed his opera Tannh?user and the Song Contest at Wartburg, a work centered on conflict and its costs. Towards the end of Act I, the minstrel Tannh?user departs the cavern of Venus—a realm of desire seething with crimson lava. As he ascends the mountain path toward Wartburg Castle, the chorus of pilgrims is heard echoing in the distance. The morning mist lifts with the rising sun, yet the alluring call of Venus still drifts from the abyss below: “Come to me, follow me, Tannh?user, return…” The curtain slowly descends, an interlude sounds, and ends just as abruptly. Then the curtain rises swiftly, revealing Tannh?user still standing at center stage, now bathed in the cool white daylight of the Wartburg song contest hall.

For the audience, this is an experience that neither violates expectation nor arouses suspicion, and yet it is profoundly disorienting: Tannh?user journeys from one reality to another—in the mere flicker of lights, the swell and fade of music, the fall and rise of the curtain.

In this solo exhibition, Wang Pengfei, much like Tannh?user on stage, has already arrived in another realm. How he got there remains a mystery.

▲《凝望-1》

布面油畫(huà)

35×35cm

2025年

Homeward Journey

Followers of art have long grown accustomed to a certain approach: they habitually dissect the artist’s ideas and techniques, trace the lineage and context of an artwork thread by thread, and treat artistic exploration as a path—winding or straight—on which the creator treads step by step. Observers, meanwhile, annotate the journey with coordinates, as if able to map the origin and destination of every footprint. Such perception may be unduly presumptuous—no wonder Courbet once declared: “I want to shock the bourgeoisie with my work.” The recent works by Wang Pengfei presented here seem to offer a similar reminder: some are eager to chart a map of art’s labyrinth, while I am merely wandering within it.

I happen to have wandered here, now, and met all of you here today.

Perhaps humans are encoded with an unalterable directive: the newly born shall journey far, and those who journey far shall grow haunted by the place from which they departed. Wang Pengfei, as such a traveler, now turns his gaze—now focused, now softly blurred—toward Medieval painting: the very birthplace of oil painting itself.

▲《有紋身的女孩兒》

水彩

36×26cm

2025年

In his works, pure blues and oranges reminiscent of fresco technique are enveloped by vast fields of white, held within a clean, translucent space. Yet these colors depict uncurated objects and scenes, as he seeks to render “the ordinary” through a method of de-selection. It is worth noting that what appears in these paintings need not have been witnessed firsthand by Wang Pengfei; they often come from images of images—pictures that have already surged into the everyday of the everyday.

The canvases are also often shaped deliberately like doors or windows, resembling “emergency exits” he has prepared for himself, evocative of the framed borders of altarpieces in ancient churches. But Wang Pengfei is not an archaeologist; what he wants is for history to occur again—or rather, to recognize that everything happening today is already history. After all, will tomorrow not be history as well?

“I want to paint the present-day ordinary through the most primordial spirit and desire,” Wang Pengfei has said.

▲《瓷片-1》

水彩

19×24cm

2024年

Lightness and Introspection

When I visited Wang Pengfei’s studio, a large unfinished painting leaned against the wall. Nearby, a cardboard box was filled with feathers. Wang Pengfei was trying to fix them onto the thick paint of the canvas, but the result seemed unsatisfying. He laughed at himself: “Well, isn’t this a fine mess.”

Wang Pengfei once wrote: “What I most looked forward to was a large studio, and it had to have a skylight. But after I actually got a large studio with a skylight, I never painted a satisfactory work again.” This plain statement contains at least two layers of the artist’s self-reflection: first, a dawning awareness that material conditions cannot dictate or necessarily aid artistic creation; second, a wariness that “satisfaction” is no fixed standard, but an island that drifts closer or farther with the tides of understanding. A true painter may never quite reach that distant shore.

What also keeps him vigilant is the era of his growth and his artistic formation. Wang Pengfei came of age and began his practice in a time saturated with anxiety over perceived backwardness—a soil in which “heaviness” could take root. A sense of existential crisis elevated weight and gravitas into key measures of value, a counterweight to the pleasure art has traditionally offered. This became the implicit tone of Wang Pengfei’s present aesthetic return.

Wang Pengfei first learned, amid struggles between ideas of progress and regress, to regard painting—and himself—lightly, if only in perception. Then, between tragedy and comedy, sacrifice and revelry, hero and fool, he chose the ordinary, returned to it, merged with it. Here, “l(fā)ifting heavy weight as though it were light” ceases to be a special virtue; instead, it becomes habitual practice, a provisional answer within his art.

Epilogue

If Wang Pengfei’s earlier works may be seen as soil, grit, and stone, this solo exhibition presents something closer to a feather. There is little use debating which body of work might embed itself more deeply in memory, or breathe more freely in future light—for every body of work will become the work of the past. And each past body of work will stand as a slice, a tree-ring, an interlude—a bridge between what came before and what follows—awaiting his next arrival on the other shore.

Liu Xuzhi

December 2025, Nanning

關(guān)于藝術(shù)家

About Artist

汪鵬飛

Wang Pengfei

安徽省歙縣人。

2006年畢業(yè)于中央美術(shù)學(xué)院油畫(huà)本科。

2016年畢業(yè)于中央美術(shù)學(xué)院油畫(huà)系，獲碩士學(xué)位。

現(xiàn)為廣西藝術(shù)學(xué)院美術(shù)學(xué)院油畫(huà)系第一工作室主任，碩士研究生導(dǎo)師。

一級(jí)美術(shù)師。

中國(guó)美術(shù)家協(xié)會(huì)會(huì)員，中國(guó)油畫(huà)學(xué)會(huì)會(huì)員。

廣西油畫(huà)學(xué)會(huì)副會(huì)長(zhǎng)。

個(gè)展

2008年

歷史的回聲——汪鵬飛個(gè)人作品展，北京時(shí)代美術(shù)館

2016年

無(wú)聲處——汪鵬飛油畫(huà)作品展，北京798橋藝術(shù)空間

2017年

遠(yuǎn)去的風(fēng)景——汪鵬飛油畫(huà)作品展，無(wú)錫美術(shù)館

2023年

蒼——汪鵬飛個(gè)展，安徽徽州歷史博物館

2025年

看，這個(gè)世界——汪鵬飛的游走與記錄，桂林井田藝術(shù)

重要參展：

2024年

第十四屆全國(guó)美展油畫(huà)展區(qū)進(jìn)京作品。（文化旅游部，中國(guó)文聯(lián)、中國(guó)美協(xié)）

2020年

可見(jiàn)之詩(shī)--第四屆中國(guó)風(fēng)景油畫(huà)作品展，獲學(xué)術(shù)獎(jiǎng)。（中國(guó)油畫(huà)學(xué)會(huì)）

百年圓夢(mèng)---中國(guó)百家金陵畫(huà)展（油畫(huà)），獲典藏獎(jiǎng)。 (中國(guó)美術(shù)家協(xié)會(huì))

2019年

第十三屆全國(guó)美術(shù)作品展油畫(huà)展。（文化旅游部，中國(guó)美協(xié)）

大路西行中國(guó)油畫(huà)作品展，獲學(xué)術(shù)獎(jiǎng)。（中國(guó)油畫(huà)學(xué)會(huì)）

第十二屆中國(guó)藝術(shù)節(jié)全國(guó)優(yōu)秀美術(shù)作品展。（文化旅游部）

2018年

可見(jiàn)之詩(shī)--第三屆中國(guó)風(fēng)景油畫(huà)作品展，獲優(yōu)秀獎(jiǎng)。（中國(guó)油畫(huà)學(xué)會(huì)）

2012年

第五屆中國(guó)北京國(guó)際美術(shù)雙年展。(中國(guó)美術(shù)家協(xié)會(huì))

2010年

研究與超越----第二屆中國(guó)小幅油畫(huà)展”獲優(yōu)秀獎(jiǎng)。（中國(guó)油畫(huà)學(xué)會(huì)）

2009年

第十一屆全國(guó)美展油畫(huà)展。（中國(guó)美術(shù)家協(xié)會(huì))

第十一屆全國(guó)美展綜合材料繪畫(huà)展。 (中國(guó)美術(shù)家協(xié)會(huì))

2008年

第三屆中國(guó)北京國(guó)際美術(shù)雙年展。(中國(guó)美術(shù)家協(xié)會(huì))

2007年

首屆中國(guó)青年百人油畫(huà)展，獲優(yōu)秀獎(jiǎng)。(中國(guó)油畫(huà)學(xué)會(huì))

重要收藏：

中國(guó)美術(shù)館、江蘇美術(shù)館、上海美術(shù)館、安徽徽州歷史博物館、長(zhǎng)沙李自建美術(shù)館、中國(guó)油畫(huà)學(xué)會(huì)。

Wang Pengfei

born in She County, Anhui Province.

Graduated from the Central Academy of Fine Arts with a bachelor's degree in Oil Painting in 2006.

Graduated from the Oil Painting Department of the Central Academy of Fine Arts with a master's degree in 2016.

Currently, he is the Director of the First Studio of the Oil Painting Department, Academy of Fine Arts, Guangxi Arts University, and a master's supervisor.

First-Class Artist.

Member of the China Artists Association and the China Oil Painting Society.

Vice President of the Guangxi Oil Painting Society.

Solo Exhibitions

2008

"Echoes of History - Wang Pengfei's Solo Exhibition",

Times Art Museum, Beijing.

2016

"In the Silence - Wang Pengfei's Oil Painting Exhibition"

Bridge Art Center, 798 Art Zone, Beijing.

2017

"Fading Landscapes - Wang Pengfei's Oil Painting Exhibition"

Wuxi Art Museum.

2023

"Cang - Wang Pengfei's Solo Exhibition"

Huizhou History Museum, Anhui.

2025

"Look, This World - Wang Pengfei's Wandering and Recording"

Jingtian Art, Guilin.

Important Group Exhibitions

2024

Works shortlisted for the Oil Painting Section of the 14th National Art Exhibition and exhibited in Beijing. (Ministry of Culture and Tourism, China Federation of Literary and Art Circles, China Artists Association)

2020

"Visible Poems - The 4th China Landscape Oil Painting Exhibition", won the Academic Award. (China Oil Painting Society)

"Century Dream Come True - China Hundred Schools Jinling Painting Exhibition (Oil Painting)", won the Collection Award. (China Artists Association)

2019

Oil Painting Section of the 13th National Art Exhibition. (Ministry of Culture and Tourism, China Artists Association)

"Westward Journey Along the Grand Road - China Oil Painting Exhibition", won the Academic Award. (China Oil Painting Society)

National Excellent Art Works Exhibition of the 12th China Art Festival. (Ministry of Culture and Tourism)

2018

"Visible Poems - The 3rd China Landscape Oil Painting Exhibition", won the Excellent Award. (China Oil Painting Society)

2012

The 5th China Beijing International Art Biennale. (China Artists Association)

2010

"Research and Transcendence - The 2nd China Small-Size Oil Painting Exhibition", won the Excellent Award. (China Oil Painting Society)

2009

Oil Painting Section of the 11th National Art Exhibition. (China Artists Association)

Comprehensive Materials Painting Section of the 11th National Art Exhibition. (China Artists Association)

2008

The 3rd China Beijing International Art Biennale. (China Artists Association)

2007

The 1st China Youth Hundred Oil Painting Exhibition, won the Excellent Award. (China Oil Painting Society)

Important Collections

National Art Museum of China, Jiangsu Art Museum, Shanghai Art Museum, Huizhou History Museum of Anhui, Li Zijian Art Museum of Changsha, China Oil Painting Society.