方力鈞Fang Lijun
方力鈞，1963年出生于河北邯鄲，1989年畢業(yè)于中央美術(shù)學(xué)院版畫(huà)系，同年7月1日入住圓明園，并逐漸形成圓明園畫(huà)家村。1993年創(chuàng )建宋莊工作室并逐漸形成宋莊畫(huà)家村。2014年創(chuàng )建“中國當代藝術(shù)檔案庫”。
Fang Lijun was born in Handan, Hebei in 1963. He graduated from the Printmaking Department of the Central Academy of Fine Arts in 1989 and moved into the Yuanmingyuan Artists' Village on July 1 of the same year. Established Songzhuang Studio in 1993 and gradually formed Songzhuang Artist Village. In 2014, the "Chinese Contemporary Art Archive" was established.
方力鈞 系列二（之四） 布面油畫(huà) 200×200cm 1991-92
透徹人性 | 方力鈞
Deep Understanding of Human Nature | Fang Lijun
（ 文：暢泉 ）
當今時(shí)代，物質(zhì)文明的沖擊已經(jīng)成為我們生活的主要特征之一?？萍嫉倪M(jìn)步、物質(zhì)的豐富和信息的爆炸，伴隨著(zhù)快節奏的生活方式，使我們的精神變得空洞與蒼白。在這個(gè)時(shí)代，人們往往感到迷茫，似乎在不斷尋找失去的東西。
在物質(zhì)化觀(guān)念盛行天下的人潮人涌之中，當下的物質(zhì)文明為我們帶來(lái)了前所未有的物質(zhì)繁榮與膨脹。然而，與此同時(shí)，這也催生了一種無(wú)休止的消費文化所催促成玩世主義，使人們沉浸在物質(zhì)追求的苦途中。我們不斷地以各種理由來(lái)鼓勵自我去追求所謂的更多財富、更高的名利及地位，但這似乎并沒(méi)有帶來(lái)真正的滿(mǎn)足感和幸福。往往在幸福即將來(lái)臨的一瞬間又變成了泡沫與災難。藝術(shù)家方力鈞的繪畫(huà)作品的光頭回眸，一瞬間的恍惚與如夢(mèng)初醒。這一覺(jué)醒，感覺(jué)到物質(zhì)與自我精神的分離，給自我開(kāi)了一個(gè)人世間的大玩笑一樣。一切變得如此陌生。
In today's era, the impact of material civilization has become one of the main features of our lives. The progress of science and technology, the abundance of material and the explosion of information, along with the fast-paced lifestyle, have made our spirit hollow and pale. In this era, people often feel lost and seem to be constantly searching for what they have lost. In the midst of the surging tide of people who are preoccupied with materialistic concepts, the current material civilization has brought us unprecedented material prosperity and inflation. However, at the same time, it also gave rise to a culture of endless consumption that promoted cynicism, causing people to become immersed in the pursuit of material goods. We constantly encourage ourselves to pursue so-called greater wealth, higher fame and status for various reasons, but this does not seem to bring us true satisfaction and happiness. It often turns into a foam and disaster at the moment when happiness is coming. The painting of the artist Fang Lijun's bald head looking back, a moment of trance and awakening. This awakening, which felt the separation between matter and self-spirit, was like a big joke to the self. Everything has become so strange.
方力鈞 系列二（之二） 布面油畫(huà) 200×230cm 1991-92
方力鈞 木刻版畫(huà) 400×852cm 2003年
萬(wàn)物互聯(lián)網(wǎng)的數字信息沖擊，天天都有大量的信息源涌入我們的生活。它們無(wú)孔不入地侵略我們的思維，與此同時(shí)，快節奏的生活也在壓榨我們的身軀，永遠無(wú)休止的追趕時(shí)間，從來(lái)沒(méi)有足夠的時(shí)間、空間讓自我停下來(lái)思考自我或解析自我的精神。在蒼白的物質(zhì)追求中，把自我硬邦邦地擰巴成焦慮、疲憊、慌張融為一體的精神空洞者。人人幾乎都孤立在一個(gè)冷漠的人世間，人與人開(kāi)始懷疑一切存在價(jià)值與意義，利益在異化著(zhù)人性，變得更加虛偽及荒誕。 空洞的幸福感是一種假象，像泡沫一樣吹噓著(zhù)現實(shí)人性的陰暗面，物質(zhì)永遠無(wú)法來(lái)超度自我靈魂，它只會(huì )支架你的精神外相。
有人總認為現實(shí)就是曙光與名利就是太陽(yáng)，在理想的孤舟里，如夢(mèng)幻般的孤云托起來(lái)的往往是無(wú)奈的光，在無(wú)形的壓力之下往往被視為一種精神枷鎖，限制了我們的自由夢(mèng)想。這些枷鎖讓我們感到束縛，無(wú)法自由地到達自我的理想彼岸。
The digital information impact of the Internet of Everything has brought a large number of information sources into our lives every day. They invade our mind in every possible way, while fast-paced life also squeezes our body, with an endless pursuit of time, never having enough time and space to stop and reflect on ourselves or analyze our own spirit. In the pale pursuit of material things, they have twisted themselves into a spiritual void of anxiety, exhaustion, and panic. Almost everyone is isolated in an indifferent world, and people begin to doubt the value of everything that exists? Interests are alienating human nature, becoming more hypocritical and absurd. Empty happiness is a kind of illusion, boasting the dark side of reality and humanity like a foam. Material can never transcend your soul, it will only support your spiritual appearance. Some people always believe that the reality is the sun of dawn and fame and fortune. In the lonely boat of their dreams, the lonely cloud that is like a dream is often a helpless light, and under the pressure of the invisible, it is often seen as a spiritual shackle that limits our free dreams. These shackles make us feel bound and unable to freely reach the ideal destination of self.
方力鈞 1993.2 布面油畫(huà) 180×230cm 1993
《狂熱分子》
在空洞的精神世界里，我們更清澈地辨別人性的丑惡與善美，方力鈞的肖像繪畫(huà)把人性的內心世界刻畫(huà)的惟妙惟肖，那種來(lái)自自我的人生感悟所理解的人性哲學(xué)，在他的肖像繪畫(huà)中呈現的更加徹底，繪畫(huà)藝術(shù)的就如同一把解剖人性?xún)刃牡氖中g(shù)刀那樣，把人性的真實(shí)面通過(guò)自我的思想沉寂而做出判斷的一種獨特語(yǔ)境來(lái)解剖社會(huì )人生真實(shí)度。 In the empty spiritual world, we can distinguish the ugly and beautiful of human nature more clearly. Fang Lijun's portrait painting vividly portrays the inner world of human nature. The philosophy of human nature understood from self-awareness is presented more thoroughly in his portrait painting. The art of painting is like a scalpel that dissects the inner world of human nature, and it uses the unique context of self-awareness to dissect the authenticity of social life through the silence of self-thought.
《1997.1》
人性是復雜多樣的，包括善良、惡意、自私、慷慨等各種特質(zhì)。在異形的物質(zhì)化價(jià)值觀(guān)下，人性可能會(huì )在各種各樣的環(huán)境下展現出一種荒誕性，試圖在社會(huì )中獲取更多的資源和權力。這種行為包括謊言、欺騙、背叛等。玩世的荒誕性行為不僅在個(gè)體層面存在，還在社會(huì )層面產(chǎn)生影響。社會(huì )中的不誠實(shí)和腐敗行為會(huì )破壞信任，導致社會(huì )不穩定和不公平。人性中的邪惡一面可能會(huì )得到放大，導致社會(huì )的衰敗和墮落。藝術(shù)可以是對異形的物質(zhì)化價(jià)值觀(guān)的一種反思和抗議。藝術(shù)家方力鈞通過(guò)他的繪畫(huà)作品表達對社會(huì )不公和倫理淪喪的關(guān)切，引發(fā)我們對人性的深刻思想。 Human nature is complex and diverse, including various traits such as kindness, malice, selfishness, and generosity. Under the materialistic values of aliens, human nature may exhibit a kind of absurdity in various circumstances, attempting to gain more resources and power in society. Such behavior includes lying, cheating, betrayal, etc. The cynical and absurd sexual behavior not only exists at the individual level, but also has an impact at the social level. Dishonesty and corruption in society can undermine trust, leading to social instability and injustice. The evil side of human nature may be amplified, leading to social decay and degeneration. Art can be a reflection and protest against alien material values. The artist Fang Lijun expresses his concern about social injustice and ethical decay through his paintings, which provokes deep thoughts about human nature.
2012油畫(huà)009
2011油畫(huà)003
2012油畫(huà)014
2012油畫(huà)016
方力鈞通過(guò)其繪畫(huà)作品探討了人性、社會(huì )性和荒誕性之間的復雜關(guān)系。在物質(zhì)財富和社會(huì )地位成為主要價(jià)值觀(guān)的情況下，人性可能會(huì )呈現出陰暗的一面，包括謊言、欺騙和精神扭曲等現象。為了建立一個(gè)更加道德和美好的現實(shí)，我們需要反思異形的物質(zhì)化價(jià)值觀(guān)，重視道德原則和人性的美德，培養更加堅韌、善良和創(chuàng )造力的人性溫度。
Through his paintings, Fang Lijun explores the complex relationship between humanity, sociability, and absurdity. In a situation where material wealth and social status become the main values, human nature may exhibit a dark side, including lying, deception, and mental distortion. In order to build a more moral and beautiful reality, we need to reflect on the materialized values of aliens, value moral principles and the virtues of human nature, and cultivate a more resilient, kind, and creative human temperature.
《1996.4》
《2011-2012》
本期藝術(shù)推文 / 暢泉
暢泉 “方力鈞的繪畫(huà)作品的光頭回眸，一瞬間的恍惚與如夢(mèng)初醒。這一覺(jué)醒，感覺(jué)到物質(zhì)與自我精神的分離，給自我開(kāi)了一個(gè)人世間的大玩笑一樣。一切變得如此陌生。”
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