绝对真理——王五龙绘画作品展
策展人：吴鸿
展览时间：2017-06-23~2017-07-23
开幕时间：2017年6月23日（周五），15：30
展览地点：艺术国际美术馆
地 址：北京市通州区宋庄小堡北街205号
王五龙
“Absolute Truth” Oil Painting Exhibition of Wang Wulong
Curator： Wu Hong
Duration： 2017-06-23 ~ 2017-07-23
Opening： 2017.6.23（Fri），15：30
Venue： Artintern Art Museum
Address： No.205，Xiaopu North Road， Songzhuang，Tongzhou District， Beijing
力求严肃、认真的荒谬
吴鸿
王五龙因为家庭环境的影响，早年习画；后从事摄影创作数十年；近年来，又在当代艺术圈中浸淫匪浅。故而，他的这批绘画作品大体是源于上述三方面的背景，有感而发。
《阿城》布面油彩，80x120cm，2014
《MoMA之窗》布面油彩，100x80cm，2014
王五龙的绘画看起来似乎有着极简和硬边的风格效果，其实，他的绘画作品的理论来源或许更贴近他数十年来的摄影实践经验，以及在此基础上对于图像文化的社会属性的认识结果。正如我在此前的多篇文章中所谈及的那样，我们今天所具有共识性认知的“具象”或“写实”绘画，它对于世界的所谓真实性表达的合法性基础是与以焦点透视为理论框架的摄影视觉文化传统相一致的，而这种摄影视觉文化的起源甚至远远早于狭义的“摄影术”的发明。作为一种广泛意义上的视觉经验，它起源于欧洲中世纪后期人们对于针孔成像原理的发现，以及光学透镜技术和工艺的发展。如果我们把最后通过绘画材料所固定下来的图像，与通过化学感光材料所显现的影像，在视觉效果上等同视为摄影的最后阶段完成的话；那么，通过观察投射在毛玻璃上的影像来作画的过程，实际上已经可以视为广义的摄影视觉文化产生了。在此后的文艺复兴时期，“人”通过对于世界真理的认识和表达，进而达到确立人的主体价值的目的。再其后，古典哲学进一步完成了对于世界秩序稳定而明晰的逻辑框架的理论表达。故而，当狭义的摄影术出现的时候，通过已经早于此数世纪的广义的摄影视觉文化的加冕，摄影被视为最贴近所谓世界的真实性的一种表达形式。而这种认识的背后，却隐含了极大的谬误，甚至是，当视觉文化被意识形态化的时候，它已经浸染了太多的洗不清的原罪。
《窗No.1》布面油彩，50x50cm，2017
《窗No.2》布面油彩，50x50cm，2017
当我们探究在人类历史上曾经出现过的专制制度的阶段时，便可以发现，它无一例外地偏爱“写实”的视觉风格。一方面，所谓的“写实性”视觉表达方式所体现出来的明晰而合乎逻辑的外在特征，往往比较符合专制政权所推崇的“雅正”的道德美学要求。另一方面，对于世界规律稳定而合乎逻辑的框架的认可，也符合它自身在人类历史（世界规律的一部分）理性逻辑发展的前提下，其合乎“历史规律”的合法性的理论诉求。
而王五龙数十年摄影创作的经验，促使他更加认识到摄影的这种在“真实性”所掩盖下的主观性和虚假性。通过媒介的转换，王五龙的意图是想一步步去除掉那些包裹在“摄影”这个概念上的那些美学的、象征的、主观的、情趣的，甚至是意识形态的“杂质”，还原一个纯粹而绝对的“真理”。
《窗No.4》布面油彩，50x50cm，2017
他的图像来源还有另一个线索，即是在书籍封面的设计中所隐藏的那些同样是美学的、象征的、主观的、情趣的，甚至是意识形态的“杂质”，王五龙的也是试图去还原一个纯粹的形式化的真理。
而这种努力其自身也是荒谬的。王五龙的心机即是想通过后一种绝对化的、显而易见的荒谬性，去彰显并解构前一种已经渗透到我们的社会文化中的，同时也更为隐秘的荒谬性。这就是王五龙的这批绘画作品的观念性所在。
《窗No.5》布面油彩，50x50cm，2017
2017年6月11日 于北京通州
Striving for a Serious， Earnest Absurdity
By Wu Hong
Under family’s influence， Wang Wulong began to learn painting at a young age。 In more than ten years that followed， he devoted himself to the production of photography。 During recent years， Wulong has been playing a very active part in the field of modern art。 As a result， his paintings are mostly created with the three above-mentioned aspects of background as the inspirational sources。
《窗No.6》布面油彩，50x50cm，2017
《风景No.2》布面油彩，80x40cm，2017
Wulong’s paintings， at one glimpse， seem to possess an effect of minimalism and hard-edgedness。 As a matter of fact， however， the theories of his works result from， or stand quite close to his decades practical experience in photography， as well as his apprehension towards the social characteristics of image cultures with photography experience as the base。 Just as I mentioned in several articles earlier， the paintings of “concretization” and “authenticity”， towards which we have mutual understanding nowadays， express to the world in the so-called authentic way， and that does fall in line with the tradition of photographic visual cultures where focus perspective is taken as the theoretical frame， whilst the origin of such photographic visual culture appeared even earlier than the narrow-sensed invention of photography。 As a broad-sensed visual experience， it generates from the pin-hole image principle discovered in the late Middle Age of Europe， together with the development of lenticular technology and craft-work。 If the final images fastened by painting material， together with the images reflected through photo-sensative material， can be， visually speaking， completed in the same way as photographs are done in the final stage， then， the process where paintings are done through observation of images reflected upon frosted glass can truly be considered as the production of visual culture of photography in a broad sense。 In the Renaissance time that came afterwards， people achieved the goal of agreeing human being as the main-body through understanding and expression towards the truth of the world。 Some while later， a stable and clear， logical frame of theoretical expression towards the order of the world came to a further completion through classical philosophy。 Therefore， when narrow-sensed photography appeared， it got crowned by the broad-sensed visual culture of photography that appeared centuries earlier， so that photography gets to be considered as a way of expression that stands most close to the authenticity of the world。 Yet an enormous fallacy is hidden behind such understanding。 What is more， when visual culture experiences the morphologization of awareness， it has already absorbed countless original sins that can hardly be wiped away。
As we are conducting researches upon the period of dictatorial system that once appeared in human history， we can easily notice that the visual style of authenticity was always preferred。 On one side， the clear and logical external characteristics displayed through the so-called “authentic visual expression”， tend to stand in line with the requirement of righteous ethical aesthetics advocated by despotic regime， whilst on the other side， approved by the stable and logical frame of world’s regulation， it also fits the appeal of legal theory of historical regulation， with its own rational， logical development in human history （which partially belongs to the regulation of the world） as the prerequisite。
《风景No.4》布面油彩，80x40cm，2017
《风景No.3》布面油彩，80x40cm，2017
And thanks to the decades of experience in photographic production， Wang Wulong possesses a deeper apprehension towards the subjectivity and the falsity of photography shaded by the “authenticity”。 By changing the medium， Wang Wulong aims at peeling off the aesthetic， symbolic， subjective， temperament， or even the ideological “matters of impurity”， so as to restore a pure and absolute “truth”。
His images also come from another clue。 That’s to say， even though those aesthetic， symbolic， subjective， temperament， or even the ideological matters of impurity “matters of impurity” do exist in the design of book covers， Wang Wulong still are making attempts to restore a pure and formalized truth
《经书》布面油彩，25x20cm，2017
《街景》布面油彩，120x80cm，2017
And this devotion itself is also absurd。 What Wang Wulong plans， is to manifest and deconstruct the first kind of absurdity that has permeated into our social cultures and that has been deeper hidden， through the second kind of absurdity which is more absolute and apparent。 That’s what the perspectives of those paintings by Wang Wulong truly are。
June 11th， 2017， Tongzhou Beijing。
《夏天》布面油彩，100x80cm，2017
《天空》布面油彩，120x78cm，2014
《书》布面油彩，50x40cm，2017
《墙》布面油彩，120x80cm，2017
《楼》布面油彩，80x120cm，2015
《蓝天下No.3》布面油彩，50x50cm，2017
《蓝天下No.1》布面油彩，50x50cm，2017
《看山》布面油彩，75x25cm，2017
