谭平和朱金石的作品,都有中国艺术家难于割舍的“绘画性”,……包括谭平和朱金石在内的中国抽象艺术的制造者,在制作中感到一种重复惬意,并被栗宪庭和高名潞比喻为每天数珠念经的参禅和每天敲木鱼的参禅,正是这种按照预设流程重复生产的具体体现。由于谭平和朱金石分别采取了“极少主义”和“极多主义”的流程设置,因此,前者的生产过程更像休闲,后者的生产则更像劳动。当然,谭平和朱金石的抽象绘画都不是纯粹的抽象,都包含了一定程度的非抽象因素或内容因。谭平的内容因具有生命含义的不规则圆圈,这种圆圈最早出现在他04年的作品中,它与平涂部分形成了前与后、动与静、有形与无形、活跃与严肃、感性与理性的对比关系,这次展出的作品便是这种大面积平涂+不规则圆圈风格的延续。朱金石的内容因是曾经强烈地打动过他的景色,甚至在标题中注明是哪里的景色,但他却不愿意被说成是“抽象风景画”,因为他不像谭平那样满足于享受绘制过程的惬意,而希望能够通过作品说服观众和他一样以自己独特的方式感受世界。因此他更喜欢类似“主现写实”之类的命名。但就像谭平的“自娱自乐说”对作品一样,朱金石的“主观写实说”也不具有对自己作品的视觉定位意义,因为体现在画布上的只有我们能看到的视觉值。——王小箭 Both Tan Ping and Zhu Jinshi’s works are “picturesque” that Chinese artists find it hard to break away from. ... The makers of Chinese abstract art, including Tan Ping and Zhu Jinshi, feel a repeatable pleasure in the making of the painting, Minglu metaphor for daily practice of Zen beads and pray for daily meditation, it is this repeat the process of production in accordance with the specific embodiment. Since Tan Ping and Zhu Jinshi adopted the process of “minimalism” and “radicalism,” respectively, the production of the former is more like leisure and the latter is more labor-like. Of course, none of Tan Ping’s and Zhu Jinshi’s abstract paintings are purely abstracted and contain some degree of non-abstraction or content. Tan Ping’s content because of the meaning of life with an irregular circle, the circle first appeared in his 04 years of work, which formed with the flat-coated part of the front and rear, dynamic and static, tangible and intangible, active and serious, sensual Contrast with the rational relationship, this exhibition is the work of this large area of ​​flat coating + irregular circle style continuation. Zhu Jinshi’s content was strongly influenced by his scenery, even in the title indicate where the scenery, but he did not want to be described as “abstract landscape painting,” because he was not as satisfied as Tan Ping Enjoy the ease of the drawing process, and hope to persuade the audience through his works to feel the world in his own unique way. So he prefers naming like “realism”. However, like Tan Ping’s “entertaining”, like his works, Zhu Jinshi’s “Subjective Reality” also does not have the visual orientation to his work because only the visual values ​​we can see on the canvas . Wang Xiaojian