本期我们邀请了王易罡老师来作为推荐东北年轻艺术家的主持。2006年,由我和孙宁共同策划的“上房抽梯”的关于70年代东北年轻艺术家的群展,第一次系统地呈现了东北地区实力派绘画系统的面貌。当时是工业转型时期,重工业为主的铁西区大面积拆迁留下大批的废墟,工人大批量下岗,废墟成为一个时代和集体的隐喻,理想中的社会主义幻觉在一片废墟中破灭。这些艺术家在以写实的形式,叙事的情节而进行观念性的反逻辑创作,以可以感知的视觉形象创造一个思维的陷阱,成为了这次展览的主要内容。图像形成一种话语般的修辞,在表形、表意,甚至表音等方向,图像的可能性被更大限度地打开了。这一方法,在后来几乎成为东北年轻艺术家的倾向,在后来几年的毕业展上可以很明显地看到“上房抽梯”式的调侃和伤感趣味的延续,而区别于学院体系的教学样式。本期所推荐的艺术家中,基本都是“上房抽梯”之后出现,并活跃在东北的80一代的年轻艺术家,他们各自有着自己不同的方向和面貌,并在不断地完善着自己的体系。宋元元毕业于摄影系,用他独特的对摄影图像的理解改造怪异的室内空间,通过镜头一般的孔洞重新看待绘画。耿旖旎的胖子系列和椅子系列,对绘画视觉元素的操控运用自如,调侃和荒诞的情节设置如同单刀直入。张博夫毕业于卡塞尔美院,低沉压抑而集聚潜在的爆发能量在画面中透过单纯而沉稳的颜色得以承载。闫珩是以装置和绘画互相结合的绘画,也用书写和黑板的物象把文字和图像作为一种超现实的蒙太奇,把压抑、控制和疯狂合理地拼贴到一起。商成祥以无比的耐心对细密而纠结的物体充满兴趣,并在撕裂、破碎的瞬间,在动物和人性之间,呈现了一个时代的精神图景的画面。杨帆以一种装置摆拍和相机闪光的效果完成画面,钮扣系列更加的破碎化,分离化。付经岩的作品以坏画的稚拙的笔触方式,传达着视觉记忆中的荒诞,或者视觉观念的叠加。韦加的作品则用一种接近于抽象的形式传达个人的记忆和情感的宣泄。我非常荣幸地向读者推荐这些颇具实力的更新一代的来自东北的青年,并共同见证他们的成长和不断涌现的创造。——付晓东 This issue we invited Wang Gang to teacher as a sponsor of young artists in Northeast. In 2006, a group exhibition titled “Upstairs / Drawings” co-curated by Sun Ning and me about the young artists in Northeast China in the 1970s systematically presents for the first time the appearance of the power-based painting system in Northeast China. At that time, during the period of industrial restructuring, large-scale demolition of the Tiexi district dominated by heavy industry left a large number of ruins. Workers were laid off in large numbers and the ruins became an era and collective metaphor. The ideal socialist illusion was shattered in ruins. These artists have become ideologically anti-logical creations in realistic forms and narrative plots, creating a trap for thinking in perceptual visual images and becoming the main content of this exhibition. Image formation of a discourse-like rhetoric, in the form, ideogram, and even phonetic and other directions, the possibility of the image is opened to a greater extent. This method, which later became almost a tendency of young artists in Northeast China, clearly showed a continuation of the ridicule and sentimentality of “ascension” in the graduation exhibitions later than that of the college system Teaching style. Among the artists recommended in this issue, the 80 young artists who emerged after the “Upstairs to Take a House” and were active in the northeast have their own different directions and visions, and are constantly improving themselves System. Song Yuanyuan graduated from the Department of Photography, with his unique understanding of photographic images to transform the weird interior space, through the lens of the hole to re-consider the painting. Geng Yi Ni’s fat series and chair series, the use of visual elements of the painting ease of use, ridicule and absurd plot settings as a single-handedly. Zhang Bowei graduated from the Art Institute of Kassel, depressed depression and accumulation of potential explosive energy in the picture through a simple and steady color can be carried. Yan Heng is a combination of installation and painting, as well as the use of writing and blackboard images as text and images as a surreal montage of collapsing, controlling, and frantic collaborations. Shang Cheng-xiang with immense patience on the delicate and tangled objects full of interest, and in the torn, broken moment, between animals and human nature, showing a spiritual picture of the times. Yang Fan to a device to shoot and camera flash effect to complete the screen, the button series more fragmentation, separation. Fu Jing-yan’s works convey the absurdity of visual memory or the superposition of visual concepts with the naive brush strokes of bad paintings. Vega’s work conveys the memory and emotional catharsis of the individual in a near-abstract form. I am very honored to recommend to readers these new, more powerful generations of young people from the Northeast and to witness their growth and constant creation. - Fu Xiaodong