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2 017年4月2 2日，陳文令以“妙谛因心”为题，于79 8 白盒子艺术馆举办了他的新作展。该展除展出最新创作的五件雕塑作品以外，还特别精选展出了近十多年来所画的手稿。
在美术馆，一般观众只能看到艺术家创作的最终成果—作品。却很少能看到艺术家随手涂抹的手稿。但这些富有个性的手稿却储存着艺术家思维空间中的大量信息。它像一个等待破解的密码库，也是一张滋生大作的温床。陈文令的许多作品，都可以在这里找到它的雏形、原型，有些是处于萌动中的“胚胎”，有些已是处在被选择或已选择的状态，还有一些手稿本身已经是一幅完整的“微作品”，其精彩的程度完全可以独立存在。在中国的雕塑家群体中，陈文令是一个另类，他不同于那些循规蹈矩的学院派雕塑家，他的作品总是出其不意地给人以惊喜、惊诧，让人刮目相看。看过他的手稿，我们再无需疑团莫释，这些随心所欲式的“涂鸦”，顺手牵羊式的信马由缰，玩耍式的信手拈来，最好不过地呈现出陈文令的艺术风格之所以会是这样的确凿证据。在这些手稿中，陈文令常常突发奇想，他那令人无法招架的想象力，像一块未经开掘的矿源，你根本不知道它有多大的储藏量。因为这些图画完全是从他的生命经验中诱发出来，又在漫无边际的想象空间中滋生、成长、繁衍、重组和再造。那些生动的、有趣的、夸张的和充满幽默感的画面，让你目不暇接。当心灵处在高度自由的状态时，陈文令手中的笔就不再听他自己指挥，时而顺着想象和联想的翅膀自由飞翔，时而顺从地被那些画中的生命牵着鼻子走，叫它怎样就怎样。当陈文令再度审视这些由他创造出来的生命时，它们很像是一个个等着呼之欲出的精灵，时刻准备着大踏步走进他的创作之中。
在陈文令的手稿中，还有一批是用水墨完成。从他娴熟的用笔中不难看到他的笔墨功夫的老到，甚至花鸟画的格局对他雕塑的影响。这次展览的整个空间布局就是“花鸟画”式的，陈文令机智地将一个建筑空间转换成一个自然空间，顶层、墙面、地面全部被调动起来加入到自然的意境之中。看了手稿，我才知道，传统水墨的修炼经验对他产生多么大的影响。手稿中有一幅很完整的水墨画，主题是批判无节制的强拆将好多有价值的建筑毁掉。但他别出心裁的表现又让你忍俊不禁。他先用墨画了一块悬空巨石，上面有房舍树木，又画了一头小猪以一块小石头为支点来撬动这块巨石，幽默风趣中不失对生存困境的思考。
陈文令说，“人生要用一种审美的眼光看待生命中的任何遭遇，生命才有意外的乐趣和逃生的可能，同时，更坚信人生的任何遭遇都有可能转化成为有意义的好玩的艺术。只要你的心永远亮着，再黑的路都能走下去。”这段话既是他对人生对艺术的深刻体悟，又清楚指出艺术和人生的关系：艺术就是生命的出口。有了这个出口，“你的心就永远亮着，再黑的路都能走下去。”
这句话也在暗示我们，陈文令接下来的路将会是如何地精彩！
贾方舟，著名批评家、策展人
20 1 7年5月1 4日
于京北槐园
Cipher of Creation， Breeding Ground of Art
Implications of Chen Wenling’s Manuscript
Jia F angzhou
O n A pril 22， wit h t he t ile“G races of My Heart”， Chen Wenling exhibit ed his recent works at W hit e B ox A rt Museum. A part f rom t he f ive recent ly creat ed sculpt ures， a range of manuscripts made during t he past decade was f inely select ed and exhibited at the exhibition. I n t he museum， what t he regular audience commonly see is merely t he art is t’s f inaliz ed creat ions namely t he art work s， t hey c annot readily cat c h sight of t he art is t’s randomlysk et ched manus cript s . T hes e radically dist inc t iv e manusc ript s ， however， ac cumulat e a mas s load of inf ormat ion of t he art ist’s minds cape， and f unc t ion as a cipher t o be decoded in addit ion t o a breeding ground t hat hat c hes mas t erpiec es . I n t he collec t ion， we can asc ert ain t he origin and prot ot ype of a great deal of Chen Wenling’s art work s， while s ome are“embryos” suggest ing sprout s， some are in a st at e of being c hos en or having chos en， t he res t of t he manus c ript s t hems elves are wholly f inis hed “mic ro art works”whic h could s t and out independent ly and brilliant ly. A mongs t Chines e sc ulpt ors ， Chen Wenling is quit e an ex c ept ion， unlik e t he ac ademic sc ulpt ors c onf orming t o f ix ed regulat ions and rules ， his work s are unforeseeably astonishing， st unning and s t aggeringly impres s iv e. A f t er v iewing his manusc ript s ， we ought not t o have s us pec t ed or doubt ed any more， in ot her words， t he randomly -made“graff it i”， t he way of f reely creat ing lik e s t rolling idly and pick ing up s omet hing on t he sly， and t he eff ort less work ing lik e playing games ， in a s ens e， all perf ect ly and ut t erly demons t rat e how Chen Wenling’s art ist ic st yle is as c an be. W hen creat ing manus c ript ， Chen Wenling get s us ed t o engaging in brains t orm， which t riggers ov erpowering imaginat ions lik e a mine unexploit ed， we c an hardly ant icipat e how much can be extracted f rom it . T hese drawings are t horoughly inspired by his liv ing experiences， and hat c hed， ripened， mult iplied， reassembled and reproduced in a rat her boundless space of imaginat ions. T he s t imulat ing， int riguing， ex aggerat ed and humorous images alt oget her easily bring a whirling sensat ion. W hile being in a highly f ree s t at e inwardly， Chen Wenling f ails t o have cont rol over t he pen， which somet imes goes like f lying by means of wings of imaginat ions and f ant asies， somet imes is cont rolled by t he lively charact ers and object s in t he drawings， complying wit h t he commands. A s Chen Wenling reexamines t he lively charact ers creat ed by himself ， t hey look like a bunch of fairies wait ing t o come out and preparing t o st ride int o t he world of his creat ions.
A mong Chen Wenling’s manuscript s， t here is anot her range of ink drawings. T hrough t he skilled and unint errupt ed st roke of penning， his mast ery of ink as well as t he inf luence of t he pat t ern of ink wash paint ings of f lowers and birds on his s culpt ural creat ions are bot h readily showc ased. A s t he ex hibit ing s pac e of t he ex hibit ion was arranged plainly like t he lay out of an “ink paint ing of f lowers and birds”， Chen Wenling wit t ily t rans f ormed an arc hit ec t ural s pac e int o a nat uralized one， t he t op f loor， walls and ground of which were t horoughly enliv ened and int egrat ed int o a nat ural sc ene. T he inst ant I saw t he manuscripts I realized that how great ly his prac t ices of t radit ional ink was h paint ings had inf luenced him. T here’s one of t he manusc ript s c rit ic iz ing t he f ac t t hat t he immoderat ely f orc ed demolit ions had ruined a great amount of v aluable t radit ional buildings ， howev er， in view of t he unc onv ent ional way of his ex press ion， it brought laught er t o t he audience. He made an ink drawing of a boulder hanging abov e along wit h hous e and t rees ， bes ides ， he added a s mall pig， ut iliz ing anot her s mall st one as t he piv ot t o lev er up t he boulder. S uc h a sense of humor didn’t f ail t o imply ref lec t ion on surv iv ing circums t anc es . “We have t o v iew eac h misf ort unat e inc ident f rom an aes t het ic angle， only in t his way c an we f ind a way out of s uff erings”， Chen Wenling added， “I am rat her c onv inc ed t hat any sort of ex perienc e， in all likelihood， c ould t rans f orm int o signif icant and f un art . A s long as it’s bright inwardly in your heart ， y ou are bound t o s urv ive t he darkest road.”T his t ells his int ensive unders t anding of lif e and art ， ex plic it ly point s out t he relat ion bet ween lif e and art ， t hat is， art is t he way out in our lif e. O nly wit h it ， your inward world will be const ant ly f illed wit h light ， and you can manage it even t hough it’s t he darkest road. T his， in addit ion， is indicat ing how remarkable Chen Wenling’s f ut ure will be as can be.
May 14， 2017， Locust
Yard， Nort h of B eijing
在美术馆，一般观众只能看到艺术家创作的最终成果—作品。却很少能看到艺术家随手涂抹的手稿。但这些富有个性的手稿却储存着艺术家思维空间中的大量信息。它像一个等待破解的密码库，也是一张滋生大作的温床。陈文令的许多作品，都可以在这里找到它的雏形、原型，有些是处于萌动中的“胚胎”，有些已是处在被选择或已选择的状态，还有一些手稿本身已经是一幅完整的“微作品”，其精彩的程度完全可以独立存在。在中国的雕塑家群体中，陈文令是一个另类，他不同于那些循规蹈矩的学院派雕塑家，他的作品总是出其不意地给人以惊喜、惊诧，让人刮目相看。看过他的手稿，我们再无需疑团莫释，这些随心所欲式的“涂鸦”，顺手牵羊式的信马由缰，玩耍式的信手拈来，最好不过地呈现出陈文令的艺术风格之所以会是这样的确凿证据。在这些手稿中，陈文令常常突发奇想，他那令人无法招架的想象力，像一块未经开掘的矿源，你根本不知道它有多大的储藏量。因为这些图画完全是从他的生命经验中诱发出来，又在漫无边际的想象空间中滋生、成长、繁衍、重组和再造。那些生动的、有趣的、夸张的和充满幽默感的画面，让你目不暇接。当心灵处在高度自由的状态时，陈文令手中的笔就不再听他自己指挥，时而顺着想象和联想的翅膀自由飞翔，时而顺从地被那些画中的生命牵着鼻子走，叫它怎样就怎样。当陈文令再度审视这些由他创造出来的生命时，它们很像是一个个等着呼之欲出的精灵，时刻准备着大踏步走进他的创作之中。
在陈文令的手稿中，还有一批是用水墨完成。从他娴熟的用笔中不难看到他的笔墨功夫的老到，甚至花鸟画的格局对他雕塑的影响。这次展览的整个空间布局就是“花鸟画”式的，陈文令机智地将一个建筑空间转换成一个自然空间，顶层、墙面、地面全部被调动起来加入到自然的意境之中。看了手稿，我才知道，传统水墨的修炼经验对他产生多么大的影响。手稿中有一幅很完整的水墨画，主题是批判无节制的强拆将好多有价值的建筑毁掉。但他别出心裁的表现又让你忍俊不禁。他先用墨画了一块悬空巨石，上面有房舍树木，又画了一头小猪以一块小石头为支点来撬动这块巨石，幽默风趣中不失对生存困境的思考。
陈文令说，“人生要用一种审美的眼光看待生命中的任何遭遇，生命才有意外的乐趣和逃生的可能，同时，更坚信人生的任何遭遇都有可能转化成为有意义的好玩的艺术。只要你的心永远亮着，再黑的路都能走下去。”这段话既是他对人生对艺术的深刻体悟，又清楚指出艺术和人生的关系：艺术就是生命的出口。有了这个出口，“你的心就永远亮着，再黑的路都能走下去。”
这句话也在暗示我们，陈文令接下来的路将会是如何地精彩！
贾方舟，著名批评家、策展人
20 1 7年5月1 4日
于京北槐园
Cipher of Creation， Breeding Ground of Art
Implications of Chen Wenling’s Manuscript
Jia F angzhou
O n A pril 22， wit h t he t ile“G races of My Heart”， Chen Wenling exhibit ed his recent works at W hit e B ox A rt Museum. A part f rom t he f ive recent ly creat ed sculpt ures， a range of manuscripts made during t he past decade was f inely select ed and exhibited at the exhibition. I n t he museum， what t he regular audience commonly see is merely t he art is t’s f inaliz ed creat ions namely t he art work s， t hey c annot readily cat c h sight of t he art is t’s randomlysk et ched manus cript s . T hes e radically dist inc t iv e manusc ript s ， however， ac cumulat e a mas s load of inf ormat ion of t he art ist’s minds cape， and f unc t ion as a cipher t o be decoded in addit ion t o a breeding ground t hat hat c hes mas t erpiec es . I n t he collec t ion， we can asc ert ain t he origin and prot ot ype of a great deal of Chen Wenling’s art work s， while s ome are“embryos” suggest ing sprout s， some are in a st at e of being c hos en or having chos en， t he res t of t he manus c ript s t hems elves are wholly f inis hed “mic ro art works”whic h could s t and out independent ly and brilliant ly. A mongs t Chines e sc ulpt ors ， Chen Wenling is quit e an ex c ept ion， unlik e t he ac ademic sc ulpt ors c onf orming t o f ix ed regulat ions and rules ， his work s are unforeseeably astonishing， st unning and s t aggeringly impres s iv e. A f t er v iewing his manusc ript s ， we ought not t o have s us pec t ed or doubt ed any more， in ot her words， t he randomly -made“graff it i”， t he way of f reely creat ing lik e s t rolling idly and pick ing up s omet hing on t he sly， and t he eff ort less work ing lik e playing games ， in a s ens e， all perf ect ly and ut t erly demons t rat e how Chen Wenling’s art ist ic st yle is as c an be. W hen creat ing manus c ript ， Chen Wenling get s us ed t o engaging in brains t orm， which t riggers ov erpowering imaginat ions lik e a mine unexploit ed， we c an hardly ant icipat e how much can be extracted f rom it . T hese drawings are t horoughly inspired by his liv ing experiences， and hat c hed， ripened， mult iplied， reassembled and reproduced in a rat her boundless space of imaginat ions. T he s t imulat ing， int riguing， ex aggerat ed and humorous images alt oget her easily bring a whirling sensat ion. W hile being in a highly f ree s t at e inwardly， Chen Wenling f ails t o have cont rol over t he pen， which somet imes goes like f lying by means of wings of imaginat ions and f ant asies， somet imes is cont rolled by t he lively charact ers and object s in t he drawings， complying wit h t he commands. A s Chen Wenling reexamines t he lively charact ers creat ed by himself ， t hey look like a bunch of fairies wait ing t o come out and preparing t o st ride int o t he world of his creat ions.
A mong Chen Wenling’s manuscript s， t here is anot her range of ink drawings. T hrough t he skilled and unint errupt ed st roke of penning， his mast ery of ink as well as t he inf luence of t he pat t ern of ink wash paint ings of f lowers and birds on his s culpt ural creat ions are bot h readily showc ased. A s t he ex hibit ing s pac e of t he ex hibit ion was arranged plainly like t he lay out of an “ink paint ing of f lowers and birds”， Chen Wenling wit t ily t rans f ormed an arc hit ec t ural s pac e int o a nat uralized one， t he t op f loor， walls and ground of which were t horoughly enliv ened and int egrat ed int o a nat ural sc ene. T he inst ant I saw t he manuscripts I realized that how great ly his prac t ices of t radit ional ink was h paint ings had inf luenced him. T here’s one of t he manusc ript s c rit ic iz ing t he f ac t t hat t he immoderat ely f orc ed demolit ions had ruined a great amount of v aluable t radit ional buildings ， howev er， in view of t he unc onv ent ional way of his ex press ion， it brought laught er t o t he audience. He made an ink drawing of a boulder hanging abov e along wit h hous e and t rees ， bes ides ， he added a s mall pig， ut iliz ing anot her s mall st one as t he piv ot t o lev er up t he boulder. S uc h a sense of humor didn’t f ail t o imply ref lec t ion on surv iv ing circums t anc es . “We have t o v iew eac h misf ort unat e inc ident f rom an aes t het ic angle， only in t his way c an we f ind a way out of s uff erings”， Chen Wenling added， “I am rat her c onv inc ed t hat any sort of ex perienc e， in all likelihood， c ould t rans f orm int o signif icant and f un art . A s long as it’s bright inwardly in your heart ， y ou are bound t o s urv ive t he darkest road.”T his t ells his int ensive unders t anding of lif e and art ， ex plic it ly point s out t he relat ion bet ween lif e and art ， t hat is， art is t he way out in our lif e. O nly wit h it ， your inward world will be const ant ly f illed wit h light ， and you can manage it even t hough it’s t he darkest road. T his， in addit ion， is indicat ing how remarkable Chen Wenling’s f ut ure will be as can be.
May 14， 2017， Locust
Yard， Nort h of B eijing