“1/4--薛若冰個(gè)展 only a little bit I could express”10月17日下午在森林中國(guó)美術(shù)館舉行展覽開幕式。開幕式由學(xué)術(shù)主持楊維民教授致開幕辭，策展人李涵琪致辭介紹展覽，藝術(shù)家薛若冰的導(dǎo)師、天津美術(shù)學(xué)院周世麟教授致辭祝賀，藝術(shù)家薛若冰致答謝辭。

學(xué)術(shù)主持楊維民教授致開幕辭

    楊維民教授歡迎各位嘉賓和朋友的到來(lái)，并講到在疫情的影響下,從一開始的薛若冰參加多人展的想法一直到現(xiàn)在個(gè)展的成功開幕是十分幸運(yùn)的，在藝術(shù)家出國(guó)深造前在森林中國(guó)美術(shù)館做的此次個(gè)展是對(duì)研究生階段的一個(gè)總結(jié)，也是對(duì)未來(lái)的美好期盼。

策展人李涵琪致辭

    李涵琪是此次展覽的策展人，之所以展覽定義為“只是我能表達(dá)的一小部分”，是她在和薛若冰交流時(shí)，發(fā)現(xiàn)薛若冰對(duì)很多種藝術(shù)表達(dá)手法都頗有興趣，這些年也在結(jié)合著思考一直進(jìn)行眾多的嘗試。藝術(shù)家的創(chuàng)作之旅剛剛起航，想要表達(dá)的，希望傳遞給世界的情感和思想現(xiàn)在還只是一小部分。同時(shí)，她非常感謝楊維民教授的信任與支持，并介紹她與藝術(shù)家薛若冰認(rèn)識(shí)。從最初的想法雛形到最后的展覽執(zhí)行整個(gè)過(guò)程都合作地很愉快也很高效。期待薛若冰創(chuàng)作更多有思考有膽量的作品，并且祝福若冰去英國(guó)的學(xué)習(xí)生活順利。

天津美術(shù)學(xué)院周世麟教授致賀辭

    藝術(shù)家薛若冰的導(dǎo)師、天津美術(shù)學(xué)院周世麟教授總結(jié)到，這些年看著若冰每個(gè)系列作品的變化，看到了她的成長(zhǎng)也感嘆她的想象力與爆發(fā)力。周教授強(qiáng)調(diào)說(shuō)現(xiàn)在的年輕藝術(shù)家就是應(yīng)該像若冰這樣有膽量嘗試，不斷地思考進(jìn)步，相信她去英國(guó)深造后會(huì)有更多新的想法。

藝術(shù)家薛若冰致答謝辭

    藝術(shù)家薛若冰在致答謝辭中講到，感謝大家的到來(lái)，感謝研究生導(dǎo)師周世麟教授這些年的栽培與幫助、楊維民教授對(duì)此次展覽持續(xù)的支持和關(guān)注、郝青松博士給予的學(xué)術(shù)支持以及與李涵琪的融洽合作。

藝術(shù)家薛若冰與策展人李涵琪在個(gè)展現(xiàn)場(chǎng)

    前言
    Preface

    文/李涵琪
    Writing by Evelyn Li

    初見(jiàn)若冰的作品時(shí)我就被她的用色吸引了，好像顏色在她的筆下被賦予了生機(jī)，不同媒介不同處理方式的色彩抒發(fā)著不同的情感。
I was instantly drawn to Ruobing’s use of color when I first saw her work, it was like colors were animated under her brush, and different medium and processing method expressed different emotions. 

 
    “1/4—only a little bit I could express”是薛若冰的個(gè)人展覽，選取并匯集了畫家從2016年到2020年的布面丙烯、噴漆、油畫、裝置以及影像作品。作為策展人，之所以展覽定義為“只是我能表達(dá)的一小部分”，是在和若冰交流時(shí)發(fā)現(xiàn)她對(duì)很多種藝術(shù)表達(dá)手法都頗有興趣，這些年也在結(jié)合著思考一直進(jìn)行眾多的嘗試。藝術(shù)家的創(chuàng)作之旅剛剛起航，想要表達(dá)的，希望傳遞給世界的情感和思想現(xiàn)在還只是一小部分。

“1/4—only a little bit I could express” is Ruobing Xue’s solo exhibition, which includes her artworks from 2016 to 2020, ranging from acrylic and oil paintings to installations and time-based media works. The exhibition is defined as “only a little bit I could express”, and as the curator, naming it this way was because when talking to Ruobing, her extreme passion for trying new ways of artistic expression combined with her constant pondering and reflection over the years was very impressive. Her artistic trip has just set sail, what she wants to express and what she hopes to bring into the world now is merely a small fraction. 

 
    看若冰這些年各個(gè)階段的畫給我兩重沖擊，一是色彩——在不斷變化的媒介上始終不變的是色彩，二是敢于探索與嘗試——藝術(shù)家的生命，就是在不斷的探索和創(chuàng)新中升華，若冰作為年輕藝術(shù)家更是如此。畫家前期的作品偏具象，色彩在這里多為填充和敘事目的，輔助著我們可識(shí)別的物體和線條，讓我們可以在腦海中構(gòu)建出一些故事性的情節(jié)。在色彩上看到了她很多的思考，慢慢的從“敘事性”和“象征性”中脫離出來(lái)，讓顏色成為獨(dú)立的個(gè)體。這兩年的作品可以看到很多立體主義和抽象表現(xiàn)主義的影子，裝置作品也可以看到達(dá)達(dá)主義中現(xiàn)成品藝術(shù)的影響。若冰筆下的色彩成為了她表達(dá)情感最強(qiáng)有力的工具：從對(duì)幾何和顏色的嘗試，到漸漸融合不同的色彩塊，到更加和諧的更加整體化的共同表達(dá)，甚至讓人感覺(jué)顏色可以繼續(xù)無(wú)限延伸，不受畫布的限制。

Looking at Ruobing’s work from various stages gives me two direct impressions: one is color, how it remains unchanged with her ever-changing use of different medium; and the other one is her unwavering attempt to explore and experiment—the life of an artist is to constantly explore and innovate, Ruobing as a young artist is even more so. The painter's early works are more concrete, and the colors are mostly for narrative purposes. They help us identify objects and lines, so that we can construct some kind of stories in our mind. We can see her pondering over which role should colors assume here, and we see her gradually shifted away from “narrative” and “figurative”, and let colors become independent individuals. Her paintings from the past two years show a lot of influence of Cubism and Abstract Expressionism, and from her installation work echoes the “readymade” from Dadaism.
 

    在更加仔細(xì)地閱讀若冰對(duì)色彩的掌控后又能看到很多對(duì)立面——碎片與整體、規(guī)則與混亂、表達(dá)與思、理性與情感、克制與爆發(fā)等等。就好像她的畫中充滿機(jī)理和情感一樣，細(xì)品若冰的作品也讓我看到了無(wú)限的內(nèi)涵和她這些年來(lái)對(duì)自身，色彩，情感表達(dá)的思考與呈現(xiàn)。

After reading Ruobing’s control of colors more carefully, many paradoxes surface: fragmentation and wholeness, order and chaos, expression and thinking, reason and emotion, constraint and explosion, etc. In the same way that her artworks are full of texture and sentiment, her musings and exploration over the years on self, colors and the expression of emotions are also all over her canvases.
 

    作為年輕藝術(shù)家，未來(lái)有無(wú)限可能?？梢岳^續(xù)讀書深造，可以多尋找創(chuàng)作方向，站在無(wú)數(shù)藝術(shù)大師的肩上，結(jié)合自己對(duì)生命的執(zhí)著探索與對(duì)當(dāng)今社會(huì)現(xiàn)象的深刻思考，若冰的藝術(shù)創(chuàng)作之旅無(wú)限且廣闊。

As a young artist, Ruobing has endless possibilities in the future. She can keep working in school, or she can continue to find more inspirations and artistic directions. She stands on the shoulders of countless art masters and with her vehement search of life and acute standpoint on many current societal phenomenon, Ruobing’s artistic journey is promising and has a lot of potential.

    薛若冰 

    1995年出生于河北省衡水市
    2017年本科畢業(yè)于天津美術(shù)學(xué)院油畫系
    2020年研究生畢業(yè)于天津美術(shù)學(xué)院油畫系，師從周世麟教授
    2020年就讀于英國(guó)南安普頓自由藝術(shù)專業(yè)
    天津市河北區(qū)美術(shù)協(xié)會(huì)會(huì)員

    近年展覽

    2020年

    A60米蘭 “The Body”國(guó)際主題展，碇泊第五屆蘇州金雞湖雙年展平行展第二屆藝術(shù)對(duì)話展，天津?yàn)I海美術(shù)館青年藝術(shù)家邀請(qǐng)展，Hi藝術(shù)新銳藝術(shù)市集

    2019年

    “挖掘當(dāng)代梵高”——中國(guó)當(dāng)代中青年藝術(shù)品征集大賽，上海大藝博，西安首屆1935三年展碰撞與蛻變，北京時(shí)代美術(shù)館藝術(shù)周，馬利畫材展

    2018年

    暖冬生活節(jié)繪畫作品展，東方來(lái)信—inter-youth國(guó)際青年繪畫展，意視界天津?yàn)I海美術(shù)館全國(guó)當(dāng)代繪畫作品展，鳳凰畫材展

    2017年

    敘·事—中國(guó)重點(diǎn)美術(shù)院校油畫教學(xué)聯(lián)展，馬利畫材展

    2016年

    inter-youth國(guó)際青年繪畫展，馬利畫材展，“小手傳大愛(ài)”—第四屆中澳國(guó)際書畫展，天津美術(shù)學(xué)院會(huì)生活繪心情展

藝術(shù)家薛若冰與導(dǎo)師周世麟

    若冰的藝術(shù)
    Ruobing's Art

    周世麟/天津美術(shù)學(xué)院教授
    Zhou Shilin/Professor of Tianjin Academy of Fine Arts

    在我的研究生中，若冰的年紀(jì)最小，但是千萬(wàn)別小瞧她，生性勇猛，不懼失敗，敢于實(shí)踐與追求，這是她骨子里的長(zhǎng)處。
Among my graduate students, Ruobing is the smallest, but don’t underestimate her, she is brave and never afraid of failure; she is always practicing and pursuing to be better. These are the good qualities of her heart.
 

    她的繪畫經(jīng)歷大致分為三個(gè)階段。第一階段中她的創(chuàng)作作品畫面大多粗獷有力，筆觸與肌理錯(cuò)落豐富，筆意中透露著激情與書寫的氣勢(shì)，大塊色彩縱橫，表現(xiàn)作品的分量與深度。你很難想到是出自一個(gè)小女生之手，潑辣的畫面與不拘泥細(xì)節(jié)是她的特征。
Her painting experience could be divided into three parts. In the first part, there were more straightforward and vigorous sense in her creation works. Brush strokes and veins of frames are interlaced and ample. The feeling of strokes are impassioned and imposing. The massive colours are in good orders, and convey the depth sense. You can hardly imagine that it was created by a young girl. Strong painting feeling and not limited to details are her characters.
 

    第二階段時(shí)不知何時(shí)對(duì)色彩色塊過(guò)多的迷戀于喜愛(ài)，這段時(shí)間的作品色彩濃重艷麗而裝飾，畫面多是展現(xiàn)出并置、構(gòu)成，對(duì)接與顛倒，有意思的形與色組成豐富浪漫的動(dòng)感畫面，立體與平面的疊加使畫面更細(xì)膩與別致。她此時(shí)還覺(jué)得不過(guò)癮，又把平面的作品轉(zhuǎn)移到空間上去發(fā)展，小型的裝置與構(gòu)造運(yùn)用材料又一次把自己的想法向前推了一步。作品雖不完美，但能從中看到她不甘心已有的收獲，急切的從材料和色彩上尋求突破，實(shí)現(xiàn)自己內(nèi)心的追求。
In the second part, she was interested in  colours and colour blocks. In this period, her paintings are thick colourful and ornamental. There are many elements of constitution, design and reset. Interesting shapes and colours form a rich and romantic dynamic painting, and the position of three-dimensional and plane makes the painting more delicate and unique. She was not addicted at this time, and turned the flat works to spaces for develop. Small installations and structural materials once again pushed her ideas forward. Although the work is not perfect, we can see from that she is unwilling to achieve what she has gained, and is eager to seek a breakthrough from materials and colours to realise her inner pursuit.
 

    畢業(yè)創(chuàng)作臨近了，她邊補(bǔ)英語(yǔ)邊創(chuàng)作，花上不少的夜晚來(lái)完成畢業(yè)創(chuàng)作的要求與任務(wù)。她的這些作品中無(wú)論大小，畫面厚重的筆觸消失了，肌理減弱了，但是整體的作品讓人們?cè)俅慰吹綘N爛鮮活的色彩，有力的線條與穿插有序的節(jié)奏，畫面清爽而艷麗，色彩對(duì)比而刺激，給人一種清新的鮮活感，別樣的色構(gòu)，別樣的畫面，她將其稱之為“原始的內(nèi)部抽象世界地圖上的思維導(dǎo)圖?！?br>When the graduation creation is approaching, she spends a lot of nights to complete requirements and tasks of graduation creation, and in the same time she is going to have some English classes. In all her works, regardless of size, the thick strokes have disappeared and the veins of frames has weakened, but the overall painting makes people see bright and vivid colours again. The powerful lines and orderly rhythms are clear and gorgeous, and the colours are contrastive and exciting, giving the people a fresh sense. Different colour structures and different frames, she called it “Thinking maps on the original internal abstract world map.
 

    若冰現(xiàn)在正在為赴英留學(xué)做準(zhǔn)備，為進(jìn)一步提高藝術(shù)專業(yè)水平學(xué)習(xí)。愿她不斷進(jìn)取，永不滿足，走出自己的藝術(shù)新路，我們祝福與期待她的未來(lái)。
Now Ruobing is preparing for study in the UK to further improve her professional study in art. May she continue to be progressive and never satisfied, and walk out of her new artistic way. We wish and look forward to her future.

    “1/4–薛若冰個(gè)展”學(xué)術(shù)研討會(huì)隨后在森林中國(guó)美術(shù)館會(huì)議室舉行，由學(xué)術(shù)主持楊維民教授主持。天津美術(shù)學(xué)院周世麟教授、清華大學(xué)美術(shù)學(xué)院郝青松博士及青年批評(píng)家谷祺、靳浩、田志偉、王彥冰、朱賀、周勝男、豐凡順、王柱達(dá)、張宇、周子云、李曉蕊等相繼發(fā)言?，F(xiàn)場(chǎng)的年輕藝術(shù)家蔣潤(rùn)欣、張彤、李欣琪、冷藝丹也先后發(fā)言，從不同角度對(duì)本次展覽發(fā)表言論。隨后藝術(shù)家薛若冰分享個(gè)人創(chuàng)作與心路歷程，并再次感謝大家對(duì)她藝術(shù)的關(guān)注與鼓勵(lì)。專程從河北趕來(lái)的衡水學(xué)院季煥榮副教授、河北工業(yè)職業(yè)技術(shù)學(xué)院趙秀娟教授共同出席了開幕式和研討會(huì)。

“1/4–薛若冰個(gè)展”學(xué)術(shù)研討會(huì)現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”學(xué)術(shù)研討會(huì)現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”現(xiàn)場(chǎng)

“1/4–薛若冰個(gè)展”展出的作品

“1/4–薛若冰個(gè)展”展出的作品

“1/4–薛若冰個(gè)展”展出的作品

“1/4–薛若冰個(gè)展”展出的作品

“1/4–薛若冰個(gè)展”展出的作品

“1/4–薛若冰個(gè)展”展出的作品

1/4——薛若冰個(gè)展 Only a little bit I could express

學(xué)術(shù)主持：楊維民

策 展 人 ：李涵琪

學(xué)術(shù)支持：周世麟、郝青松

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出品：森林中國(guó)綠色發(fā)展基金

展館：森林中國(guó)美術(shù)館

地址：北京朝陽(yáng)區(qū)觀湖國(guó)際1座12層

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展覽統(tǒng)籌：李   敏

學(xué)術(shù)助理：靳   浩

策展團(tuán)隊(duì)：安子瑜、谷  祺

田志偉、王彥冰、朱  賀、周勝男

豐凡順、王柱達(dá)、張  宇、周子云

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展   期：2020年10月10日至11月30日

開幕式/研討會(huì)：2020年10月17日（周六）下午2：30

    “信息和圖像交流的速度加快，流行文化壓制私人經(jīng)驗(yàn)領(lǐng)域的能力增強(qiáng)了。如今大眾傳媒的信息文化被導(dǎo)入到趨于將信息呈現(xiàn)同質(zhì)化的統(tǒng)一格式中?！彼囆g(shù)家面對(duì)上述背景和如此豐富的信息、圖像資源這一當(dāng)下藝術(shù)文化現(xiàn)實(shí)，解決藝術(shù)創(chuàng)作最具競(jìng)爭(zhēng)力的并非是技術(shù)手段，仍然還是創(chuàng)造力本身。在當(dāng)下圖像復(fù)制的時(shí)代，這種作為具有問(wèn)題意識(shí)的藝術(shù)具有著現(xiàn)實(shí)意義，它需要藝術(shù)家們?cè)邶嫶蠓彪s的圖像中保持著清醒和機(jī)警，努力擺脫來(lái)自流行文化與大眾傳媒的同質(zhì)化影響，以前衛(wèi)的姿態(tài)從更用獨(dú)特的視角呈現(xiàn)出當(dāng)代社會(huì)所面臨的的各種問(wèn)題以及個(gè)人的社會(huì)觀感也許才是鮮活的、真誠(chéng)的也是具有問(wèn)題意識(shí)的。新的生產(chǎn)生活方式為人們帶來(lái)了新的生活習(xí)慣和社會(huì)形態(tài)，當(dāng)下，人們審美視角、關(guān)注對(duì)象的轉(zhuǎn)移，這需要藝術(shù)家切實(shí)地將自身的藝術(shù)創(chuàng)作融入生活，而藝術(shù)創(chuàng)造的高度也許就在于對(duì)現(xiàn)實(shí)的體驗(yàn)與認(rèn)識(shí)的深度。

    ---靳浩 《以“1/4薛若冰個(gè)展”來(lái)看當(dāng)代青年藝術(shù)家的當(dāng)下創(chuàng)作》

“As the pace of the exchange of information and images is accelerating, popular culture is increasingly minimizing private individual expertise. Nowadays, the information culture of mass media has been led to presenting said information in a unifying and homogeneous way.” The artist, facing the situation above and the cultural reality of abundant info and imagery resources, is in dire need of creativity itself and not technique to stay competitive in artistic creation. In today’s age of replicating images, this kind of art that is based on questioning has a lot of realistic values, it requires the artists to stay alert in this inclusive and complicated scene, to steer clear of homogeneity which comes from the influence of the popular culture and mass media, and to present their avant-garde and one-of-a-kind point of views on current societal problems. New ways of living have brought us new habits and new social norms, the shift in how people define aesthetics and to what people pay attention is exactly the topic artists should focus on. They can incorporate artistic creation into their lives, and maybe the height of creating art can be achieved by their experience of reality and an in-depth awareness.

---Jin Hao “Looking at young artists creating nowadays through “1/4” Xue Ruobing solo exhibition”

    在本次展出的作品中，藝術(shù)家不斷用到藍(lán)色。在自然界中其實(shí)很少存在純正的藍(lán)色，因此藍(lán)色常常被賦予神秘、高貴的含義。在西方文化當(dāng)中，藍(lán)色大多具有象征意義，從中世紀(jì)開始，藝術(shù)作品中圣母都身披寶石藍(lán)色的袍子，梵高和畢加索的早期作品中，也出現(xiàn)大量的藍(lán)色。藝術(shù)家在《Desire》中用藍(lán)色榴蓮來(lái)承擔(dān)作品題眼的功能，在《Deep blue》這組三聯(lián)畫中，也用不同程度的藍(lán)色來(lái)分割畫面，組成三聯(lián)畫。不同于傳統(tǒng)三聯(lián)畫中通過(guò)描繪圣經(jīng)故事或圣經(jīng)人物以宣揚(yáng)教義，藝術(shù)家拋棄了再現(xiàn)的手段，嘗試用幾何分割的現(xiàn)代繪畫語(yǔ)言來(lái)表達(dá)宗教意識(shí)，用顏色和結(jié)構(gòu)給予觀眾神秘的宗教體驗(yàn)。

    ---安子瑜《關(guān)注與觀察》

The artist has repeatedly used the color blue in this exhibition. There is not a lot of pure blues in the natural world, hence this color is usually deemed with mysterious and noble qualities. In the Western culture, blue mostly has symbolic significance. Since the Middle Ages, the artworks always have Virgin Mary in a blue robe, this color is also present in many early works of Van Gogh and Picasso. In Ruobing’s “Desire”, the blue durian captures our eyes. In “Deep blue”, she uses different shades of blue to divide the three canvas. Different from traditional triptychs which reenact bible stories or characters, the artist forsakes this method and tries to use geometry and contemporary artistic language to express religious ideas, and gives the audience a mystical biblical experience using colors and structure.

---An Ziyu “Concentration and observation”
 

    隨著社會(huì)的發(fā)展，數(shù)字信息的膨脹代替了原本基本的生活需求和休閑娛樂(lè)。在電子圖像包裹了人類視覺(jué)經(jīng)驗(yàn)的時(shí)代，人們很少能夠體味出繪畫給予人的視覺(jué)欣賞與沖擊極大的區(qū)別于電子圖像經(jīng)驗(yàn)，過(guò)去還是在追求一種傳統(tǒng)繪畫的呈現(xiàn)方式，信息化時(shí)代一切東西都被批量生產(chǎn)，圖像傳遞方式的轉(zhuǎn)變也使得現(xiàn)代藝術(shù)家反對(duì)用傳統(tǒng)的原則去進(jìn)行創(chuàng)作，摒棄了傳統(tǒng)的語(yǔ)言和表現(xiàn)方式，用新時(shí)代的手法去闡述自我。在#E6E6FA亂碼系列的作品中，作者在繪畫中進(jìn)行了大膽的實(shí)驗(yàn)，探求電子化的圖像語(yǔ)言和繪畫的圖像語(yǔ)言間的轉(zhuǎn)換關(guān)系。通過(guò)對(duì)電子屏圖像的視覺(jué)感受，整合出獨(dú)特的意象表達(dá)方式，以新奇的思路展現(xiàn)傳統(tǒng)繪畫方式，繪畫中運(yùn)用拼貼的手法，將從電子屏中汲取的符號(hào)和元素用自己的繪畫語(yǔ)言加以置換、截取、整合。在看似無(wú)規(guī)律跳動(dòng)的色塊間又有著對(duì)圖像生成的理性的分析與思考。

    ---谷祺《構(gòu)建畫面新秩序》

With the rapid development of society, digital information has replaced people’s previous living necessities and entertainment. In an era where people are engulfed by digital images, they can rarely experience the visual pleasure brought by paintings. People in the past followed a traditional representational method, whereas the digital era has mass produced everything, and the shift in imagery delivery has the artists opposing said traditional way when creating artworks. They are leaving the previous representing methods behind, and use contemporary touches to express themselves. In Ruobing’s #E6E6FA series, she experiments boldly in her work, exploring an exchange between digital and pictorial imaging language. The artist compiles a unique expressing method through her visual reception of digital images, and she uses collage to incorporate the symbols and elements from digital screens in her paintings, which are embedded with Ruobing’s rational analysis and thinking.

---Gu Qi “Constructing the new order in paintings”

 
 
    “deep blue”系列和“desire”系列，兩者皆在通過(guò)藝術(shù)的表現(xiàn)方式探討個(gè)人與公共或者社會(huì)之間的關(guān)系，壓抑、束縛、規(guī)范是個(gè)人與社會(huì)關(guān)系最顯眼的代名詞，個(gè)人的天性是自然的、與生俱來(lái)的，而受制于社會(huì)和公共關(guān)系也是亙古不變的，藝術(shù)家一方面探討社會(huì)公共關(guān)系的制約影響到了人的天性，另一方面也表達(dá)出個(gè)人的行為準(zhǔn)則也必須受到社會(huì)道德規(guī)范的約束。過(guò)度遵從個(gè)人天性難免會(huì)觸碰社會(huì)道德規(guī)范，但完全的遵守道德規(guī)范就會(huì)壓抑個(gè)人，很難展現(xiàn)一個(gè)人的完整天性，矛盾便產(chǎn)生于此。

    ---田志偉《色彩、天性與道德》

The “Deep blue” and “Desire” series both examine the relationship between individuals and the public or the society. Repression, boundaries, and exemplary are the most representative key words when it comes to individuals and society. The human instinct is natural and we are born with it, but at the same time, the public relationship that is suppressed by society is also unchanging. The artist, on the one hand, talks about the restraints when it comes to our relationships with the society and how it represses our instincts, and on the other expresses how one’s code of conduct should be controlled by societal morals. Overly letting our instincts takeover would definitely clash with social norms, but following societal morals completely would suppress our individuality, making it difficult to show our true nature, and thus lies the paradox.

---Tian Zhiwei “Color, nature and moral”

    在薛若冰的作品中色彩都是非常豐富的，她對(duì)色彩的探索受到了德國(guó)藝術(shù)家Katharina grosse的影響。色彩是Katharina grosse作品中的主要特征，她像一位視覺(jué)和色彩創(chuàng)意專家，通過(guò)色彩推動(dòng)邊界拓展和想象力，探討了顏色對(duì)常規(guī)材料、物品表現(xiàn)和建筑物的影響。這在薛若冰的作品中也可以很明顯的體會(huì)到，例如藍(lán)色的榴蓮、視頻中藍(lán)色的衛(wèi)生間。在薛若冰的創(chuàng)作中，她注重色彩的實(shí)踐，比如在”Deep blue”系列作品中通過(guò)使用綜合材料削弱色彩顏料的質(zhì)感，想要最大化色彩本身的情感表達(dá)。

    ---王彥冰《我所表達(dá)的四分之一》

Color is very rich in Ruobing’s artworks, and her use of color is influenced by German artist Katharina Grosse. In fact, color is the most important element in Grosse’s work, as she is a visual and color creative expert. Grosse uses color to push the boundaries of canvas and uses imagination to explore the influence color has on daily materials, objects and architecture. We can distinctively feel the same way in Ruobing’s work, the blue durian, the blue restroom in her video, etc. In her paintings, she focuses on the application of colors, for example, in the “deep blue” series, she uses mixed media to weaken the texture of paint, and maximize her own emotional expressions.

---Wang Yanbing “1/4 of what I express”

 
    湮滅系列這組作品藍(lán)色部分的色調(diào)偏重于藍(lán)黑色，夾帶著一種難以名狀的情愫。這種情愫將我?guī)胍粋€(gè)童話故事當(dāng)中去，這個(gè)故事帶有一絲神傷，亦有一絲唯美。在類似于插畫的清新的畫風(fēng)里，“一念天堂，一念地獄”的思緒仿佛在空氣中回蕩。張開的行李箱、上升的熱氣球還有漸行漸遠(yuǎn)的女孩背影都在訴說(shuō)著一種離愁。薛若冰用她細(xì)膩的女性視角將美好與憂思、深情與漠然塑造出來(lái)，直戳內(nèi)心。直面人性系列相比之下就更加女性視角化了，值得注意的是，人物碎花的服裝是采取拼貼的方式貼上去的，藍(lán)色與紅色的結(jié)合使主體一下跳脫出來(lái)，增強(qiáng)了一種視覺(jué)的沖擊力。有的人身上有尾巴，有的身上有蝴蝶翅膀，體現(xiàn)出人性與動(dòng)物性的一種結(jié)合。在對(duì)“性”的詮釋中，有一絲Helen Beard的大膽，但又能做到收放自如，從第三視角更加客觀的看待。

    ---朱賀《徜徉于藍(lán)色之美》

The tonal emphasis in “Annihilation” series is the hue of blackish blue, laced with a kind of emotion that is hard to describe. This said emotion brings me into a fairytale world that has a sadness filled beauty. The fresh and pure tone of this series, like illustrations, echoes “heaven and hell is only within a flash of thought.” The opened suitcase, hot balloons going up, and the silhouette of the girl departing all murmurs a kind of sorrow. Ruobing, using her tender point of view as a female, combines happiness, nostalgia, affections, and indifference together, piercing our hearts. The “Confronting humanity” series is even more so created from the female perspective. It is worth noting that the costumes of the figures are collages, and the blue and red combination makes the main subject more distinctive, emphasizing the visual impact of her works. Moreover, some figures in her paintings have tails, some have butterfly wings, demonstrating a combination of humanity and bestiality. In her representation of “sexuality”, we can see the boldness of Helen Beard, but also a balance between control and let loose, and a kind of impartiality that comes from a third-person perspective.

---Zhu He “Swimming in the beauty of blue”

 
 
    當(dāng)藝術(shù)家以個(gè)體角度出發(fā)對(duì)境遇作出反饋，并將個(gè)人反饋推向觀者，此刻表達(dá)與個(gè)體才同樣生效，兩者之間就在這一瞬之間在探討人的價(jià)值與意義上這一緯度上生效。當(dāng)我們探討藝術(shù)家或者藝術(shù)作品時(shí)，似乎就是在以個(gè)體生效的立場(chǎng)之上反窺藝術(shù)本身。在此，再次回歸到藝術(shù)作品的探討，《直面人性》系列作品，似乎向觀者展示社會(huì)中人與人之間呈現(xiàn)出膠著狀態(tài)的關(guān)系，這或許是每個(gè)個(gè)體存在于群體關(guān)系中無(wú)法逃避問(wèn)題與境遇，薛若冰通過(guò)作品做出了反饋，使個(gè)體生效。

    以觀者角度看，關(guān)系、境遇、思考似乎是薛若冰此次個(gè)展的作品中共同觸及的詞匯，這似乎并非僅僅是出現(xiàn)在薛若冰個(gè)人的生命歷程中，是所有人共同面對(duì)的課業(yè)，諸多個(gè)體以不同的視角、方式、功能等等維度思考反饋，這些問(wèn)題似乎被每個(gè)人反復(fù)探討，但似乎從來(lái)不曾失去意義，薛若冰選擇以此為創(chuàng)作的主要內(nèi)容時(shí)，選擇了自己的態(tài)度，以個(gè)體生效，堅(jiān)定作境遇的反饋者。

    ---周勝男《以個(gè)體生效 堅(jiān)定做境遇的反饋者》

When the artist gives feedback to the situation from the perspective of the individual and pushes the personal feedback to the viewer, the expression and the individual are equally effective at this moment. When we discuss artists or works of art, it seems that we are looking at art itself from the standpoint of individuality. Here, returning to the discussion of the artwork, the series of "facing humanity" seems to show the audience that there is an adhesive relationship between people in the society. This may be that each individual cannot escape problems and circumstances in the group relationship. From the perspective of viewers, relationship, situation and thinking seem to be the key words in Xue Ruobing's works in this exhibition. It seems that these words do not only appear in Xue Ruobing's personal life, but also are the lessons that all people face together. When Xue Ruobing chose this as the main content of her work, she chose her own attitude, as an individual, and firmly acted to give feedbacks of many societal circumstances.

---Zhou Shengnan “Individuality and responsive to circumstances”

    如果我們繼續(xù)從研究她作品指稱含義的多義性和模糊性出發(fā)，我們甚至可以看到若冰在創(chuàng)作時(shí)賦予了她抽象平面繪畫的多重不同的含義。在她的亂碼系列作品中，若冰好像將現(xiàn)實(shí)生活中的圖像視頻經(jīng)大腦碎片化和抽象化提煉后，整合轉(zhuǎn)化為全新的平面圖示，因此不免存在蘇珊·朗格符號(hào)論中談及的情感表達(dá)作用。種種類似“符號(hào)”的平面抽象表達(dá)，仿佛都體現(xiàn)著若冰對(duì)于現(xiàn)代文明中過(guò)多使用電子圖像，而整體忽視實(shí)體繪畫的不滿，希冀人們能經(jīng)過(guò)她繪畫語(yǔ)言的轉(zhuǎn)化而進(jìn)行反思，重新反觀繪畫本身的價(jià)值，從而重視繪畫自身不可取代的永恒魅力。

    ---豐凡順《欲的符號(hào)》

If we continue to study the polysemy and fuzziness of the referential meaning in her works, we can even see that Ruobing has given her multiple different meanings in her abstract paintings. In her series of random code, Ruobing seems to integrate and transform real-life images and videos into brand-new graphics after mental fragmentation and abstraction. Therefore, the emotional expression function mentioned in Susan Langer's Semiotics can be found in her work. All kinds of abstract expressions similar to "symbols" seem to reflect Ruobing's dissatisfaction with the excessive use of electronic images in modern civilization and the neglect of physical paintings. She hopes that people can reflect on the value of said paintings through the transformation of her artistic language, and pay more attention to the irreplaceable eternal charm of painting itself.

---Feng Fanshun “The symbol of desire”

    20世紀(jì)90年代以來(lái)，中國(guó)當(dāng)代女性藝術(shù)走向繁榮，藝術(shù)形態(tài)愈趨多樣，在時(shí)代主旋律中尋求個(gè)性突破。趨向于非官方、去政治化、去意識(shí)形態(tài)等具有鮮明女性主義特色的自由表現(xiàn)，不斷創(chuàng)建自己的藝術(shù)空間和話語(yǔ)體系。薛若冰畢業(yè)于天津美術(shù)學(xué)院油畫系，以其自身的創(chuàng)作理念和藝術(shù)感染力，通過(guò)作品表達(dá)其叛逆精神和藝術(shù)家本人對(duì)于社會(huì)熱點(diǎn)話題，社會(huì)發(fā)展所帶來(lái)的矛盾的關(guān)注。她的作品不僅有自我情感體驗(yàn)與再現(xiàn)，還有著現(xiàn)代都市知識(shí)女性對(duì)于現(xiàn)實(shí)處境的思考與探索。

    ---王柱達(dá)《關(guān)于薛若冰個(gè)展〈1/4〉》

Since the 1990s, Chinese contemporary women's artwork has become increasingly prosperous, and its artistic forms have gradually become more diverse, seeking a breakthrough in personalities the theme of the era. Their artworks tend to be unofficial, depoliticized and ideologically-free, and they constantly create their own artistic space and language. Xue Ruobing, graduated Tianjin Academy of Fine Arts, using her own creative ideas and artistic appeal, expresses her rebellious spirit and her concern for societal problems and contradictions through her work. Ruobing’s art pieces not only recreate and express her own emotions, but they also represent and reflect contemporary female intellectuals examining and exploring their current situations.

---Wang Zhuda “About Xue Ruobing’s solo exhibition”

    現(xiàn)如今當(dāng)代藝術(shù)打破了藝術(shù)的傳統(tǒng)疆界，探尋各種可能的個(gè)性語(yǔ)言，天馬行空的奇思玄想，自由的構(gòu)思理念，是藝術(shù)的風(fēng)格呈現(xiàn)出爆炸式的多樣化，當(dāng)代藝術(shù)代表了這一個(gè)時(shí)代的一種自由表達(dá)，自現(xiàn)代以來(lái)，藝術(shù)逐漸進(jìn)入了尋常百姓家，藝術(shù)與非藝術(shù)的邊界消解，藝術(shù)與生活的界限模糊，也體現(xiàn)了自由平等所創(chuàng)造的的主流價(jià)值和文明進(jìn)步。

    ---張宇《觀薛若冰作品展》

Nowadays, contemporary art has broken the traditional boundaries of art, which explores all kinds of possible individual languages, fantastic and care-free ideas. The style of art shows explosive diversification. Contemporary art represents a kind of free of this era. Since modern times, art has gradually come into common people's houses, and the boundary between art and non-art has been taken down. This blurred boundary between art and life also reflects the mainstream value and civilization progress created by freedom and equality.

---Zhang Yu “Looking at Xue Ruobing’s exhibition”

    在早期系列作品《直面人性》《湮滅》中，作品仍具有較明顯的具象痕跡，敘事性較強(qiáng)。色彩本身的意義更傾向于輔助造型，豐富畫面的“賦彩”功用，并未強(qiáng)調(diào)放大情感表達(dá)的功能。而在后續(xù)的《Deep Blue》《迷蹤》系列里，隨著創(chuàng)作的推進(jìn)與感受的遞增，若冰賦予了色彩更多的情緒職能，其中藍(lán)色在若冰的作品中有著重要意義。康定斯基認(rèn)為，色彩的性質(zhì)與精神的內(nèi)在結(jié)構(gòu)有所聯(lián)系，顏色的冷暖明暗會(huì)給觀者產(chǎn)生視覺(jué)上的離心/向心運(yùn)動(dòng)，藍(lán)色在物理運(yùn)動(dòng)中，表現(xiàn)為后縮，遠(yuǎn)離觀者。

    ---周子云《藍(lán)色生長(zhǎng)》

In the early series of "facing humanity" and "annihilation", the paintings still have obvious concrete traces and strong narratives. The function of color is more inclined to assist the whole picture, and does not emphasize the emotional expressions. In the following "deep blue" series, with the development of creation and the increasing of emotions, Ruobing has given the color blue a more important role in her work. Kandinsky believes that the nature of color is related to the inner structure of spirit. The cold and warm hue will produce visual centrifugal or centripetal experience for the viewer. Hence, in physical movement, the color blue feels like it is moving away from the viewer.

---Zhou Ziyun “Blue”

    今天的觀看是一種被媒介中介化的間接觀看，“純真之眼”很大程度上已被“機(jī)械之眼”所替代。技術(shù)崇拜似乎讓我們走上了一條不歸路：先是在創(chuàng)造中用技術(shù)彰顯自己的靈性，隨后卻在自己的創(chuàng)造中被技術(shù)俘獲，成為技術(shù)的奴仆。如何處理我們的自主性和計(jì)算機(jī)的靈性之間的關(guān)系？如何在虛擬實(shí)踐中保持理性？也許，薛若冰創(chuàng)造出的“媒介的幻覺(jué)”為我們提供了答案——無(wú)論媒介的演進(jìn)有多么令人瞠目，它都不過(guò)是我們?nèi)祟惞ぞ呃硇缘难由?，作為人類?chuàng)造成果的藝術(shù)，其本質(zhì)也不會(huì)發(fā)生改變。在賽博空間巡游的我們，需要的不僅是技術(shù)的護(hù)持，更是主體信念的加強(qiáng)，是人類獨(dú)有的自省和糾錯(cuò)的理性精神。

    ---李常勝 《媒介的幻覺(jué)》

    Today's viewing mode is an indirect way mediated by media, the "pure eye" has been replaced by the "mechanical eye" in all aspects. The worship of technology seems to lead us on a road of with no exit: we start to use technology to show our dominance in creation, but then we are captured by technology in and become its slaves. How to deal with the relationship between our autonomy and the spirituality of computers? How to keep our rationality in virtual spaces? Perhaps the "media illusion" created by Xue Ruobing provides us with the answer - no matter how amazing the evolution of media is, it is merely the extension of our human instrumental rationality. As an art of human creation, its essence will not change. In cyberspace, what we need is not only the protection of technology, but also the strengthening of subjective belief, which is the unique rational spirit of human self-examination.

---Li Changsheng “Media illusion”↑

    學(xué)術(shù)主持 楊維民教授

    我總覺(jué)得“紅、黃、綠”是規(guī)中規(guī)矩的顏色，這也許是交通指示燈所選顏色的緣故，所以大紅大綠時(shí)而成為一些藝術(shù)品的主色調(diào)。七色之中的藍(lán)色，以其深邃自在的“藍(lán)調(diào)”不易調(diào)和隨搭且不為左右。當(dāng)我去年看到薛若冰的藝術(shù)創(chuàng)作主打“藍(lán)調(diào)”時(shí)，不由得刮目相看。于是提議我的研究生們?yōu)檠θ舯蛶孜辉谧x周世麟教授、鄭岱教授油畫表現(xiàn)藝術(shù)方向的研究生先在天美做個(gè)群展，然后等薛若冰畢業(yè)創(chuàng)作完成了再在北京做個(gè)展。我還與靳浩、王彥冰同學(xué)去油畫研究生的教室、畫室一邊看作品、一邊溝通......后來(lái)包括疫情在內(nèi)多種原因群展擱置了。

    今年暑假國(guó)內(nèi)疫情好轉(zhuǎn)，薛若冰研究生畢業(yè)在等待今年年底赴英國(guó)就學(xué)深造；李涵琪海外留學(xué)回國(guó)內(nèi)實(shí)習(xí)一年，正在今日美術(shù)館展覽部實(shí)習(xí)。大家一拍即合，開啟“薛若冰個(gè)展”，展覽在北京森林中國(guó)美術(shù)館展出，畫冊(cè)在今日美術(shù)館出版編輯中心設(shè)計(jì)制作。開幕式同期舉行研討會(huì)邀請(qǐng)周世麟教授、郝青松博士出席。線下展覽前還邀請(qǐng)了靳浩、李常勝等12位青年批評(píng)家舉辦了“薛若冰個(gè)展”線上論壇。關(guān)于展覽的標(biāo)題，策展人與藝術(shù)家二人初有“果斷·躊躇”之說(shuō)，我也曾提議為“回車”，現(xiàn)在的展覽標(biāo)題“四分之一”是若冰與涵琪多次討論而定。我以為此次展覽也許可以理解為，她們兩位二十多歲的中國(guó)女藝術(shù)家以世界人文藝術(shù)大時(shí)代為背景，回望她們?nèi)松姆种恍r(shí)代的心路歷程，再啟未來(lái)新的國(guó)際藝術(shù)征程。她們異口同聲:“NO!遠(yuǎn)遠(yuǎn)不是這樣。Only a little bit I could express.”我茫然了，也許“你懂得”。

    2020年10月8日寫于京城嘉園