艺术应该是种载体，它承载着人的情感，那么我愿意做一面铜镜，来映出世间的样子。这个独特的铜镜世上只有这么一面，任何站在我面前的事物，都会以我独特的方式反射出与事物本体不同的镜像。世间冗繁的万物冥冥中各自运转，我仅仅手握着一根画笔，力量是多薄绵的，我只求做到内无愧于心，外无负于俗。就像诸葛亮在《诫子书》中说的：“修身养德，宁静致远”。

    Art should be a kind of carrier, it is bearing the weight of the emotion of people, so I want to do a bronze mirror, to mirror the appearance of the world. This unique bronze mirror there is only one side, so any things stand in front of me, will be reflected in my unique way with things different image ontology. Everything plodding world, their operation, and I just hand holding a brush,Strength is very weak, I just make it worthy of the heart, no false to vulgar. Like zhuge liang in the commandment zishu emphasize said: “By heart quiet focus cultivation of body and mind,subsisting on a simple style to develop for the character,One individual mood is not calm down can’t improve ideological awareness, not in the hard environment training will not be able to improve the moral sentiment.”.

    

《9.8牛》油彩 画布 200x150cm 2012

《希普霍普》油彩 画布 200x150cm 2009

《上下左右》油彩 画布 200x150cm 2011

《让心情变好》油彩 画布 150x150cm 2010

韦璐推荐辞——支离破碎的视觉合成
冯博一

    看韦璐的新画，使我马上想起美国马歇尔•伯曼的书《一切坚固的东西都烟消云散了》（商务印书馆，2003年版，周宪译）。在韦璐的画中，他颠覆了以往绘画创作的完整性、典型性特征，好像是一种写实的、具有戏剧化情节的“连环画”，但你却找不出故事的情节线索，以及逻辑关系。画面提供更多的是充斥于我们日常所见各种图像的局部碎片——暴力、情色、战争、运动、解剖等等，不一而就。由此构成了他画儿中荒诞不经的意味——貌似真实，甚至逼真；其实虚构，甚至虚构得你都找不到北！这就产生了一种强烈的对比、矛盾与悬疑，以及各种可能发生什么的想象空间。我以为这是评介韦璐作品的关键之处，也是判断他作品的起点。我揣测这是韦璐的有意为之，他是故意通过写实的局部、背景和人物、动物等等造型的穿插、叠加，呈现出混杂、曲折的语境。因此，在韦璐的图式结构中，碎片之间有着一种纪实与虚构与重构的视觉效果，提供了一种直观而又别具一格的视角，促成了观者与作者之间超越现实的相互追问与对话。

韦璐作为年轻艺术家创作的个案现象，是与当下科技发展，尤其是电视、电脑等在我们日常生活中的影响，以及影像方式的普泛化和互联网在生活工作中的重要作用，有着直接的关联。我们在接受信息、了解社会、观察世界，并作出思考与判断上，逐渐生发了完全不同以往的变化。它改变了我们的看与被看的观察与表达方式：当下的年轻人往往是通过视屏——电视、录像、相机、摄像机、电脑、视频等等“屏幕”来获得信息的。对于年轻艺术家来说，他们创作的图式来源与依据，已不同于前辈艺术家所谓的“深入生活”的写生、创作方式，他们更多的通过“视屏”的资源而获得并利用这些图像给予创作的。因此，从这个角度来说，韦璐艺术创作的图式是一种“二手图像”，与自然和客观的视觉图像具有间隔的，甚至隔膜的效果，与此相对应的则是“碎片化”是身处我们这个时代个体共同的心理体验。

    中国这个充满混杂的碎片时代，不知所终地将把我们带向何方的现代化过程，使一切都变化的急速而扑朔迷离。在一个仍在不断转型的时代里，事物是那样的复杂，许多边缘都变得模糊。人的价值观、信仰、欲望、相互间的交往、权力的运作，包括我们以为透彻的金钱关系其实都并非那么清晰可辨；人与人之间，性别的中性化，甚至倒错，情感的无法划分定位，造就了我们漂浮的缺乏节制的游离状态。同时，互联网让我们的生活更加“碎片化”、注意力更加分散，但是，这也令年轻人关注公众话题的方式转变了。如果互联网只是提供海量的信息，让我们目不暇接，那应对起来好像比较容易。但这个碎片化时代的特征是，你对信息的应对让你陷入碎片化生活之中。接纳信息，做出反馈，这个机制在网络上运行得无比畅通。对许多人来说，微博已经成为获取信息的重要方式，通过自己关注的人，通过他们的链接，他们各自的“角色扮演”，你可以轻松地知道这世上发生了什么事，大体上的舆论是什么样子。使用者当然可以定制自己的信息来源，但没有哪个大众媒体能抗拒社会化媒体，保持其固有的权威性。新型的社会化媒体和社交网站带来了一种新型的社会关系，这种社会关系又反过来会影响一个个独立的个体。

    在艺术创作中，也是缺乏群体意识，更无趋之若鹜的艺术思潮涌现。他们作品所以难以界定，没有极端，没有具体表现什么意义，只是一个没着没落的存在状态。这种自我抑制或自我放纵的艺术转化，触及了一种情感上或者心理上的真实，就像孤绝的情感和自我尊重的态度。或许，韦璐的艺术所强调的只是在不确定中张望着不确定的环境，而并非如以往艺术那样只重视“确定的意义”本身。它多少是中国当下年青一代存在状态，在韦璐创作中的一种真实转化。当被击碎的消散为历史和时代的尘埃之时，抑或还是会以新的方式重构？在当下，身处多变的时代涡流，更需要我们重启对于未来的关注与想象。因为“一切坚固的东西都烟消云散了”。



Recommendation of Wei Lu’s Works: Fragmented Visual Compound
By Feng Boyi

    Wei Lu’s new painting reminds me of Marshall Berman’s book, All That Is Solid Melts Into Air(Commercial Press, 2003 edition, translated by Zhou Xian). Wei subverts the complete and typical nature of past paintings in his works. They seem to be realistic and dramatic “comic strips” where you cannot find any plot line or logic connection. His image offers more of the fragments of the various images rife in our daily life – violence, eroticism, war, sports, anatomy, etc. They give his paintings an absurd flavor – seemingly real, even looking exactly the same, but in fact fictional to the extreme! This creates a strong sense of contrast, contradiction and suspense, as well as a variety of possibilities for you to imagine. I think this is the key to appreciate as well as the starting point to evaluate Wei Lu’s work. I guess this is intended. He deliberately intersperses and superimposes fragments from reality, backgrounds and characters, animals, etc. to depict a mixed and tortuous context. So in Wei Lu’s schema structure there is a documentary and fictional visual effect among the fragments. It provides a direct and unique perspective, which makes it possible for the viewer and the artist to transcend reality to ask each other questions and exchange ideas.

    The creation of the young artist is directly related with current technological development, especially the influence of television and computers on our daily lives, the popularization of images and the important role the Internet plays in our life and work. We receive information, understand the society, observe the world and make reflection and judgment – all these gradually become completely different from the past. It changes the way we see and are seen and our way of observation and expression: most of the young people today acquire information through all these screen – television, cameras, video recorders, computers, videos, etc. For young artists, the source and basis for their creational schema is different from the so-called “probing into life” approach of the previous generation of artists. Instead, they create on the images they obtain from their screen resources. Therefore in this sense, Wei Lu’s artistic schema is the “second-hand image”, which is detached or even segregated from the visual image of nature and reality and constitutes the psychological experience of individuals to in our time together with “fragmentation”.

    China is in the era of miscellaneous fragments. We don’t know where the modernization process will take us. Everything is changing rapidly and confusingly. In the transformational age, things are so complicated that boundaries become blurred. Our values, beliefs, desires, relationships, power mechanism as well as the money relationship we used to see through are no longer so distinct; the neutralization or even reversal of genders and the difficulty to define our emotions force us to drift along without any grip. Meanwhile, the Internet has made our lives even more “fragmented” and our attention distracted. But this also changes the way young people keep informed on public topics. If the Internet simply provides vast amount of information that overwhelms us, things would be easier. But one of the characteristics of this era of fragmentation is that your response to the information drags you into a fragmented life. The mechanism of providing feedback after receiving information runs so smoothly on the Internet. For many people, microblog has become a vital source of information. Through people you follow and their links and different “role-playing”, you can easily know what is happening in this world and the general tendency of public opinion. Users can of course customize their sources of information; but no mass media can resist social media to maintain its inherent authority. The new social media and social networking sites have brought about a new kind of social relations, which in turn affect every independent individual.

    In artistic creation, there is also a lack of group consciousness, let alone the lack of art trends we flock to. So it is hard to define artworks which feature no extreme or specific meaning but a suspended existence. Such self-restraint or self-indulgent artistic transformation touches upon an emotional and psychological reality like loneliness and self-respect. Perhaps what Wei Lu emphasizes in his art is simply the state of gazing at the indefinite in the indefinite environment, unlike art in the past focusing only on “definite meaning” per se. His art somewhat truly depicts the current survival state of young generation in China. When the crushed dissipates as dust of history, will it be reconstructed in a new way? Living in the fickle vortex of the era, we need to reignite our concern and imagination of the future, for “all that is solid melts into air”.

    

《有预谋的封口》油彩 画布 200x150cm 2012

《一分为三》油彩 画布 200x150cm 2012

《信息传输》油彩 画布 450x200cm 2012

《美丽风格》油彩 画布 200x150cm 2009

《总是那么委屈》油彩 画布 200x150cm 2009

韦璐 WeiLu
男 壮族
1983年出生于河南郑州
2005年本科毕业于广州美术学院油画系
2014年就读于广州美术学院油画系硕士研究生
现居于广州


群展：
2014 今典—广东当代艺术展 广州53美术馆
旋构塔-2014中国青年艺术家推介展 北京时代美术馆
图像新编 静画廊 北京
豫见-种子画廊新空间开幕展 郑州
以梦为马—青年艺术家16面体 岭南画派纪念馆
2013 《视觉交叉体》首届广东当代艺术群落青年艺术家联展 东莞21空间美术馆
开放的工作室：借艺术—未知博物馆 广州时代美术馆
《另一种地域性》—青年实验艺术展 岭南画派纪念馆
第四届新星星艺术节 广州琶洲会展中心
艺术深圳 深圳艺术博览会-雅昌画廊导购平台 深圳会展中心
《微观青春》四人联展 广州十方空间
2012 首届CAFAM未来展—亚现象•中国青年艺术生态报告 中央美院美术馆
记忆的穿越—苏州金鸡湖美术馆开馆展览 苏州金鸡湖美术馆
碎片时代的视觉合成—澳门中国当代艺术十人展 澳门南湾旧法院大楼
2012年度青年艺术100 北京，上海，广州，香港等
野生视觉—广州青年当代艺术家专题展 广州53美术馆
2011 第三届中国新锐绘画 北京
2010 敲山震虎—当代中国新锐艺术家创作生态的观察 北京798艺术区 龙艺榜画廊
2009 闪开！今天我们八零后之 晓世界—年轻艺术家群展 北京798艺术区 玉兰堂画廊
2005 第二届全国美术院校油画专业毕业生优秀作品展 获得优秀奖并留馆收藏 深圳何香
凝美术馆
广州美术学院本科毕业创作展 广州美术学院美术馆
2004 无限定—青年艺术展 广州原PARK19
首届广东新青年艺术大展外围展“城市•动” 广州原PARK19
2003 广州美术学院第七届素描大展 作品《一个朋友》留校收藏 广州美术学院美术馆
第一次亲密接触—广州美术学院油画系与华南师范大学联展 广州原PARK19/华南
师范大学
2002 热蜡画技法展 广州花园酒店
2001 油画系材料作品展 广州美术学院新松园



Wei Lu

Male
Born in ZhengZhou,China.1983
Graduated from GAFA.2005
Now living in GuangZhou,China



Group Exhibition:

2014
“UP-YOUTH” China Young Artists Exhibition 2014.Times Art Museum,Beijing.
Guangdong Contemporary Art Exhibition.Guangzhou 53 Art Museum.
Compound Images. Jing Gallery,Beijing.
“YuJian” Seed Art Gallery new space opening exhibition,Zhengzhou.
“Make Dream As Horse”contemporary art exhibition by 16 artists.Memorial of Lingnan School of Painting.Guangzhou.

2013
“VISUAL MIX” 1st Canton Contemporary Art Community Young Artists’ Group Exhibition.21Space Art Museum,Dongguan.
OTHER REGIONALITY.Memorial of Lingnan School of Painting.Guangzhou
OPEN STUDIO：Lending Art——Unknown museum. Times Museum,Guangzhou.
MICRO-YOUTH Group Exhibition. Shifang Space, Guangzhou.
ART SHENZHEN.Shenzhen Covention & Exhibition Center.Shenzhen
The Fourth NEW STAR Art Festival. Guangzhou


2012
The First “CAFAM•Future”Exhibition Sub-Phenomena:Report on the State of Chinese Young Art. CAFA Art Museum.Beijing
2012 Art Nova 100. Beijing,Shanghai,Guangzhou,HongKong,etc.
“Wild Vision”exhibition of Guangzhou’s young contemporary artists. Guangzhou 53 Art Museum.
“Passing Through Memory”Suzhou Jinji Lake Art Gallery Opening Exhibition. Suzhou
“Visual Synthesis of Fragment”contemporary art exhibition by 10 artists. Macau

2011
Chinese New Painting Award 2011. Beijing

2010
“Striking the Mountain to Shock the Tiger”An Exhibition Surveying the Creative Ecosystem for Contemporary Chinese Young Artist Groups.Amelie Gallery, Beijing

2009
“Get out of the way”Group Exhibition of Young artists. Magnolia Hall Gallery,Beijing

2005
The 2nd Annual Exhibition of Dissertation Works in Painting from National Art Academies across China.Receive the gold award. He-Xiangning Art Museum, Shenzhen
GAFA Undergraduates’ Works Exhibition in2005. GAFA Art Museum,Guangzhou

2004
“Indefinite” New Youth Art Exhibition. Park-19,Guangzhou
The first GuangDong province New Youth Art Exhibition,Peripheral Show. Park-19,Guangzhou

2003
The seventh sketch exhibition of GAFA. Receive award. GAFA Art Museum,Guangzhou
“First intimate contact” Exhibition in GAFA and South China Normal University. Guangzhou

2002
Hot wax painting technique of Show. Guangzhou Garden Hotel

2001
Materials Exhibition of Oil Painting Department. GAFA