张宁个展：超验的启点？
THE BEGINNING OF THE TRANSCENDENCE?
在孤独的寂静中默默地坚守那份内心渴望的纯净
是启示，是治愈，是对未来的希望
出品人：贾廷峰｜策展人：果果｜开幕：2023.2.26下午三点
张宁：
艺术可以通往世界的本源
是启示，是治愈，是对未来的希望
我总是在想，艺术创作的价值是什么？每一次创作，我都是带着问题来寻找答案的。观念先行，并摆脱肉眼的客观再现对我观念和精神的舒服，从而进一步反思什么是艺术和艺术的当代性转换，以及在艺术的当代性的语境下如何从新定义绘画的时代意义。驱动艺术家进而拥有创造力的是观念，正如哈耶克所说：“只有观念才能战胜观念”。观念先行，观念介入，主要反思两个问题，一个人打破肉眼的客观物象进入理念和心灵的客观世界；第二个是用艺术的思维进入对超验的连续追问并获得启示。
I keep wondering what the value of art making is. For every work I created, I raised a question first and tried to look for the answer in the process. The concept goes first, and reproduces beyond material objectivity the fettering of my concept and spirit, thereby helping me to reflect on what is art and the contemporary transformation of art, as well as how to redefine the contemporary significance of painting in the artistic context of the times. It is the concept that drives artists and sparks creativity in them. As Hayek said, only the concept can triumph over the concept. Starting from “concept first” and “intervention of concept”, I reflect on two main issues: one is to break the material objects and enter the objective world of concept and mind; the other is to continuously question the transcendence via artistic thinking and obtain enlightenment.
To create works without considering the boundaries between abstraction and concretization, or between genres and materials, or in other words, to examine creation in the intellectual context of an individual consciousness rather than dwell on big concepts like abstraction and concretization. To reject the mere portrayal of nature and abandon the empirical traits of 2D imitation or reproduction, and to place the sense of identity and the sense of tracing to the source high above the empirical criteria. The works embody the efforts to break the bonds of specific themes, content and forms, colors, and emotions, to resort to “differences” rather than “universality”; they appeal in curiosity with lines and colors, express the understanding of nature and the world in the rhythm of points, lines and planes, striving to pave a practical path that is freed from the bondage of the physical world and has completed the continuous questioning of the transcendence. In this way, one may present a transcendental liberal order in his ideas and images. This order, a quest for holiness, is also contained in the redeeming light endowed by the Creator, so that it may, with its artistic ideas and works, help get us out of the predicaments of relativism, nihilism, radicalism and utopianism left behind by postmodernist art when subverting and dissolving everything.
Light, from a theological perspective; humans need the light, calling, and redemption from the Creator, to establish a transcendent inherent order of reflection, introspection and repentance, and to remind themselves not to lose the reverence in their hearts. Light, from a philosophical perspective, is the source of shadow, whereas the shadow is the reflection of things; it doesn’t exists, and even if something does exist, it cannot be grasped, or it can be grasped but not be spoken. Questioning light and shadow is questioning the imaginary and the entity, the continuous inquiry of the true existence of the essence, and the physical expression of the ideas. Light, from a scientific perspective, is a very special being with "wave-particle duality", meaning that it can be a wave or a particle; it is material and immaterial. From the duality of light, we deduced the wave-particle duality of quantum states, and then propose the “observer effect” and “uncertainty principle”, giving birth to the epoch-making concept of “uncertainty”.
从艺术看，我作品中的光是抽象的，也是具象的;光是物质的，也是精神的。光，是一种生命，同时也具备精神的能量。作品中体现的光即形，分割空间，自然形与几何形自由穿梭，使物质与精神合二为一成为可能，让理性和感性在思维的基础上具有了更多的可能性。 艺术是一种超越一般理念的存在，艺术相对于观念，是意志的直接客体化。艺术可以摆脱执迷于表象世界诸多的欲求，在某一刻，最终从表象世界中悔悟过来，懂得了真正心灵的反思才是超脱这个表象世界的唯一方法。
Creation reminds me of Kant's affirmation of reason, the boundaries drawn, “thing-in-itself” and therefore Chaos theory, Heisenberg uncertainty principle, Godel’s incompleteness theorem, bystander effect, and uncertainty. But in the end, I return to Kant and Hayek, valuing and affirming human reason; but I remember to draw the boundaries to Kant’s reason and guard against what Hayek called “the conceit of reason” and “the pretense of knowledge”. According to Gadamer, art is not a methodology, but an ontology; the attainment of art is the path to the revelation of truth. Words and images are not mere imitations, but to let what they express truly exist”. Such “existence” is the “thing-in-itself”, the origin of the world to which art can lead. The enlightenment and call to unreachable essentiality and uncertainty is an inner appeal, or maybe an instinctive mission, only so that my free will and independent character would go abreast with the instinct to approach the origin of enlightenment of transcendence. Of course, it is necessary that we quietly hold on to the purity of the inner longing in the silence of solitude. It is the enlightenment, the serenity, and the hope for the future. Indeed, we all need the purity of art to purge our hearts; we all need a minimalist attitude to face life with so many choices to make.
The continuous questioning of the transcendence always wants to present Kierkegaard’s “leap” while setting a “limit” or constraint for the “leap”, trying to boldly and piously approach the high latitude of the transcendence and at the same time respond to the reality, and to keep an eye on reality with a humble heart and compassion. The successive inquiries into transcendence are first of all about the nature of faith and the existence of the soul, which have to go to a transcendent being for answers. Faith teaches us humility, to acknowledge the limits of our cognition and avoid falling into the conceit of reason or the pretense of knowledge, especially with regard to such questions as the meaning of life and the future. Faith teaches us reverence, awe of the wonder of creation, the basic knowledge of the limitations and boundaries of humanity, and the awakening to the impermanence of the human world. Faith teaches us conscience, to respect the inner voice when facing a moral dilemma, to face up to the self-restraint of the evil of human nature, and to deeply sympathize with human suffering.
如奥古斯丁认为，对认知的自负才是犯罪的根源。所谓的“对认知的自负”，其实就是“对客观的世界做出主观的判断”的意思。客观的存在本身并无善恶，而我们对其的认知必然夹杂着自身主观的偏见。一旦任由这种主观认知来做出判断，就会与真实世界发生偏移，而罪就由此产生。只有保持谦卑，从自己的认知开始质疑、省察、反思，才有可能从主观的、自负的认知中跳脱出来，接近客观真理。
Art can be a practical path to break free from the bondage of the physical world of representation and to complete the continuous questioning of the transcendence; art can be a portal to home to our soul; art can also lift our spirit up from the secular world, in the biological sense, and into a higher dimensional order of thought.
2023.2.20张宁写于青岛画室
Feb. 20, 2023, Zhang Ning at the Qingdao studio
艺术家张宁
透视NO.7
纸本水彩
108x72cm
2019
张宁 作品
张宁
1976年生于青岛，2010年毕业于青岛大学美术学院水彩专业研究生、获文学硕士学位
展览精选：
2022年 第十届上海ART021艺术博览会 上海·中国；2021年 联展《精神的游牧》首届DnA SHENZHEN设计与艺术博览会 深圳·中国；2021年 联展《心念力场·心域绘画展》 温州·中国；2021年 艺术北京个人画展《灵觉·被启示》 北京·中国；2019年 上海ART021艺术博览会 上海·中国；2019年《东方既白——新东方主义夏季联展》MEBOSPACE 美博 & 艺文立方AC CUBE；2019年 “中国艺术家邀请展” 罗韦托·意大利；2019年 艺术厦门 厦门·中国；2019年 JINGART艺览北京 北京·中国
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