艺术家：王家增

　　Artist:Wang Jiazeng

　　学术主持：汪民安

　　Academic Director:Wang Min'an

　　开幕时间：2018.12.08 16:00

　　Opening:08.12.2018 16:00

　　展期：2018.12.08-2019.01.07

　　Exhibition Period:08. 12. 2018-07. 01. 2019

　　主办：白盒子艺术馆

　　Organizer:Whitebox Art Center

　　地址：北京市朝阳区酒仙桥路2号798艺术区797路B07

　　Address:B07, 797 Road, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing

　　白盒子艺术馆很荣幸地宣布“物的褶皱——王家增个展”将于2018年12月8日开幕，本次展览由汪民安担任学术主持。此次是白盒子艺术馆与艺术家王家增的首次个展合作，将呈现王家增最新创作的十余件作品。

　　It is with great honor that the Whitebox Art Center hereby announces the openning of Wrinkles of Object - Solo Exhibition of Wang Jiazeng on December 8th 2018. The exhibition will be chaired academically by Wang Minan. It will be the debut cooperation between the Whitebox Art Center and Wang Jiazeng, the master artist, and over 10 of his masterpieces will be displayed in the gallery.

　　王家增的作品通常以北方工业城市废墟为主题，灰暗沉郁的笔调，擅于运用工厂的工人形象、铁盒子和厂房等元素作为象征性符号来揭示被弃物与剩余物的当代价值。王家增曾画过很多被铁皮包裹的人，它们置身在铁的包围中仿佛置身于一个个监狱中，没有自己的面孔，只有一个个序列的数目记号，而此次展览所呈现的新作与以往的创作形式有所不同，这批作品的另一种类型，是用铁皮和钢板制作的类似装置的作品。艺术家王家增跳脱出以往连续涂抹方式来勾勒建筑与建筑承载的空间，将表达形式简化，并采取了一种架上作品的形制，将作品挂于墙上。

　　Wang Jiazeng's works usually would theme on the industrial ruins in North China. He is skillful in representation of workers' images, and elements like iron boxes and workshops are used as symbols to reveal the contemporary value of industrial abandons and wastes. Wang Jiazeng painted numerous human figures being wrapped up by iron sheets, who are surrounded by the metal in the likes of people being jailed. These individuals are not facially visible and are marked by codes. The upcoming exhibition will present his new works that will differ from the past patterns. What is new about the new exhibits is that they are presented like devices made of iron boards and steel plates. The artist shakes off from his conventional way of repeated layers of paints to outline the architectures and the space they carry, and he adopts simplified forms of art that will be hung on the walls.

　　艺术家通过各种途径收集废弃的铝和铁等金属物质，将其形状改变，通过锤击、焊接、打磨，制造了一个个物的褶皱，烧制后布满无规则的坎坷的折痕展示出一种凝重感。不同于版画、油画中绘制的被挤压的图形，这样的"形若枯骸"的状态使这份沉重感更加凝练。王家增认为像铁这样的金属物质是工业主义最简单明了的基础和指代，是对工业主义吞噬人的讽喻，它们被当作符号是王家增对工业和当代世界一种讽刺性解读。金属物质具有殊相和共相的哲学关系，而人操纵金属也被金属操纵，人伤害金属的同时也被其所伤害，人和金属之间相互扭曲，相互纠缠的关系则象征着工业时代的铁律。

　　The artists collected various abandoned metal materials, - aluminum and iron - and shaped them into wrinkled objects by continuous hammer-strikes, welding, grinding, a sense of dignity and gravity is therefore presented after the surface of the metals being made full of wrinkles and folds in a irregular way. Different from printmaking, oil-paintings present squeezed patterns and such haggard appearance adds to the sense of gravity. To Wang Jiazeng, iron, as a metal, is the very basis of industrialism, and it enslaves human in the industrial age. Iron is interpreted by Wang Jiazeng, ironically, as the symbol of industry and modern world. The metals have philosophic implication in them - humans are manipulating and manipulated by metal; humans harms and are harmed by metal. That the relation between humans and metals are mutual-twisting and tangled together is the law of the industrial age.

　　王家增的新作不仅仅是阐述历史，简单的展示过去，他想利用褶皱物与观者之间构建成一种隐喻关系，使每个面临这种褶皱物的人，都能感受到赤裸裸的强力的无所不在，仿佛这些强力就是加诸于观者自身的。王家增赋予了这批作品“强力不仅落在身体上，也会通过落在物上而对人形成震慑”的具有哲学性的意义，将人们带入到了对物与权力的思考之中。

　　Wang Jiazeng's new works goes beyond the narration of history. By establishing a metaphoric relation between the wrinkles and the audience, he tries to present an omnipresent heaviness on the viewers, in a seeming way that the viewer are personally under the pressure of such weight. Wang Jiazeng endows the works the meaning that the weight can not only be felt by human, but humans will be shocked by observing the weight falling on objects. Thus the audience will be brought into the reflection on the relation between rights and objects.

　　白盒子的展厅就如人们生活的密闭空间，艺术家将作品悬挂在墙上，或者将它们捆绑在钢板上，或者以盒子的形式对它们囚禁，并对它们对监狱中的囚徒进行编号一样进行编号，作品栖身于有限的空间内构筑成一座拟人式的“复仇”景象。

　　The Whitebox's showrooms serve as enclosed space, on their walls hung the works of the artist. The exhibits are either tied up with steel boards or encased in metal boxes and they are coded as prisoners. In a limited space the works constitute an image of 'Revenge".

　　银色金属分割线

　　王家增

　　WANG JIAZENG

　　1963年 出生于辽宁省沈阳市

　　1992年 毕业于鲁迅美术学院版画系

　　1993年 中央美术学院油画技法研修班

　　1992至2011年任教于鲁迅美术学院 教授

　　现任教于中国人民大学艺术学院 教授 绘画系主任 中国美术家协会会员

　　个展（部分）：

　　2018年《无名之地》 筑中美术馆 北京

　　2017年《无名之地》 上海半岛美术馆 上海

　　2016年《城迹》 中国产业金融博物馆 沈阳

　　2015年《王家增作品展》 悦美术馆 北京

　　2015年《城迹》王家增作品展 中国金融博物馆 北京

　　2014年《工业印痕》 高士画廊 台北

　　2014年《工业日记——王家增油画展》济南美术馆 济南

　　公共收藏：

　　作品被英国大英博物馆、剑桥大学阿什莫林博物馆、杜塞尔多夫博物馆、中国美术馆、上海美术馆、广东美术馆、中央美术学院美术馆、中国版画博物馆、北京今日美术馆、浙江美术馆、关山月美术馆等。

　　Born in the city of Shenyang in 1963

　　1992 graduated from the Department of Printmaking Luxun Academy of Fine Arts.

　　1993 Postgraduate Program sponsored by Central Academy of Fine Arts in oilpainting techniques

　　1992 - 2012 professor of Luxun Academy of Fine Arts, currently professor of Department of Paintings, School of Art Renmin University of China.

　　Solo Exhibitions(Part)

　　2018 "Spectres of Yesteryear", an exhibition at Zhuzhong Art Museum Beijing

　　June 2017 " Anonymous Land" , an exhibition at Peninsula Art Gallery Shanghai

　　May 2017 "Wang Jiazeng's Paintings on Paper, an exhibition, Beijing

　　April 2016 "Trace of A City" , an exhibition at China Enterprise Finance Museum, Shenyang

　　August 2014 "Industrial Prints", an exhibition at Taipei

　　April 2014 "Industrial Diary - Wang Jiazeng's Oil painting", an exhibition at Jinan Art Museum, Jinan

　　Public Collections

　　Paintings have been collected by The British Museum，Ashmolean Museum,Dusseldorf Museum, China Art  Museum, Shanghai Art Museum, Guangdong Art Museum, CAFA Art Museum, China Print Art Museum，Beijing Today Art Museum, Zhejiang Art Museum Guan Shanyue Art Museum etc.

　　银色金属分割线

　　     关于白盒子

　　白盒子艺术馆位于北京798艺术中心区，是1952年由前民主德国建筑机构负责建筑设计、施工的包豪斯建筑风格的工厂区。

　　艺术馆在保留原建筑的精神外，在废弃厂房的基础上重新设计，由白盒子（北京）文化艺术有限公司投资创建。拥有近840平方米的自由展示展览空间，主要举办中国当代艺术的展演活动，关注国内国际当代艺术的发展动向和最新思潮，推动中国当代艺术与国际文化艺术的交流。并将长期致力于跨界艺术的展览展示、学术推广、资源整合并强调国内外艺术交流的互动与传播，为艺术产业化的发展探索新路。

　　除展出国内外当代著名艺术家艺术作品外，还积极发现、培养、推出年轻的新锐艺术家。依据当代文化的多功能需求目标设计规划，阐释：艺术改变生活的主张。