张子康：人文山水景观探索
2023-05-26
展名 / Title: 二即一：王绍强个展
IF TWO, THEN ONE: Wang Shaoqiang Solo Exhibition
策展人 / Curator: 张子康 Zhang Zikang
艺术家 / Artist: 王绍强 Wang Shaoqiang
展期 / Duration: 2021.7.24 (Sat) - 9.12 (Sun)
开幕/ Opening: 2021.7.24 (Sat) 3:00pm
地点 / Venue: 亚洲艺术中心（北京）
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing
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人文山水景观探索
张子康
（策展人、中央美术学院美术馆馆长）
论语道，“智者乐水，仁者乐山”。
山水是地球上最雄伟的自然景观，也是人类赖以生存的两大物质基础。在中国人几千年的生活和文化意识里，山水伴随中国整个历史发展，占有极重要的位置。
清朝学者张潮的《幽梦影》中提到：“有地上之山水，有画上之山水，有梦中之山水，有胸中之山水。” 这说明，山水即道，除了是自然景观外，更是中国人的东方精神符号，反映了我们的天下观、宇宙观、生命观。
在明清之前，山水画更像是一门“应用心理”学科，表现山川之妙为人类寻求某种精神寄托。东晋顾恺之《洛神赋图》，体现“人大于山，水不容泛”的艺术风格；唐代“诗佛”王维的水墨山水，写意为主，追求诗中有画、画中有诗；宋代马远、夏圭追求的秀美抒情；一直到明清的山水画从沈周、文征明到石涛，成为画家品格的象征。这时的山水画更多是“心中的山水”，与西方艺术发展遵循科学的探究精神截然异趣。
在今天，中国当代山水画的发展，融入了现代科学视角，通过观察体验，认识思考我们的社会环境，辩证地描摹自然。王绍强先生即以交叉学科“科学—史学—美学”三维体系的“后山水”表达范式，呈现了一场新的人文、地理、哲学的当代山水实验。
王绍强，广东汕头人，同时兼具艺术家、策展人、美术馆馆长、杂志出版人、博士生导师等多重身份。这些跨界多元的身份，激发了他对与自己情感相连结的地域文化的思考，他的作品也成为他人生不同角色的浓缩与升华——在对传统文化以及对当代社会的理性思考中，构建出属于自己的“人文山水景观”。
▲ 天光 Heavenly Light
250x738cm (250x123cmx6)
纸本水墨 Ink on Paper
2021
一、科学：来自“社会学家”的调查
这些年，王绍强更像一名“社会学家、考古学家”，通过对我国西北地区，包括甘肃、敦煌及张掖山海关等一带地质的现场考察与对当地地质博物馆藏品和文献资料的研究，作出详尽科学的人文地理系列调研报告。
一望无垠的孤烟大漠，河湖土状沉积物经风化、风蚀、流水等外界不同的作用力，在岁月蹉跎下所形成的天然地貌，给王绍强带来强烈的视觉震撼，带着孜孜不倦的好奇与追问，在人文地理图像学研究的基础上，王绍强推陈出新，在自然地理和人文地理两条线索融会贯通，历经千年形成的天然风貌、风积砂石成为了他作品“后山系列”的创作元素。
借助水墨的灵性，以复迭、移置、互渗、交融等多种语言的实验，他创作了一种新的当代水墨山水景观图式——方格网状地图下是薄雾缭绕的山峰，深邃意蕴、平和却饱含力量感，赋以自然万物以生态气象的和美之貌。
“后山系列”作品给予我们前所未见的新奇，又让人有一种似曾相识的熟悉感，产生一种共知的审美经验的链接。这种新水墨图式打破了过去我们对山水绘画的认知，提供了一种穿越古今，拓展历史维度的观看角度，传递出一种深刻而玄奥的形上之思。
▲ 夅 Decline
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纸本水墨 Ink on Paper
2021
▲ 三色九千之二 From 3 to 9000 Hues 02
123x123cm
纸本水墨 Ink on Paper
2020
▲ 边声之一 Borderline 01（左）；边声之三 Borderline 03（右）
138x26cm（单幅）
纸本水墨 Ink on Paper
2019
二、史学：自然与人文结合
得益于他的史学思维，王绍强作为广东美术馆馆长，因为多元的职业身份和长期的工作经历原因，他能接触全球多元化视野范围的作品，产生了更多历史性思考。
现在很多美术馆都运用社会学的研究方法进行策展，例如法国的人类博物馆结合体质人类学、社会人类学方法，通过展品陈列了解女性文化、头发的变迁等等，具有非常详实的研究。王绍强也把这种科学、社会学、史学的思维训练，融入到自己的创作里。
“站在地上的我们仰望星辰，从古至今不断探索着生命之外的无限；而只有当人类真正翱翔太空后，回过头来才能更好地注视大地，以及自身。天与地，此时又像是万物与自我的灵魂对话。”谈起创作灵感，王绍强曾有这样的论述。
基于大量阅读，他对中国古代山水艺术有了更深入的理解，过去所说的“文人山水”，更多是文人墨客投身于自然山水之中，怡情悦性、吟哦歌咏，但在王绍强眼里，中国山水自古以来都与地理环境息息相关，因此他想通过一种类似物理学或地质学的探讨，以现代科学精神、方法和当下文化的个体经验，重组个人的水墨艺术谱系。
本次新展《二即一：王绍强个展》，是王绍强水墨实验探索的一个艺术与思想上的总结归纳。参展作品《列宿垂象》一画，以墨色为底，银汉罗布，在古代天象图的传统中，纳入了现代天文学知识，既给人以真实感，又留下无穷的想象。
在影像的光影跳动中，让观者置身于天地间，俯瞰大地又仰望星空，重现万物的灵动影像《列宿垂象NO.2》区别于纸本，是一组影像作品。借纸本水墨绘成河海山川，借影像媒介点出星罗棋布，轨迹。
▲ 列宿垂象 The Heaven Hangs out Figures
384x534cm (96x178cmx12)
纸本水墨，光媒体 Ink on Paper, Light Installation
2019
▲ 暮云 Sunset Clouds
136x69cm
纸本水墨 Ink on Paper
2020
三、美学：经营布局下的情感释放
除了学术性、思想性，王绍强作品的美感过人。
绍强曾言：“从仰天观地到尝试去窥探自然作用下孕育的文化变迁，我们发现，对地理学科人文性与艺术性的考量越来越无法脱离对人们个体的内在解读。”
“个体内在解读”是值得探究的话题。要解读王绍强的创作，就脱离不开他的个人经历、社会阅历与精神思考。
他的出生地潮汕地区是广东东部一个极具深厚传统文化的沃土，年少时候，王绍强接触不少水墨大家，包括丁立人、王天德，让他对水墨产生深刻的认知，丁立人那句“画画就是画出内心世界”植根在他内心，产生出强烈共鸣。
在他担任广州美术学院视觉艺术设计学院院长时期，长期的设计教育、编辑工作的经历，令他具有敏锐的问题意识与与众不同的审美力，形成了独特的艺术面貌——他的笔墨在网格、卫星地图标识、水墨材料、山水意象之间建立有效的、美丽优雅的逻辑，自此形成了王绍强艺术风格的主要特征。这些元素组合一起，呈现天地的宏大气象，沧海桑田之感。
▲ 道上云川之九 Path Climbs the Cloud River 09
23x34cm
纸本水墨 Ink on Paper
2020
王绍强自述他对于西部自然的体悟深刻，在对张掖、敦煌的地质考察过程中，自然盛衰的变换直接地摆在眼前，他被深深触动，雅丹地貌历经孕育-幼年-壮年-老年-消亡的过程，似是人类无法抗拒的自然宿命。他在水墨的渲染中再现那神秘莫测的地理容貌，呈现沧海桑田的历史。经过他的一番精心经营，我们得以看见一种既真实又震撼的视觉图像。
▲ 千米 Depth
500x123cm (250x123cmx2)
纸本水墨 Ink on Paper
2021
王绍强的创作，是他认识世界的一个手段，关乎个人与社会、个人与时代的全局思考，是思辨性观察下的艺术表达。只有当人意识到宇宙万物的历史变迁，意识到人类命运共同体的世界格局，才能清晰认知个人的定位与使命，让自己的艺术创作与众不同。
凭借学者的严谨态度，王绍强从“科学—史学—美学”出发，从人文地理科学观到对宇宙与哲学等层面孜孜不倦的探索、创新与实践，将精神与观念所满溢的景观图像结合中国传统的水墨语言，构建出独特的“人文山水景观”。
张子康
策展人
中央美术学院美术馆馆长
2021年5月，北京
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▲ 玄岚之五 The Mountain at Dawn 05
178x96cm
纸本水墨 Ink on Paper
2019
▲ 紫云末之一 Apex of the Amethyst Cloud 01
133x133cm
纸本水墨 Ink on Paper
2020
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F
An Exploration of the Landscape as Humanistic Environment
Zhang Zikang
(Curator, Director of the Central Academy of Fine Arts Art Museum)
The Analects of Confucius declares, “The wise one enjoys water, the benevolent one enjoys the mountain”.
Mountains and rivers are the earth’s most majestic landscapes, and are also two major material foundations for human survival. For millennia, mountains and rivers, as the foundation of our landscape, have occupied an extremely important position in Chinese lives, in our cultural consciousness, and in the development of China’s entire history.
As the Qing Dynasty scholar Zhang Chao mentioned in Quiet Dream Shadows (You Meng Ying), “There are landscapes on the ground, landscapes in paintings, landscapes in dreams, and landscapes in the heart.” This demonstrates that landscapes are guides. Transcending purely natural scenery, landscapes are a symbol of the Chinese people’s Eastern spirit, reflecting our view of the world, the universe and life.
Before the Ming and Qing Dynasties, landscape painting was more like, 'applied psychology;” in expressing the wonders of mountains and rivers humankind could seek a form of spiritual sustenance. During the Eastern Jin, Dongpu native Gu Kaizhi's, “Poetic Pictures of the Luo Immortals,' embodied the artistic approach, 'people are greater than mountains, and water must not flood [the picture].” Tang Dynasty’s, 'Poetic Buddha' Wang Wei's ink landscapes focus on freehand brushwork in pursuit of poems within paintings and paintings within poems. Song Dynasty’s Ma Yuan and Xia Gui quested after beauty and lyricism. Until the end of Ming and the beginning of Qing, landscape paintings, from Shen Zhou, Wen Zhengming and onto Shi Tao, were all symbolic expressions of the artist's character. This form of landscape painting is better understood as a, 'landscape of the heart.” This landscape paradigm contrasts sharply with the spirit of scientific inquiry within the development of Western art.
Today, the development of Chinese contemporary landscape painting has become integrated with a modern scientific perspective. Through observation, practice, knowledge, and reflection on our social environment, we can describe nature dialectically. Mr. Wang Shaoqiang’s three-dimensional, interdisciplinary, “science, history, and aesthetics” system emerges as the “post-landscape”, a humanistic, geographic, and philosophical experiment in contemporary landscapes.
Wang Shaoqiang is a native of Shantou, Guangdong. He has multiple identities: curator, art gallery director, magazine publisher, and doctoral advisor. These cross-border, diverse identities stimulate his emotionally-connected, regionally-inflected, cultural mediations. Returning to his creative work as an artist, his pieces become the condensation and essence of his various life roles. Rationally reflecting upon both traditional culture and contemporary society, he constructs his unique, “landscape as humanistic environment.”
1. Science: A Sociologist's Investigation
In recent years, Wang Shaoqiang has become ever more akin to a sociologist and archaeologist. He has researched the geology of Chinese northwestern region, including Gansu, Dunhuang, and Zhangye’s Mountain and Sea Pass (Shanhaiguan). He has also investigated the collections and documents of local geological museums, resulting in a series of thorough, detailed, and scientific research reports on human geography.
Limitless expanses of solitary, sooty desert, and the soil formed by the sediments of rivers and lakes, have both been formed by differing external forces, such as weathering, wind erosion, and flowing water. The lapse of time structures these natural formations and imparts a strong visual shock to Wang Shaoqiang. With a tireless curiosity, expressed in part through his research on human geographic iconography, Wang Shaoqiang combs through the past and produces something new in the process. His expertise arises from comprehensive studies, integrating natural and humanistic geography. Millenia-old natural scenes and wind-gathered sandstone become creative elements within Wang’s “The After Hill Series.”
Helped by the spirituality of ink and wash, he experimented with multiple languages such as overlap, displacement, interpenetration, and blending. He created a new contemporary, ink-wash, scenic, landscape, mapping pattern. Under a square grid map are fog-entangled mountain peaks whose profound meaning, tranquility and potency endows all of nature with an ecological atmosphere and gorgeous appearance.
The works within the “Back Mountain Series” provide unprecedented novelty while simultaneously inducing both an intimate sense of déjà vu and a common, shared aesthetic experience. This new ink-wash diagram style breaks apart our previous understanding of landscape painting. Crossing antiquity and the present, this approach infuses a historical dimension to visual perspective and experience. Wang’s innovation transmits a profound and abstruse form of metaphysical thinking.
2. History: Integrating the Natural and the Humanistic
His historical approach informs Wang Shaoqiang’s role as the director of Guangdong Museum of Art. His multiple professional identities and extensive work experience enable Wang to engage with art from a globally diversified horizon which, in turn, generates more intensely historical thinking.
Currently, many art museums use sociological research methods in curating. One such example is France’s Anthropology Museum which integrates physical and social anthropological methodologies. For example, exhibit items can be used to understand and research concrete details within women’s culture, such as minute changes in hair customs. Wang Shaoqiang similarly incorporates training in scientific, sociological, and historical thinking into his creative work.
Discussing creative inspiration, Wang Shaoqiang elaborated,
'Standing on the ground, we look up at the stars. From antiquity, we have constantly explored the infinity that exists beyond our mortal lives. Only now, after human beings have actually soared into space, can we turn back and truly gaze at the earth and ourselves. Heaven and earth: this contrast appears like a dialogue between everything material and our own souls.'
Through extensive reading, Wang has acquired a profound understanding of ancient Chinese landscape art. In what has been up to now referred to as the paradigmatic, 'literati landscape,' literati artists threw themselves into the natural landscape, cheering their hearts and composing their minds through chanting and singing. In Wang Shaoqiang’s eyes, however, since antiquity the Chinese landscape has been intimately related to the geographic environment. Therefore, he wants to restructure his personal ink wash pedigree through scientific investigation, like that within physics or geology, using modern scientific vigor, methods, and current culture’s individualistic experience.
This new exhibition, “If Two, Then One: Wang Shaoqiang Solo Exhibition” is an artistic and conceptual summary of Wang Shaoqiang’s experimental exploration of ink and wash. The exhibited “The Heaven Hangs out Figures” is a painting with ink color as the base over which the Milky Way is displayed. Into the tradition of ancient astronomical maps, modern astronomical knowledge is incorporated. This not only gives people a sense of verisimilitude, but also allows for limitless imagination.
Unlike his paper only pieces, 'Ordering Constellations Bequeaths Form, No. 2,' is a video media series. Wang uses ink on paper to draw rivers, seas, mountains and rivers, and video to indicate the scattering of stars. In the pulsing of images’ light and shadow, the viewer feels as if between heaven and earth; peering down at the earth and looking up at the stars, all creation reappears in the swift track of one’s gaze.
3. Aesthetics: Catharsis under Managed Composition
In addition to being academic and conceptual, Wang Shaoqiang’s works inspire surpassing aesthetic appreciation.
Wang Shaoqiang stated, “Observing heaven and earth, and trying to spy out nature’s purpose gave birth to cultural evolution. We discovered that deliberation over the humanistic and artistic aspects of geography is increasingly inseparable from people’s individual, internal interpretations.”
“Individual, internal interpretation” is a topic worth exploring. To interpret Wang Shaoqiang’s creative works as one cannot leave out his individual and social experience or his spiritual thinking.
His birthplace, Chaoshan, is a fertile land with an intensely deep-seated traditional culture in eastern Guangdong. When he was young, Wang Shaoqiang came into contact with many major ink wash artists, including Ding Liren and Wang Tiande. This produced in Wang a profound understanding of ink wash. Ding Liren’s phrase, “Painting is the drawing out of the inner world”, was planted in his heart and produced a strong resonance.
Wang service as Dean of the School of Visual Art and Design of the Guangzhou Academy of Fine Arts is part of his extensive career in design education. This academic background plus valuable experience in editing have given him a keen awareness of problems and an extraordinary aesthetic. They inform his unique artistic outlook. His pen and ink establishes an effective, beautiful, and elegant logic among the grids, satellite map logos, ink wash materials, and landscape imagery constituting the main features of Wang Shaoqiang's artistic style. These combined elements present the magnificent atmosphere of the world and a sense of the vicissitudes of life.
Wang Shaoqiang has mentioned his profound investigation into western China’s natural history. In geological surveys of Zhangye and Dunhuang, the unpredictable changes of nature’s fluctuations are directly arranged before his eyes moving him deeply. The Yadan landform undergoes a life cycle of its own including birth, childhood, maturity, old age, sickness and death. This is a natural fate that, like humans, it cannot resist. He reconstructs these mysterious geographical features by adding wash upon wash of ink and, in so doing, also represents the vicissitudes of history. Under his meticulous management, we perceive an authentic and shocking visual image.
Wang Shaoqiang's creative works are a means for him to recognize the world. They are a comprehensive mediation on the relationships among individuals, their society and their times. His artistic expression proceeds under the auspices of analytical observation. Only when people today become aware of the historical changes affecting everything in the universe, and the global structure of humanity’s collective future, can they clearly recognize their individual positionality and calling. Only thusly, can one’s creative work stand out as Wang Shaoqiang’s does.
Wang Shaoqiang’s rigourous scholarly approach starts by combining, 'science, history, and aesthetics.” Using a scientific approach to humanistic geography and the universe as well as layers of philosophy, he has diligently explored, innovated and implemented. Wang incorporates universal images brimming with both ideas and spirituality into the language of traditional Chinese ink wash to build his unique, form of the, 'landscape as humanistic environment.”
Zhang Zikang
Curator
Director of the Central Academy of Fine Arts Art Museum
May 2021, Beijing
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▲ 紫宸西忆之三 Recall the West's Indigo Palace 03
123x123cm
纸本水墨 Ink on Paper
2020
展览现场
编辑 / Editor：冉云琪 Seraph Ran
关于策展人
About Curator
张子康，1964年生于河北，现任中央美术学院美术馆馆长，教授，博士生导师，《美术馆》杂志主编。中央美术学院艺术与科技研究院副院长。兼任中国美术家协会理事，中国美术家协会实验艺术委员会副主任。全国美术馆专业委员会副主任理事，全国高校艺术博物馆联盟主席。
1996年至今，主持策划、编辑出版各类文学、艺术图书千余册，多次荣获国家级图书奖项；著有《美术馆》（合著）、《文化造城》（合著）、《艺术博物馆理论与务实》（合著）、《跨界生存》（专著）、《张子康》油画作品集、《张子康——疆域》影像作品集等，并发表百余篇艺术理论相关文章。策划众多在国内外颇具影响力的大型艺术展览，如“雷安埃利希——太虚之境”、“卡普尔大展”、“悲鸿生命——徐悲鸿艺术大展”、“智识城市——2020深圳公共艺术季”等。作为艺术家, 他创作的绘画作品多次参加国内外重要学术展览。
Zhang Zikang, born in Hebei in 1964, is currently the director of CAFA Art Museum, professor and doctoral advisor of Central Academy of Fine Arts, and the editor-in-chief of Art Museum magazine. He is the deputy dean of Art and Technology Research Institute of Central Academy of Fine Arts. He is also a member of the Chinese Artists Association and the deputy director of the Experimental Art Committee of the Chinese Artists Association. He serves as the deputy director of the Committee of Art Museum in China, and the chairman of the Alliance of University Art Museums of China.
Since 1996, he has planned, edited and published over a thousand of various literary and art books, and won many national books awards. He has co-authored Art Museum, Construct City with Cultural Element, Art Museum Theory and Practice, and authored Cross-Border Survival, published oil painting collections Zhang Zikang, photographic works collection Zhang Zikang - Territory as well as more than a hundred articles related to art theory. He has also curated many large-scale art exhibitions that are influential on home and abroad, such as Leandro Erlich: The Confines of the Great Void; Anish Kapoor; Xu Beihong: Living Art Forever; Intellective City - 2020 Shenzhen Bay Public Art Season, etc. As an artist, his painting works have been exhibited in many major exhibitions at home and abroad.
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关于艺术家
About Artist
王绍强，号后山，1970年出生于广东汕头。现任广东美术馆馆长，教授、博士生导师，享受国务院特殊津贴专家，兼任中国美术家协会理事、广东省美术家协会副主席，教育部高等学校指导委员会委员，中国美术家协会策展委员会委员、学术委员会委员，全国美术馆专业委员会委员。中国艺术研究院研究员、博士生导师，广州美术学院教授、硕士生导师，澳门科技大学艺术学院教授、博士生导师，曾任广州美术学院视觉艺术设计学院院长。参与策划广东百年美术大展，是2017广州影像三年展，2021广州影像三年展，第六届广州三年展的总策划与文献展策展人。2008年入选广东省高校“千百十工程”培养对象，2009年入选广东省“十百千”工程培养对象，2013年被评为广州美术学院教学名师，2017入选“广东特支计划”宣传思想文化领军人才，连续两次被评为“中国艺术权力榜”上榜人物，被评为《国家美术》风云人物。现生活工作于广州。
重要个展：“二即一：王绍强个展”（亚洲艺术中心，北京，2021），“后山 · 心花”（七棵树艺术中心，广州，2021），“后山心图——王绍强作品展”（《湖上》杂志社林泉山房，杭州，2019），“'后山——王绍强个展’艺术广东主题展”（广州流花展贸中心，广州，2019）
重要群展：“花非花”（新加坡画廊，新加坡，2021），“思想与践行：新中国广东美术叙事（1949-2021）——广东美术馆藏品专题展”（湖北美术馆，湖北，2021），“自然的双重性——第二届西安山水邀请展”（崔振宽美术馆，西安，2021），“新潮动力——2021当代艺术与设计展”（潮州美术馆，潮州，2021），“周而复始——综合材料绘画学术邀请展”（国家艺术基金2019年度传播交流推广资助项目）（中央美术学院美术馆，北京，2021），“人与自然——中欧当代艺术邀请展”（广州紫泥堂六号仓艺术馆，广州，2020），“在思想中——中国当代艺术的思想史与方法论”（广东美术馆，广州，2020），“脚踏何地”（尚榕美术馆，广州，2020），“'2020未来历史学’线上艺术展”（南京师范大学美术学院美术馆，南京，2020），“'第三届大湾区生活艺术节’——'重构现场’当代公共艺术展”（大湾区国际艺术品保税产业中心，广州，2020），“空间的再造——深圳首届抽象艺术展”（罗湖美术馆，深圳，2020），“臆象——粤港澳大湾区当代水墨艺术谱系（2000-2020）”（广东美术馆，广州，2020），“济南国际双年展”（山东美术馆，济南，2020），“时代先声——广州文艺百年大展”（广东美术馆，广州，2020），“青青熙春”（羊城晚报艺术研究院，广州，2020），“正如所见·观空间五周年特展”（观空间，广州，2020），“未来历史学”（南京师范大学美术学院美术馆，南京，2020），“2020水墨艺术实验研究展”（宝龙美术馆，上海，2020）， “中国表现 - 第一回展”（华泰顶层艺术社区，上海，2020），“水墨进行时：2000-2019”（广东美术馆，广州，2020），“同构——当代艺术作品邀请展”（罗湖美术馆，深圳，2020），“岭南意象——广东当代水墨八人展”（巴黎中国文化中心，法国，2019），“中国写意”（立陶宛国家画廊，立陶宛，2019），“南京水墨艺术双年展——纸性的语言”（南师大美术学院美术馆，南京，2019），“典雅艺博·水墨艺博”（香港会议展览中心 ，中国香港，2019），“新征程：第三届当代艺术双年展”（海上世界文化中心，深圳，2019），“深圳·洛里昂美术作品联展”（深圳画院美术馆，深圳，2019），“墨与物·第二届武汉水墨双年展”（武汉美术馆，武汉，2019），“历史的凝视”（木星美术馆，深圳，2019），“墨攻——武汉水墨双年展”（武汉美术馆，武汉，2019），“后笔墨时代：中国式风景”（广东美术馆，广州；浙江美术馆，杭州，2018），“时代新风·当代中国画大展”（陕西省美术博物馆，西安，2018），“墨因：当代艺术邀请展”（春美术馆，上海，2018），“脚本——广东美术馆藏影像作品展”（斯坦福大学艺术空间，美国，2018），“五柳先生的弦”（东莞万江壹号美术馆，东莞，2018），“水墨的地理与地理的水墨——十四人新水墨探索展”（21空间美术馆，东莞，2018），“闽江——关于水的想象”（威狮国际艺术中心，福州，2018），“时代风华·翰墨天河——广东名家中国画精品展”（天河区文化艺术中心，广州，2018），“足迹——广州美术学院粤东校友美术作品展”（陆丰甲子广东岭南美术馆，汕尾；广州美术学院大学城美术馆，广州，2018），“大潮起珠江——庆祝改革开放40周年全国美术作品展”（中国美术馆，北京；广东美术馆，广州，2018），“'框架——当代绘画邀请展’第六届广州三年展”（华南农业大学艺术学院美术馆，广州，2018）
策展：“致甜蜜的生活——二十世纪以来岭南风物研究展”（广东美术馆，广州，2021），“交融的激流：广州影像三年展2021”（广东美术馆，广州，2021），“边界的自觉”（广东美术馆，广州，2020），“西游南行——丁立人个展”（广东美术馆，广州，2020），“为水：林若熹个展”（广东美术馆，广州，2020），“青年力量”（广东美术馆，广州，2020），“'珠江夜游’——后珠三角景观“（广东美术馆，广州，2019），“自然与田园——林丰俗的绘画世界”（广东美术馆，广州，2019），“般若·明悟 郑泽生深圳个展”（深圳画院美术馆，深圳，2019），“磅礴：杨识宏作品展”（广东美术馆，广州，2019），“铭刻时代——汤小铭艺术研究展”（广东美术馆，广州，2019），“伟大的风格——王肇民艺术研究展”（广东美术馆，广州，2019），“注疏韶华——广州雕塑院优秀成果回顾展（1956-2019）”（广东美术馆，广州，2019），“时代印记——广东省优秀美术作品收藏展”（广东美术馆，广州，2019），“弥散的光影：许永城油画作品展”（广东美术馆，广州，2019），“图绘新中国——广东国画的改造与转型”（广东美术馆，广州，2019），“幻——鸥洋、杨缨双个展”（广东美术馆，广州，2019），“墨尚大观——当代长安、当代岭南中国画邀请展”（广东美术馆，广州，2019），“广东画院建院60周年优秀作品展暨院史研究展”（广东美术馆，广州，2019），“莽园画展”（广东美术馆，广州，2019），“润物细无声——许川如作品展”（广东美术馆，广州，2019），“广州市立美术学校文献展”（广东美术馆，广州，2018），“笔墨纸砚——格式与想象”（广东美术馆，广州，2018），“时代风华——二十世纪中国美术名家精品展”（广东美术馆，广州，2018），“大潮起珠江——庆祝改革开放40周年全国美术作品展（广东站）”（参与策划）（广东美术馆，广州，2018），“不仅仅看见——新现实主义水墨研究巡回展（广州站）”（广东美术馆，广州，2018），“1949年的廖冰兄——历史转型期的廖冰兄漫画作品文献展”（广东美术馆，广州，2018），“第六届广州三年展-诚如所思：加速的未来”（总策划）（广东美术馆，广州，2018），“共生·未来——社区当代艺术计划”（华侨城盒子美术馆、佛山市顺德区顺峰山公园，佛山，2018），“未来进行时——中国当代艺术邀请展”（紫泥堂艺术中心、5号仓艺术馆，广州，2018）
公共收藏：中国美术馆（北京）、广东美术馆（广州）、浙江美术馆（杭州）、山东美术馆（济南）、关山月美术馆（深圳）、西安美术馆（西安）、广州美术学院美术馆（广州）、亚洲艺术中心（北京 | 上海 | 台北）
Wang Shaoqiang, literary name After Hiil, born in 1970 in Shantou, Guangdong. Wang Shaoqiang is the current director of Guangdong Museum of Art. He is also a professor, doctoral advisor, and is honored as an expert by the State Council. He is concurrently a director of the Chinese Artists Association and Vice Chairman of the Guangdong Artists Association. He is a member of the Steering Committee of Higher Education Ministry of Education, the Curatorial Committee of the Chinese Artists Association, the Academic Committee, the National Art Museum Professional Committee. He is also the Director of the Curatorial Committee and Executive Vice President of the Guangdong Museum of Art Association. His honors as an educator include being a researcher and doctoral advisor at the Chinese Academy of Art, a professor and master’s student advisor at the Guangzhou Academy of Fine Arts. Wang simultaneously holds a professorship at the Macau University of Science and Technology of Arts College where he is also a doctoral advisor, and he is the former Dean of the School of Visual Art and Design of Guangzhou Academy of Fine Arts. As a curator, Wang helped planning the Guangdong Centennial Art Exhibition and is the chief planner and documentary curator of the 2017 Guangzhou Image Triennial, the 2021 Guangzhou Image Triennial, and the 6th Guangzhou Triennial. Other honors include being selected in 2008 as a development model, part of provincial tertiary education’s, 'Thousand, Hundred, Ten Project' in Guangdong, and, in 2009, Wang was again selected as a cultivation inspiration for the same event. In 2013, he was named as an outstanding teacher of the Guangzhou Academy of Fine Arts. He is considered a leading cultural talent and was listed as a notable figure in the 'Chinese Art Power List' twice in a row as well as within the 'National Arts' list. Wang currently lives and works in Guangzhou.
Selected Solo Exhibitions: 'If Two, Then One: Wang Shaoqiang Solo Exhibition” (Asia Art Center, Beijing, 2021), 'Last Mountain, Heart Flower” (Seven Trees Art Center, Guangzhou, 2021), 'Last Mountain, Heart Chart - Wang Shaoqiang’s Exhibition' (Lin Quan Shan Fang of Hushang Magazine, Hangzhou, 2019), “'Last Mountain - Solo Exhibition of Wang Shaoqiang' Theme Exibition of Art Guangdong” (Guangzhou Liuhua Exhibition & Trade Center, Guangzhou, 2019)
Selected Group Exhibitions: 'Flowers, Not” (Singapore Gallery, Singapore, 2021), 'Theory and Practice: The Story of New China's Guangdong Art (1949-2021) - Special Exhibition of Guangdong Art Museum Collection” (Hubei Art Museum, Hubei, 2021), 'The Twofoldness of Nature - The 2nd Xi'an Invitational Exhibition of Landscape Art” (Cuizhenkuan Art Museum, Xi'an, 2021), 'New Trend Power - 2021 Contemporary Art & Design Exhibition” (Chaozhou Art Museum, Chaozhou, 2021), 'Round & Develop - Academic Invitational Exhibition of Comprehensive Material Painting' (Central Academy of Fine Arts Art Museum, Beijing, 2021), “Imagerie de Lingnan” (Centre Culturel de Chine, Paris, France, 2019), “Chinese Freehand Style” (National Gallery of Art, Lithuania, 2019), 'Paper & Ink Language - Nanjing Ink Art Biennale 2019” (Art Museum of Academy of Fine Arts, Nanjing Normal University, Nanjing, 2019), 'Fine Art Asia, Ink Asia” (Hong Kong Convention and Exhibition Center, Hong Kong, 2019), 'New start: The 3rd Shenzhen Biennale of Contemporary Art” (The Sea World Culture and Arts Centre, Shenzhen, 2019), 'Shenzhen·Lorient Art Works Joint Exhibition” (Shenzhen Fine Art Institute, Shenzhen, 2019), 'Ink and things-The Second Biennial Exhibition of Wuhan Ink art” (Wuhan Art Museum, Wuhan, 2019), 'The Gaze of History” (Jupiter Museum of Art, Shenzhen, 2019), 'Wuhan Ink Art Biennale-Pursuit by Ink” (Wuhan Art Museum, Wuhan, 2019), 'Ink Art West Lake-The 2nd International Ink Wash Fair” (Hangzhou Peace International Convention and Exhibition Center, Hangzhou, 2019), “Post-Brushwork Era: Chinese Landscapes” (Guangdong Museum of Art, Guangzhou; Zhejiang Art Museum, Hangzhou, 2018), “Times New Image: Contemporary Chinese Painting Exhibition” (Shanxi Province Art Museum, Xi’an, 2018), “Ink Reasons: Contemporary Chinese Art” (Chun Art Museum, Shanghai, 2018), “Image-Script: The Video Works Collection of Guangdong Museum of Art” (Stanford Art Gallery, USA, 2018), “Chen Jing, Contemporary Art Invitational Exhibition” (Wanjiang No.1 Art Museum, Dongguan, 2018), “The Geography of Ink & The Ink of Geography: An Exhibition of 14 Artist’s New Ink Exploration” (21 Space Art Museum, Dongguan, 2018), “Minjiang: Imagination about Water” (SeeWell International Art Center, Fuzhou, 2018), “Times Elegance: Ink Art Tianhe: Guangdong Masters’ Chinese Painting Works” (Tianhe Culture & Art Center, Guangzhou, 2018), “Footmarks: Eastern Guangdong Alumnus’ Art Works of Guangzhou Academy of Fine Arts” (Lufeng Jiazi Culture Art Centre, Lingnan Museum of Art, Shenwei; Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, 2018), “Great Tides Surge Along the Pearl River: 40 Years of Reform and Opening-up in Guangdong” (The National Art Museum of China, Beijing; Guangdong Museum of Art, Guangzhou, 2018), “Framework: Contemporary Painting Invitation Exhibition, the 6th GZ Triennial” (Art Museum of South China Agricultural University, Guangzhou, 2018)
Curation: 'To the Sweet Life - Art Exhibition on Lingnan Terroir Since the 20th Century” (Guangdong Museum of Art, Guangzhou, 2021), 'Intermingling Flux Guangzhou Image Triennial 2021” (Guangdong Museum of Art, Guangzhou, 2021), 'Consciousness of Borders” (Guangdong Museum of Art, Guangzhou, 2020), 'A Southbound Trip of the Journey to the West - Ding Liren’s Exhibition” (Guangdong Museum of Art, Guangzhou, 2020), 'Research on Water, Drawing for Water-Works By Lin Ruoxi” (Guangdong Museum of Art, Guangzhou, 2020), 'Exhibition of Young Power” (Guangdong Museum of Art, Guangzhou, 2020), “Night Tour of the Pearl River: The Landscape of the Post—Pearl River Delta” (Guangdong Museum of Art, Guangzhou, 2019), “Nature and Pastoral: Art World of Lin Fengsu” (Guangdong Museum of Art, Guangzhou, 2019), “Wisdom and Awareness: Zheng Zesheng’s Art Works” (Shenzhen Art Institute, Shenzhen, 2019), “Inscribe the Time: Art Research Exhibition of Tang Xiaoming” (Guangdong Museum of Art, Guangzhou, 2019), “Majestic Momentum: Yang Chihung” (Guangdong Museum of Art, Guangzhou, 2019), “A Great Character: Research Exhibition of Wang Zhaomin’s Art” (Guangdong Museum of Art, Guangzhou, 2019), 'Comments on Spring - Retrospective Exhibition of the Outstanding Achievements of the Guangzhou Sculpture Institute (1956-2019)” (Guangdong Museum of Art, Guangzhou, 2019), 'Sign of the Times–Exhibition of Guangdong Outstandig Art Works for Collection” (Guangdong Museum of Art, Guangzhou, 2019), 'Dispearesed Dis Light and Shadow: Xu Yongcheng’s Oil Painting Exhibition” (Guangdong Museum of Art, Guangzhou, 2019), 'Painting New China: Renewal And Transformation of Guangdong Traditional Chinese Painting (1949-1978)” (Guangdong Museum of Art, Guangzhou, 2019), 'Fantasy - Ou Yang & Yang Ying” (Guangdong Museum of Art, Guangzhou, 2019), 'Ink of the View - Contemporary Changan & Lingnan Ink Painting Exhibition” (Guangdong Museum of Art, Guangzhou, 2019), 'Exhibition of Excellent Works and Institute History Research in Commenration of 60th Anniversary of Guangdong Art Institute” (Guangdong Museum of Art, Guangzhou, 2019), 'Exhibition of Guo Mangyuan’s Art” (Guangdong Museum of Art, Guangzhou, 2019), 'Moisturizing Everything in Silence - Xu Chuanru's Works” (Guangdong Art Museum, Guangzhou, 2019), “Documentaries of Guangzhou Municipal School of Art” (Guangdong Museum of Art, Guangzhou, 2018), “BI MO ZHI YAN: Form and Imagination” (Guangdong Museum of Art, Guangzhou, 2018), “Prime of the Times: Collection Exhibition of Chinese Art Masters in the 20th Century” (Guangdong Museum of Art, Guangzhou, 2018), “Great Tides Surge Along the Pearl River—40 Years of Reform and Opening-up in Guangdong” (Guangdong Museum of Art, Guangzhou, 2018), “Not Only View: Research Exhibition of Neorealism Wash Painting” (Guangdong Museum of Art, Guangzhou, 2018), “Liao Bingxiong in 1949: Liao Bingxiong’s Comics and Literature in Historical Transitional Period” (Guangdong Museum of Art, Guangzhou, 2018), “The 6th Guangzhou Triennial: As We May Think: Feed Forward” (Guangdong Museum of Art, Guangzhou, 2018), “Symbiosis/Future: Contemporary Art in Community” (Boxes Art Museum OCT, Foshan, 2018), “Future Progress: Invitational Exhibition of China Contemporary Art” (Zinitang Art Centre, Guangzhou, 2018)
Public Collections: The National Art Museum of China (Beijing), Guangdong Museum of Art (Guangzhou), Zhejiang Art Museum (Hangzhou), Shandong Art Museum (Jinan), Guan Shanyue Art Museum (Shenzhen), Xi'an Art Museum (Xi’an), Art Museum of Guangzhou Academy of Fine Arts (Guangzhou), Asia Art Center (Beijing | Shanghai | Taipei)
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