2015年

“藝起來”Art Up—當(dāng)代青鋒藝術(shù)博覽會(huì)” ，農(nóng)展館、798；

“助力京張申冬奧名家書畫義拍” ，北京飯店；

hi21新銳藝術(shù)市集” ，上海；

2016年

“周而復(fù)始——丹培拉繪畫多重詮釋研究展“ ，中央美術(shù)學(xué)院、清華大學(xué)美術(shù)學(xué)院、廈門中華兒女美術(shù)館、威海半島美術(shù)館、山西晉中學(xué)院美術(shù)館、深圳大芬美術(shù)館、湖北美術(shù)學(xué)院、內(nèi)蒙古美術(shù)館、吉林藝術(shù)學(xué)院美術(shù)館；

“臺(tái)南藝博會(huì)”，臺(tái)南；

Young Art Taipei臺(tái)北藝術(shù)博覽會(huì)，臺(tái)北；

南京藝術(shù)博覽會(huì)，南京；

“形而上的日常——六位當(dāng)代藝術(shù)家群展”，繁星美術(shù)館，北京。

《不光彩的死法》(40X25cm)，個(gè)人，2016；?

《馬和女孩兒》(60X42.2cm)，個(gè)人，2016；?

《往哪兒去》(100X170cm)，個(gè)人，2016；?

《孤獨(dú)的泳者》(60X20cm)，個(gè)人，2016。?

張蓓蓓：以繪畫重構(gòu)自我世界

文/趙子龍

張蓓蓓是一位非常獨(dú)特的90后年輕藝術(shù)家，既有理性、平靜的成熟，又有質(zhì)樸、率真的個(gè)性；在我看來她的思維方式和感受能力超越了她所處的年齡階段，她的內(nèi)心世界豐富而細(xì)致，容納著許多超乎年齡的內(nèi)容和思考——這是初見張蓓蓓繪畫時(shí)的第一感覺。一般來說，在自己的內(nèi)心世界里裝進(jìn)超越年齡的事物是具有挑戰(zhàn)性的，如果人的經(jīng)驗(yàn)和心智無法駕馭這些內(nèi)容，內(nèi)心世界很容易失衡——我看見過許多人、包括曾經(jīng)的自己為了追求“高度”而使自己的內(nèi)心世界陷入混亂——張蓓蓓的獨(dú)特之處，也是她的成熟之處，正是在于她有能力將自己的世界經(jīng)營得穩(wěn)定而充滿活力，她的繪畫里因此具有了一種堅(jiān)固、清晰、真實(shí)、穩(wěn)定的氣質(zhì)。

張蓓蓓的繪畫普遍具有樂觀、沉穩(wěn)的基調(diào)，既不見為賦新詞強(qiáng)說愁的悲觀情緒，也沒有廉價(jià)浮夸虛假的歡樂氣氛；她不會(huì)去“刻意”制造這些視覺刺激以獲得明顯的“當(dāng)代性”。張蓓蓓的繪畫似乎是從古典語言開始的，從她創(chuàng)作于2014年的一系列作品中能夠明顯感受到古典繪畫那種大氣、靜穆、莊嚴(yán)的氣息，每一個(gè)場(chǎng)景都似乎是一場(chǎng)史詩的片段和局部，每一個(gè)場(chǎng)景都似乎籠罩在箴言、隱喻營造的神圣感中；甚至在每一幕無聊、尷尬的日常生活場(chǎng)景背后都被設(shè)置了一個(gè)若隱若現(xiàn)、莫可名狀的、帶有神圣意味的理由；因?yàn)檫@個(gè)理由，“無聊”的日常生活有了存在的價(jià)值，不至于將人帶向絕望和虛無——這就是前文說到的“樂觀”。從這個(gè)角度來說，張蓓蓓的繪畫體現(xiàn)了她對(duì)“古典”的深刻理解：古典并不僅僅是一種寫實(shí)的技術(shù)，而是一種為世界尋找、還原存在理由的思維方式。事實(shí)上，用“寫實(shí)”來描述張蓓蓓的繪畫并不準(zhǔn)確，她的繪畫筆觸、細(xì)節(jié)里面常常帶有強(qiáng)烈的表現(xiàn)主義手法，同時(shí)她對(duì)現(xiàn)代繪畫語言都有過系統(tǒng)的嘗試和體會(huì)；在“寫實(shí)”的表象下，稍加留意就會(huì)看出印象派、野獸派、表現(xiàn)主義、超現(xiàn)實(shí)主義、象征主義甚至更早的尼德蘭文藝復(fù)興繪畫等多種繪畫語言集于一起，并非僅僅局限于探究事物的空間和結(jié)構(gòu)，也不是局限于挑戰(zhàn)繪畫的精細(xì)程度�！锻�哪兒去》、《新生》、《孤獨(dú)地游泳》這幾幅創(chuàng)作于2014年、2015年間的作品中，無論是標(biāo)題還是畫面呈現(xiàn)的場(chǎng)景，都已看出她不僅僅在利用象征手法抒情，而是觸及到了關(guān)于生命、自由、彼岸等形而上層面的思考和體會(huì)，這些看似古老的觀念，卻是以現(xiàn)代主義的繪畫語言表達(dá)出來，這批看起來像象征主義的作品與她在央美學(xué)習(xí)坦培拉時(shí)所畫的圣母子有著氣質(zhì)和精神上的共通性，而這種跨度對(duì)一個(gè)年輕藝術(shù)家而言是非常難得和不易的。

今天，年輕的藝術(shù)家們似乎已經(jīng)習(xí)慣在稚嫩的年齡談?wù)摻K極和神圣，卻感受不到它們?cè)谑篱g的何處，這也是崇高和永恒在消費(fèi)社會(huì)中的普遍遭遇。難得的是，張蓓蓓對(duì)于精神價(jià)值的思考完全出于自身體會(huì)理解而非猜測(cè)引述；換句話說，對(duì)于這些看起來很虛的事物，張蓓蓓展現(xiàn)出了超越年齡的感受能力和理解能力——因?yàn)樨S富而坎坷的人生閱歷，她敏感的內(nèi)心曾經(jīng)真切體會(huì)過世間的人情冷暖，她對(duì)人性的理解比常人也更加全面。自始至終，張蓓蓓都堅(jiān)持以真實(shí)的情感面對(duì)世界和自己，使得她對(duì)自己和他人都具有一種極其敏銳的判斷力，在她的繪畫中，我常常驚訝于她能夠用一種最直接、最簡(jiǎn)單的話語觸及事物的本質(zhì)，比如她將一只死去的鳥進(jìn)行細(xì)致的描繪后置于云彩中，將這個(gè)場(chǎng)景描述為“不光彩的死法”，以一種箴言式的繪畫對(duì)“死亡”進(jìn)行了意味豐富的描述：關(guān)乎選擇，關(guān)乎價(jià)值，關(guān)乎命運(yùn)，關(guān)乎現(xiàn)實(shí)，等等�！扒笳妗北旧砭褪俏鞣焦诺湮拿鞯暮诵�，它延伸出的是務(wù)實(shí)、質(zhì)樸、真誠、純粹和包容。我相信張蓓蓓對(duì)“古典”另一層面的深刻理解，就是意識(shí)到了“求真”是理性、信仰、堅(jiān)強(qiáng)和愛的根源，她作品中時(shí)刻流露出的那種冷靜的穿透力正是源于對(duì)“真實(shí)”的直面和堅(jiān)持；同時(shí)因?yàn)榭吹搅苏鎸?shí)世界的諸多角度，張蓓蓓獲得了“寬容”的能力。無論是現(xiàn)實(shí)生活中還是在繪畫架構(gòu)的場(chǎng)景中，她都能用一種成熟、冷靜的思維方式去呈現(xiàn)世界的存在，她擁有獨(dú)立思考的分析能力，她有鮮明的個(gè)人情感；卻極少去對(duì)事物進(jìn)行干預(yù)和批判，她的作品中沒有極端和亢奮，甚至淡化了個(gè)人好惡，似乎一切都如造物主初創(chuàng)世界那般安靜、自由的存在著，世界的光明與陰暗都被坦然而真實(shí)地呈現(xiàn)在一種寬容的氛圍里。

張蓓蓓曾經(jīng)說過，自己的繪畫是“將她所見到的或是喜歡的東西的價(jià)值、關(guān)系與自己的記憶進(jìn)行具體和直接的合成”——我理解為她在以繪畫的方式重構(gòu)一個(gè)屬于自己的世界。事實(shí)上，生于當(dāng)下中國的每一個(gè)人都有著相似的遭遇：每個(gè)人在童年時(shí)期以接受教育的方式預(yù)設(shè)初始的世界觀；而在隨后的成長歷程中，每個(gè)人又通過各種方式推翻統(tǒng)一的世界觀而重新建構(gòu)獨(dú)立的世界，張蓓蓓就是以繪畫的方式來完成這種重構(gòu)；從這個(gè)角度來看，張蓓蓓的繪畫場(chǎng)景是她的世界的一個(gè)個(gè)角落，畫面中透露的氣息，就是她為自己所創(chuàng)造的世界的氣息。通過這些繪畫，她從現(xiàn)有世界選擇自己鐘愛的事物放進(jìn)自己的世界，在繪畫呈現(xiàn)的世界里，張蓓蓓成為造物者，同時(shí)感受著造物過程中的神圣和自由，這也是為什么那些畫面總是帶著肅穆、質(zhì)樸、原初和純粹的氣質(zhì)。這個(gè)過程中最使我感動(dòng)的是，張蓓蓓理解了造物者創(chuàng)造的現(xiàn)實(shí)世界，然后將這種理解帶入了她所創(chuàng)造的世界；在她擁有絕對(duì)權(quán)力的世界里，她創(chuàng)造而不審判、寬容而不極端——信仰中將其稱之為“愛”，這也正是古典繪畫中至今閃爍的真正價(jià)值。

Millennial Artist Seeks Spirit of Heroism

Beijing Today

Every artist eventually has to decide whether they want to make money or be themselves. But that question was never a struggle for 26-year-old Zhang Beibei. From a young age she was determined to create without bending to otheru2019s desires.

A glance through Zhangu2019s portfolio reveals nothing extravagant, dazzling or abstract. In each image, Zhang records her feelings with sincerity and a respect for reality.?

"I admire realistic oil paintings. They could reflect the nature of things because they require the painter to view the world sincerely and employ excellent technique," Zhang said. "But if you favor the realistic element too heavily, your painting will lose its expressiveness. I prefer to add stories to my works, leaving the spoon-fed worldview behind to construct my own."

Beijing supplies Zhang with endless inspiration. She records what she sees and relates each new experience to a memory. Each painting is created with nothing but a paintbrush with her imagination as a guide.

Zhao Zilong once commented on Zhang Beibei, "She always faces the world and herself with genuine emotions… Iu2019m often surprised by how she uses such direct and simple words to reveal the truth of things. The sophistication, logic and uniqueness reflected in her works is beyond her age."

One of her most intriguing works, Inglorious Death, depicts a dead, headless sparrow. The feathers on its stiff body seemed loose and very detailed. Zhang said oneu2019s understanding of death reveals his or her true self, since nobody could be superficial in front of death.

"I am a realistic person. Perhaps u2018Deathu2019 is a strange topic for people my age, but I want to face it through painting," Zhang said. "Writer Shi Tiesheng said that once a person is born life stops being an option, but sooner or later death will be certain. Thinking about death this way makes me more grateful to be alive."

Zhang started her artistic journey quite early. She was accepted into the Xiu2019an High School of Art at 16 and went back to the city where she was born. When she saw her childhood doodles on the walls, she was amazed how her na?ve imagination could create such complicated content.

"I believe everybody has his or her own u2018natureu2019 that is formed when first receiving complex information from this world. Iu2019ve always used painting as a way to think and express my understandings of self, society, generation, history and humanity," she said.

At the beginning, two historical figures influenced Zhang: Vincent van Gogh and Sandro Botticelli. Zhang said both of their styles were independent of the mainstream of their times.

"A great artist does not need to have the right time, opportunity or school. I admire their heroism from deep in my heart, and I think they unleashed the creative power of humanity."

Zhang said her art is independent of education, policy, popular trends and social rules. She said her paintings had more personality and freedom than she herself.

She studied oil painting at Xiu2019an Academy of Fine Arts, later enrolling in Central Academy of Fine Arts with emphasis in tempera and material painting. Among Zhangu2019s works are two religious paintings in tempera.

"The language of oil painting chooses artists, not the other way around. It requires us to be technical, realistic and pragmatic," Zhang said. "When I went to Europe to see the paintings in churches, I could clearly feel the artistsu2019 genuine belief in God. Each characteru2019s detailed and unique emotions were visible."

Inspired by classical European oil paintings, Zhang attempted to understand why they could harness such strong emotions. She found the aspirations of oil painting in tempera, a far older medium.?

"To understand the history and the spirit of classical European painting, you must study tempera," Zhang said. "My tempera paintings were not created for religion, but for my own belief. And I see religion and belief as two different matters."

Believers in heroism seldom enjoy comfortable lives. But in this century of open communication and Internet, Zhang has an outlet for her work.

Zhang is not bounded by fame, complicated relationships or money worries. She appreciates that she can devote her time to crafting what she desires to express. She also hopes that her works will remain independent, her worldviews extraordinary and her artistic language rich with technique, style and expression.

For an artist with her attitudes, being alive to work in the 21st century offers "luxurious freedom".