张晓刚

 张晓刚,1958年出生于云南省昆明,1982年毕业于四川美术学院;在北京生活和工作。

多次参加国内外的艺术展览,作品被国内外多家美术馆、画廊、以及私人收藏。他的作品是当代艺术所蕴世故的中国情境的最佳体现。
从九十年代中期开始,他运用近现代中国流行艺术的风格表现革命时代的脸谱化肖像,传达出具有时代意义的集体心理记忆与情绪。这种对社会、集体以及家庭、血缘的典型呈现和模拟是一种再演绎,是从艺术、情感以及人生的角度出发的,因而具有强烈的当代意义;曾于1997年荣获英国coutts国际艺术基金会所颁发的亚洲当代艺术家。
主要作品
张晓刚的主要作品有《全家福》系列、《天安门》、《血缘:同志120号》、《大家庭》等。
  • 中文名张晓刚
  • 性别
  • 国籍中国
  • 民族汉族
  • 祖籍云南省昆明
  • 出生地云南省昆明
  • 出生日期1958
  • 职业油画艺术家
  • 毕业院校四川美术学院
  • 主要成就2011年作品《生生息息之爱》在香港苏富比春季拍卖会以7,906万港元成交
  • 代表作品《全家福》系列,《天安门》、《血缘:同志120号》,《大家庭》等。
最新新闻
张晓刚大家庭再度刷新个人纪录

中国美术网 09-05 浏览

《血缘:大家庭3号》是张晓刚《血缘》系列最重要的作品,该画继2008年后再次刷新其作品世界拍卖纪录。 潘玉良的《海边三裸女》以1667.5万港元成交。  香港四...
人物简历

 张晓刚,1958年出生于云南省昆明,1982年毕业于四川美术学院;在北京生活和工作。

多次参加国内外的艺术展览,作品被国内外多家美术馆、画廊、以及私人收藏。他的作品是当代艺术所蕴世故的中国情境的最佳体现。

从九十年代中期开始,他运用近现代中国流行艺术的风格表现革命时代的脸谱化肖像,传达出具有时代意义的集体心理记忆与情绪。这种对社会、集体以及家庭、血缘的典型呈现和模拟是一种再演绎,是从艺术、情感以及人生的角度出发的,因而具有强烈的当代意义;曾于1997年荣获英国coutts国际艺术基金会所颁发的亚洲当代艺术家。

主要作品

张晓刚的主要作品有《全家福》系列、《天安门》、《血缘:同志120号》、《大家庭》等。

 

个人履历

 1978年他考取了令无数艺术青年向往的四川美院。

1994年《血缘:大家庭》展出在“第二十二届圣保罗双年展”上,世界美术史上第一次出现“中国人家庭合影”的作品,给他本人以及中国当代艺术进入国际舞台获得了无数荣誉。

2003年开始中国当代艺术以不断攀升的天价作品以及人气极高的艺术明星,吸引着国际的注意,而他是其中最具代标志性的人物。

2006年,创作素材增加了风景和室内来丰富作品的表现力,但没有改变的是他对记忆与历史的巨大怀念。

三十年的风云变迁,他的作品折射出一代知识分子的艺术抱负,他见证了中国绘画艺术的三十年,他是当代中国人艺术记忆中不可缺少的角色。

他,就是张晓刚。

 

曲折的艺术之路

与张晓刚见面的那天下午,北京的天气炽热干燥,他独自驱车带我们前往工作室。途中他说,工作室搬迁至何各庄,新的地方安静极了,之前位于酒厂艺术区的工作室由于知道的人太多,那里已变成了聚会的地方,无法静下心来创作。新的工作室里空间巨大,冷气、光线十足,画架上未完成的新作、一排排颜料盒、菲利普.斯塔克设计的沙发和椅子、长形的原木桌子上铺满画册和书籍....

眼前的张晓刚,内敛沉着、温和平淡,与他那些标志性的作品一样安静且散发着力量。51年前的春天,他出生在古城昆明,父母都是国家干部,5岁时同家人一起移居成都,并在那里度过了童年和少年。张晓刚曾经这样描述那时的他“我在孩子中间不善言表、落落寡欢,唯一的爱好就是一个人“瞎画””。随着年龄的增长,张晓刚越发喜爱绘画。上个世纪70年代张晓刚又同父母移居回云南,并在机缘巧合下遇到了他的启蒙老师水彩画家林聆,开始系统的学习素描、水彩、阅读西方艺术史。谈到他的启蒙老师,张晓刚说,那是他最尊敬的人,把他带上了艺术创作的不归路。“那时我17岁,既是他的入门弟子也是得意门生,那个时代找人学画很不容易,他不要任何报酬,但对我非常严格。” 两年后,高考恢复,张晓刚考入了令无数人羡慕的四川美院油画系。

张晓刚的艺术旅程由此开始,但并不一帆风顺。他一直都没有很好地融入那所学校,美院期间从学习前苏联的现实主义艺术起步,但他很快就迷上了西方现代艺术,尤其对后印象派大师其推崇。受到梵高米勒的影响创作了毕业作品《草原组画》系列,作品色彩缤纷,他描绘绵延起伏的草原上生活的藏族及自然风光但却与当时盛行的“乡土现实主义”趣味不符,连学校的审查都没通过。“毕业时我跟同班同学已经大相径庭了,”张晓刚回忆起自己的大学时代是在孤独与默默无闻中度过的。

毕业后因无法分配到工作单位,张晓刚自己找到一家玻璃制镜厂做建筑工人,后分配到昆明市歌舞团做美工。这期间他一直没有放弃创作,并且研究西方艺术理论及哲学,《幽灵》系列作品就是在这一时期创作出来的。那时的张晓刚身边没有阿谀奉承的献媚,没有鲜花掌声的慰藉,但他对艺术的追求却从未放弃。1984年张晓刚与朋友一起自费在上海、南京办展览,这是85思潮中最早自筹资金办展的展览之一,随后他又与朋友在昆明创立“西南艺术群体”。慢慢地他的作品开始被策展人、艺术机构所关注。两年后他回到四川美院执教,期间他的作品参与了国内重要的展览《中国现代艺术大展》、《中国当代文献资料展》、《九十年代中国美术油画双年展》、《后89中国新艺术大展》等等;也是在这一时期张晓刚找到了第一家合作的画廊——香港汉雅轩。与画廊签约后,张晓刚开始做一些肖像画的实验,偶然翻看父母的老照片,受到极大的触动,开始了新绘画的探索。画廊创始人张颂仁回忆说“当时张晓刚画了“大家庭系列”第一张,当我要把这件作品拿去参加威尼斯双年展、圣保罗双年展时电话给张晓刚,问他起个什么名字?张晓刚脱口而出:“大家庭吧。”自此,“大家庭”也成为中国当代艺术的一个“象征符号”,张晓刚也找到了自己的艺术倾向定位。

 

艺术上的突破

“《大家庭》系列作品之前我是不断追求变化的艺术家,总在寻找一种突破的可能性。

那会儿的艺术追求方向不是特别地清楚,《大家庭》以后好像有一种“东西”开始清楚了,同时我也希望自己的艺术与我个人气质、心里结构、受到的教育等等这些我敏感的东西保持密切的关系。”正如张晓刚所说,《大家庭》之后他真正地进入了关注历史的状态,但是他所说的历史概念不是社会学的历史,而是他内心的发展轨迹。

“经过这么多年的创作,我发现自己对正在发生的,或是将要发生的事不敏感,过去的事反而会慢慢地体会其中的微妙。”张晓刚的艺术一直采取保持距离的方式,这样一位内心独白式的艺术家,就像作家里面的卡夫卡,不是简单地从社会学的角度去关注问题,也不属于观念型的艺术家,更不属于形式语言的(装置、材料等)领域,张晓刚说自己要的是观念之后的叙述。这种叙述需要时间,需要内心的感受。曾有评论说张晓刚始终在过去的生活中挖掘东西,但他则说,“我不是要真的去还原历史,或者记忆,我只是借用它们,来表达人的心里的一种状态,或者是对生活得理解,对某一类人的某一种体验。这样就从《大家庭》、《失意与记忆》、《里与外》、《绿墙》这些系列作品中走过来。”很多时候觉得张晓刚的作品不能看一件,只有《大家庭》好像是一个定格的东西,可以看一件。新的作品更像日记,一个系列的作品看下来印象会更加深刻。但单看一幅作品感觉它好像总在移动,可能这正是艺术家所希望的,让作品达到流动的状态。

2009年雅昌艺术网发布的《拍卖市场年度调查报告》公布了2008年度公开拍卖市场作品总成交额最高的中国在世艺术家排名,51岁的张晓刚以3.01亿元的总成交额取代2008年榜首吴冠中,排名第一。面对这些成就,张晓刚表现的很漠然和不解,“我不会因为有了这么高的价位之后,就要去保住这个价格,就要去画一些和这个价格能够匹配的东西。这个不是我创作艺术的本意。拍卖火起来的时候,其实我已经走的很远了,《大家庭》已是10年前的作品。媒体有很多误解,别人都说我在画钞票,艺术给我带来的快乐远大于金钱。”

张晓刚正在为个展忙碌,新作采用了与以往不同的媒介,在不锈钢的平面上创作,他说材质的更换源自一次展览,2005年策展人黄专邀请张晓刚参加他策划的展览,但是有个要求,不准用绘画作品。“这个对我来说难度比较大,因为我是一个画家,后来我想画不了,就写字吧。因为写字对我来说,也是生活中比较重要的一部分。”那次的创作灵感来自电视机,从上个世纪90年代开始看电视的人越来越多,但很多人在看电视的时候心可能在另外一个地方。张晓刚发现这种生活状态很有意思,电视里面每天都在输出很多价值观,人们接受这种价值观的同时,其实内心会产生一种矛盾。张晓刚想让照相机和他一起看电视,拍电视节目,在照片上写日记,或者喜欢的书,两个完全不同的描述方式,把他们合并在一起形成一种奇怪的对比。2005年开始张晓刚一直在创作这系列作品。他曾考虑过用镜子做平面,但镜子太容易打碎,于是他把材料转化到不锈钢上面。正在创作的作品张晓刚想更多的结合手稿,利用工厂的丝网油印放大到不锈钢上面,然后在上面继续创作,有日记和手绘,张晓刚一直想把文字和绘画结合在一起。可以读的绘画,是他未来创作的目标。


艺术是我的生活方式

张晓刚的作品可能吻合了一些西方人想象的社会主义中国就是他作品中的样子。但其实是误读,那已经不是今天的中国人,但当代的中国人已经把传统的,至少50年的历史改变的太多,几乎是一种摧毁性的抹掉记忆。但在张晓刚的作品中我们能感受到记忆的线还在,能唤醒很多过往的记忆。“我能被西方接受是因为国家的背景,中国这个国家太特殊了。西方自然会很注意中国的艺术家,如果我当时不在国内,现在可能没人会知道我,正因为我以中国艺术家身份出现以后,别人开始关注我。”

在问及艺术家对社会的责任感时,张晓刚坦率地说,“刚开始走上艺术道路时,遇到很多困难,但我并不抱怨,今天看来都是我的财富。但艺术家谈论责任感显然很虚伪,我的出发点不是追求一种责任,而是要通过艺术的方式真实的表达自我。”正是有了这样的激情冲动,所以张晓刚能创作出那些触动人心作品。“艺术首先是个人的,当它呈现出来以后被人接受变成了公共的东西,人们反过来会用公共的标准要求艺术家,这个时候如果真的把自己当做公众的代表,那么艺术也就枯萎了。” 正如毛姆所说,为画家树碑立传归根结底还是他的作品。

张晓刚说,艺术家,参加全国美展就是他的艺术梦想。而今,他已经成为全球当代艺术界声名鹊起地艺术明星,他的作品被许多国内外知名美术馆和机构收藏;那幅创作于1995年的《血缘:大家庭三号》在香港苏富比以4263万港币的高价被富商大贾捧回家中,在这些欢声雷动、举世瞠目的时刻,很多人想不到,这一切同十几年前那个默默无闻却又执着追求艺术理想的艺术家毫不相干。如果不是艺术家,张晓刚也许会是位出色的作家或者诗人。他的每本画册中都穿插了他写的日记,寥寥数语表达出他对世间的感悟。(2007年8月1日 晴 今天开始写一组新的照片。这是专为奥地利美术馆举办的展览而作。这一组我准备开始重新阅读波特莱尔的《恶之花》。想起在八十年代,那会儿有许多的激情和苦闷,而波特莱尔与其他的一些人一样成了我最好的朋友。有趣的是,在我开始要重新阅读它的《巴黎的忧郁》时,我的女儿恰好此时正在巴黎进行着她这一生的第一次巴黎之旅。九二年我第一次去到巴黎时,脑中联想到时波特莱尔,是阿波里奈尔,而今天我的女儿则是怀着对《达芬奇密码》这本书的想象进入到卢浮宫的。这就是这个时代的反差。)

生活中,张晓刚很重要的内容就是电影、音乐和书。他喜欢一个人蜗居在家,一杯咖啡搭配一块黑巧克力,陪着他看一整天德国电影或读完一本感兴趣的书。他正在看关于中国历史的书,“我发现中国人在春秋战国时期的人智慧得一塌糊涂,我们现在只是在享受古人很少一部分的思想。”

繁华往往会归于平淡,浅尝辄止有益身心。一个人可以对生活要求得很少,也可以像沙特国王一样多。艺术家可以让想尽办法让自己的作品在市场上受到关注,也可以每天安静地创作和生活。愿望不同,上帝眷顾人的方式就千差万别。有人挖空心思踮起脚去够,有人轻轻抬手就能拿到。前者适应生存规则,后者可以自己制定规则。张晓刚的规则是自由自在。正像他说的那样,除了创作,我如何去与世间交会,与时光对峙。

入展、联展年表/张晓刚[云南省油画艺术家]

 1989年~2000年

1989

 

中国、北京中国美术馆《中国现代艺术大展》

 

1991

 

美国、加洲亚太艺术博物馆《不与塞尚玩牌---中国前卫艺术展》

 

1992

 

中国、广州《九十年代中国美术〈油画〉双年展》获优秀奖

 

《中国当代艺术文献资料展》北京、广州、重庆、沈阳、上海、南京等地巡回

 

1993

 

香港、艺术中心《后89中国新艺术大展》

 

澳大利亚、悉尼当代美术馆《“毛”走向“波普”》

 

英国、伦敦马博罗画廊《后89中国新艺术》

 

中国、成都《九十年代中国美术---中国经验》

 

1994

 

巴西、《第22届圣保罗双年展》获铜奖

 

1995

 

意大利、《第46届威尼斯双年展》

 

西班牙、巴塞罗那现代艺术博物馆《中国前卫艺术15年》

 

加拿大、温哥华美术馆《中国新艺术》

 

德国、汉堡国际前卫文化中心《从国家意识形态走出---中国新艺术》

 

1996

 

德国、波恩当代艺术博物馆《中国!》

 

英国、爱丁堡THE FRUITMARKET画廊《追昔---中国当代绘画》

 

澳大利亚、昆士兰美术馆《第二届亚太地区当代美术三年展》

 

法国、巴黎法兰西画廊《1996来自中国的四位当代艺术家》

 

中国、北京国际艺苑《现实:今天与明天---96中国当代艺术》

 

中国、北京 中国美术馆、香港艺术中心《首届当代艺术学术邀请展》获文献奖

 

1997

 

捷克、布拉格美术馆《来自中国的面孔和身体--中国新艺术》

 

新加坡、新加坡美术馆《“引号”---中国当代艺术》

 

中国、北京中国美术馆《中国油画肖像艺术一百年》

 

新加坡、斯民艺苑《红与灰--来自中国的八位前卫艺术家》

 

葡萄牙、里斯本美术馆《中国新艺术》

 

香港、Schoeni画廊《8+8-1---15位中国当代艺术家》

 

英国、Coutt's国际当代艺术基金会颁发“当代亚洲艺术新人奖”

 

1998

 

芬兰、赫尔辛基美术馆《中国新艺术》

 

比利时、Dostende当代美术馆《马格利特与当代艺术》

 

荷兰、阿姆斯特丹《国际当代艺术收藏展》

 

中国、成都上河美术馆《首届中国当代艺术收藏展》

 

比利时、布鲁塞尔《国际当代艺术博览会》

 

1999 美国、旧金山LIMN画廊《1999, 中国当代艺术》

 

比利时、 Namur 艺术中心《面孔---国际当代艺术展》

 

中国、沈阳东宇美术馆《第一届中国当代艺术收藏展》

 

美国、纽约P·S·I当代艺术中心,旧金山现代美术馆《蜕变与突破:中国新艺术》

 

2000

 

中国、成都现代艺术馆《“世纪之门”---中国艺术邀请展》

 

韩国、《“人+间”,第三届光洲国际当代艺术双年展》

 

法国、 RouillE当代艺术中心《国际当代艺术邀请展》

 

美国、 Montclair 大学美术馆《超越束缚》

 

法国、班里哥市弗郎索瓦·密特朗国家文化中心《中国当代肖像》

 

法国、阿密市比加底国家美术馆《中国当代艺术邀请展》

 

中国、上海美术馆《首届中国当代艺术收藏展》

 

中国、北京 中国美术馆《中国油画百年展》

 

日本、新汤县民会馆、宇都宫美术馆《亚洲当代艺术邀请展》

 

2001年至今

2001

 

法国、巴黎法兰西画廊《是我,是我们》

 

中国、北京中国美术馆《新形象》---中国当代美术二十年

 

挪威、奥斯陆艺术家中心《”煲”---中国当代艺术展》

 

巴西、《第三届MERCSUL双年展》

 

中国、上海美术馆四川省美术馆广东省美术馆 巡回

 

中国、上海艺博画廊《学院与非学院》 英国、伦敦红楼轩画廊《梦》2001中国当代艺术

 

中国、成都现代艺术馆《第一界成都双年展》

 

2002

 

法国、巴黎Enrico Navarra画廊《14位中国艺术家/中国制造》

 

韩国、汉城国家现代艺术馆《BABEL 2002》

 

中国、重庆四川美术学院美术馆《再看‘77、78’艺术作品邀请展》

 

中国、湖南长沙美仑美术馆《时间的一个点·在长沙》

 

中国、昆明上河创库车间《长征》

 

法国、巴黎《巴黎、北京》收藏展

 

中国、深圳美术馆《观念的图像——2002中国当代油画邀请展》

 

中国、广州博物馆《首届中国艺术三年展》

 

中国、广东美术馆《广州三年展》

 

中国、何香凝美术馆《图象的力量》

 

美国、纽约Sidney Mishkin画廊《回忆——战后的艺术》

 

奥地利、维也纳“艺术家之家”《东加西——中国当代艺术展》

 

2003

 

印度尼西亚、雅加达、印度尼西亚国家画廊《来自中国的艺术》

 

韩国、首尔、ARTSIDE画廊《中国——3个面孔3种颜色》

 

中国、上海、多伦现代美术馆《打开天空——当代艺术展》

 

法国、巴黎、非洲博物馆《东方暨白——中国绘画一百年》

 

2004

 

泰国、曼谷、唐画廊《中国 现在》

 

中国、上海、沪申画廊《超越界线》

 

中国、上海、上海美术馆《第五届上海双年展》

 

台湾、第雅画廊《面对面》

 

法国、马塞、马塞现代艺术博物馆《身体中国》

 

中国、武汉、湖北美术学院美术馆《武汉首届美术文献提名展》获文献奖

 

油画作品

油画作品图册

中国、上海、外滩三号沪申画廊《 世界三》 2005

 

中国、深圳、OCAT当代艺术中心《 起飞———OCAT当代艺术典藏展》

 

台湾、关渡美术馆、《明日、不回眸——中国当代艺术》

 

中国、北京、OCAT当代艺术中心《柏拉图和它的七种精灵——当代艺术展》

 

中国、杭州、《寓言》

 

中国、北京、中华世纪坛美术馆《当代视像:为收藏家办的展览——首届中国当代艺术年鉴展》

 

中国、深圳、深圳美术馆《缘分的天空——2005中国当代架上艺术(油画)邀请展》

 

中国、北京、中国美术馆《大河上下——新时期中国油画回顾展》

 

中国、广州 广东美术馆《广州三年展》

 

中国、北京、阿拉里奥画廊《中国、德国当代艺术家联展》

 

2006

 

张晓刚[云南省油画艺术家]

张晓刚[云南省油画艺术家]图册

美国、纽约、华美协进社中国美术馆、《中国当代艺术中的书籍再创》

 

美国、纽约、《江湖》

 

中国、深圳、OCT当代艺术中心《柏拉图和它的七种精灵》

 

奥地利、维也纳、SAMMLUNG ESSL 美术馆《今日中国——中国当代艺术的转世魅影》

 

中国、北京、茶马古道《食欲展》

 

2007

 

俄罗斯、莫斯科、特里恰可夫国家美术馆《社会艺术》

 

中国、广州、广东美术馆《从西南出发》

个展/张晓刚[云南省油画艺术家]

 1989

 

四川美术学院陈列馆《遗梦集》

 

1997

 

北京中央美院画廊《血缘:大家庭1997》

 

1998

 

台北汉雅轩画廊《血缘:大家庭1998》

 

1999

 

巴黎法兰西画廊《同志》

 

2000

 

纽约Max Protetch画廊《张晓刚2000》

 

2003

 

巴黎法兰西画廊《失忆与记忆》

 

2004

 

香港艺术中心《时代的脐带——张晓刚绘画》

 

2005

 

纽约Max Protetch 画廊<张晓刚2005>

 

2006

 

日本、东京、东京艺术中心、《张晓刚展》

 

韩国、首尔、ARTSIDE画廊《失忆与记忆》

 

2009

 

“史记” 佩斯北京北京 中国

作品行情/张晓刚[云南省油画艺术家]

 《血缘——大家庭:全家福2号》于1993年创作,是著名的《血缘——大家庭》系列的第二张作品,也是市 场现存最早的此系列作品。本幅作品其以标准的一孩家庭为构图,画中婴儿的原型乃张晓刚的二哥,技法上虽然有着早期作品的表现主义痕迹,但更多是向超现实主义靠拢;平涂式的画法、中性化的人物及柔和的色调,皆深深影响张晓刚的后期作品。此幅作品藏于欧洲至参加香港苏富比2012年当代亚洲艺术春季拍卖才首次现于公众,并以4600万港元成交,成为当场最高成交拍品。

获奖收藏/张晓刚[云南省油画艺术家]

 获奖记录

 

2004年 获得在武汉、湖北美术学院美术馆举办,由美术文献杂志策划的《武汉首届美术文献提名展》文献奖。

 

1997年3月 应邀赴香港领取由英国Couut's国际当代艺术基金颁发的“当代亚洲艺术新人奖”

 

1994年 四幅《大家庭》组画作品,取名《血缘——大家庭》参加巴西《第22届圣保罗双年展》,获铜质奖。

 

重要收藏

 

2009年 《风景2009》被韩国三星美术馆收藏;

 

雕塑作品《我的理想——工农兵学商》被尤伦斯基金会收藏;

 

油画作品《男孩1号》,《黄色女孩》被韩国三星美术馆收藏;

 

2008年 油画《我的理想》及雕塑作品《我的理想——工农兵学商》被法国路易铭瑄集团收藏;

 

2005年 《大家庭2005》被英国伦敦新泰特美术馆收藏。《大家庭No12005》被管义当代美术馆收藏。

 

2004年 《大家庭----地铁》参加中国、深圳、何香凝美术馆举办,黄专主持的《起飞----OCAT当代艺术典藏展》,被OCAT当代艺术收藏。

 

2004年 《女孩》参加中国、武汉、湖北美术学院美术馆《武汉首届美术文献提名展》被湖北美术学院美术馆收藏。

 

2003年 《大家庭》被法国巴黎圣得尼美术馆收藏。同年,澳洲国家美术馆澳大利亚悉尼新南威而士美术馆。

 

2002年 2001年创作的《兄妹》参加中国、何香凝美术馆由黄专策展的《图象的力量》展览,被何香凝美术收藏。

 

2001年 《吐舌头的男孩》参加成都现代艺术馆举办的《第一届成都双年展》,被澳洲悉尼新南威尔士美术馆收藏。

 

2000年 《姐弟》参加成都举办的《世纪之门——中国艺术邀请展》,被英国GASWORKS艺术基金会收藏。

 

2000年 《女孩肖像》被上海美术馆收藏,同时参加该馆举办的《首届中国当代艺术收藏展》。

 

2000年 在纽约MAX PROTETCH 画廊举办个展,展览取名《张晓刚2000》,九幅参展作品全部被收藏。

 

2000年 《同志》参加法国阿密市比加底国家美术馆举办的《中国当代艺术邀请展》,被该美术馆收藏。

 

2000年 《兄妹》、《女孩》参加法国阿密市比加底国家美术馆举办的《中国当代艺术邀请展》,被瑞士收藏家丹尼尔博士收藏

 

1999年 《三个小孩》被沈阳东宇美术馆收藏,并参加该馆举办的《第一届中国当代艺术收藏展——开启的通道》。

 

1999年 《大家庭No:16.1998》 应邀赴法国巴黎,在法兰西画廊举办个展,共展出15件作品,展览取名《同志》,展览作品之一《大家庭No:16.1998》被卢森堡国家现代美术馆收藏。

 

1999年 《两个同志》两幅肖像作品 参加美国旧金山LIMN画廊举办的《1999’中国当代艺术》,作品被画廊收藏。

 

1998年 《兄妹》被成都上河美术馆收藏。

 

1997年 《大家庭》之一被香港国际会议中心收藏。

 

1997年 《全家福》被日本冲绳美术馆收藏。

 

1997年 《全家福》被荷兰Peter Stuyvesant Foundation 收藏,并参加该机构举办的《国际当代艺术收藏展》。

 

1996年 《三个同志》三幅参加澳洲昆士兰美术馆主办的《第二届亚太地区艺术三年展》,作品之一被澳洲昆士兰美术馆收藏。

 

1996年 《全家福》参加中商盛佳举办的《中国当代艺术拍卖会》以最高价拍出,被纽约古根海姆博物馆收藏。

 

1995年 《血缘——大家庭》参加意大利《第46届威尼斯双年展》其中之一后被美国导演奥立弗斯通先生收藏。

 

1995年 《母与子》被日本福冈美术馆收藏。

 

1993年 《全家福》第一幅参加《后89’中国新艺术》展览,作品被日本福冈美术馆长收藏。

 

1991年 《黑色三部曲之三——“忧郁”》参加亚太艺术博物馆主办的《我不与塞尚玩牌——中国前卫艺术展》,作品被该博物馆收藏。

拍卖纪录/张晓刚[云南省油画艺术家]

 最高拍卖记录:

 

《生生息息之爱》(三联作)参加2011年4月3 日香港苏富比春季拍卖会,以7,906万港元成交,是目前张晓刚作品的最高拍卖记录,创下当代中国艺术品世界拍卖记录。

 

《血缘:大家庭》系列作品三大最高拍卖成交价:

 

《血缘:大家庭一号》以6,562万港元成交于2011香港苏富比秋季拍卖会;

 

《血缘:大家庭》以5,666万港元成交于2011香港苏富比春季拍卖会;

 

《血缘──大家庭:全家福2号》以5,218万港元成交于2012香港苏富比春季拍卖会。

 

获奖收藏/张晓刚[云南省油画艺术家]

 

获奖记录

 

2004年 获得在武汉、湖北美术学院美术馆举办,由美术文献杂志策划的《武汉首届美术文献提名展》文献奖。

 

1997年3月 应邀赴香港领取由英国Couut's国际当代艺术基金颁发的“当代亚洲艺术新人奖”

 

1994年 四幅《大家庭》组画作品,取名《血缘——大家庭》参加巴西《第22届圣保罗双年展》,获铜质奖。

Introduction in English

 Zhang Xiaogang was born in Kunming, Yunnan Province, in 1958. He graduated from Sichuan Academy of Fine Arts in 1982. He lives and works in Beijing.

 

He has participated in many art exhibitions at home and abroad, and his works have been collected by many art galleries, galleries and private collections at home and abroad. His works are the best expression of the sophisticated Chinese situation in contemporary art.

 

From the mid-1990s, he used the style of modern and contemporary Chinese popular art to express the face-mask portrait of the revolutionary era, conveying the collective psychological memory and emotions with the significance of the times. This typical representation and Simulation of society, collective, family and consanguinity is a reinterpretation, starting from the perspective of art, emotion and life, and therefore has a strong contemporary significance. It was awarded Asian Contemporary Artists by the Courtts International Art Foundation in 1997.

 

Major works

 

Zhang Xiaogang's main works include "Family Futures", "Tian'anmen", "Blood Relations: Comrade 120", "Big Family" and so on.

 

In 1978, he was admitted to Sichuan Academy of Fine Arts, which countless young artists yearn for.

 

In 1994, "Blood: Big Family" was exhibited at the 22nd Sao Paulo Biennale. The work "Chinese Family Photo" appeared for the first time in the world art history, which won numerous honors for himself and Chinese contemporary art entering the international stage.

 

Since 2003, China's contemporary art has attracted international attention with its ever-rising high-priced works and highly popular art stars, and he is one of the most representative figures of his generation.

 

In 2006, the creative material added scenery and interior to enrich the expressive force of the works, but it did not change his great memory and history.

 

Thirty years of vicissitudes, his works reflect the artistic aspirations of a generation of intellectuals. He has witnessed thirty years of Chinese painting art, and he is an indispensable role in the artistic memory of contemporary Chinese people.

 

He is Zhang Xiaogang.

 

 

 

The tortuous road of Art

 

The afternoon when we met Zhang Xiaogang, it was hot and dry in Beijing. He drove us to the studio alone. On the way, he said, the studio moved to Hogezhuang, where the new place was quiet. The studio in the Art District of the distillery had become a gathering place because it knew so many people that it could not calm down to create. The new studio has a huge space, full of air-conditioning and light, unfinished new works on the easel, rows of paint boxes, Philip Stark's sofas and chairs, and long log tables covered with picture albums and books.

 

Zhang Xiaogang is as quiet and energetic as his iconic works. Fifty-one years ago in the spring, he was born in the ancient city of Kunming. His parents were both state cadres. When he was five years old, he moved to Chengdu with his family, where he spent his childhood and youth. Zhang Xiaogang once described him as "I'm not good at expressing myself among children, and I'm lonely. The only hobby I have is a person's"blind painting". As he grew older, Zhang Xiaogang became more fond of painting. In the 1970s, Zhang Xiaogang moved back to Yunnan with his parents. By chance, he met his enlightening teacher, Lin Li, and began to learn sketch, watercolor and Western art history systematically. Speaking of his enlightening teacher, Zhang Xiaogang said that he was the most respected person, and took him to the road of art creation. "At that time, I was 17 years old. I was both a beginner and a proud student. It was not easy to find someone to learn painting in that era. He didn't want any compensation, but he was very strict with me." Two years later, the college entrance examination resumed and Zhang Xiaogang was admitted to the Oil Painting Department of Sichuan Academy of Fine Arts, which was admired by countless people.

 

Zhang Xiaogang's artistic journey began, but it was not smooth sailing. He had never been well integrated into the school. During his time at the Academy of Fine Arts, he began to study the realist art of the former Soviet Union, but he soon became fascinated with modern Western art, especially the postimpressionist masters. Influenced by Van Gogh and Miller, he created a series of graduation works "Grassland Paintings", which are colorful. He depicted the Tibetan people and natural scenery in the rolling grassland, but it was not in line with the prevailing interest of "local realism" at that time, and even failed to pass the school's examination. "When I graduated, I was quite different from my classmates," Zhang Xiaogang recalled that he spent his college days in loneliness and obscurity.

 

After graduation, because he could not be assigned to work units, Zhang Xiaogang found himself a glass mirror factory as a construction worker, and then assigned to Kunming City Song and Dance Troupe as an artist. During this period, he never gave up his creation, and studied western art theory and philosophy. The Ghost series was created in this period. At that time, Zhang Xiaogang had no flattery and no comfort from the applause of flowers, but he never gave up his pursuit of art. In 1984, Zhang Xiaogang and his friends set up exhibitions in Shanghai and Nanjing at their own expense. This was one of the earliest self-financing exhibitions in 85 ideological trends. Later, he and his friends set up "Southwest Art Group" in Kunming. Slowly, his works began to attract the attention of curators and art institutions. Two years later, he returned to Sichuan Academy of Fine Arts to teach, during which his works participated in important domestic exhibitions such as "China Modern Art Exhibition", "China Contemporary Documentation Exhibition", "China Oil Painting Biennale in the 1990s", "China New Art Exhibition in the Post-89" and so on; Zhang Xiaogang also found the first cooperation in this period. Hanyahuan, Hong Kong. After signing a contract with the gallery, Zhang Xiaogang began to do some experiments in portrait painting, occasionally looking at the old photos of his parents, which was greatly affected.

 

The exploration of new paintings began. Zhang Songren, the founder of the gallery, recalled that "Zhang Xiaogang painted the first piece of the Big Family Series at that time. When I was going to take this piece to the Venice Biennale and the Sao Paulo Biennale, I called Zhang Xiaogang and asked him what his name was. Zhang Xiaogang blurted out: "Big family." Since then, the "big family" has become a "symbol" of contemporary Chinese art, and Zhang Xiaogang has also found his own artistic orientation.

 

 

Art is my way of life

 

Zhang Xiaogang's works may coincide with some Westerners'imagination that socialist China is what he looks like in his works. But in fact, it is not the Chinese people today, but the contemporary Chinese people have changed the traditional, at least 50 years of history too much, almost a destructive erasure of memory. But in Zhang Xiaogang's works, we can feel the thread of memory is still there, which can awaken many memories of the past. "I can be accepted by the West because of the country's background. China is a very special country. The West naturally pays great attention to Chinese artists. If I had not been in China at that time, no one would know me now, because after I appeared as a Chinese artist, others began to pay attention to me."

 

Asked about the artist's sense of social responsibility, Zhang Xiaogang said frankly, "When I first embarked on the road of art, I encountered many difficulties, but I do not complain, today it seems to be my wealth. But it's obviously hypocritical for artists to talk about responsibility. My starting point is not to pursue a kind of responsibility, but to express myself in an artistic way. With such passion and impulse, Zhang Xiaogang was able to create works that touched people's hearts. "Art is first and foremost personal. When it is presented and accepted as a public thing, people in turn demand artists by public standards. At this time, if they really regard themselves as representatives of the public, then art will wither." As Maugham said, it's his work to build a monument for the painter in the final analysis.

 

Zhang Xiaogang said that the artist, to participate in the national art exhibition is his artistic dream. Today, he has become a world-renowned contemporary art star, his works have been collected by many well-known art galleries and institutions at home and abroad; the painting "Blood: Big Family No. 3", created in 1995, was won home by rich businessmen at a high price of HK$42.63 million by Sotheby's in Hong Kong, in which the world was shocked and shocked. At the moment of destination, many people did not realize that it had nothing to do with the unknown artist who persisted in pursuing his artistic ideal more than ten years ago. If not an artist, Zhang Xiaogang might be an excellent writer or poet. His diaries are inserted in every album of his paintings, and few words express his perception of the world. (On August 1, 2007, Sunny started to write a new set of photos today. This is a special exhibition for the Austrian Museum of Art. This group I'm going to start re-reading Baudelaire's Flowers of Evil. Think of the 1980s, when there was a lot of passion and depression, and Portelle, like some other people, became my best friend. Interestingly, when I began to re-read Paris Melancholy, my daughter was in Paris on her first trip to Paris in her life. When I first went to Paris in 1992, I was reminded that Portelle was Apolinel, and today my daughter entered the Louvre with the imagination of the book The Da Vinci Code. This is the contrast of the times.

 

In life, Zhang Xiaogang's important content is movies, music and books. He likes to stay at home alone, have a cup of coffee with a piece of dark chocolate, accompany him to watch German movies all day or finish reading an interesting book. He is reading a book about Chinese history. "I found that the Chinese people in the Spring and Autumn Period and the Warring States Period were in a mess of wisdom. Now we are just enjoying a small part of the ancients'thoughts."

 

Prosperity is often attributed to plainness, which is beneficial to the body and mind. One can ask for little or as much as the King of Saudi Arabia. Artists can try their best to make their works attract attention in the market, and can also create and live quietly every day. The way God cares for people varies from wish to wish. Someone digs his mind and stands on tiptoe to get it. Someone lifts his hand lightly and gets it. The former adapts to the rules of existence, while the latter can make rules by itself. Zhang Xiaogang's rule is freedom. As he said, besides creation, how can I meet the world and confront the time?

 

"After so many years of creation, I find myself insensitive to what is happening, or what is going to happen. Instead, I slowly experience the subtleties of the past." Zhang Xiaogang's art has always taken the way of keeping distance. Such an artist with inner monologue, like Kafka in a writer, does not simply focus on problems from a sociological point of view, nor does he belong to an artist with concepts, nor does he belong to the field of formal language (devices, materials, etc.). Zhang Xiaogang said that he is himself. What is needed is the narrative after the idea. This narrative takes time and inner feelings. There was a comment that Zhang Xiaogang always excavated things in the past life, but he said, "I do not really want to restore history, or memory, I just use them to express a state of mind, or to understand life, a certain kind of experience for a certain kind of person. In this way, they come from the series of works such as "Big Family", "Disappointment and Memory", "Inside and Outside", "Green Wall". Many times I think Zhang Xiaogang's works can not see one, only "Big Family" seems to be a fixed object, you can see one. New works are more like diaries, and a series of works will be more impressive. But looking at a work alone, it feels as if it is always moving. Maybe this is what the artist wants to make the work flow.

 

The annual survey report of the auction market published by Yachang Art Network in 2009 announced the highest total turnover of Chinese artists in the 2008 open auction market. Zhang Xiaogang, 51, replaced Wu Guanzhong, the top artist in 2008 with a total turnover of 301 million yuan. Faced with these achievements, Zhang Xiaogang showed indifference and puzzlement. "I will not have to keep the price after having such a high price. I will have to draw something that matches the price." This is not my intention to create art. By the time the auction was on fire, I had actually gone a long way. The Big Family was a work of 10 years ago. There are many misunderstandings in the media. Others say that I am drawing money. Art brings me more happiness than money.

 

Zhang Xiaogang is busy working for a solo exhibition. His new works are created on stainless steel plane using different media. He said that the change of material originated from an exhibition. In 2005, curator Huang Di invited Zhang Xiaogang to participate in the exhibition he planned, but there was a requirement that painting should not be used. "This is more difficult for me, because I am a painter, and later I don't think I can draw, let's write. Because writing is also an important part of my life. The inspiration for that creation came from TV. Since the 1990s, more and more people have watched TV, but many people may be watching TV in another place. Zhang Xiaogang finds this state of life very interesting. Every day in TV, many values are exported. While people accept this kind of values, in fact, there will be a contradiction in their hearts. Zhang Xiaogang wanted the camera and him to watch TV, shoot TV programs, write diaries on photos, or like books, two completely different ways of describing them, merging them into a strange contrast. Zhang Xiaogang has been working on this series since 2005. He had considered using mirrors to make planes, but they were too easy to break, so he converted the material to stainless steel. Zhang Xiaogang wants to combine manuscripts more, enlarge the screen mimeograph of the factory to stainless steel, and then continue to create on it. There are diaries and hand-paintings. Zhang Xiaogang has always wanted to combine words with paintings. Readable painting is his future goal of creation.

 

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