艺术市场监测中心 > 市场观察 > 正文

梁宇 | 时代印记——孙黎、梁宇、罗奇美术作品展

2025-10-09 21:17:04 来源:雅昌发布 0次浏览

更多图片

时代印记

孙黎、梁宇、罗奇美术作品展

Imprint of the Times

A Joint Exhibition of Sun Li, Liang Yu & Luo Qi

梁宇简介

中国文学艺术界联合会全国委员会委员、中国美术家协会理事、中国美术家协会水彩画艺委会副主任兼秘书长、广东省美术家协会副主席、中国国家画院研究员、中国油画学会理事、广东省水彩画艺委会主任。

多幅作品入选第七届、第十届、第十一届、第十二届、第十三届、十四届全国美展（五年一届，由文化部、中国文联、中国美协联合主办的、最具权威性、最具影响力的国家级展览）。

作品入选“第九届、第十届中国艺术节”全国优秀美术作品展。

在中国美术馆（2011年10月）、上海美术馆（2012年7月）、广东美术馆（2009年12月）等国内外美术馆举办七次个人画展。

作品和论文发表于《人民日报》《光明日报》《新华文摘》《美术》《中国文化报》《中国艺术报》等报刊。

多幅作品被中央党史馆、中国美术馆、上海美术馆、广东美术馆、四川美术馆、湖北美术馆和武汉美术馆等重要美术机构收藏。

Liang Yu serves as a member of the National Committee of the China Federation of Literary and Art Circles (CFLAC); a Council Member of the China Artists Association (CAA); Deputy Director and Secretary-General of the CAA Watercolor Art Committee; Vice Chair of the Guangdong Artists Association; a Research Fellow at the China National Academy of Painting; a Council Member of the China Oil Painting Society; and Chair of the Watercolor Art Committee of the Guangdong Artists Association.Many of his works has been selected for the 7th, 10th, 11th, 12th, 13th, and 14th National Art Exhibitions—the nation’s most authoritative quinquennial fine-arts platform co-organized by the Ministry of Culture, CFLAC, and the CAA —as well as for the National Excellent Fine Arts Exhibitions of the 9th and 10th China Art Festivals.He has held seven solo exhibitions at the National Art Museum of China (October 2011), the Shanghai Art Museum (July 2012), and the Guangdong Museum of Art (December 2009), among other institutions in China and abroad.His works and essays have been published in People’s Daily, Guangming Daily, Xinhua Digest, Meishu (Fine Arts), China Culture Daily, and China Art News. His works are held in the collections of the Museum of CPC History, the National Art Museum of China, the Shanghai Art Museum, the Guangdong Museum of Art, the Sichuan Fine Arts Institute Art Museum, the Hubei Museum of Art, the Wuhan Art Museum, and other major institutions.

从2009年起，消逝的工业风景成为梁宇艺术创作的一个主题。那些工业的遗迹和历史的物件对于他来说，不仅是自然的实体，也是心境中的实体。在他的信号灯系列作品中，信号灯既可能出现在静默的站台上，也可能出现在沿线空寂的房子旁，还可能出现在静谧、寂寥的旷野中。

作品的多维度呈现和展示，彰显出梁宇开阔的艺术视野以及对于社会变迁所带来的生活方式和艺术表达方式变化的敏锐觉察，这种多元化及观念性的艺术表达方式已经构成梁宇近年来视觉叙事的重要特征。

——人民网

梁宇 ——旅程的印记

文｜维力科·马瑞彻夫斯基

梁宇的作品不仅提供视觉愉悦，更引发深刻的哲学沉思。它们是旅程、变迁、记忆与未来的象征，每一处细节都是人类存在更大图景的组成部分。

梁宇的画作蕴含多层次象征意义，为哲学探索提供了丰沃土壤。铁路运输以其严格限定的轨迹，承载着关于生命旅程、时间永恒性及人类对未来憧憬的广泛隐喻。铁轨与列车作为过去的纪念碑，既象征着生活道路，也体现着运动与变迁的诗意必然。车厢的锈蚀成为时间记忆的载体，每个部件都镌刻着历史痕迹——列车是事件的见证者，是已度过活跃生命阶段的生活片段，只余记忆与物质残响。

在此语境下，当梁宇的画作指向货运列车、油罐车、行李车与机车头时，象征意义进一步拓展延伸。货运列车以其工业属性，将焦点从个人旅程转向集体努力、经济与技术阶段的转型、生存重负及社会结构。列车演变为负重前行的时光隐喻，既指向不可避免的变迁，也映射社会的历史转型。这些并非单纯的工业机械再现，而是生命旅程、时代蜕变与时空永恒流动的寓言。作品折射出这样的哲学：旅程不仅是物理的，更是形而上的——每一次轨道上的行进都引向内在的演化与觉醒，我们追寻的答案不在终点，而存于旅程本身。

这些作品将物体置于低地平线中，通过色彩与尺度的强烈对比，在工业现实的列车、信号灯与单色渲染的广袤空间之间构建超现实景观。它们诉说着人类文明与自然的碰撞，以及超越二者界限的永恒力量——时间。

梁宇娴熟运用复杂丰富的色调体系，通过明暗光影的强烈对比增强视觉冲击，同时展开细腻的微妙探索，在低对比度区间精妙组合多层次灰色，营造流光溢彩的神秘空间。艺术家深厚的版画修养在绘画中清晰可辨：对工业元件的精微处理、浑厚密集的多层次笔触肌理，与纯净平涂的背景形成锐利的造型对比，激发辩证思考——正如生命游走于光明与黑暗的极端，时间亦穿越永恒与瞬息的交替。画作触发宁静观感，其基底却编织着隐而未发的张力。

统一这些元素的是它们对流动的掌控功能。车厢、机车、信号灯、铁轨——这些不仅是铁路基础设施的构件，更是概念性作品，本身即成为装置艺术，以新的理解维度破除艺术与寻常现实的界限，演变为兼具视觉与形而上学特质的客体，勾勒出关于时间、集体性与工业化的哲学图景。展览中设置的互动行为进一步深化了这一概念：将螺栓拧入轨枕的表演，成为重建"道路"的仪式，不仅象征物理位移，更指向情感与哲学的"意义构筑"过程。铁路系统及其运行控制机制，可被视为人生预定轨迹的隐喻——我们行走的道路、做出的选择、遵循的方向。这凸显了作品的概念性特质：物体既管理着物理流动，又提供着关于生命旅程的哲学沉思。

本次展览亦是旅程的组成部分。感谢这场途中相遇，让我们得以体验梁宇艺术的至美之境。

维力科·马瑞彻夫斯基博士

写于观澜版画基地

2025年10月7日

维力科·马瑞彻夫斯基（Veliko Marinchevski），1979年生于保加利亚索菲亚，毕业于索菲亚国立艺术学院版画系并获博士学位，系保加利亚艺术家协会会员。2016年至2023年任教于索菲亚国立美术学院，2016年获授中国·观澜版画原创产业基地"荣誉艺术家"称号，同年经中国国家艺术基金与中国版画博物馆共同遴选，担任国家铜版画培训班技法导师。2021年，经国际艺术家推选担任国际版画机构联合会议副主席，并获保加利亚文化部特别授予"保加利亚艺术文化发展突出贡献奖"。2021至2023年期间，受保加利亚文化部委任担任国家文化基金管委会委员（美术领域）。作为版画策展人，维力科成功在保加利亚、意大利、比利时、中国等国策划多项国际当代版画展，曾受邀担任比利时安特卫普皇家美术学院版画展、广州国际藏书票展等展览的国际评委。迄今在保加利亚、中国、日本、美国、比利时等国举办逾20次个人作品展，诸多作品被全球多家专业艺术机构永久收藏。

Liang Yu - Traces of the Journey

By Dr Veliko Marinchevski

Liang Yu's works offer not only visual pleasure but also profound philosophical contemplation. They serve as symbols of journey, change, memory, and the future, where each detail is part of the larger whole of human existence.

The paintings of Liang Yu are rich in multilayered symbolism, offering fertile ground for philosophical exploration. Railway transport, with its strictly defined trajectory, becomes loaded with extensive metaphors for the journey through life, the constancy of time, and humanity's aspirations for the future.

The tracks and trains, monuments to the past, stand as symbols of both the path of life and the poetic inevitability of movement and change. The corrosion of the train carriages serves as a conduit for the memory of time. Every part bears traces of history - trains as witnesses to events, as parts of life that have already passed through their active existence and left behind only memories and physical remnants.

In this context, when Liang Yu's paintings refer to freight trains, tankers, baggage cars, and locomotives, the symbolism expands and incorporates new layers. Freight trains, with their industrial significance, shift the focus from the personal journey to collective efforts, transitions in economic and technological stages, the burden of existence, and social structures. The train evolves into a metaphor for the burdened passage of time, the inevitability of change, and the historical transformations of society. These are not mere representations of industrial machinery; they are allegories of life's journey, the transformations we undergo, and the constant movement of time and space. The paintings reflect the philosophy that the journey is not only physical but also metaphysical - that every movement along the tracks leads to inner evolution and awareness, with what we find not at the end of the journey, but within the journey itself...

In these works, the objects are situated within a low horizon, with a striking contrast in color and scale against the background space, between the industrial reality of the train and traffic lights, and the monochromatic calmness of the vast space. This creates an effect akin to strange, unreal landscapes - a surreal transformation. They speak to the collision between human civilization and nature, as well as time as the unifying force that transcends both.

Liang Yu masterfully employs a broad range of complex and rich tones, enhancing the impact with strong contrasts of bright and dark hues, light and shadow. Simultaneously, he introduces a series of nuanced explorations, skillfully combining complex shades of gray in the lower contrast register, creating a shimmering atmosphere and a mystical space.

The reflection of the artist’s graphic/printmaking culture is evident in his painting.

The masterful handling of detail, the vigorous, dense brushstroke with multilayered texture in the industrial objects, and the sharp plastic contrast in the purity of the flat background tone create a striking visual impact. The contrast between light and shadow evokes a sense of dialectic: just as life moves between extremes of light and darkness, time also passes through periods of timelessness and transience. The paintings trigger a sense of calm, subtly underpinned by an unspoken tension woven into the fabric of the image.

What unites these elements is their functionality in managing the flow.

The objects - carriages, locomotives, signals, railways - are not merely elements of railway infrastructure, but conceptual works, installations in themselves, offering a new understanding of the metaphor of movement, removing any limitations between the artistic and the ordinary reality. They evolve into both visual and metaphysical objects that outline the philosophy of time, collectivity, and industrialization.

The concept is further developed by including an interactive element in the exhibition: The performance of driving the bolts into the rail foundations becomes a kind of act of restoring the 'path,' symbolizing not only physical movement, but also an emotional and philosophical process - a process of 'constructing' meaning.

The railway system, with its mechanisms for controlling movement, can be seen as a predetermined path in life - paths we walk, choices we make, and directions we follow. This highlights the conceptual aspect of the works, where the objects manage the physical flow while offering philosophical reflections on the journey of life.

This exhibition is part of the journey. Thank you for the encounter along the way and for the pleasure of experiencing the art of Liang Yu.

Dr Veliko Marinchevski

in Guanlan Printmaking Base

7.10. 2025

信号 · 2025

“信号”在梁宇的创作中具有象征性和符号性意义。在他的信号灯系列作品中，信号的表象物--信号灯既可能出现在静默的站台上，也可能出现在沿线空寂的房子旁，还可能出现在静谧、寂寥的旷野中。在这些寂静、诗意的场景中，古朴的信号灯别有意味，是时代的印迹、回忆的线索和个人情感的寄托。

从2009年起，消逝的工业风景成为了艺术家梁宇艺术创作的一个主题，他的作品和个人画展的名称中开始采用“信号灯”、“信号”这样被他赋予了象征性意义的关键词。经过艺术家的二度创作，“信号灯”已经成为其作品中独特的视觉符号和鲜明的图示语言。那些带着时代印迹的信号灯被从原有的环境中抽离，与一些看似毫无关联的场景和元素重新组合在一起，跨越了时空，形成了新的陌生化场景，成为了艺术家建构的异托邦场域，在消解过去的过程中又构成了现在，“信号灯”因此而演变成为了更具广泛意义的“信号”，它既引人回望历史和时间的深处，又引人朝向更遥远的未来。

从理念到实施，艺术家有意识地承担起创作和策展的双重身份。展览场成为了能够展现象征性意义的实验场，艺术家不单是去罗列一幅幅材质不同的作品，而是在理解和预想观众走进展览空间后那种既有好奇心又有陌生感的前提下，而进行的一个以场域构建为策展理念的编排和布置。视觉艺术的当代性表达并不局限于架上绘画的常规性呈现，而是由绘画、影像、装置作品构成的多元、立体的实验性场域。年轻的观众可能会因为对“时代印迹”的好奇而进入，而有些阅历的观众可能会想要寻求共鸣而进入。

梁宇站在历史时空和心理感受的双重维度中去表现物象，他将个人的情感体验融入到了对历史记忆的当下表达中。正如评论家所言：“艺术家梁宇在对物象存在状态的关注中，融进了自己的切身感受，也融进了当代人精神的体验。那些工业的遗迹和历史的物件对于他来说，不仅是自然的实体，也是心境中的实体。因此，他能够站在对象的历史时间和心境的当下时间之中，持续地表达，在叙述中贯注定力，激发出物象的价值，营造出作品的意境。”

展览作品的多维度呈现和展示,彰显出梁宇开阔的艺术视野以及对于社会变迁所带来的生活方式和艺术表达方式变化的敏锐觉察,这种多元化及观念性的艺术表达方式已经构成梁宇近年来视觉叙事的重要特征。