“时代标本”展览前言

近年来，王小双先后创作了关于城市景观和废墟的两个系列作品。它们虽然是从不同的物象入手，以独到的绘画语言形成具有个人特色的艺术面貌。但从本质而言，其中的创作策略和思想内核是一脉相承的。从前者来说，艺术家把本属于风景绘画的两个题材经过艺术提炼，由相对传统的风景绘画推进到当代艺术语境下关于“物”的关照。在完成了景象向物象转化的同时，也完成了传统风景向居伊·德波所谓的“景观”的转化。“去景存物”的过程实际上是对于描绘对象作为生产物和消费物的身份强调。在这一前提下，艺术家一以贯之地在作品中表达了其对于当下社会过度消费、物欲横流现象的严厉批判和深切担忧。通过观看作品，我们不难发现，面对艺术家提取的这两个物象所反映的时代，建筑作为最昂贵之物所代表的极致奢华和废墟作为最无用之物所代表的极端困顿往往相差一线。这种欲望驱使下的价值异位正如一个告诫的喻言，提醒时代中人，要保持对于财富和欲望的自省态度。

石冠哲

2018年4月11日

Preface

In recent years, Wang Xiaoshuang has successively created two series of works on urban landscape and ruins. Though they start with different objects, they generate unique artistic features with unique painting language. But in essence, the creative method and core of thinking are similar. As for the former, the artist turned the traditional landscape painting to the contemporary art context about the "things" by refining the two themes of the landscape painting. It realizes the transformation from scene to the object as the same time as the transformation of traditional landscape to the so-called "Scenery" by Guy de Bo. The process of "keep objects without landscape" is actually an emphasis on the description of production and consumption. Under this premise, the artist expresses his severe criticism and deep concern about the phenomenon on the current social overconsumption and the flow of materialism. By watching his works, it is not difficult to find that the most expensive things that imply the extreme meaning of both extravagance and most useless are often close to each other when facing the times filled with the two objects created by artists. Such value deviation is just like a warning metaphor which reminds people in the current times to preserve their self - reflection on both wealth and desire.

Shi Guanzhe

Apr 11th, 2018