編號(hào):124
銅板、銅線、樹(shù)脂 雕塑
版數(shù)：8/10
2001年作
簽名：CAIZHISONG 8/10
出版：《故國(guó)》。
說(shuō)明：本作品直接得自藝術(shù)家本人。
CAI ZHISONG(b.1972) EULOGY OF HOMELAND 4
Resin, copper plate, copper line, sculpture
10 Available
Dated 2001
Pubished: Homeland.
Note: This work is offered by the author.
91×63×48cm
RMB:400,000-500,000
蔡志松 Cai Zhisong
1972年出生于遼寧。1997年畢業(yè)于中央美術(shù)學(xué)院雕塑系。2001年畢業(yè)于中央美術(shù)學(xué)院雕塑系研究生同等學(xué)歷班。1998-2008年任教于中央美院?，F(xiàn)為中國(guó)雕塑協(xié)會(huì)會(huì)員，中國(guó)工藝美術(shù)協(xié)會(huì)雕塑委員會(huì)委員。
主要展覽及藝術(shù)活動(dòng)：
1997年 獲崗松家族基金獎(jiǎng)。
1999年 “第九屆全國(guó)美術(shù)作品展”，北京。
2000年 “紀(jì)念抗日戰(zhàn)爭(zhēng)勝利五十五周年美術(shù)作品展”，獲金獎(jiǎng)。
2001年 “中國(guó)河北國(guó)際雕塑邀請(qǐng)展”，獲優(yōu)秀作品獎(jiǎng)。
“法國(guó)巴黎秋季沙龍”，獲泰勒大獎(jiǎng)。
“中國(guó)當(dāng)代藝術(shù)歐洲巡回展”，歐洲各國(guó)。
“西湖國(guó)際雕塑邀請(qǐng)展”，杭州。
2003年 “中國(guó)·福州國(guó)際城市雕塑邀請(qǐng)展”，獲優(yōu)秀作品獎(jiǎng)。
“第一屆今日中國(guó)美術(shù)大展”，北京。
“首屆北京國(guó)際美術(shù)雙年展”，北京。
2004年 “第十屆全國(guó)美術(shù)作品展”，獲銅獎(jiǎng)。
獲中央美術(shù)學(xué)院佳作獎(jiǎng)。
“中國(guó)·想象：中國(guó)當(dāng)代雕塑藝術(shù)展”，法國(guó)。
“德國(guó)科隆國(guó)際藝術(shù)博覽會(huì)”，德國(guó)。
“亞洲藝術(shù)邀請(qǐng)展”，美國(guó)。
“中國(guó)·比利時(shí)當(dāng)代雕塑展”，比利時(shí)。
2005年 “‘開(kāi)放空間’雕塑作品展”，北京。
“移植的風(fēng)景—中國(guó)當(dāng)代雕塑與裝置展”，美國(guó)。
2007年 “‘塑本求源’當(dāng)代雕塑邀請(qǐng)展”，北京。
Cai Zhisong, born in Shenyang of Liaoning Province in 1972, graduated from the Department of Sculpture of China Central Academy of Fine Arts(CAFA) in 1997, where he received the Master’s Degree in 2001 and stayed for teaching until now. Currently he is the member of China Sculpture Institute, member of the Committee of Sculpture of Chinese Art and Crafts Association. Awards: the Gold Medal in “Fine Arts Exhibition for Commemorating the 55th Anniversary of the Victory of Sino-Japanese War”, 2000; the Tayler Prize of “French Autumn Salon”, 2001; the Bronze Award in “The 10th National Fine Arts Exhibition”, 2004, etc. Main Exhibitions: “The 1st Beijing International Biennial”, Beijing, 2003; “Art Cologne”, Germany, 2004; “Chinese Contemporary Sculpture and Installation Exhibition”, Washington, U.S.A, 2005, etc.
蔡志松先生的作品讓我們震動(dòng)，作品是非常明確的現(xiàn)代藝術(shù)，但卻同時(shí)深深植根于中國(guó)的歷史與文化之中，同時(shí)又賦予其一個(gè)新的靈魂，所以他很自然的獲得了2001年巴黎秋季沙龍的泰勒大獎(jiǎng)這一殊榮。
他的作品是歷史與現(xiàn)代的完美結(jié)合，既體現(xiàn)了藝術(shù)家對(duì)多種技藝的掌握，又表現(xiàn)出不墨守成規(guī)的特點(diǎn)，用一種內(nèi)在和含蓄的感染力來(lái)結(jié)合了傳統(tǒng)與現(xiàn)代。毫無(wú)疑問(wèn)，這些作品使我們心靈激蕩。
各種文化的對(duì)話和相互之間的豐富與充實(shí)是必要的。如果藝術(shù)的創(chuàng)新不能夠完全逃避它們的共性，那么對(duì)于藝術(shù)家來(lái)講應(yīng)該把這個(gè)共性看作一個(gè)過(guò)程，而不是承受一種難以忍耐的歷史必然性。
蔡志松先生就是處在這個(gè)環(huán)境里，這位藝術(shù)家喚起了我們的深思，他向我們巧妙地暗示了一個(gè)新的藝術(shù)道路，這個(gè)實(shí)踐過(guò)程將是絕對(duì)可以取代單純視覺(jué)上的愉悅。
—比利時(shí)駐華大使 萬(wàn)德斯
Art that moves the soul
The works of Cai Zhisong intrigue us. They are truly contemporary. At the same time, they have deeper roots in Chinese culture and history. This latter dimension rewards them with a spiritual feel. Accordingly the artist received the TAYLOR Prize at the Prize Salon d’ Automne in 2001. Simultaneously those sculptures confront us with memory and modernity. They might look frozen in time but this perception is deceiving. They rely on tension between complementary poles. It is this undefined feeling that our emotions find their “feedback”.
Civilization have to dialogue and must interact to survive. The tides of globalization have reached the shores of culture but should not be undergone as a “fatality”. On the contrary, the artist has the ability to turn determinism upside sown and to mould globalization into a more acceptable and diverse dynamic. Cai Zhisong invites us to consider an alternative to Fukuyama’s “The End of History”. His familiarity with paradox provides us a remedy against the threat of advancing monocausalism.
—Belgian Ambassador to China, Gaston Van Duyse-Adam
