原标题：「抽象2020/上 冷与热」陈若冰 Chen Ruobing | YIBO GALLERY

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陈若冰

1970年出生于中国

1988-1991年就读于杭州中国美术学院中国画系

1998年毕业于德国国立杜塞尔多夫美术学院

主要个展

2019 蓝调，今格空间，北京

2019 陈若冰 2010-2019，艺博画廊，上海

2019 德莱克，夏波画廊，海牙

2018 流动：空间-光-时间，孔画廊，首尔

2017 光之河，今格空间，北京

2017 模凌世界中的定义空间，阿尔布莱希画廊，柏林

2016 画家陈若冰，波鸿美术馆，波鸿

2016 化圆为方，色彩21，科隆

2015 行者止观，今格空间，北京

2013 极简主义+，永殷当代美术馆，光州市

2012 绘画，十方艺术，杜塞尔多夫

2010 光之体，田口画廊，东京

2006 陈若冰作品展，上海美术馆，上海

2004 陈若冰作品展，东墙美术馆，多特蒙德

2000 开放空间，约瑟夫和安妮-阿尔柏斯基金会，柏舍尼

1998 纸上和绘画作品展，蒙特画廊，梅尔布施

主要群展

2020抽象2020/上 冷与热，艺博画廊，上海

2019 诸象非象，T6 GALLERY，北京

2018 所有这些，南海艺术，米勒巴拉

2018 期间，阿尔柏莱希特画廊，柏林

2017 中国-对话-转换，路德维西美术馆，科布伦茨

2016 复数，今格空间，北京

2016 抽象以来：中国抽象艺术研究展巡展，民生现代美术馆，上海

2016 我的抽象世界，我-藏家屋-欧柏莱希特基金会，柏林

2015 色彩让人如醉如痴，色彩21，科隆

2015 空之色，十方艺术空间，杜塞尔多夫

2014 第三种批判：艺术语言的批判性，时代美术馆，北京

2012 中德当代抽象绘画展，卡史巴-路德维希-宝兰德尔基金会，多特蒙德、北京

2010 无物之阵，湖北省艺术馆，武汉

2005 形而上-黑与白，上海美术馆，上海

1999 年轻艺术-从绘画到多媒体，艺术之家美术馆，慕尼黑

1993 超过边界-超越边界，海德维西和罗伯特·萨姆尔基金会，杜塞尔多夫

公共收藏

中华艺术馆，上海

湖北省艺术馆，武汉

时代美术馆，北京

中国美术学院，杭州

波鸿美术馆，波鸿

虹宝西岛博物馆基金会，德国

杜塞尔多夫艺术宫美术馆基金会，诺伊斯

柏林me收藏家之屋-奥尔柏莱希收藏馆，柏林

汉堡州驻柏林代表处，柏林

圣-乔治教堂，哈庭根

里特美术馆，瓦尔登布赫

永殷当代美术馆，光州

密德博勒大学美术馆，美国

君卓艺术基金会，香港

————

1260

布面丙烯 acrylic on canvas

200 x 200cm | 2012

陈若冰在经历了传统中国水墨绘画语言的实践和哲学理论的学习之后，于一九九二年来到德国杜塞尔多夫学习欧洲当代艺术，并在此生活和工作。粗略查询论述他的作品的文献，就能发现国际当代艺术界对他的绘画所惯用的叙述。总结成一句，那就是：中国水墨传统和当代欧洲抽象绘画相结合的可能性。在众多的文章中，有一篇如此描绘他独特的绘画艺术风格：“陈若冰把中国水墨绘画的有力用笔和他从杜塞尔多夫当代德国最重要的色彩专家那里学到的对灿烂色彩的精道把握相结合，从而使他的原创在世界当代抽象绘画的领域中独一无二。”还有不少评论运用“极简之道”点出道教对他简洁而现代的抽象绘画的影响。但是，目前为止还没有任何一个评论家能够清楚地解释，道教究竟以什么方式并在多大程度上影响了他的绘画。我对此也无能为力，而且还担心过于简单地提及道教、传统中国哲学以及“东方传统遭遇西方当代”也许会使思维陷入俗套。

在弗朗索瓦·余莲评论中国艺术的优秀著作中（例如《事物之势》和《不可能之裸》），他有力地指出，中国传统艺术家在他们的作品中所追求的不是“超越性”而是“内在性”。无论是出于“理想美”还是“绝对真”，中国人都不选择虚构的形式来实现形而上学的假定。在他们的世界观中没有这种形而上学的位置。令人惊奇的是，在陈若冰看起来完全抽象化了的现代绘画作品中，保持了中国传统水墨绘画的精神核心。这是天才的标志。（如果在这里去讨论传统中国美学也是错误的，因为西方人所理解的所谓美学概念在中国人对艺术和生活的理解中是不存在的。法舒瓦·余莲也对此作过精辟的论述。）

在此，有必要论述一下所谓“内在之光”。这种内在的光来源于哪里？艺术家又是如何在绘画中达到这种神秘效果的？我主张，用一种还不被人熟识的古代亚洲哲学思想去解释这种现象。东亚还有未被发掘和勘察的潜在的哲学和科学的思想绿洲。我们现在所知的东亚思想史也许只是冰山一角，而来源于古中国的智慧所呈现出来的历史外貌还隐藏在面纱之下。西方文艺复兴是对古希腊文明的追溯，而对古代东北亚哲学思想的发现和复兴尚未到来。在一本早于道教著作问世几个世纪的叫《符都志》的古书中，提出了能解释宇宙基本原理的东方数学和物理学理论：在世界之初，是光的粒和波充斥了真空。东方的宇宙哲学拒绝有无之分。东方人所说的空，是充满气的空。因而，空的空间并不表示什么东西都不存在，它充满气的能量，看不见但不是无。看不见的存在也是一种存在。

在旧约《创世纪》中，光就是创造事物和生命的起源。一切的起源都是光，它的波和粒子充斥宇宙。光的粒子填充了黑暗的、无组织的空，使之成为看不见的气场，（在现代的物理学中，空也同样不是真空，而是充满着互相抵偿、互相抵消的正电子和电子），熔和暗物质，在震动中创造运动。运动的变化引发出不同的有节奏的波动和虽然还听不见但已经带有一定频率特征和波长的音。《符都志》的作者把这种现象解释成光和点（气场）的结合。在光开始撞击气场，产生最初的交互作用之前，充斥真空的气场也就是气的潜在力量场。波动的光粒子和气的波动产生共鸣，创造出无声音图。这种无声音图引发出具体物质的形式和形式不同的物质。（中国文化中的“形”就是这样产生的。）这种波动成就了包括生命在内的各种物质的诞生。每一种物质都是唯一的，因为它们各有自己的波长和频率，这就是所谓“存在”的独特烙印。(《符都志》朴提上著，金殷洙注译, 首尔韩文化出版社1986年出版)

陈若冰开始作画时，往往选择一个统一颜色在画布上铺开。这种或者那种被选中的色彩是光在画面上折射的结果。这是为达到一定画面效果作准备的。在这确定的物质化了的画面上，只有特定的光谱排列才能延续光波的震动。画家在画面上画有力量和方向的简单几笔，和已确定的底色造成共鸣。这种共鸣是画家能动地选择造型和方向来造成撞击的结果。后画的色彩笔划和画面底色之间这两股力量的共鸣，引发出新的波动，新的跳动，新的沉默的音乐。就是这种新的沉默之音，或者说发光的跳动，来源于陈若冰画面的深处。艺术家自己把它称作“内在之光”。这种光和“超越性”没有关系，这种“内在性”由来于自然的实在。“内在之光”和形而上学没有关系。

有人把陈若冰的绘画比作是罗斯科式绘画。这种比较也是表面的。辩证地来看西方艺术史，罗斯科的抽象表现主义绘画是西方艺术走向“艺术的末日”的过程中的一个历史个案。陈若冰的绘画有更多纯粹的存在理由，因为它完全符合东亚的哲学世界观。他的艺术在这个框架中拥有自己的位置。弗朗索瓦·余莲对保尔·魏尔仑和苏东坡看上去相似的淡漠诗意作过类似的比较。魏尔仑的诗歌达到了一种淡漠的状态。他那种在“在”和“离”的瞬间中对寂静主义的感知，让世界变得不那么宿命。但是，魏尔仑的“这种敏感倾向，不可能导向任何原则上的认知。”他的诗歌里的淡漠感受，仅仅给人“又苦又甜”的滋味和“人为的愉悦”，那只是一种对感知的“刺激性挑战”。魏尔仑的淡漠不能在任何原则上的中立和感悟中找到自己的根源。与之相对比，中国式的“淡”，“是一种圆满，它的深度和丰厚来源于曾经拥有的历史沉淀，而不是来源于如同魏尔仑式不切实的虚拟存在。”（见弗朗索瓦·余莲著《淡之颂》第140到142页）

陈若冰运用西方的绘画材料作画，找到了一条新路来展示在东北亚艺术精神下对绘画的追求。他运用新型西方材料去创作传统亚洲绘画。他所从事的既不是极简主义艺术，也不是抽象表现主义艺术。他只是利用新的媒体在延续着传统的中国艺术、哲学以及精神的纯真，展现出艺术的新形象。从这一点上来看，这是任何一个在西方艺术史的传统中创作的艺术家都不可能相比的。他尊重前人，即使他也许不了解具体的某一个人或者某些作品。有几个当代韩国艺术家，比如尹亨根的作品看上去和西方当代的抽象艺术相像，但是，他们作品的精神和哲学的源泉完全来源东方（在这里不提美学，因为中国人是拒绝美学这个西方术语的）。如果我的阐释是正确的，那么陈若冰在从事着东、西方艺术史中都没有过的不平凡工作。我相信，刚刚过世的尹亨根所曾经从事的工作也是类似的，只不过他采用的方式不同。他们走向的是艺术新的地平线。

（节选）

洪可异

2008

注解 ：

《符都志》Budoji朴提上著，是叙述古韩国历史的文学著作。由金殷洙注译, 1986年首尔韩文化出版社出版 。

弗朗索瓦·余莲(Francois Jullien，1951年出生) 法国哲学家、汉学家。

保尔·魏尔仑(Paul Verlaine，1844年-1896年) 法国象征派诗歌的代表。

马克·罗斯科(Mark Rothko，1903年-1970年) 俄罗斯出生，于1913年移居美国，抽象表现主义画家。

尹亨根(Yun,Hyonggeun，1928年-2007年)）韩国当代抽象画家。

1804

布面丙烯 acrylic on canvas

150 x 150cm | 2018

Chen Ruo Bing

1970 Born in China

1988-1991 Studied at Zhejiang Academy of Arts in Hangzhou

1992-1998 Studied at Kunstakademie Düsseldorf

Selected Solo Exhibitions

2019 Blues, Ginkgo Space, Beijing

2019 2010-2019, YIBO GALLERY, Shanghai

2019 De Rijk-Chabot Fine Art, The Hague

2018 Flowing: Space-Light-Time, Gallery K.O.N.G, Seoul

2017 River of Light, Ginkgo Space, Beijing

2017 Defined Spaces in Ambiguous Worlds, Galerie Albrecht, Berlin

2016 Der Maler Chen Ruo Bing, Kunstmuseum Bochum

2016 Squaring the Circle, Colour.21, Köln

2015 Looking for Now, Ginkgo Space, Beijing

2013 Minimalism+, Youngeun Museum of Contemporary Art, Gwangju-City

2012 Malerei, SHI FANG Fine Art, Düsseldorf

2010 Body of Light, taguchi fine art, Tokyo

2006 Chen Ruo Bing, Shanghai Art Museum, Shanghai

2004 Chen Ruo Bing, Museum am Ostwall, Dortmund

2000 Open House, The Josef and Anni Albers Foundation, Bethany

1998 Malerei und Zeichnung, Galerie Konrad Mönter, Meerbusch

Selected Group Exhibitions

2020 Abstraction 2020 Part I Cool & Hot, YIBO GALLERY, Shanghai

2019 “诸象非象”, T6 Gallery, Beijing

2018 All This, NanHai Art, Millbrae

2018 Intermezzo, Galerie Albrecht, Berlin

2017 China-Dialogue-Transmission, Ludwig Museum im Deutschherrenhaus, Koblenz

2016 Plural, Ginkgo Space, Beijing

2016 Abstraction and Beyond: The Research Exhibition of Abstract Art in China, Minsheng Art Museum, Shanghai

2016 My Abstract World, me Collectors Room/Foundation Olbricht, Berlin

2015 Die Farbe hat mich, COLOUR.21, Cologne

2015 Die Farbe der Leere, SHI FANG Fine Art, Düsseldorf

2014 The Third Kind of Critic: Critical Thinking of Art Language, Times Art Museum, Beijing

2012 China-Germany: Abstract Painting today! Casper Ludwig Opländer Foundation, Dortmund / Beijing

2010 Array with no Objects-Exhibition of Contemporary Abstract Art, Hubei Museum of Art, Wuhan

2005 Metaphysics 2005-Black & White, Shanghai Art Museum, Shanghai

1999 Junge Kunst-Malerei bis Multimedia, Haus der Kunst, München

1993 über Grenzen-übergrenzen, Hedwig und Robert Samuel Foundation, Düsseldorf

Public Collections

China Art Museum, Shanghai

Hubei Museum of Art, Wuhan

Times Art Museum, Beijing

China Academy of Art, Hangzhou

Kunstmuseum Bochum, Bochum

Foundation Museum Insel Hombroich, Neuss

Foundation Museum Kunst Palast, Düsseldorf

me Collector's room / Collection Olbricht, Berlin

Landesvertretung Hamburg beim Bund, Berlin

St. Georg, Hattingen

Collection Marli Hoppe-Ritter, Waldenbuch

Youngeun Museum of Contemporary Art, Kwangju-City

Middlebury College Museum of Art, Vermont

Sagacity Art Foundation, Hongkong

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1022

布面丙烯 acrylic on canvas

60 x 300cm | 2010

The meaning of image looks so intricate and profound in Xue Song’s art, for the reason that from a certain angle, he is both the terminator of the ready made image as well as the creator of the regenerated image and its meaning.

Schooled in the traditional Chinese Ink Painting whose artistic idioms and philosophic-theoretical discourses part of his second nature, Chen Ruo Bing moved to Düsseldorf, Germany in 1992, where he first studied European modern art and then stayed on to live and paint. A cursory survey of his bibliography reveals the typical reception of his painting in the international modern art community; it can be captured in one sentence – the possibility of fusion between two seemingly different artistic traditions of Chinese Ink Painting and Modern European Abstract Painting. In one of the many catalogue essays on Chen Ruo Bing, the artist’s unique style of painting is thus given articulation: “Chen Ruo Bing has been able to fuse his forceful brush strokes of clarity from the traditional Chinese Ink Painting with his expert “utilization of brilliant color, learned from the greatest colorist of his age in Düsseldorf, and thus create a unique personal style whose originality is unmatched in the world of modern abstract painting.” It is then not unusual to add some mention of “Taoist” influences on Chen Ruo Bing’s seemingly very modern abstract paintings of minimal kind in such terms of “Taoist of Minimalism”. Yet, none of the many writers on Chen Ruo Bing says where and how they detected the Taoist influences in the painter’s concrete art works. I cannot help but wonder if the vague references to Taoism and traditional Chinese philosophy as well as “Traditional East meets the modern West” variety of recent commentaries are not some cliché-ridden banalities.

As François Jullien points out with such forceful clarity in his brilliant essays on Chinese Art in such books as IN PRAISE OF BLANDNESS or THE IMPOSSIBLE NUDE, it is not TRANSCENDANCE but IMMANENCE which is the effect the traditional Chinese Artists strive for in their art works. The Chinese had no use for the metaphysical postulation of some Ideal types of abstract and formal kind, whether in the name of ideal beauty or absolute truth. There’s no place for such metaphysical beasts in their world view. What is surprising (and is a mark of genius) in Chen Ruo Bing paintings is that he is able to achieve what appears to be totally abstract modern painting while faithfully adhering to the spiritual core of the traditional Chinese Art of Ink Painting. (It is also wrong to talk about traditional Chinese Aesthetics, as the idea of “Aesthetics” as it is understood in Western philosophical discourses do not exist within the realm of traditional Chinese thinking about Art and life, again as Jullien’s brilliant expositions on the subject.)

About the so-called Metaphysical Inner Light:, Where does it come from and how does the artist achieve this mysterious painterly effect in his paintings? I propose to explain this effect in reference to a still very much unknown ancient East Asian philosophical thought. (In a surprising way, East Asia is an unexplored and unexploited reservoir of philosophical and scientific thoughts, many of which had been forcefully suppressed. What we know as East Asian History of Ideas today may be only the bare minimum, whereas the wisdom from the period before there was an entity called “Chinese Empire” made its historical appearance is still very much under the veil. As Western Renaissance was the discovery and revival of the Ancient Greek civilization, the discovery and revival of the Ancient Northeast Asian philosophical thoughts are still waiting to happen.) In an ancient text called “Budoji” (which predates the Taoist Cannon by many centuries), there’s a kind of “Oriental” theory of math and physics about the fundamental building blocks of the universe; in their theory, it is LIGHT, with it particle and wave duality, Before there was anything at all, it all began with the Light filling the vacuum, the state of nothingness. However, Oriental Cosmology rejects the dichotomy between Presence and Non-Presence, between Being and Nothingness. When they say it is empty, it is still filled with Chi-Energy. Thus, empty space is not a special context for the Presences (what there is) but is itself filled with Chi-energy, invisible but not a non-presence, meaning that the invisible something is still there as a presence.

1252

布面丙烯 acrylic on canvas

240 x 200cm | 2012

Even in the Old Testament, in its part on Genesis, the process of the creation of the world of matter and living forms begins with the Light. Everything began with the Light, when the light with its dual aspects of wave and particle filled the universe. Light particles filling what was just dark, amorphous emptiness filled with invisible chi-energy field, (likewise in modern physics, we know that emptiness is not just vacuum, it is in fact filled with positrons and electrons, canceling out each other), interacting with the dark matter, create movement in oscillations. It is the variety of different wave movements (which began to create concrete rhythmic pulsations) and sound (not yet audible sound but invisible and inaudible waves with some characteristic frequencies and wave length). In Budoji, it is called the fusion of Light (“Vyt”) with “Dot” (the Chi-energy field). Before the Light began to impinge on it and begin some initial Interaction, the Chi-energy field which filled the vacuum was nothing other than the Potential Force filed of the Chi-energy. The light particles in wave motion created RESONANCES with the Chi-energy waves and created INAUDIBLE SOUND PATTERNS. From this inaudible sound patterns were created concrete material forms, or matter in formal differentiation. (Thus the Chinese 形 was created.) Is the wave movement of oscillation (or pulsation) which is responsible for further creation of all sorts of material forms (including life forms), each of which is unique in that each has its own characteristic wave length and frequency, uniquely branding it as this particular “being”. (Note: Park Jesang, BUDOJI, in Korean translation by Kim Eunsoo, Hanmunhua Publishing Co, Seoul, Korea, 1986)

Notice that Chen Ruo Bing begins with a uniformly stained color field of this or that particular color on the canvas. This or that particular color is a result of refraction of Light by this particular material coating for that specific purpose. On this field of this particular materiality, enabling only a specified range of Light spectrum to vibrate in continuous motion, the Artist inject several minimal number of brush strokes of calculated force and directionality, thus creating a resonance against the color field of potential force. There is a resonance as a result of actual force (in the form of brush strokes in a particularly calculated configuration and directionality) impinging on the potential force field in the stained color field of only certain wave length within the spectrum of Light. This resonance between the actual and the potential forces (the forces are nothing other than a certain chi-energy waves of certain frequency and wave length) creates a new wave movement, a new pulsation, a new silent music, if you will. It is this silent music or new pulsation which emanate, seemingly, from somewhere deep inside Chen’s picture space, which the artist calls “inner light”. Notice that it has nothing to do with transcendence; it is a result of Immanence from the natural sources. There’s nothing metaphysical about this inner light.

It’s been noted “Rothko-esque glow in Chen’s color field paintings”. The comparison is yet another superficial nonsense. Whereas Rothko’s abstract expressionist painting is a historical accident within the historical dialectic of the Western history of art on its way to the “End of Art”, Chen Ruo Bing paintings have a much more solid reason for being, fully sustained by a viable Northeast Asian philosophical world view, his kind of art surely having a place within its architectonic. (Here, I call attention of a similar comparison François Jullien made between a seemingly similar poetic effects of “detachment, blandness”, in both Verlaine and Soh Dongpo (苏东坡). In Verlaine’s poetry, the quietism of senses in his apprehension of the world at a moment of absence/presence, thus rendering the world as less determined, Verlaine achieves the effects of detachment and/or blandness. Yet, “this penchant of sensibility cannot lead to any foundational realization” in the case of Verlaine. Bland taste in Verlaine becomes merely “bittersweet”, “artificial pleasure”, thus becoming merely an “irritating provocation”. For Verlaine’s blandness cannot anchor itself in any fundamental NEUTRALITY and experience (the center of Tao in Chinese terminologies). In contrast, in Chinese blandness, “it is the allure of plentitude that of totality not yet divided; hence, it acquires its depth and richness from what was and is no longer – and not from is in virtuality (as in Verlaine) before dissipating itself in actualization”. See, pp 140 – 142, François Jullien, IN PRIASE OF BLANDNESS. )

While using materials from Western Art-making such as the canvases, oil paints, etc, Chen Ruo Bing found a way to open up a new site in which to give artistic articulation of the Northeast Asian spiritual pursuit of Painting. He is doing traditional Northeast Asian Art using new material bases of the Western Art World. What he does is neither Minimal Art nor Abstract Expressionist Art. He is merely continuing the traditional Chinese Art, with its philosophy and spirit preserved intact, in a new garb and new material bases. It is something that no artist, operating from within the historical context of Western modern art, can possibly match. He does have predecessors in this regard, even though he may not have known them and their works. Several modern Korean painters, Yun Hyonggeun in particular, have done paintings which have the look of Western abstract modern art and yet the spiritual and philosophical (I am being carefully not to say “aesthetic” as well, as the Chinese reject the notion of “aesthetics” as the term is understood in the West) sources of their Art is totally Oriental and not Western at all. If my explanation is correct, Chen is doing something very remarkable, something no one has done, neither in Western Art History nor in Eastern Art History. I believe the recently deceased Korean artist, Yun Hyonggeun did something similar, but in a different style. Both, Mr. Yun and Chen Ruo Bing are trailblazing an absolutely NEW ARTISTIC HORIZON.

（Extracts）

Kai Hong

2008

2020春季 · Collect+艺术周

受疫情影响，宅在家里无法看展？没有关系，我们将目前展出的作品全部搬上了中国首个云端艺术周。由在艺App发起并主办“2020春季·Collect+艺术周”，携手80家画廊、美术馆和拍卖行，于3月5日至18日期间集中呈献一场重磅艺术盛宴。艺博画廊有幸参与其中，旨在探索艺术产业在线交易获客、展示运营、公共体验的新模式，无论您身在何时何处，观展收藏时刻在线！

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关于艺博

艺博画廊于1998年成立于上海，是中国创办时间较早的中国当代艺术画廊之一。创立至今，相继在画廊及上海美术馆等不同空间举办了一系列具有影响力且高品质的展览，同时画廊积极发起、参与各类公益活动，对中国当代艺术的推广与收藏起到了积极的作用。

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