心.迹
与今日艺术市场的种种的火热激情相比，一月中旬北京的温度早已让花花草草过早绝望，连平日勤奋的太阳也忙着偷懒，只有我们这些精神的贵族物质的贫民还一如既往的保持着饱满的热情，以此来抵抗刺骨的冷。
冰冷中的几十平米是专属于我可以自由翱翔的温暖天空，僵直的手指滴滴流淌出一个个由我营造的理想世界，在这个世界里我的英雄情结肆意蔓延成画面中hero，这种情结包含着我对于英雄的崇拜和渴望。在现在貌似和平而实际“危机”四伏物质极度丰富加肆虐的年代，英雄这个称谓已经渐渐淡出了人们的记忆和视野，英雄的形象也早已定格在历史画面那些刀光剑影武林侠客和枪弹声中。但物质的膨胀弥补不了理想缺失所造成的内心空虚，现代人在自己不断地破坏自然生态后所建构的自以为坚不可摧而实际上脆弱不堪的“坚固堡垒”中飞速前进却怎也抓不住已渐渐远离的本真。
在这种脆弱的“坚固”中我渴望着英雄的回归，我的“hero”不带有明显的身份以及地域的特征，这个hero拯救或守卫的也并非是疆域的完整和领土的统一而是要唤醒正在丧失理想和信念的人的自觉意识。于我，英雄的身份更是可以泛化的并非只概念中的帝王将相的专利，这个“hero”可以是你可以是我，也可以是世界任何一个角落的任何一个民族任何一个血种任何一个具有正义感和对我们生存的环境具有保护意识的“他”或“她”。这个hero或正义着，或脆弱着、或受伤着，但却依然坚强的拯救着我们体内正在消失的信仰保护着我们正在被稀释的脆弱心灵……
喜欢塔的尖耸，那分明在预示着精神要飞升的高度。而时空的转换也决定了塔早已不再只是曾经作为供奉或收藏佛舍利佛像、佛经的一种特殊建筑，在我的画面中“塔”也早已被消解了它作为建筑学层面上一种独特的东方建筑的特性，而是随着我的理想自由的“展翅”。 于塔，塔已非塔，它便可任由某种物体幻化而来也可任由不明材质堆积而成。这些都不重要，重要的是我已经赋予它一种形而上的精神所指，塔尖指向的正是我理想中的乌托邦……
人对于生命的感触可能会来自于自然中的任何一个细节，当暴露在地面的丝丝根须映入眼帘，强烈感觉到的分明是刺眼的阳光下根根生命的脉搏在有力的跳动，屏息便可以听到顽强的生命行走的声音……
张春迎
2008年1月于环铁
Heart＆Track
Compared with all sorts of fiery fervors of the current art market, flowers and plants have already prematurely withered in the mid-January temperature of Beijing, and even the diligent sun is also busy at being loaf, only we who are rich in spirit but poor in materials,are always maintaining full of enthusiasm, to resist the piercing cold weather.
In the ice-cold several dozens of square meters which specially belongs to me so I can hover in the warm sky freely,a few of ideal worlds created by me drop from my stiff fingers.My heroic complex spreads at will in this world in the picture hero, this kind of complex contains my worship and aspiration towards hero. Today,it looks apparently peace but essentially full of crisis and excessive materials,the name “hero”has gradually faded out of people's memory and the field of vision, hero's image also been framed in the historical picture of those fierce combat martial arts world knights and the bullet sound. However,the material inflation cannot make up the innermost emptiness caused by the anideation. In the apparent indestructible but essentially fragile “solid stronghold”built after continuously destroying the natural ecosystem,the modern people march at full speed but unable to grasp the gradually distant essence.
In the fragile “firm” I was longing for the return of hero'. My “hero” does not have an obvious status or the region characteristic, what this hero going to do is by no means to save or guard the complete or united territory, but to arouse the human-beings’ of their self-consciousness,as they are missing their dreams and believes. For me, hero's status is generaliazed but not only the concepted emperors.You and me,even any “he”or“she”posessing sense of justice and consciousness of protecting our living environment,no matter where you are,what nationality you are,or what ethnic you are,can be the “hero”. Being just,being frail, or being injured, this hero still firmly saves our gradually disappearing belief and protects our being diluted fragile soul. ......
I am fond of the tower’s sharp peak,which is indicating clearly the altitude spirit would fly upwards. But the spatio-temporal transformation decided the tower no longer was only the once special building which was used to collects the image of Buddha andBuddhist sutra, in my picture,“the tower” no longer has the distinct architecture characteristics but “spread the wings” freely along with my dream. In the tower, it is no longer the tower,it would then be possible whatever some kind of object transforms,also would be cumulated by any uncertain material. These are unimportant, what’s more important is,I have already assigned it with a kind of spirit concerning metaphysics, what the spire aims is precisely my ideal Utopia ......
Human beings’ thoughts and feelings can derive from any details of the nature,when any tiny trace exposed to the ground comes into your eyes,what you strongly feel is the vigorous beat of the lives under the dazzling sunlight,hold your breath and you can hear the indomitable lives are walking
......
Zhang Chunying
January,2008 at Huantie
勇敢的心：一个理想主义者笔下的现实
——说张春迎的作品
张春迎的作品区别于我们看到的现实主义的画作，她的作品要表达什么，说什么?!
几个人去哪里？在干什么事情?她的作品缺乏这样的逻辑关系。在这种看似荒诞和离奇的个人风格里边张春迎的作品有一个叙述的情节。看着她编造的一个个故事，我猜想她的大脑有一根无限宽广的天线，可以接受外星人的信息，她将那些密码破译之后转换成画面。
在这里我提供以下几个可以参考的信息，艺术家的生活决定她的意识：一、张春迎出生于山东，一个见不到山，也见不到草原的地方；二、她的父亲在她很小的时候就到北京工作，她说：“那时候觉得爸爸在哪里，哪里就是家。”三、她在大学的时候，通过阅读书籍和影像，喜欢上了弗里达•卡罗，对于她说的“我画我自己的现实”深信不疑；四、天津美术学院周边有很多算命的地摊，她在读研究生的时候，“三年来亲眼目睹有无数人试图从一个陌生人那里窥悉到自己的未来。”五、她用绘画的方式以写日记的心态，从04年开始到现在，一直保持这种“良好的习惯”；六、张春迎读完大学本科之后，读了研究生，从山东到了天津然后到北京，她说“心在那里，那里就是家”。
生活中的张春迎为人热情，细心周到，内敛不张扬，有主见不盲从，懂得协调人际之间的关系，是那种能够帮你出主意却不会让你感到为难的那种人。办事讲究效率，有憧憬和想象力，她敏感而细腻，她说：“前几天在黑桥看到一排排被砍倒的树，似乎就能感觉到一种正在上升的生命嘎然中止。”“人对于生命的感悟可能来自于一个小小的细节。”她为水被污染而哭泣，为花儿凋谢而忧伤，为草枯萎而流泪。一个敏感而细腻的人，她对万物的思考和体悟由此引发的思想赋予了她作品中寓言的意味。这种类型的作品与一般的自语和儿女情长远远的拉开了距离。
对于张春迎为什么会选择黑白作为绘画的主色调，她是这样说的：“我不太从色彩上分情绪，比如我也不觉得灰色就是忧郁，灰色对于我来讲很安静。我在上学的时候就喜欢黑白灰，喜欢国画的淡淡的墨色，到现在也是。我总是觉得太过于灿烂的色彩会扰乱我说话的声音。有时候简单里面才饱含着真理。”张春迎的作品，画面的物不是很多，物体显小，在传统的美学法则里边是“构图不够饱满”，不过，她自有解释，她说：“说喜欢空空的悠远的东西比如画面还有音乐，这样能让自己的脑袋走的更远。”
画画对她来说是走向内心的途径，是她的表达欲和使命感的价值体现，她用这样一种方式连接她所观察到的世界和她需要言说的部分。因为这种观察和表达带有悲悯的情怀赋予了这些作品 “社会精神” 式的时代烙印。个人的困境成为社会的困境。一位艺术家的可贵之处在于她明白自己的价值取向和尊重自己看待世界的方式。一个独特的艺术家，除了需要一个独特的看待世界的眼光之外，离不开对自己视觉词汇的偏爱和专注。
在她的笔下，那些残肢和身体的片段代表了一个人沉重的肉身，水池和封闭的场景代表了特定的社会关系，而那些翅膀和高耸的塔尖则代表了在高处的灵魂，那些丝丝缕缕的线和物体则是挣扎的现实。那些看似搞笑和荒诞却在现实中可以寻求 “合法化” 的例证的装束和行为指向了这是一个异化了的世界。我们总是身在此处而心在异处。人的自由意志与生命的沉重感构成了张春迎绘画的核心主题。
她习惯于把自己置于画面，用一种贴近地面的视角，用她所经验到的现实或者孤独（比如她的lost失去）或者高歌（比如她的hero英雄）或者坦然（比如她的它非塔）通过她的画面语言得以将现实（人的处境）一一具体化。在她的命名为hero的系列作品里边，有一件作品是这样的：在一片只剩下树根的荒漠的土地上，一架本该进入航道的飞机却在某个树根上搁浅，一位踌躇满志头戴“接收外星人信号”帽子的“少先队员”拿住一把铁锹却找不到可以灌溉的绿地。红领巾就那样飘着……
我们就处在这样一个时代，一个不断被破坏不断被消耗却无法找到刹车的悲壮的时代，欲望太强而公心太少！莎士比亚笔下哈姆雷特说出的“倒霉的我，却要负起重整乾坤的责任”，不幸或者荣幸的在我们这一辈中应验。新的局面有待于年轻一代来打开。张春迎的作品带给我们的“陌生感”是因为我们接触到了过多的那些泛滥成灾的快餐文化所导致的必然结果。随着张春迎的“人间喜剧”的日趋完善以及她作为一个公众艺术家的形象的确立，她的艺术将再一次证明艺术不是迎合大众的趣味，而是相反。
林善文
2008年3月
Brave heart: the reality of an idealist’s Works
-- a commentary on Zhang Chunying’s oil paintings
Zhang Chunying’s works distinguishes themselves from the realistic paintings, what would she convey through her works, how many people,where would they go,What matter is going? Her works lack such a logical relation. In such a seemingly ridiculous and bizarre personal style ,she narrates a plot in her work. Looking at these stories she created, I suppose that an extensive antenna exists in her brain ,so it could receive the information from aliens,then she converted those codes into works.
Now I would offer the following information,the life as an artist determined her consciousness: First , Zhang Chunying was born in Shandong Prov.,a city has neither mountain nor grassland. Second, her father went to Beijing for work when she was young, she said: “At that time I thought: where is my daddy, where is my home.”Third, when she was an undergraduate, she admired Frida Kahlo and believed without doubt about her saying〝I painted my own reality〞. Fourth, when she was a postgraduate,she witnessed innumerable people turned to a stranger who promised to predict ones future for help,tried to foresee their futures. Fifth, she keeps a good habit of resorting her paintings to record her daily life since 2004. Sixth, after graduated from university,she continued to study as a postgraduate.Moved from Shandong to Beijing,she said: “Where is the heart,where is the home”.
In daily life,Zhang Chunying is warm-hearted, attentive and well-considered,she has her own point of view and would not follow blindly,she can coordinate interpersonal relationship properly,she can also give you some advice and would not make you embarrassed. As a promising artist,she works efficiently,has lofty dream and good imaginative faculty, she is sensitive and exquisite, she said: “A few days ago on the black bridge,I saw rows of trees were cutting down ,at that right time, I felt a strong destiny was ceased abruptly. “Human beings could understand the essence of life by a tiny detail .”She would sob for the polluted water,grieved for the withered flowers.As a Sensitive and exquisite person,she denoted the thoughts of all things to her paintings.This type of works distinguishes from the works of self-description and love.
For why she selects black and white as the main colour tone of her paintings,she explained：“I don’t distinguish emotion by color.For example,in my opinion,gray means not depressed but peaceful. I like wear black,white,and gray,like the light black of traditional Chinese Painting,and the habit keeps until now.I always think that too bright colors would disturb my thoughts, Sometimes truth exist in the simple things.” In her paintings,the objects are not many and also much small,it is“the composition of the picture is not very full”judged by the traditional esthetics principle.However,she explains：“I like the epmty and distant things such as picture and music,they enable me to think freely.”
Drawing is a way to display her innermost feelings,a way to express her desire and sense of responsibility, and a way to connect the world she observed with what she wants to reveal.For these reasons,her works are imprinted on the “social spirit” .An artist's value lies in that she knows her value orientation and respect her own way of observing the world.An unique artist, should has his own preference to the visual vocabularies,besides an unique judgment of the world.
In her works, those parts of the body fragments represent a heavy flesh, pools and sealed scenes represent the specific social relationships, those wings and spires represent the soul in the height, those faint trace lines and the objects represent struggling reality.Those dresses and behaviors demonstrates that it is a different world from the real one.Although they look ridiculous and absurd,we can find the prototype in the reality.Our bodies are not always keep pace with our hearts.The free will and the heaviness of the life are the central theme of her works.
She is used to putting herself into the painting, with a perspective closed to the ground and with her experience to the reality,she reflects the concrete world through her paintings, lonely (such as her lost),sing loudly(such as her hero),or frankly(such as her its non-tower). Among her serial works named Hero,one depicts like this:on a desolate ground only with root remained,a plane which was supposed to enter into the air lane stayed on a root,a self-assured young pioneer with a hat receiving alien messages holds a spade but could not find a green land to irrigate,only leaving the red scarf fluttering…..
We are living in the period that the world is continually destroyed,the meterials are continually consumed but we could not find an effective way to stop the trend,that’s because we have too much desire for possesion and so little awareness of protection.Hamlet by Shakespeare has a saying: "I am out of luck, but I must take on the responsibility of restructuring the world."It occurred on us unfortunately or fortunately,new situation waits for the young to build. We have a sense of unfamiliarity with Zhang Chunying’s works because we are exposed to an excessive fast-food culture .As her “the world comedy” is becoming more and more perfect and her public image as an artists establishes,she proves once again that her works are not to to meet the public interest, but rather the contrary.
Shanwen Lin
March, 2008
再造英雄：张春迎的艺术观念和创作
张春迎的绘画是灰暗而哀伤的，一方面的原因可能是灰色的基调，另一方面的原因是片断化的构图和对描绘对象的肢解。两方面的因素联结在一起，造就了弥漫在画面中伤痛感。这种自述的方式和敏感的氛围可能是今天年轻艺术家所特有的一种的状态，张春迎亦是其中的一员。或许观众们会担心这种自我表现会将艺术拖入一种无止尽的自说自话的尴尬处境，但在张春迎的绘画中，所能看到的和感受的，除了上述内容外，可能还有一种独特的冲突性。这种冲突的产生，源于她向内独白和向外拓展的矛盾。对于张春迎而言，“英雄”是她所关心的焦点之一，这也是她诉诸于外界的主要形象之一。也许在今天，这个字眼已经显得有点过时和不合时宜，但另一方面也表现出现代人在失去英雄主义后对一个逝去时代和早已消失无影的某种情结的悼念。艺术家的很多作品都被命名为“HERO”，并且，她心目中的英雄也不断地被再现在自己的创作中。
在我们传统的观念中，英雄只属于过去的时代和今天的想象之中。翻开艺术史，像《贺拉斯兄弟盟誓》这样的作品不断地冲击着我们的视觉。随着时代的变迁，“英雄”的角色交叠更替，艺术史家琳达.诺克林将18世纪法国现实主义画家库尔贝的绘画描述为“现代生活的英雄”。德国思想家本雅明将英雄看作“现代主义真正的主人”，正是从库尔贝开始，英雄与现代主义的理想紧密地捆绑在一起。
然而，随着现代主义理想的幻灭，今天的“英雄”却只能在电影和小说中出现，转向内在、自我、微观似乎成为现代人的首要心理特征，但似乎正是在这样的状况下，人们才更需要“英雄”——微微一种理想和心理安慰。因此，我认为张春迎的绘画中恰好反映出现代人的这种矛盾。而且，与古代经典相比较，她笔下的英雄既非神话人物，也非革命先烈，甚至没有身分、性别、年龄可言，他们只是一些抽象“英雄”概念，一种纯粹的精神性象征物，一种对未来理想的至高想象。弥合现实心境与完美理想之间的缝隙，正是艺术家在极力追求的。
此外，“塔”也是张迎春绘画中的一个关键形象。这个形象与英雄一样，并非某种具体的现实所指，而是在表达一种抽象的意向。对于艺术家而言，塔是“独特的东方建筑的特性”，更是东方精神的典型化象征，她将这种怀乡情绪与英雄情节联系在同一个画面上，用以表达自己的想象和追求。作为同龄人，张春迎的绘画追求引发了我的一些共鸣。在一个理想失落的时代，她将自己的内在体验与同代人的心灵桃花源联系起来，再造一个英雄的世界。恰是如此，张春迎的绘画才具有了更为广阔的力量。
盛葳
2008年春
于中央美术学院
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2002年 毕业于山东艺术学院 本科
2006年 毕业于天津美术学院 硕士
2006年 至今 居于北京环铁艺术城
获奖
2007年 靳羽西中国新锐绘画大奖
展览
2008 中韩国际当代艺术交流展 艺8画廊 北京
2008 中、韩、日、俄当代艺术联展 首尔 韩国
2008 漂浮的风景，k艺术空间，四川成都
2008 中国当代艺术文献展, 雍和美术馆, 北京
2008 年轻一代 艺术家联展 环铁时代ART美术馆, 北京
2008 深呼吸 - 中国当代油画联展 全角度画廊 柏林
2008 威扬盛世 - 当代名家邀请展 潍坊博物馆 山东
2007 第二届绿校年展 星空间 北京
2007 靳羽西中国新锐绘画大奖 艺术景 上海
2007 当代艺术院校大学生提名展 今日美术馆 北京
2007 中国最具潜力青年艺术家亚太节联展 RAAB画廊 德国
2007 “八零版艺术展” 纽约艺术中心 北京
2007 环铁当代艺术展 环铁国际艺术城 北京
2006 “倒计时”绘画联展 前方画廊 北京
2005 天津青年女性绘画展 天津
Prize:
2007 “CHINESE ART PRIZE BY YUE-SAI KAN Finalists Award
Exhibitions:
2008 Exhibition of contempory art 2008, K-gallery ,ChengDu,SiChuan
2008 Contempery Art and Documentary Exhibition of china,Beijing,china
2008 The Group Exhibitions of TheYounger generation artist,Beijing,china
2008 “Deep breathing- The Group Exhibition of China Contemporary oil painting” , Berlin, Germany
2008 “‘WeiYangShengShi’Exhibitions of Contemporary Famous artist”, WeiFang Museum,Shandong,China
2007 Lv xiao Annual Exhibition 2, star gallery, Beijing, China
2007 “CHINESE ART PRIZE BY YUE-SAI KAN”, Art Scene China,shanghai ,china
2007 “The university student nominates Exhibitions of Present age art academies”, Today art museum,beijing ,china
2007 “The Group Exhibitions of The Most potential Young artist of china” RAAB gallery , Berlin, Germany
2007 “The Contemporary art Exhibition of HuanTie” Huantie International Art City ,Beijing,china
2007 “ The Art Exhibition of the 1980s’ Generation” New York Art Gallery, Beijing, China
2006 “‘Tountdown’drawing Group Exhibitions” The Qianfang gallery,798,Beijing,china
2005 The oil paining art exhibition of Tianjin youth female Tianjin,china
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