在北京民生現代美術館舉辦的裴詠梅個展，獲得了藝術界的矚目。她突出的個人風格在於運用了流動的視角與線條：沒有固定邊框，沒有靜態的意識，只有動態且極富互動性的線條。藝術家自然地融入了對於美學傳統、迫切的社會問題以及當下的生態議題等一系列複雜問題的思考，呈現出一種不言自明的多重性。
裴詠梅近年以來的作品《巧克力》系列、《雙重時間》系列和《當線成為邊界》系列，以精妙且不易察覺的方式展示出一種與繪畫（drawing）傳統不同的藝術思考，並將這種思考不間斷地滲透到書寫的肌理之中。她不僅從藝術表達中另闢蹊徑，更越過了現實中邊界的分割以及知識分類學式的歸納分層。同時，它還將可見的形式與有限的單一化標準進行對比，並以此召喚對無限性的發現與更新。
《巧克力》系列一 布面油畫 630x250cm 2012年
在《繪畫的愉悅》一書中，法國哲學家讓-呂克·南希將藝術創作活動視為一種典型的形成性力量（formative force）：藝術性的線條也許並不能產生不可視的思緒，也不能揭示未曾展示的另一面，可是線條可以引導視線穿透邊界，讓可視與不可視的畫面相遇，形成一種未完成的在場，並於其中發生無限的更新或改寫，而視線與空間的變化就蘊藉於邊界的多重痕跡之中。它改變了繪畫與觀眾的關係，觀眾在破碎的線條的指引下破解繪畫的內容，這不啻於一種參與創作的方式。用更具詩意的話來說，這些不停被打斷邊界的線條如同閃電，昭告著天外的懸念，以及人們對之無窮的追尋。
此外，南希還指出了繪畫中線條的碎片化特性所帶來的具體愉悅形式：這不是一種大功告成的愉悅，而是一種因為誘惑、不停被打斷和擴張而產生的愉悅。換句話說，這是一種無終結的愉悅，永遠關注起點，並導向其自身的衝動與可能性。
《巧克力》系列三 布面油畫 400x250cm 2012年
這樣一種視覺化形式並不可識別、辨認或測量，它所具備的是一種非標準化且不可證實的特質：作為一種當代文化力量，這種視覺化形式跨越了不同的媒介和領域，它是一股總在形成的力量，兼具思考的要素、靈感的瞬間以及批判的維度。
以上觀點構成了裴詠梅個展「當線成為邊界」的起點。本次展覽呈現了一個由多種媒介表達形式（包括油畫、現成品裝置和錄影投影等）構成的展示系統，使社會的現場與藝術的在場在同一空間中再次相遇，可以想像這是一場無法直接對話的相遇，因為它們巳經失去了邊界，唯有畫面中的揮灑線條暗示著藝術思考過程中所蘊藏的潛在活力與強烈的開放性，而藝術家的態度也在此表露無遺：繪畫不應被視為一種學科而固步自封，更不能因此而限制它思想的疆界（territorialisation）和思考的可能性。
《當線成為邊界》系列七 220x420cm 布面油畫 2018年
When Lines Become Boundaries
Pei Yongmei Art Exhibition
The work of Pei Yongmei shown in the upcoming exhibition at the Beijing Minsheng Art Museum is characterized by a clear use of a fluid line: no fixed frames, no static forms of consciousness, but a dynamic, interacting line pattern that seamlessly intertwines a complex composition of aesthetic traditions, social urgencies and current ecological issues, and thus presents as an almost self-evident, assembled, multiplicity.
And with that, in a subtle, often implicit manner, Pei Yongmei’s recent works (such as Ruins, Chocolate, and Dual TIme) show how an actual artistic thinking – departing from the tradition of drawing – should continually choose to enter into cross-connections. A thinking that not only refuses, but also opposes definitive forms of segmentation and reducing forms of stratification; a thinking that contrasts visible forms with the finiteness of the single denominator that call in an unwavering way to a renewed view of infinity.
The French philosopher Jean-Luc Nancy typifies this activity in his publication The Pleasure in Drawing as a formative force: artistic drawing opens less towards its achievement, intention, and accomplishment, than toward a finality without end and the infinite renewal of ends, towards lines of sense marked by tracings, suspensions, and permanent interruptions.
In addition, Nancy points to the specific form of pleasure produced by the – fragmentary character of – artistic sketching: it is not the pleasure of the completion, but the pleasure of the attraction, the permanent interruption, the tension and the intensity. In other words: there is an inconclusive pleasure that is constantly focused on the very opening, towards its impulse, and towards its own possibility.
This is not a form of visualization that is guided by identifiable, recognizable, or measurable qualities, but one which is characterized by a non-conforming and unverifiable form: a form as force that constitutes the element, moment, or dimension not of formalized but formative, ostensive thought across different medial fields.
The above perspectives form the starting point of Pei Yongmei’s solo-exhibition When Lines become Boundaries. This presentation is based on a display system in which a diversity of medial articulations - such as watercolors, paintings, ready-made’s and video projections, - in direct confrontation and smooth dialogue, further modulate the potential dynamics and intense openness of drawing’s intrinsic artistic thought processes, and with it moreover make an implicit protest against all forms of territorialisation that want to frame and limit these drawing and thinking processes for disciplinary purposes.
裴詠梅簡歷
裴詠梅
學習工作經歷
裴詠梅，1975年出生，1998年畢業於中央美術學院油畫系第三工作室，2003年畢業於中央美術學院油畫系第四工作室並留校任教。現為中央美術學院油畫系第四工作室主任， 教授，碩士生導師，中國美術家協會會員。
公共收藏
作品分別由中華人民共和國教育部、中央美術學院美術館、中央美術學院油畫系、北京民生現代美術館、北京大都美術館、廣東美術館、江蘇美術館、上海油雕院、深圳報業集團、美國Build America Mutual集團等機構和私人收藏。
《等嘎拉的等待》礦物顏料 190x170cm 2009年
個人展覽
2018 當線成為邊界——裴詠梅藝術展 北京民生現代美術館
群體展覽
2023
座標：2000年以來的繪畫之變 山西省當代美術館
劇院·印象丨中央美術學院名家寫生創作展 國家大劇院,北京
2022
「走進大美涼山 描繪時代新貌」采風創作展 四川省涼山彝族自治州
履跡芳聲·央美油畫系紅色「1+1」采風作品展 798藝術區
方圓藝術空間
2021
GDMoA年度藝術家學術提名展 廣東美術館
「新錦灰堆——當代繪畫的新感知」 廣東美術館
「見證時代」油畫作品展 798藝術區
2019
「絲綢之路——從傳統到當代——中保建交70周年交流展」 保加利亞國家美術館
2018
中國精神——第四屆中國油畫展 中國美術館
「沿巴爾幹山到黑海——中保當代美術交流展」 太廟藝術館
意義的回歸——中央美術學院油畫系教師進行時 中央美術學院美術館
師嚴道尊——中央美術學院油畫系第三工作室教學研究展 中央美術學院美術館
2017
「第聶伯之會——中烏當代美術展」 太廟藝術館
2016
首屆蘇州文獻展「多重時間——蘇州與另一種世界史」 蘇州美術館
2015
「亞洲時間」，首屆亞洲雙年展暨第五屆廣州三年展 廣東美術館
上海城市空間藝術季 西岸藝術中心
園林的故事——中國當代藝術邀請展 蘇州美術館
「相遇與暢想--絲綢之路國際青年藝術展」 中央美術館 俄羅斯
「歷史的溫度」中央美術學院與中國具象油畫展 中華藝術宮 上海
同行者 群展 798 橋藝術空間
2014
現代性3.0展 紐約大學美術館 美國
大都美術館館藏油畫作品陳列展 大都美術館 北京
2013
來自北京 紐約藝術學院 美國
聯綿時代 索卡藝術中心 北京
2012
釜山國際雙年展 釜山美術館 韓國
第15屆 達卡亞洲藝術雙年展 孟加拉家美術館
在當代——2012中國油畫雙年展 中國美術館
2011
學院—中央美院青年教師八人展 百雅軒藝術中心 北京
藝術家眼中的當代中國 ——中國油畫藝術展 中國美術館
2010
油畫藝術與當代社會——中國油畫展 中國美術館
2009
慶祝中華人民共和國成立六十周年 第十一屆全國美術作品展 中國美術館
第十一屆全國美術作品展 湖北美術館
2005
瑞士MOVADO 時間的藝術巡迴展 雲峰畫廊 北京
2003
第三屆中國油畫展 中國美術館 北京
1997
中國當代素描藝術展 中國美術館 北京
《雙重時間》系列 二 200x300cm 2015年
Artist Introduction: Pei Yongmei
Experiences of Study & Work
Pei Yongmei, born in 1975, graduated from the Third Studio of the Oil Painting Department of Central Academy of Fine Arts (abbreviated as CAFA, which is used in the following parts) in 1998. In 2003, she graduated from the Fourth Studio of the Oil Painting Department of CAFA, and began to work as a teacher in CAFA. Currently she is the director of the Fourth Studio of the Oil Painting Department of CAFA, a professor, a postgraduate mentor, and a member of China Artists Association.
Collections by Public
Ms. Pei’s works are collected by Ministry of Education of the People's Republic of China, CAFA Art Museum, CAFA Oil Painting Department, Beijing Minsheng Art Museum, Beijing Dadu Art Museum, Guangdong Museum of Art, Jiangsu Art Museum, Shanghai Oil Sculpture Institute, Shenzhen Press Group, Build America Mutual Group and other organizations and private collectors.
《當線成為邊界》系列四 布面油畫 430×250cm 2018年
Solo Exhibition
● In 2018, When Line Becomes Boundary : Pei Yongmei’s Artworks Exhibition was held in Beijing Minsheng Art Museum.
Group Exhibitions
● In 2023, Coordinate: Changes in Painting Since 2000 was exhibited in Shanxi Contemporary Art Museum. Theater · Impression丨Exhibition of Sketches by Famous Artists of Central Academy of Fine Arts was held in National Centre for the Performing Arts, Beijing.
● In 2022, the creations of the research trip To Depict the New Appearance of the Times at Liangshan were exhibited at Liangshan Yi Autonomous Prefecture, Sichuan Province. The artworks based on the research trip To Trace the Footsteps of Predecessors and Spread the Good ·Red 1+1 of Oil Painting Departments of CAFA were displayed at Fangyuan Art Space,798 ArtDist.
●In 2021, Exhibition of GDMoA Annual Artists Nomination was held at Guangdong Museum of Art. Artworks of New Damask & Ash Pile: A New Perception of Contemporary Paintings were shown at Guangdong Museum of Art. Oil paintings exhibition Witness the Era took place at 798 ArtDist.
●In 2019, Silk Road : From Tradition to Contemporary – 70th Anniversary Exchange Exhibition of China-Bulgaria Diplomatic Relations was held at Bulgarian National Gallery.
● In 2018, the 4th Section Chinese oil paintings exhibition Chinese Spirit was held at National Art Museum of China. From Balkan Mountains to Black Sea: Sino-Bulgarian Contemporary Art Exchange Exhibition took place at Taimiao Art Museum, Beijing. The exhibition The Return of Meaning: Faculty of the Oil Painting Department of CAFA in Progress was held at CAFA Art Museum. The Honorable and Solemn Tao of Being a Teacher: Teaching and Research Exhibition of the Third Studio of the Oil Painting Department of CAFA took place at CAFA Art Museum.
●In 2017, Dnieper Meeting: Sino-Ukrainian Contemporary Art Exhibition was held at Taimiao Art Museum, Beijing.
●In 2016, the first Suzhou document exhibition Multiple Time: Suzhou and Another World History took place at Suzhou Art Museum.
●In 2015, Asian Time, the 1st Asian Biennale and also the 5th Guangzhou Triennial, was held at Guangdong Museum of Art. Shanghai Urban Space Art Season was exhibited at Art West Bund. The Story of Garden: An Invitation Exhibition of Chinese Contemporary Art was held at Suzhou Art Museum. Encounter and Imagination: Silk Road International Youth Art Exhibition took place at Central Art Museum, Russia. The Temperature of History: CAFA and China Figurative Oil Painting Exhibition, was held at China Arts Museum, Shanghai. The group exhibition Companions took place at 798 Bridge Art Space, Beijing.
● In 2014, Exhibition of Modernity 3.0 was held at New York University Art Museum, USA. Collections of Oil Paintings in Dadu Art Museum was exhibited at Dadu Art Museum, Beijing.
● In 2013, Being From Beijing was exhibited at New York Academy of Art, USA. Assonance Era was shown at Soka Art Center, Beijing.
● In 2012, Busan International Biennale was exhibited at Busan Museum of Art, Korea. The 15th Dakar Biennale of Asian Art took place at Bangladesh National Art Museum. In Contemporary China: 2012 Chinese Oil Paintings Biennale was held at National Art Museum of China, Beijing.
● In 2011, Academy : Exhibition of Artworks by Eight Young Teachers of CAFA took place at Baiyaxuan Art Center, Beijing. Contemporary China in the Eyes of Artists: Chinese Oil Paintings Art Exhibition was held at National Art Museum of China, Beijing.
● In 2009, Celebrating the 60th Anniversary of the Founding of the People's Republic of China: The 11th National Art Exhibition was held at National Art Museum of China, Beijing.
● In 2010, the Chinese oil paintings Art of Oil Painting & Contemporary Society were exhibited at National Art Museum of China, Beijing.
● In 2009, The 11th Section National Artworks Exhibition took place at Hubei Art Museum.
● In 2005, Art Tour Exhibition of Swiss MOVADO Time was held at Yunfeng Gallery, Beijing.
● In 2003, The 3rd Section of China Oil Painting Exhibition took place at National Art Museum of China, Beijing.
● In 1997, Chinese Contemporary Drawing Art Exhibition was held at National Art Museum of China, Beijing.
《雙重時間》系列一 510×220cm 布面油畫 2015年
本文刊載於藝術香港雜誌2023年1-2月號
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