http://s3/mw690/001kTnEEgy6DH0PANXQ92&690vs George Hayashi Exhibition" TITLE="展讯：Panluomin vs George Hayashi Exhibition" />

Introduction

In this era when globalization occurs, the digital gadgets is taking over the life from tradition, and the floods of information as well as fragments of knowledge is crushing and burying people too. It turns out that we human beings are occupied by images. For the artists who paint, to comprehend how they could break the "siege" from visual images and build their own painting language will be the first thing to keep in mind. Now these two young painters, Pan Luomin who is the one of the most talented young Chinese artists and George Hayashi who is another talent from a Japanese artistic family, will do this exhibition together and give us a new visual experience and a new thought of modern life. They are all obsessed with art, and their works are fashion and gorgeous, but our concern is their artistic uniqueness.

Standing on the margin of this society, Pan Luomin reveals the true existence of the marginal men. In his works, the colors of the world are purifies into solid colorings. As a result, a Toulouse-Lautrec style is gradually emerging - he depicts objects like the indistinct relationship between the characters, the strange interaction between masters and pets or even purely emotional rage unleashing, in which the virtual happiness, black humor and nonsense intertwine to form a memory fragment. As an independent artist, Pan Luomin is alway sticking to his artistic stance and trying to find another possible spiritual space from the margin. In his paintings, the emptiness from white visages, the inclusive blue space, the Instantaneousness of image and the theme of marginal men together pose some of the emotions and feelings of this era. That is perhaps life humor, or rather the subjective artistic idea that Pan Luomin keeps questioning .

Before the 19th century, paintings mainly focused on the need of religious and the imperial court while painters were more like artisans. But in 21st century, we all are gearing up with digital products, so what can we do? That is a complex and tangled question. The images that television networks provide along with all kinds of photos which describe life look rather like false implication of reality, not the real state of life. The works of George Hayashi which leads out a special visual impact for all of us are depiction of animals and plants with full wild energy and raw vitality, but the messages in the paintings indicate the environment is not jungles but noisy metropolises. His coloring technique makes us inadvertently feel an unfamiliar experience out of the apparent stylish atmosphere.

As painters having to inevitably concerned on the composition of image, these two artists are no exception. The complanation of image, the blurred drawing style and the enhanced contrast of colors are the common features of the two artists, which apparently are their formative expression style after the deep exploration and thought in paintings. Contemporary art involves more directly into life with people's visual experience more relying on the plane images. The appearance of such complanation expression in easel paintings reflects the connoisseurship of people in this very era. At this point, these two painters truly represent this reality without doubt.

Pan Luomin's position is a neutral observer's perspective to the margin, while George Hayashi's is to ponder over colors by depicting animals and plants. As a viewer, I know that they have different missions, but art for the artists is the highest level of hope, which for us viewers is the same, isn't it?

Yang Xiujing

(President of CDK(chinesish-deutsche kunstakademie),China Academy of Art Hangzhou)

27th October, 2013

In China Academy of Art, Hangzhou

生活在全球化时代，人们被数码产品牵着走，信息将我们掩埋，知识碎片化，生活中到处是图像。但对画家而言，如何从视觉图像包围中突围，形成自己的绘画语言是首先要思考的。现在两个年轻画家一起办个展览，给我们提供了新的视觉体验和生存思考：潘罗敏来自中国，是当今艺坛年轻的佼佼者；林丈司（George Hayashi）来自邻国日本，是个日本艺术世家才子。他们的相同之处是都执着于艺术，作品时尚绚烂，但我们要关注的是他们的艺术独特性。

中国画家潘罗敏站在边缘人群的立场，用自己的作品来讲述该群体的真实生存状态，从斑斓的世界里抽离出纯色，于是“劳特累克式”的描绘出现了：模糊不清的人物关系、人与宠物的奇怪互动甚至纯粹的情绪发泄成为了他描绘的对象，虚拟快乐、黑色幽默和无厘头交织着成为一段记忆片段。自成为独立艺术家以来，潘罗敏坚持自己的艺术立场，努力找寻边缘中另一种可能的心灵空间，无论是白色面孔的空洞还是蓝色空间的包容，画面的瞬间性和主题的边缘性都构成了时代的某种情绪，这或许是生活的幽默但更是艺术家主观艺术理念的追问。

19世纪之前的绘画，其主流是为满足宗教和宫廷的需求，画家群体处于工匠地位。21世纪的今天我们人手一个数码产品，你还能做什么？这是个复杂而纠结的问题。电视提供的影像、各类照片描述的生活，看上去像是人们的真实状态，倒不如说会使人们对现实产生误判。林丈司的作品之所以带我们特别的视觉冲击力，是因为他对动物和植物的描绘充满野性能量和原始生命力，但画面传递的信息表明这似乎不是在原始丛林中而是在纷繁吵杂的都市里。画家对色彩的自由运用在不经意之间让我们在感受时尚的同时对其所营造的氛围有别样的体验。

    作为画家当然关注画面的制作，这两位画家也不例外。图像的平面化、笔触的模糊化和强化色彩的对比是两位艺术家的共同特点，显然这是他们对绘画发展深入思考后形成的表达方式。当代艺术越来越直接介入生活、人们视觉认识更多来自平面图像，架上绘画中平面化表达的大量出现体现了时代的欣赏趣味，从这个角度看，两位画家的现实性毋庸置疑。

从中立观察者的角度来看待边缘是潘罗敏的立场，在动物或植物间玩味色彩是林丈司的快乐。作为观者，我们深知不同的艺术家有着不同的使命，但艺术对艺术家来说是希望的最高形式，这对我们普通观众而言又何尝不是呢？

2013年10月27日
杨 修 憬(中国美术学院中德学院院长)
于西子湖畔中国美术学院

 

Panluomin vs George Hayashi Exhibition

艺术家：林丈司（日本艺术家)、潘罗敏(中国艺术家)

出品人：王冉之

策展人：林正碌

学术支持：杨修憬（中国美院中德学院院长）

主办：上海523艺术中心

展览时间：2013年11月2日-2013年11月17日

展览地点：M50 上海莫干山路50号3号楼

Artist: George Hayashi 、Pan Luomin

Producer：Wang Ranzhi

Curator: Lin Zhenglu

EXHIBITION: Nov.2th - Nov.17th,2013

VENUE：Shanghai 523 ArtZone,M50

http://s2/mw690/001kTnEEgy6DH0Teadzb1&690vs George Hayashi Exhibition" TITLE="展讯：Panluomin vs George Hayashi Exhibition" />