王刘健的展览关于面对时间的无常和残酷，面对生死的幻灭，以及原初的统一和个别化，意愿，表象以及生命苦难之间的矛盾，要表现自己，必须有一个新的象征世界，整个躯体都获得新的象征意义，通过狂热的沉醉，本质就是一种不可明状的，不可遏制的生命激情与冲动砸破了个体性并将其拖进毁灭的深渊使生命融入本源存在。
———Jianai
Wang Liu Jian’s exhibition is about the contradiction between the inconstancy and cruelty of time, the disillusionment of life and death, the original unity and individuation, the will, the appearance and the suffering of life. To express oneself, there must be a new symbolic world, and the whole body has new symbolic significance. Through fanatical intoxication, the essence is an indefinable. The irresistible passions and impulses of life break the individuality and drag it into the abyss of destruction to bring life into its origin.
——Jianai
策展人 Curator:
前些天，与艺术家坐在工作室闲聊，他总是不经意间的流露出对过往的怀念之情。双手虽然触摸着自己的作品，但嘴里却反复咀嚼着‘曾经’。这些是他整整一年的经历，并且掺杂着些许还很年轻的回忆。 与过往的作品相比，他不再纠结一个艺术家是否像背负着使命一样在那拼命的呐喊。相反，他平静了很多，安静的像个僧人，不再过多的思考这个世界，开始本能的‘关心粮食和蔬菜’。也许，阐述自己的故事更能准确的把作品呈现出来。也许，涂掉那层满载欲望的外衣更能看清事物的本质。也许，他只是借用那些没有扔掉酒瓶来提醒自己还没有完全空掉，像那些放了几个月的馒头一样，在防腐剂的‘保护’下，依然保持着曾经的样子。这是无法变质的时代，被太多的时间所洗礼，但依然顽固的存在。
聂以为
The other day, sitting in the studio chatting with the artist, he always inadvertently showed his nostalgia for the past. Although his hands touch his works, but bis mouth repeatedly chewed ’once’. These were his experiences for a whole year, mixed with some very young memories. Compared with the previous works, he no longer struggles over whether an artist is carrying the same mission in that desperate cry. On the contrary, he calmed down a lot, quietly like a monk, no longer thinking too much about the world, and began to instinctively ’care about food and vegetables’. Perhaps it is more accurate to present your story. Perhaps it would be easier to see the essence of things by erasing the coat full of desire. Perhaps, he just used those bottles that had not been thrown away to remind himself that they were not completely empty. Like those steamed buns that had been kept for several months, they still kept the same appearance under the protection of preservatives. This is an era that can’t go spoiled, baptized by too much time, but it still exists.
Nie Yiwei
学术主持评论：
天赋是可以被开发出来的！
——王刘健工作室开放展有感
这一次2019年年终工作室开放展中的王刘健的作品，是日记式的作品。
对于日记式的视觉作品，我最开始是从几年前来馆驻留的一位韩国首尔大学艺术学博士Lee Seungjae，他在上苑艺术馆所做的摄影作品，我才开始对这种类型的作品有了不同的了解。
我们都知道，日记是有隐私的，不是所有人都会毫不保留地展示给别人，如波兰宁夫人日记式的诗。还有一种就是从一开始就是为大众写日记的人，通常都是有人物感的人（或者本来就是人物，如蒋介石），写的都不是自己的真实生活记录，而是有加减的带有个人印迹的史官式日记。
通常日记式视觉作品都是用摄影方式，将所见所闻都拍摄下来,以自己的视角、自己的想法去记录所经历的一切。而Lee Seungjae不是一般意义上的拍摄，他是注入自己的体温，用抽象的光影记录自己的情绪，每一个清晨醒来时的燥动与紧张。
但我们今天看王刘健的作品，却又进了一步。他不是摄影方式，而是用日常用品、区域布置，再用情绪里的色、形、空间……来营造他的经历再现。让大家在这个场域里，与他一起感同身受，与他一起经历他的迷茫与困惑，他的失落与冀望，还有些许怀念和别离感。我能感受到他纪念碑式的与过往的告别，有一种古老的神圣仪式感。
能用视觉方式作有思想、有情绪的日记，很难，能做到意味深长就更难，而王刘健做到了。从他今年的两次展览中，让我看到了王刘健的成长和他原本就有的视觉思想的激发。天赋是可以开发出来的？王刘健在上苑艺术馆的这三年里，让我看到了这种可能性。他从一开始学院出来后的那种框架里的视觉产物：呆板、定式、普通、亦步亦趋……地做作品，到今天我们看到的他两场参与度很高的展览来看，他就是证明：天赋是可以被开发出来的！
程小蓓
Talent can be developed!
- Thoughts on the opening Exhibition of Wang Liujian Studio
The work of Wang Liu Jian, who opened the studio at the end of 2019, is a diary work.
For diary visual works, I began with a different understanding of this type of work from Lee Seungjae, an art doctor from Seoul University in South Korea, who was stationed at the Shangyuan Museum of Art a few years ago.
We all know that diaries are private, and not everyone will unreservedly show them to others, such as Madame Polanin’s diary poems. Another is that people who keep diaries for the public from the beginning are usually people with a sense of character (or people who are already characters, such as Chiang Kai-shek), who write not their own real life records, but historical diaries with personal imprints.
Diary visual works are usually photography, take pictures of what you see and what you hear, with their own perspective, their own ideas to record what has been experienced. Lee Seungjae is not a general sense of shooting, he is injecting his body temperature, recording his emotions with abstract light and shadow, and every morning when he wakes up, he is restless and nervous.
However, when we look at Wang Liujian’s works today, it taken one step further. He is not photography, but with daily necessities, regional layout, and then the color, shape, space in the mood…to create a reproduction of his experience. Let everyone falls in this field, with him to feel the same, with him to experience his confusion and confusion, his loss and hope, but also a little nostalgia and parting feeling. I can feel his memorial farewell to the past, there is an ancient sense of sacred ceremony.
It is difficult to be able to make a thoughtful and emotional diary in a visual way, and it is even more difficult to be meaningful, and Wang Liujian has done so. From his two exhibitions this year, I saw the growth of Wang Liujian and the stimulation of his already visual ideas. Can talent be developed? In the three years that Wang Liujian has been in Shangyuan Art Museum, I have seen this possibility. The visual products in the frame he came out of College from the beginning: Inflexible, stereotyped, common, follow the trend To date, we have seen two exhibitions with high participation, which prove that: Talent can be developed!
Cheng Xiaobei
这个展览对于王刘健来说，应该是他对自己近年生活的一个回顾和交代。展览中主要的四个装置作品，都是以他的生活经历和生活状态为灵感，源于事件，注入思考，呈现感悟。固化的服装，尘封的酒瓶，红色光影下的铁丝，干裂霉变的馒头……，无一不是证据，轨迹，诉说和回忆。
王刘健的这些作品，具有立即性和经常带有挑衅性的态度，他将自己的作品牢固地定位在尊重自己内心这样一个线索中，他在意的是当下的生活处境，从这个角度可以看出刘健的真诚和自由的意志，感觉到了一种冲破社会对自己生命压抑的表达！
肖毓方
For Wang Liujian, this exhibition should be a review and explanation of his life in recent years. The four major installation works in the exhibition are all inspired by his life experience and life, which are derived from events, injected with thinking and presented with feelings. Solidified clothes, dusty wine bottles, iron wire under red light and shadow, dried and moldy steamed bread None of them is evidence, track, telling and recollecting.
Wang Liujian’s works have an immediate and often provocative attitude. he firmly locates his works in a clue that respects his heart. What he cares about is the current situation of life. From this point of view, we can see Liu Jian’s sincerity and free will, and feel a kind of expression that breaks through the repression of his own life!
Xiao Yufang
王劉健近期的一系列作品，是他的生活史。杜尚說生活即藝術，這句話用在王劉健身上是再合適不過了。他以藝術的方式，複製，再現，記錄和固化了自己的生活，那些作品就是他生活的真相和密碼，他以此自我致敬，自我安撫，自我審視，並藉此恢復平靜，使某些散落的日常有了趨於永恆的可能。作為一個剛剛開始自己的藝術生涯的年輕藝術家，他很幸運地找到了一種正確的方式，使自己的生活和藝術能夠互為因果，互相成就，沒有排斥，沒有分裂。
他的作品，無論是繪畫還是裝置，無論是材料和語言的選擇，還是表達意圖的調整，都越來越明顯地呈現出一種更寬廣的視野，更厚重的內涵，迥異于一般年輕藝術家常見的拘謹和狹隘，這种變化，必然是更深入透徹的思考的結果，清楚表明了他的藝術境界及理念的進步和升華。他更放鬆，更大膽，也更自信了。
李念奴
Wang Liujian’s recent series of works is his life experience. Du Shang said that life is art, which is suitable for Wang Liujian. He reproduced, reproduced, recorded and solidified his life in the way of art. Those works are the truth and code of his life. He paid homage to himself, comforted himself, examined himself, and recovered his peace, making some scattered daily life possible for eternity. As a young artist who had just begun his artistic career, he was lucky to find the right way to make his life and art cause and effect, achieve each other, without exclusion, without division.
His works, whether painting or installation, whether the choice of materials and language, or the adjustment of expression intention, are more and more obvious to show a broader field of vision, thicker connotation, very different from the general young artists common formal and narrow, this change must be the result of more in-depth and thorough thinking, clearly indicating the progress and sublimation of his artistic realm and ideas. He is more relaxed, bolder, and more confident.
Li Niannu
艺术家评论：
The battlefield between the illusions and the *Genuinity (this word doesnt exist, please see a note underneath, but the world needs more of it)
A search, seeking, trying to grasp the core so intensely that the reality gets stretched, confused, conditional to the external manipulation. Liujian Wang’s collection of artworks captures this problematic so vividly, defining the reality often invisible, but yet deeply present in our emotional pool, both collective and individual. Something universal is happening here, we are witnessing The Death Spiral that starts as an amorous relationship locking the talons and it ends up a battle for a territory, a territory being the mind.
It is only the mind that can or cannot be conquered, now that we have conquered the entire Earth, the final frontier, and the tools used are often times the emotional constructs. Under the pretense of better and greater future we tend to consume, the original basic instinct that commands: “survive” is transcended into - if you don’t own (by buying) this particular item, your survival will depend on it even if you don’t die - the sense of purpose would somehow evaporate. Hence the stretching, the soul seeks so hard that it becomes stretched represented by those very same materials that sometimes try to form it. The clothes that we wear, the shell over our skin, the masks representing so many faces get gradually stretched, deformed and lonely. Finally the consumer is being consumed by the self, the snake is eating it’s own tale and the realization of eternity appears in the white innocence of the colour used.
Stretching of the soul continues into the domain of the chemical world interacting with the body, a Bacchus gets awaken, but only internally, the portals to the soul through wine, liberation and truth is cloaked in the color of transformation, a whiteness of being, giving us incredible distance from the actual landscape that these shapes compose. Just like a Bacchus has a divine mission as a role of a liberator, so does this composition, inviting the viewers to freely explore, liberate the inner world but only under the impermanence of time. The composition with bottles is making everything empty, while the space petrifies, solidifies the experience of drinking towards the truth, the build up of materials that is covering the bottles, communicate to us the build up of past layers of impermanent liberation. Bacchus is a Roman God who is using wine and different aspects of music, grapes, partying and emotional charge to liberate the senses, celebrate spontaneity and find the freedom. “In vino veritas” (a latin famous saying: In wine is truth) solemnly resonates through this collection but is contained and burdened by the layers of life, sometimes illusions, sometimes truths, sometimes illusions so convincing,….
In this body of artworks Liujian Wang almost completely merges the feeling of intoxication, vision and a passionate almost self-destructive struggle of life with the distance, calculation, rationality of our times. He is letting the time put the layers upon layers of daily debris onto the things and in such a way he petrifies the essence towards which he gravitates. The flux of life where all the shades of emotions are visible, a place so remote and yet powerfully burning from within, which leads us to the next piece, an art piece dealing with the wires.
Metal may be considered the most alive of all the non-animate objects, because it has a life circle finishing the stage of shine with the rusting processes, but still or maybe just because of this among other reasons, we consider it so cold and smooth and futuristic, almost a non-human entity. Soaked in the color of red, the passion empowering the coldness, the emotional state so chaotic and yet containing the order of coldness, fear, desperation of the build-up of negativity.
Just like the evoking Bacchus through bottles that are preserved with the layers upon layers of the petrifying life events, so are the wires, entangled representing similar trajectory on the quest for truth but from an entirely different angle. This time we are peaking into something personal, a machinery within our emotional system where the engine of will, free will and the power to will is ignited. Hence the pulsating feeling of the red that encompasses everything, yet again interacting with the dualistic nature of material and Liujian Wang’s perspective towards these two aspects, the human warms and passion within at one end and a restrictive shell at the other, preserved bottles and wire as a material infiltrated deeply into the emotional state.
This emotional state, sometimes so mysterious and enigmatic, leads us back to the stretching, but this time through the language of food. The initial sense of consumerism reflected as a spiritual problem of our society is now transcended to the entirely different level, the food, the most fundamental of the consuming elements. “To consume or be consumed” in this aspect of the presented collection takes a completely different twist, it becomes a matter of statistics. A struggle between what should have been done, what is forced upon from the external influences and a rebellious response to either. A test of endurance, this is a testimony of our times, to consume and observe what seems like a forbidden fruit and then rebel against the feelings that are out of tune by not consuming, stretching the time between the nutrients, until it becomes clear what is truly nutritious and what just seems like it. The theme of this collection is to break through the illusions of the daylight and go into the honesty of night, where only the genuine thread thrives and goes forward into the light.
*(note about the word “genuinity” there is no such word in the dictionary but in this case and at this point in history that the artist is depicting I felt that “genuine” needs more versions of this word, so I used to emphasize on the essence of it and considered it apt for this collection)
Irina
幻象与真实性之间的战场
一种寻求，试图如此强烈地把握核心的搜索，以至于现实被拉伸，困惑，以外部操纵为条件。 王刘健的艺术作品生动地捕捉了这个问题，定义了现实，这些现实通常是看不见的，但在我们的情感库中，无论是集体的还是个人的，都深深地存在。 普遍的事情正在这里发生，我们目睹了死亡螺旋，它开始于一种多情的关系，锁定了猎物，最终导致了对领土的争夺，领土就是思想。
既然我们已经征服了整个地球，最后的疆界，并且所使用的工具通常是情感建构的时间，那么只有心灵可以被征服或无法被征服。 在更好，更美好的未来的幌子下，我们倾向于消费，原来的基本本能就变成了：“生存”变成了-如果您不拥有（通过购买）此特定物品，即使您没有生存，您的生存也将取决于它。 不必要的情感会以某种方式消失。 因此，灵魂的拉伸是如此艰辛，以至于它被那些有时试图形成它的相同材料所代表。 我们穿的衣服，皮肤上的贝壳，代表那么多面孔的面具逐渐变得伸展，变形和孤独。 最终，消费者被自我所吞噬，蛇正在吃着自己的故事，而永恒的现实出现在白色的纯真中。
灵魂一直延伸到与身体相互作用的化学世界中，酒神醒来了，但是只有在内部，通过酒，解放和真理通往灵魂的门户隐藏在转化的色彩中，即白皙的存在， 使我们离这些形状组成的实际景观拥有难以置信的距离。 就像酒神扮演解放者的神圣使命一样，这种构图也是如此，它邀请观众自由探索，解放内心世界，但只能在时间的无常中。 装有瓶子的组合物使所有东西都变空了，而空间却石化了，巩固了真相的经验，覆盖瓶子的材料的堆积，向我们传达了过去无常的堆积。 酒神是一位罗马神，他使用酒和音乐，葡萄，聚会和情感上的不同方面来释放感官，庆祝自发性并找到自由。 “在葡萄酒中”（拉丁名言：在葡萄酒中是真理）在这个系列中庄严地引起共鸣，但又被生活的各个层面所牵制和负担，有时是幻想，有时是真理，有时是令人信服的幻想，……。
在这件艺术品中，王刘健是陶醉视觉和热情的，几乎自我毁灭的生活与时代的距离，计算和理性融合在一起。 他让时间把东西上的日常碎片逐层堆积起来，以这种方式使石化了它变得吸引。 生活的变化，所有的情绪阴影都是可见的，一个遥远而又强烈地从内部燃烧的地方，将我们引向下一个片段，一个处理铁丝的艺术品。
金属可能被认为是所有非生命物体中最活跃的，因为它有一个生命周期，可以完成生锈过程中的发光阶段，但是仍然或者也许仅由于这个原因，我们认为它是如此的寒冷和光滑， 未来的，几乎是非人类的实体。 浸透在红色中的激情赋予了寒冷，情感状态如此混乱，却包含着寒冷，恐惧，消极情绪的绝望。
就像通过酒瓶唤起酒神的酒一样，酒瓶被一层又一层地保存在石化的生命中，缠在一起的铁丝也代表着寻求真理的相似轨迹，但角度却截然不同。 这次，我们进入了一种个人化的东西，即我们情感系统中的一种机制，点燃了意志，自由意志和意志力的引擎。 因此，红色的脉动感涵盖了所有事物，又与材料的二元性以及刘健对这两个方面的观点相互影响，一方面是人类的温暖和激情，另一方面是限制性的外壳，保留了瓶子和金属丝。 作为一种物质，渗透到情感状态中。
这种情绪状态，有时是如此神秘，使我们回到了伸展的路上，但这一次是通过食物的语言。 反映在我们社会的精神问题上的最初的消费主义意识现在已经超越了完全不同的层次，即食物，最基本的消费要素。 在提出收藏的这一方面，“消费还是被消费”完全不同，这成为统计问题。 在应该做的事情，外部影响所强迫的事情与对其中任何一个的叛逆反应之间的斗争。 耐力的考验，这是我们时代的见证，是食用和观察似乎是违禁的水果，然后通过不食用，延长养分之间的时间来反抗不合时宜的感觉，直到看清楚什么，看起来像什么。 该系列的主题是突破日光的幻觉，进入夜晚的诚实，在夜晚，只有真正的铁丝才能蓬勃发展并进入灯光。
Irina
记得8月份一个接近黄昏的时候，和几位朋友登上那座山腰上的弃屋，观看今年驻馆的几位中外艺术家极具特色的群展。那长久无人居所被他们一人一件作品改造为别样的展览馆，他们用艺术改造废弃空间的动念及展出作品的意味给人留下深刻印象。这其中便有王刘健的一件装置作品，它含义内敛，以沃霍尔式铺排制造出震撼的场面。
王刘健工作室开放展展出作品给我带来同样强烈的感受。这三年王刘健在上苑艺术馆做义工，负责很多日常事务，藉此常与这些中外艺术家打交道。这些生活经历在他的作品中得以曲折呈现。它们颇具匠心，有时甚至脑洞大开，尤其那几件装置作品：刘健信手拈来日常生活中的器物，将它们处理得富有震撼力和寓意性，在艺术手法上，已显示出风格一致性。
他的装置使用的材料有衣服、酒瓶、馒头、铁丝等，形态各异。在刻意刷白的展出空间中，器物被白色颜料涂抹或包裹，仿佛要被艺术家从记忆中抹去，但终至于无法抹去的存在物——其中流露出深深的痛苦心理。那些发霉的馒头，以它们本真的样貌，与时间坐标并置，是顶有意思的创意。王刘健的画作和摄影则将简洁的意象或关系制造得朦朦胧胧，让观众自去品味艺术家赋予的充满情感的肌理。
苏丰雷
2019.10.28
I remember one evening in August, when I was about to go up the mountainside’s abandoned house with a few friends to watch a special exhibition of Chinese and foreign artists staying at the museum this year. The long-term uninhabited house was transformed into a different exhibition hall by their works one by one. People were impressed by their idea of using art to transform the abandoned space and the meaning of the works on display. There is a device work by Wang Liujian among them, which has an implicit meaning and creates a shocking scene with Warhol-style layout.
The opening exhibition of Wang liujian’s studio bring me the same strong feeling. In the past three years, Wang Liujian has been working as a volunteer in the Shanghai Garden Art Museum, taking charge of many daily affairs, so he often deal with these Chinese and foreign artists. These life experiences are presented in his works. They are quite ingenious, sometimes even with big brain holes, especially those device works: Liu Jian picked up the utensils at random in his daily life, and dealt with them with shocking and moral. In terms of artistic techniques, it has shown the consistency of style.
The materials used in his device include clothes, wine bottles, steamed bread, iron wire, etc., with different shapes. In the deliberately whitewashed exhibition space, the artifacts were painted or wrapped in white paint, as if they were to be erased from the memory of the artist, but finally the objects that could not be erased -- which reveals deep pain. Those moldy steamed bread, with their true appearance, juxtaposed with the time coordinates, are the most interesting idea. Wang Liu Jian’s paintings and photography create a vague image or relationships, so that the audience can taste the emotional texture given by the artist.
Su Fenglei
October 28, 2019
