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—— 泉 国 际 ——
Wang Fei's spiritual world 
非 | 世 | 界 The artist is a wizard! .............
沃当代艺术 / 本期推荐 2020年度当代艺术人物：王非先生 Wo Contemporary Art/Recommended in this issue 2020 Contemporary Art Figure: Mr. Wang Fei
POSTED / 2020 INTERVIEWS WITH ART FIGURES
CHANG QUAN & WANG FEI 
他，用灵媒诡异的精神世界来拟化一切物象的神秘存在。(文：畅泉) He used the strange spiritual world of the medium to simulate the mysterious existence of all objects. (Article: Chang Quan) 
Chang Quan's low-key interview with Wang Fei
王非工作室一角 WANG FEI STUDIO CORNER 2020 
极度自我飞跃状态中的非世界 The mystery of stimulating the life energy of the selfGive free personality weird wings
王非手札 / 2020.03 艺术的重要性在于保存维特根斯坦不可说的沉默部分，艺术最终是无语的。艺术必须保持沉默，只有在沉默中艺术化的存在才会显现出来。艺术不是指明什么——不指明任何东西，而是指向那个模糊的幻影地带，它守望一种直观、一种场境、一种不同于任何情景的纠缠场域：一块海德格尔式的“林中空地”。灵媒艺术，寻着森林的幽暗与密集颤栗地前行，这是一个不可把控的旅程，任何技术方向性的指导，都将消匿在这片林子里。灵媒艺术不同于其他媒介艺术在于：它既渴望“空地”发现，又新奇周遭的本然态度和原生异象，在行进道路中，即便消匿在林子里也是一种疯狂！其“消失”的情景何尝不是一种神谕的本源暗示？何尝不是一种“幽暗和密集”化的海德格尔的“空地”呢？——这是新技术有待开发的领地，也是艺术史最诡秘、最诱人、尚未真正触及的空地。
Wang Fei medium works of art,2018, Magic publicity, one of the series
Wang Fei medium works of art,2018, Magic publicity,part 2 of the seriesThe importance of art lies in preserving the unspeakable silence of Wittgenstein. Art is ultimately speechless. Art must remain silent, and only in silence can the existence of art emerge. Art does not point to anything -- nothing, but to that vague phantom zone, which watches an intuition, a field, an entangled field different from any scene: a Heidegger's 'glade'. The art of psychiology trembles through the gloom and density of the forest, an unmanageable journey in which any guide to technical direction would be hidden. Medium art is different from other media art in that it is both eager for 'open space' discovery, but also novel natural attitude and original vision around it. In the road, even hidden in the woods is a kind of madness! Is not the scene of its 'disappearance' a hint of the origin of the oracle? Is it not a kind of 'dark and dense' Heidegger's 'open space'? This is the untapped territory of new technology, and the most secretive, seductive, untapped space in art history.
Where Life and Death go / Ink on Paper 2006Works by Wang Fei / 100X80cm
Life and Death kiss / Ink on paper 2006Works by Wang Fei / 100X80cm
寂静时刻——时间是向内流的。大脑开始癫狂：回避现实与未来，让身体和意识回到过去，回到干净的原发的地——童年零碎的影像-无秩序地构成。曾经空的胃一直欲望着，成为器官的精神本能，如今转换成痉挛的视觉美学，成为超现实的布勒东主义的宣词：镂空而盘结的云石共相，扭曲而深邃着、咕噜着……是胃的平面化撕裂与食物的混杂、拼贴。胃一直在渴望着、等待着……等待着我的到来，我用我的伟大重新填满它的沟壑，让呻吟的延绵成为宣纸的底色。
Thoughts of Annoyance / Ink on Paper 2010Works by Wang Fei / One of the series
Thoughts of Annoyance / Ink on Paper 2014Works by Wang Fei / The second seriesSilent moments - Time flows inward. The brain goes mad: it shuns reality and the future, allowing the body and mind to return to the past, to the clean original place -- the fragmentary images of childhood -- disorganized. The once empty stomach has been lusted after, the spiritual instinct of an organ, but now it has been transformed into a spasmodical visual aesthetic, a manifesto of surreal Bretonism: hollowed-out and coiled marble in common, twisted and profound, muttering... It is the flatness tear of the stomach and the mixture and collage of food. The stomach is longing, waiting... Waiting for my arrival, I use my great to fill its gully, let the moaning of the lingering become the background color of rice paper.
Pseudo-phase series / Ink on Paper 2010Works by Wang Fei / The second series
Pseudo-phase series / Ink on Paper 2016Works by Wang Fei / The second series
Pseudo-phase series / Ink on Paper 2010Works by Wang Fei / The second series曾经的肌肤虽已失去的颜色，但肌肤不是用来观看的，它是触摸的开始，是刺痛与爱抚的精神幻象，是陋石玉化或玉石陋化的历史性衰变，如同宣纸的一个角会翘起来一样，肌肤在等待着抚摸后的七窍式的打开，它渴望用它的皮包裹世界，用自己的血充溢大地的干裂……在肌肤的打开之处，我重读了童年，我的胚胎还在里面。我没有变，只是老了。如果荆的刺、麦的芒、锯的齿再指向我的内心，能否再一次激发我成长的信心？我不在奢望了！我的肌肤不再增长，它被固定在工整的画框里，成为精神失落的疼痛。从此，我以皮肤的名义完成了我的誓言：开始，用“骨”与世界交锋。
Pseudo-phase series / Ink on Paper 2010Works by Wang Fei / The second series
Pseudo-phase series / Ink on Paper 2010Works by Wang Fei / The second series
Pseudo-phase series / Ink on Paper 2010Works by Wang Fei / The second seriesOnce the skin has lost color, but the skin is not used to watch, it is the beginning of the touch, is a stabbing pain with caresses spiritual vision, is humble Shi Yuhua or jade spring of historic decay, like a Angle will become warped up rice paper, 7 skin after waiting for the touch of open type, it is eager to the world with its skin, filled with the desiccation of the earth through his own blood... At the opening of my skin, I reread my childhood, with my embryo still inside. I have not changed. I am just old. If the thorns of thorns, or the awns of wheat, or the teeth of a saw, were pointed at my heart again, would they inspire my growing confidence? I no longer hope! My skin was no longer growing, it was fixed in its neat frame, and became the ache of loss. Since then, I in the name of the skin to complete my oath: start, with the 'bone' and the world.
Face/Experimental Ink artWang Fei's painting / 240X100cm 2016
Face/Experimental Ink artWang Fei's painting / 240X100cm 2016
Face/Experimental Ink artWang Fei's painting / 240X100cm 2016中国山水画就是个“夜壶”（古代中国男人夜间专用的小便器，下文皆用“便器”代称）。墨的玄色与“便器”的黑夜化都是时间之水的身体性敞开，是平面化与线性的惊梦书写…… 山水画——自然内化的身体之“器”，或精神外化的自然之“器”。便器——身体外化的器具之“器”，或身体内化的“器官”之器。山水画-便器，二者同为进，同为出，一进一出，如生命之呼吸，发于身，止于身、交感于身（身-心），异名同质。故此，山水画：即自然，即身体，即便器。山水画千年不变，“便器”亦不变。
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2016
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2015
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2016
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2016
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2016Chinese landscape painting is a chamber pot. The dark color of the ink and the darkening of the 'toilet' are the physical opening of the water of time, the flatness and linearity of the dream writing...... Landscape painting -- the 'apparatus' of the body internalized by nature, or the 'apparatus' of the spirit externalized by nature. Toilets -- the 'utensils' of the body's externalized instruments, or the 'organs' of the body's internalized organs. Landscape painting - toilets, both are in, both are out, one in and one out, such as the breath of life, hair in the body, stop in the body, sympathetic in the body (body - mind), different names and homogeneity. Therefore, landscape painting: namely nature, namely body, namely toilet. Landscape painting millennium unchanged, 'toilet' also unchanged.
Face/Experimental Ink artWang Fei's painting / 2016
Face/Experimental Ink artWang Fei's painting / 2014
Face/Experimental Ink artWang Fei's painting / 2014
Face/Experimental Ink artWang Fei's painting / 2013
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2018
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2015中国当代艺术需要发现新的“灵媒”（Pneuma-Medium），如果有着中国当代艺术的贡献，既要接续自身传统特有的“灵媒艺术”（Pneuma-Medium Art），中国艺术的魅力就是对于灵媒的不断发现，但当下却难以为继；也要面对当代艺术的危机，多媒体技术的出现既催生了艺术，但也导致了艺术的危机。 发现灵媒的可能性，当然离不开水墨艺术，这也是水墨艺术在当代的地位，因为水墨材质之为媒介，决不仅仅是一般的所谓某种材质而言，乃是因为这种材质最为体现出灵媒的特点，这就需要延续传统的灵媒气质，也必须通过自身的更新，而打开水墨的新形态，为当代中国灵媒艺术提供某种范例。 在当代水墨艺术家之中，王非从2018年以来的水墨新艺术，就充分体现出当代灵媒艺术的自觉创新。 《灵媒系列》王非作品，综合材料Psychics series/Experimental Ink, composite materials
Wang Fei's Paintings / 2018
《灵媒系列》王非作品，综合材料 Psychics series/Experimental Ink, composite materials Wang Fei's Paintings 161X121CM / 2019 第一，“器道合一”：在器具-饰器-神器三者的共感上，王非的水墨艺术发明出新形态，让“水墨性”具有了从未有过的“魔性”。王非的水墨新艺术，给我们的第一个感觉就是把“绘画”向着“器物”还原，绘画不再仅仅是绘画，而是某种器具或器物，看起来就如同明式家具，无论是画面上的图像形态，还是其装裱方式——让画面上家具秀脚以分形方式伸展到画面之外，都让二维平面绘画向着器物的触感延展。同时，其作品上的剪纸花边，既是与家具边缘的装饰图案相似，但也灵活运用了民间剪纸的柔软，但却是通过水墨的自然晕散在宣纸上形成偶发的痕迹，再顺势裁剪出来，充分利用了水墨的活化性。
《灵媒系列》王非作品，综合材料 Psychics series/Experimental Ink, composite materials Wang Fei's Paintings / 2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019但当代水墨如何体现出“神器”呢？王非的水墨作品上到处充盈着黑白灰显露出来的神秘鬼魅的气息。如何让水墨再次具有灵媒的灵魂？这需要水墨面对生死的临界状态，墨之为墨，在王非这里，乃是一种面对死亡的申言，一种不可压制与摧毁的言说意志，从黑漆漆的深渊中发出撕裂嗓音的表达。无论是把雕塑的基座带入画面，还是大墨块如同纪念碑，在水墨的流淌与硬朗的坚固之间，死亡与再生在作品上得以重组，带有超现实的梦寐感，一种来自于楚文化的巫术与梦寐的诗意，那些立体的方盒子形态上，让整个画面萦绕着一层朦胧的幽灵气息，水“墨”具有了从未有过的“魔”力，从而传达了灵媒显现的气氛。
向但丁致敬.炼狱篇（全图） 800cmx383cm 纸本水墨 Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2010-2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 300X800cm / 2010第二，“心物感应”：人造物-身体-自然物，三重世界的共感重建，尤其是让物性与心性发生共感，王非水墨的“异形”变幻令人无比着迷。如何让器物式的绘画具有灵魂的感通性？整个现当代艺术一直在寻找某种可感通的媒材，不只是信息的传递。让器物的形态更为具有变异与幻想的特征，王非作品上的图像都是一种“异形”（一种分形的形态学），这是艺术家一直以来就关注《山海经》的灵异之物以及现代生命主体的幽灵之物相关，器物的形态并非随便选择，乃是可以与心魂发生共感，是一种魂魄的变形。这种变形的形态要唤醒的是心灵中隐藏的梦幻之物，并非现实之物，这些异象更为靠近梦幻之中的变形，就如同儿时孩童面对衣柜的好奇，但这些形态的生成也带有自然的流淌性，就是发挥泼墨留下的墨痕所激发的想象力。
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 233cmx86cm / 2018
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 100X240cm / 2018在水墨的自然流淌与坚固之间，在偶发的停顿中发现奇妙的形态，这些形态触及心灵——生死边界的表达与神秘莫测。因为水墨离开了心物触感，就会落入形式与概念的西方式个体英雄主义，必须回到心物关系上，这是当代艺术必须回到的触感关系。同时，作品上那些那些如同剪纸的形态，其锯齿状的展开，看起来有着柔软的呼吸变化，但又有着尖锐的叫喊，似乎是无名鬼魂的呼叫，但又附着于具体的器物形态上，物性的着魔与心灵的喊叫得到了共鸣。鬼魅的双脚，拉长的形体，如云的幻物，等等，都有着王非对于传统灵媒的广泛吸纳与变幻。
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2017
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2016这些异质的形态，带有瞬间的偶发生成性，因此并非电子数码图像，也不是玄幻虚构之物，而是与日常之物有着对应，但又把我们瞬间带入到一个异域之地。王非有时候就是利用镜像观，在水墨作品上放入镜面，就把凝视的观者带入到作品之中，形成一种对视的错觉，物性的魂魄感被召唤出来，心性与物性的交感，似乎就来自中国文化的招魂术。中国当代水墨一旦过于落入到形式语言与风格化图像复制，一旦仅仅是观念的动作化与工作方式，就丧失了灵性与悟性，因此，灵媒的艺术乃是魂魄感应的艺术。
《灵媒系列》王非作品，综合材料
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019第三，“能量转化”：水墨不仅仅是水与墨，也是金木水火土五行元素与黑白两极的阴阳转换中，接纳了当代技术的虚幻错置，形成王非特有的七层妖塔式的“非关系”组合，“变异”的组合。水墨纸的材质，通过形态转化，不止于形象与视觉，而是把材质形态向着一种通灵的媒体转化，唤醒其中的能量，这是水墨阴阳与黑白相互转化，相互触发的能量，当代水墨使能量更为灵活的转化，更为简化地转化，因此形成新的形态语言。王非的作品上，简洁又生动，魔幻又灵动，不可思议地让异质要素结合，但又如此日常，如同昼夜，如同呼吸。其自由的变形想象，也触发观众的参与。
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings 100X70CM / 2019
《纸老虎系列》王非作品，综合材料
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings 150X60CM / 2019
《纸老虎系列》王非作品，综合材料
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019水墨装置如果不按照西方的方式打开空间与物性配置，如何保持心物感应时，还有着能量的转换，并且打开更为灵活的展场空间？早在之前几年，王非就关注灵魂空间的当代显现，他对于但丁神曲炼狱的水墨想象，以巨幅作品打开了灵魂游走的平面空间。但如何打开灵魂的道场呢？接纳虚无主义的狂欢与空幻呢？如何同时接纳二者，并且有着克服虚无主义的力量？
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings 158X84CM / 2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019王非发明了自己的建构方式，或者是活用传统的长轴，使之可以折叠卷曲，把不同形态，看似完全不相干的各种形态自由组合起来，但都具有一种不稳定性，形态的倾斜，这是一个处于上升与坍塌之间状态的世界，这是世界真实状态的最好表达。一旦王非把自己的作品布置在一个空间中，作品之间相互对话，就形成灵魂对话的场域。
很多作品以巨幅形态狭窄延展，但中间打开一个空洞，空洞处还有着一堆细碎似乎在生长的无名物，似乎如同草尖，如同祭祀之物，如同供品，让绘画具有一种隐秘的献祭仪式，这是王非水墨最为隐秘的内在能量的转换。
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings 150X130CM / 2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings 450X320CM / 2018
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings 170X82CM / 2018灵媒艺术的未来，有待于艺术家们，在中国的神秘传统与西方理性反思之间，在自然的生长性与技术的复制性之间，在笔墨的韵味与图像的诡异之间，在个体的内在梦想与公共的场域之间，找到自己的连接方式。王非的新水墨艺术，不只是水墨，不只是形式语言和概念风暴，而是一种唤醒艺术可能性，打开艺术新方向的灵媒艺术！
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2019
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2018
Psychics series/Experimental Ink, composite materialsWang Fei's Paintings / 2018
WO ART
1964年生于安徽。1986年毕业于阜阳师范学院美术系，1992年任职于中国佛教文化研究所，1999-2007年创办首家私人媒体《艺术状态》杂志并任主编，2009-2016年任清华大学美术学院当代水墨专项研修班导师， 2017年荣获“第二届艺术品市场价值建设奖——最具收藏价值奖”。 ................................ Born in Anhui province in 1964. He graduated from the Department of Fine Arts of Fuyang Normal University in 1986 and worked in The Institute of Buddhist Culture of China in 1992. From 1999 to 2007, he founded the first private media magazine 'State of Art' and served as the chief editor. From 2009 to 2016, he served as the tutor of contemporary Ink painting special training class in the Academy of Fine Arts of Tsinghua University. In 2017, it won the 'Second Art Market Value Construction Award -- Most Valuable Collection Award'.
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