第 61 届威尼斯国际艺术双年展全球推荐艺术家——钱乐昌

前言

艺路无疆，文脉赓续。作为本届威尼斯国际艺术双年展官方特别推荐艺术家，本次参展是国际艺术权威平台对创作者艺术造诣、风格体系与综合创作实力的专业认定与高度褒扬。

系列作品深植中华千年文脉沃土，承传统笔墨气韵，融当代艺术思潮。创作坚守东方审美内核，打破地域艺术壁垒，以兼具民族辨识度与国际当代性的艺术语言，实现传统底蕴与现代视角的深度融合，形成独有的艺术风貌。

立足世界顶级艺术殿堂，以艺为桥、以美互通。本次特别推荐展出，旨在向全球艺术界立体呈现新时代东方艺术的创新表达与精神格局，助力中国艺术走出本土、对话世界，在国际文明交流语境中彰显中华美学的当代价值与恒久生命力。

Preface

Art knows no boundaries, and cultural traditions continue to flourish. As an artist officially recommended by this year's Venice International Art Biennale, participating in this exhibition signifies a professional recognition and high praise from an authoritative international art platform for the artist's artistic attainments, stylistic system, and comprehensive creative abilities.

The series of works is deeply rooted in the fertile soil of China's millennia-old cultural heritage, inheriting the charm of traditional ink and wash painting and blending with contemporary art trends. The creation adheres to the core of Eastern aesthetics, breaks down regional art barriers, and achieves a deep fusion of traditional essence and modern perspective through an artistic language that combines national distinctiveness with international contemporaneity, forming a unique artistic style.

Based in the world's top art halls, we use art as a bridge and beauty as a common ground. This special exhibition aims to present a three-dimensional view of the innovative expression and spiritual framework of Eastern art in the new era to the global art community, helping Chinese art to go beyond its native land, engage with the world, and demonstrate the contemporary value and enduring vitality of Chinese aesthetics in the context of international cultural exchange.

钱乐昌，当代独立艺术家，皖南码头艺术山谷总规划师。

早年研习油画，后扎根泾县宣州窑文脉，以皖南本土陶土、古法柴烧进行创作，将古窑材质转化为当代艺术语言。

主导规划皖南码头艺术山谷乡村艺术项目，搭建艺术家驻地与公共艺术空间。

主要系列作品:《面对面》《方舟》《图腾》《皖南春色》《千年留痕》。

作品探讨自我审视、精神归属、乡土与时代的关系，多次参与国内外艺术展览，设有个人艺术馆，持续探索传统窑艺、综合材料与当代装置的融合。

Qian Lechang, a contemporary independent artist, serves as the chief planner of the Wharf Art Valley in southern Anhui.

After studying oil painting in his early years, he later took root in the cultural heritage of Xuanzhou Kiln in Jing County, using local pottery clay from southern Anhui and ancient wood-fired techniques for his creations, transforming the materials of ancient kilns into contemporary artistic language.

I spearheaded the planning of the Wannan Wharf Art Valley Rural Art Project, establishing artist residencies and public art spaces.

Main series of works: "Face to Face", "Ark", "Totem", "Spring Scenery in Southern Anhui", "Traces of a Thousand Years".

The work explores self-examination, spiritual belonging, and the relationship between local culture and the times. The artist has participated in numerous art exhibitions both domestically and internationally, and has established a personal art gallery. He/She continues to explore the integration of traditional kiln art, mixed media, and contemporary installations.

作品名:面对面

艺术家:钱乐昌

这件装置跳出陶艺雕塑形式，采用绘画与立体构件组合。背景画作以几何线条拆分人脸，五官碎片化交错;前景立式画板排布残缺的面部符号，绿色框架构建出空间边界。不再只是实体造型的对峙，而是平面与立体图像多层对望。面孔被拆解，寓意人与人难以窥见完整的彼此，我们只能在碎片化的形象间隙里，尝试对视与共情。

This installation transcends the form of ceramic sculpture, employing a combination of painting and three-dimensional components. The background painting dissects a human face with geometric lines, fragmenting and intertwining its facial features; the foreground features a vertical panel arranged with incomplete facial symbols, with a green frame framing the spatial boundaries. It is no longer just a confrontation of solid forms, but a multi-layered dialogue between two-dimensional and three-dimensional images. The face is disassembled, symbolizing the difficulty for people to fully perceive each other. We can only attempt to gaze into each other's eyes and empathize within the gaps of fragmented images.

泥土立碑|钱乐昌《图腾》系列，寻回现代人的精神锚点

宣州窑新作|一组陶塑，叩问当代人的精神信仰

正文:

当代独立艺术家「钱乐昌」扎根泾县宣州窑千年文脉，以本土陶土、古法柴烧，打造《图腾》系列陶艺雕塑。

高低错落的陶碑伫立空间，尖耸柱体、厚重板块布满孔洞与粗粝肌理。

没有具象人形，斑驳凹凸的表面带着窑火灼烧的痕迹。

一个个孔洞如同静默的眼睛，静静凝望。

远古图腾，是族群共同的精神符号。而今天，图腾不再是祭祀的神像。一块块泥土铸成的碑石，是留给当代人的追问。

洪流奔涌的当下，我们该去哪里寻找属于自己的精神坐标。

Earth Monument | Qian Lechang's "Totem" Series, Recovering the Spiritual Anchor of Modern People. New Works from Xuanzhou Kiln | A set of ceramic sculptures, inquiring into the spiritual beliefs of contemporary people. Text: Contemporary independent artist "Qian Lechang" takes root in the thousand-year cultural heritage of Xuanzhou Kiln in Jing County, using local clay and ancient wood-fired techniques to create the "Totem" series of ceramic sculptures.

The space is filled with scattered ceramic steles, with pointed columns and massive slabs adorned with holes and rough textures.

Without a specific human form, its mottled and uneven surface bears the traces of kiln fire.

Each hole is like a silent eye, gazing quietly.

Ancient totems are the shared spiritual symbols of ethnic groups. Today, totems are no longer statues for worship. The stone tablets, cast from clumps of clay, are left for contemporary people to ponder.

In this tumultuous era, where should we turn to find our own spiritual compass.

标题:碎绿为山|钱乐昌重构皖南春色

正文

传统印象里的皖南春色，是烟雨山野钱乐昌跳出写实风景。

细碎颗粒铺成浓郁的绿，揉碎整片春光。黑色几何块面交错堆叠，拆解出山峦、村落:的轮廓。

春色不再只是眼前风景，鲜活的绿与冷峻的黑色结构相互碰撞，

是经过当代视角拆解重组后，记忆里的精神故土。

艺术家|钱乐昌皖南码头艺术山谷总规划师

代表作品:《面对面》《方舟》《图腾》《皖南春色》

Title: Fragments of Green Form Mountains | Qian Lechang Reconstructs the Spring Scenery of Southern Anhui

In the traditional impression, the spring scenery of southern Anhui is a mountain wilderness shrouded in mist and rain. Qian Lechang transcends the realistic landscape.

Fine particles pave a rich green, crushing the entire spring scenery. Black geometric blocks are interlaced and stacked, revealing the contours of mountains and villages.

Spring scenery is no longer just a view before your eyes. The vibrant green and stark black structures collide with each other, representing the spiritual homeland in memory after being dismantled and reorganized from a contemporary perspective.

Artist | Qian Lechang, Chief Planner Representative of the Art Valley at Wannan Wharf, Representative Works: "Face to Face", "Ark", "Totem", "Spring Scenery in Southern Anhui"