开幕时间：2021年04月10日16:00:00
展览机构：美博美术馆
展览地址：上海市闵行区黎明路88号美博艺术中心
策 展 人：晓君
艺术总监：孔孔
学术主持：林书传
主办单位：美博艺术中心
承办单位：美博美术馆
协办单位：美博美术馆 要艺术 汉美教育 萨斑卡花园餐厅
参展人员：马兆琳
出品人：陈晖
展览海报
一个叫理想 Ideal 纸本设色 Ink and color on paper 97×90cm 2020
马兆琳的绘画既具有很强的辨识度，又很跳脱、静逸，画面呈现出的质感和氛围，在给人以不同维度的审美愉悦的同时，也给不同智识背景的观众都预留了充足的读解空间。无论画人还是画动物，哪怕老虎、豹子这样的猛兽在她的笔下，也都性情温驯、丰腴滋润，杳无猛兽的粗粝和野性，代之以一副莫可名状的招人怜爱的气质。与此同时，画面中对头和身体比例所进行的异化处理，可以看着是她对真实形象的一种刻意误读和转化，从而藉此来试图冲破符号体制的规训与束缚。
可以说，无论是绘画的形式语言，还是绘画的观念延宕，马兆琳都已经成功地确立了她自己独有的、自足的一套体系。她曾经说过一句话——“理想和主义是我对人生有一些理解和不理解”——通常情况下，理想是追求的那个目标、主义是系统性的路线和方法论，当它们并置在“人生”的这个场域中，说理解，很有可能是出于一种自我的误解，说不理解兴许才是客观的事实。她对“理想和主义”的这一表达，充分显示了一个好艺术家必须具备的重要品质：真诚。
《礼记》中讲“中正无邪，礼之质也”，然而，在今天的艺术场域里，这种品质已然变得很稀有了。不管是当代水墨，还是传统中国画，都形成了一整套集体无意识的套路。很多艺术家都是在这个业已体制化的空间里做“表演型”创作，鲜有做到《礼记》里讲的“正直而没有邪念”的真诚，固定的材料组合、大同小异的图式、参差不齐的技法，像是一场无休无止的倒带和重放。个体创作是这样，大的生态也是这样，这似乎已经成了一个死循环。在这样的绘画生态中，马兆琳的真诚，显得难能可贵。
不仅如此，作为一个在传统中国画氛围浓郁的学院环境中，浸淫了二十多年的艺术家，马兆琳的真诚还表现在她对赛·托姆布雷、德·库宁、马克·罗斯科这样的西方抽象艺术家直言不讳的关注和热爱。我们从她笔下的天鹅、马、猴子、老虎、豹子、鹿这些动物的造型手法上，也清晰地可以看出了她的与众不同。简单来说，她的造型里混杂了一些来自西方的异形、畸变、夸张、抽象的后现代手法，她的笔墨技艺呈现出的却又是深厚的传统底蕴，从而造就了一种布莱希特所谓的让观众看戏，但并不融入剧情的间离效果。
一个叫主义 Doctrine 纸本设色 Ink and color on paper 97×90cm 2020
东西方截然不同的两套系统，在马兆琳这里得到了很好的融合和平衡，并进一步深化了她的创作。她笔下的人物，基本上也是沿着她的这一套方法轨迹在创作。无论是《白马》系列，还是《她们》系列，都是既完美有了古典的、东方的优雅婉约，又兼有含蓄中的撩拨，闷锅里的沸水之意绪，让你感受到肾上腺素在升高，但是又时刻提醒你是在误读。这种读解过程中，时时发生的信息偏离，和导航脱轨，一方面使价值体认的空间得到了有效扩展，意义变得漫漶，另一方面，又使正确的答案不再恒定，出现失位、游离、散佚，进而绘画的审美意蕴得以挣脱二维平面的束缚，进入更高的维度。
总体而言，无论是对东方绘画语言的理解和把握，还是对西方抽象观念的吸收和化用，马兆琳都达到了一种顾盼自如、恰如其分的境地。正如她在肖像系列中表现出的那样，通过对人物脸部微表情审慎、思辨地处理，既抵达了客观的真实，又超然于客观的真实，进而深刻地表明了一种非常高迈的误读的存在。按照安伯托·艾柯的说法：“一切阅读都是误读”，那么这种误读所产生的结果，在很大程度上再一次的证明了艺术作品的一条普遍性原则：可供误读的空间大小，决定了一件作品的价值大小。
ALLOW MISREADING：MA ZHAOLIN SOLO EXHIBITION
Ma Zhaolin's solo exhibition 'allow misreading' will open at 4:00 p.m. on April 10 at Meibo Art Museum. The artist's observation of society has a strong and unique personal perspective， It is a successful landing and rebirth to separate and reinterpret from the perspective of internalized self cognition and break through a path between the inner and the outer world.
ALLOW MISREADING
· Lin Shuchuan
Ma Zhaolin's paintings not only have astrong degree of recognition, but also are jumping and quiet. The texture andatmosphere presented in the pictures not only give people different dimensionsof aesthetic pleasure, but also reserve sufficient reading space for audienceswith different intellectual backgrounds. In her works, no matter people oranimals, even tigers and leopards are gentle, plump and moist. There is nobrute's rough and wild nature. Instead, she has an indescribable temperamentthat attracts people's love. At the same time, the alienation of the head andbody ratio in the picture can be seen as her deliberate misreading andtransformation of the real image, so as to try to break through the disciplineand bondage of the symbol system.
It can be said that Ma Zhaolin hassuccessfully established her own unique and self-sufficient system, whether itis the formal language of painting or the delay of painting concept. She oncesaid that 'ideal and idealism are my understanding and incomprehension oflife'. Generally speaking, ideal is the goal to pursue, and idealism isthe systematic route and methodology. When they are juxtaposed in the field of'life', understanding is probably a kind of self misunderstanding. Itmay be an objective fact to say that we don't understand. Her expression of “idealand idealism' fully shows an important quality that a good artist mustpossess: sincerity.
In The Book of Rites, it is said that'the quality of propriety is good without evil'. However, in today's art field, this quality has become very rare. Both contemporary ink and washand traditional Chinese painting have formed a set of collective unconsciousroutines. Many artists are doing 'performing' creation in this institutionalized space, rarely achieving the sincerity of 'integrity without evil ideas' mentioned in The Book of Rites. Fixed material combination, similar schema and uneven techniques, are like an endlessrewinding and replay. Individual creation is like this, so is the big ecology, which seems to have become a dead circle. In this kind of painting ecology, Ma Zhaolin's sincerity is commendable.
《感觉自己像河马》 马兆琳 45×49cm 2020年 纸本设色
Moreover, as an artist who has been immersed in the academic environment of traditional Chinese painting for morethan 20 years, Ma Zhaolin's sincerity is also reflected in her outspoken concern and love for such western abstract artists such as Cy Twombly, De Kooningand MarkRothko. We can clearly find her uniqueness from the animals’ modeling in herworks, such as swan, horse, monkey, tiger, leopard and deer. In short, hermodeling is mixed with some heteromorphic, distorted, exaggerated and abstract postmodern techniques from the West, but her brush and ink skills show theprofound traditional heritage, thus creating a kind of estrangement effect that Brechtcalled, letting the audience watch the play, but not integrating into thedrama.
The two different systems of the East andthe West are well integrated and balanced here by Ma Zhaolin, and also deepen her creation. The characters in her works are basically created along thispath. Whether the “White Horse” series or the 'They' series, both perfectly praise the classical and oriental elegance and grace as well as theimplicit provocation and the feeling of boiling water in the stuffy pot, all of which make you feel the adrenaline rising meanwhile remind you that you aremisreading all the time. In the process of interpretation, the information deviation and navigation derailment, on the one hand, effectively expand thespace of value recognition, and make the meaning become diffuse, on the otherhand, make the correct answer no longer constant, appear loss, dissociation, scattered, and then the aesthetic meaning of painting can break away from the shackles of two-dimensional plane, into a higher dimension.
Generally speaking, Ma Zhaolin has achieveda comfortable and appropriate situation in terms of understanding and graspingthe East painting language and absorbing and applying the Western abstract concepts. As she shows in the series of portraits, through the careful andspeculative treatment of the micro expressions on the characters' faces, shenot only reaches the objective reality, but also transcends the objectivereality, and further shows the existence of a very lofty misreading. Accordingto Umberto Eco: 'all reading is misreading', So the result of this misreading, to a large extent, once again proves auniversal principle of works of art: the size of space for misreading determines the value of a work.
《我欲成仙1》 马兆琳 97×90cm 2020年 纸本设色