刘劲祎
Liu Jinyi
1995年生于中国北京，目前生活于纽约。他2018年在马里兰艺术学院获得学士学位（Maryland Institute College of Art），研究生目前就读于纽约视觉艺术学院纯艺专业 （School of visual art, MFA）。
刘劲祎的作品是对艺术创作和日常生活的玩味解读。关注互联网时代的文化性冲突，以及文化冲突背后相互对抗又相互依存的共存关系。艺术家认为，我们当前的信息环境已经超出了人类的感知能力。图像、视频和图形嵌入并不断的增生，迅速的占据了在线世界的每个角落，其数量似乎无穷无尽。“我从这个网络宇宙中收集图片。电子游戏、漫画、流行音乐和网络小说。我将它们作为一个象征性的图像与我的绘画痕迹结合起来。用它们来制造一些充满误解但同时具有乐趣的对话和叙事。”艺术家采用了生物学上有机结合的概念。他把源自不同文化的不同符号看成是生物细胞，并让它们在他的画作中有机的结合，转化为全新的语言和叙事。
近期展览：“变态者绘画指南”，拟像空间，北京，中国，2022；“热烈的共舞于街中”，弥金画廊，上海，中国，2022；“Conceive：怀耘构月”，Latitude Gallery，纽约，美国，2022；“成对的破坏者”个人项目，盘子空间，北京，中国，2021；“No Theater” 放映厅，喜马拉雅美术馆，上海，中国，2021；“正在重新规划路线”，树美术馆，北京，中国，2021。
Liu Jinyi (b. 1995, Beijing, China) is an artist currently living in New York. He received his bachelor's degree (Maryland Institute College of Art) in 2018, and his graduate degree is currently studying at the School of Visual Art (MFA) in New York.
Liu Jinyi's works are playful interpretations of artistic creation and daily life. Focus on the cultural conflicts in the Internet age, as well as the mutual confrontation and interdependence behind the cultural conflicts. The artist believes that our current information environment is beyond human perception. Images, videos, and graphics are embedded and proliferated, rapidly occupying every corner of the online world in a seemingly endless number.
"I collect pictures from this cyber universe. Video games, comics, pop music, and web novels. I combine them as a symbolic image with my drawing traces. I use them to make something misunderstood but fun at the same time. Dialogue and narrative."
The artist adopts the concept of biological integration. He regards different symbols from different cultures as biological cells, and allows them to be organically combined in his paintings, transforming them into a new language and narrative.
Recent Exhibition: “The pervert’s guide to painting”, Simulacra art space, Beijing, China, 2022; “Romantic street dance”, Gene Gallery, Shanghai, China, 2022; “Conceive”, Latitude Gallery, New York, United State, 2022; “Pair of spoiler” solo project, Plate Space, Beijing, China, 2021; “No theater” video art screening, Himalayas museum, Shanghai, China, 2021; “Redirecting”, Tree museum, Beijing, China, 2021.
展览现场
Exhibition View
Q：如何看待绘画中的幽默性，这只是一种个人趣味还是对作品表达有更多的功能性？
A：当然最开始的驱动力是个人趣味，我会把觉得好玩的想法放到作品里。但是后来细想想，幽默性的表达一定有其功能。我之前读过一本书，是哲学家Simon Critchley的On Humour。在这本书里他对幽默有一个解释，“ 幽默可以让我们成为生活的哲学旁观者”。我非常认同。
Q:How do you see the humor in your paintings? Is it just a personal interest, or is it more functional to the expression of the work?
A:Of course, at first, it was driven by personal interest; I would put ideas into my work that I thought was funny. But then I thought about it and realized that humor must have a function. I read a book by philosopher Simon Critchley, On Humour, in which he explains that humor can make us philosophical spectators of life. I couldn't agree more.
Q：根据你的海外经验，中国年轻艺术家和美国年轻艺术家最大差异性在哪？（受教育经历和审美差异）
A：我个人没觉的有什么特别的差异。
Q:Based on your experience abroad, what are the most significant differences between young Chinese artists and young American artists? (Educational experience and aesthetic differences)
A:Personally, I don't see any particular difference.
Q：你在美国纽约做过展览，那边艺术圈从参展到销售是什么逻辑，你的感受怎么样？
A：我感觉挺好的。
Q:You have exhibited in New York; what is the logic of the art circle from exhibition to sales there, and how do you feel about it?
A:I felt pretty good.
孩子们眼中的希望是什么形状 The shape of hope in the eyes of children
丙烯和数字打印拼贴 Acrylic and ink on canvas
157cm × 120 cm
2022
无量の砍在了空处 Infinite blade void
布面丙烯 Acrylic on canvas
150 x 150cm
2021
Q：可以详细介绍一下这种图层式以及PS笔刷式的绘画语言背后的观念吗?
A：我特别喜欢街头艺术。不是那种精致的Graffiti，而是街头那些贴着一层一层，被撕开又有破损的海报和广告，还有那些喷在上面的乱糟糟的线条。我一直认为网络社群就是另一个街头。它从功能上继承了，也在视觉语言上有一定的相似。我会把鼠标的敏感度调高，然后在ps上画出很失控和幼稚的线条，这个感觉和我第一次用Spray paint很相似。
Q:Can you elaborate on the concept behind this layer-based and PS brush-like painting language?
A:I especially like street art. Not the exquisite graffiti, but the posters and advertisements that are torn and damaged and the messy lines sprayed on them. I've always thought of the online community as another kind of street. It inherits its functionality and also has some similarities in visual language.I would turn up the mouse's sensitivity and then draw very out of control and childish lines on ps. This feeling is very similar to my first time using spray paint.
Q：作品中的中文字符，在非中文语境扮演的角色是怎么样的呢? English-speakers对这些符号是怎么认知的呢？
A：我研究生的导师总是问我一个问题，就是 “你的观众是谁”。而我觉得我的作品还是要依托一个中文的语境去解读的。而且我觉得中文字符给我的画面一种特殊的气氛。我小时候特别爱看港漫，什么《天子传奇》那些。每次里面角色用个什么技能，旁边就会有书法字体写的很中二的招数名hhh。所以我画面里的中文的作用一方面是传递信息，一方面是作为一个记忆中的视觉元素去烘托气氛。
Q:What is the role of Chinese characters in the work with non-Chinese contexts? How do English speakers perceive these symbols?
A:My graduate advisor always asked me, "Who is your target audience? "And I think my work still has to be interpreted in a Chinese context.
And I believe that Chinese characters bring a unique atmosphere to my images. I especially loved watching Hong Kong manga, such as "Legend of the Son of Heaven," when I was a kid. Every time a character uses a specific skill, there will be a cheesy calligraphy font that writes the name of the move next to it, lol. So the role of Chinese in my image is, on the one hand, to convey information; on the other hand, as a visual element of memory to enhance the ambiance.
危险危险危险 Dangerous
丙烯和数字打印拼贴 Acrylic and ink print on canvas
121cm x 91cm
2022
世界第三 No.3
丙烯和数字打印拼贴 Acrylic and ink print on canvas
150cm x 119cm
2022
Q：如何看待流行文化对绘画的影响？
A：流行文化是我创作的基础和背景。我认为的流行文化就是当下进行中的文化，不应该解读成有着某种意识形态属性和时代背景的文化。
Q:How do you see the influence of pop culture on painting?
A:Pop culture is the basis and background of my creation. What I think of as pop culture is the ongoing culture of the moment and should not be interpreted as a culture with specific ideological attributes and the background of the times.
Q：你怎么看待在今天当代艺术的状态，绘画这个媒介, 或者说你为什么选择绘画？你想表达的是不是必须通过绘画才能实现？
A：我也不是只做绘画，我也做装置和影像。但是绘画我觉得是更私人和自由的。
Q:How do you see the painting medium in today's state of contemporary art, or why did you choose painting? Does what you want to articulate have to be realized through painting?
A:I don't only do painting; I also do installation and video. But as for painting, I think it is more intimate and accessible.
成对的破坏者 Pair of spoiler
互动装置及影像 Interactive installation & video
2022
每天跑步让我减了10斤 Lost 10bls by running every day
影像 Video
2020
铁甲蛹的爱情 Metapod love
互动装置及影像 Interactive installation & video
2020
Q：艺术家是否该将社会实时动态和新闻融入进创作？
A：我不会说该不该，我很反感艺术家责任这种东西。但是我觉得肯定是会收到时事影响的。我觉得我在创造时总是会不自觉的联系到一些对社会新闻的感想，可能老是逛知乎逛的头大。
Q:Should an artist incorporate real-time social developments and news into his work?
A:I wouldn't say yes or no; I detest such things as artist responsibility. But I think it is definitely influenced by current events. I guess I always unconsciously connect to some feelings about social news when I create; maybe I always have a headache from browsing Zhihu.
前有朋友 Friend ahead
布面丙烯 Acrylic on Canvas
157cm x 157cm
2022
星之卡比 Star@snorlax
布面丙烯 Acrylic on canvas
120cm x 94cm
2022
我已再不渺小 I am not little anymore
布面丙烯 Acrylic on canvas
152cm x 198cm
2022
Q：你的作品使用了大量的视觉符号现成品，你是如何做出这一选择的呢？
A：我觉得使用现成品不是一种选择，对他们视而不见才是吧，毕竟身边到处都是。如果非要跳过这些去选择别的，有点不自然。
Q:You use a lot of visual symbols in your work; how did you make your choice?
A:I don't think it's a choice to use ready-made products; it's a choice to ignore them; after all, they are everywhere around us. It's a bit unnatural to have to skip them and choose something else.
到此一游 Was here
布面丙烯 Acrylic on Canvas
162cm x 167cm
2021
剪影你的轮廓太好看 I am in love with the shape of you
布面丙烯 Acrylic on Canvas
187cm x 111cm
2021
热烈的共舞于街中 Romantic street dance
布面丙烯 Acrylic on Canvas
190cm x 114cm
2022
社交名流巨像保镖 Celebrity look like security
布面丙烯 Acrylic on Canvas
137cm x 127cm
2021
什么玩具可三人共享 Toys that can be shared
布面丙烯 Acrylic on Canvas
167cm x 96cm
2021
Give me a computer when I am 18
布面丙烯 Acrylic on canvas
157cm x 157cm
2022
Teeeeam work
布面丙烯 Acrylic on canvas
170cm x 96cm
2021
拜泪 Save your tears
布面丙烯 Acrylic on Canvas
101cm x 119cm
2021
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