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【展览】惊雷破瓮——廖冰兄晚年漫画作品展

发布时间:18-08-28

主办:广州艺术博物院
展期:2018年8月30日开始
展馆:二楼廖冰兄艺术馆
展品数量:58件(暂定)
展览内容设计:吴冰丽
审校:翁泽文、陈志云
展览形式设计:黄曦
摄影:朱劲中
英译:吴晓雯
 
前  言

       廖冰兄(1915—2006),我国当代著名漫画家。祖籍广西象州,生于广东广州。1932年开始发表漫画,坚持漫画创作七十多年,作品以批判性和讽刺性政治漫画居多。他是一位杰出的思想家和人道主义者,具有强烈的社会责任感和使命感,自比为“清道夫”和“清洁工”,怀着“给世界擦把脸”的坚定信念,毕生用画笔揭露和鞭挞各时期社会现实中的假恶丑现象,弘扬正义和良知。曾任广东木偶艺术剧团舞台美术设计、广东省美术家协会副主席。2003年获“中国美术金彩奖”,2004年获“造型艺术成就奖”。 
       1976年“四人帮”垮台,在欢庆之余,廖冰兄醒犹未醒。1978年5月,他读到《实践是检验真理的唯一标准》一文,认为此文“拯救了我的灵魂”,由此得以解放思想,恢复了独立思考的精神。同年12月,以中共十一届三中全会的召开为标志,中国开启了改革开放的历史进程。改革开放促使中国命运发生重大转折,也促使廖冰兄对此前的道路作出回顾,并通过漫画表明自己对过往历史的态度,揭露社会的本质和缺陷。其中,《自嘲》作于1979年,现已成为中国改革开放的文化符号。此外,同时期的著名作品还有《噩梦录组画》等。其后,他继续以超凡的勇气创作出《写在人妖颠倒的日子》、《也是武松》、《醒犹未醒》、《剪辫子》等大批作品,并对《自嘲》一画作出新的演绎,以荒诞、夸张、幽默的艺术手法对自身和改革开放之前的历史进行深刻的反思,对改革开放初期各种社会矛盾激烈冲突下的社会现象予以深刻的揭示,将中国改革开放的思想成果以富有其个人特色的方式保存下来。
       我们回顾廖冰兄的漫画,可以从中看到艺术家的批判精神对于深化改革的积极意义。这种对时代的深入思考和清醒认识,即使放在今天,也仍然能够给人们带来思想上的启示与情感上的冲击,更加坚定人们对改革开放正确性与必要性的认识。改革开放之所以能取得世界瞩目的成就,正是因为我们民族有这种自省的勇气和力量。

广州艺术博物院
       2018年8月


 

Preface

       As a famous contemporary cartoonist in China, Liao Bingxiong (1915-2006) was born in Guangzhou, Guangdong while his ancestral home was Xiangzhou, Guangxi Province. In 1932, he began to publish comics and insisted on comic creation for more than 70 years. His works were mostly political and sarcastic comics. He was an outstanding thinker and humanist, who had a strong sense of social responsibility and mission. He was regarded as a "scavenger" and "cleaner" and had a firm belief in "wiping the world with his face." Expose and whip the false and ugly phenomena in social reality in various periods and promote justice and conscience. He once served as stage design for Guangdong Puppet Art Troupe and vice chairman of Guangdong Artists Association. In 2003, he was awarded the "Chinese Art Gold Color Award" and in 2004 he was awarded the "Modeling Art Achievement Award".
        In 1976, the "Gang of Four" collapsed and during the celebration, Liao Bingxiu was half-awake. In May 1978, he read the article "Practice is the sole criterion for testing truth." He believed that this article "saved my soul", which freed the mind and restored the spirit of independent thinking. In December of the same year, with the convocation of the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China, China began the historical process of reform and opening up. The reform and opening up have brought about a major turning point in China, and it also prompted Liao Bingxiong to review the previous roads and to show his attitude to past history through comics, exposing the nature and defects of society. Among them, Self Caricature was created in 1979 and had now become a cultural symbol of China's reform and opening up. In addition, the famous works of the same period include Record of Nightmare Group Cartoon. Later, he continued to create a large number of works including Tiger Killer or Cat Killer?, Half-awake, Braid Cutting etc. with extraordinary courage, and made a new interpretation of Self Caricature. With profound artistic reflections of absurdity, exaggeration, and humor, we profoundly rethought ourselves and the history before the reform and opening up, and profoundly revealed the social phenomena under various conflicts of social contradictions at the initial stage of reform and opening up, and we will make the ideological achievements of China’s reform and opening up with distinct features.
        As we review the comics of Liao Bingxiong, we can see that the critical spirit of the artist is of positive significance for deepening reforms. Such in-depth thinking and sober understanding of the times, even today, can still bring people ideological revelation and emotional impact, and further strengthen people's understanding of the correctness and necessity of reform and opening up which is precisely the courage and strength our nation has to introspect ourselves.
Guangzhou Museum of Art
August 2018








 


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