Pan Dehai 潘德海 China, 1956

介绍

‘Our  everyday  life  is  comprised  mainly  of  petty  things  and  trifling  matters.  However,  to  ‘fuss  over’  them  is   not  without  sense.  To  observe  them  carefully  can  bring  some  kind  of  change  to  ourselves,  to  experience   this  change  will  bring  our  thoughts  and  feelings  in  the  stream  of  our  past  and  present  as  well  as  stimulate   our  potential  talents,  to  allow  us  to  go  back  to  the  provenance  of  art  and  the  departure  of  life.’ 

--  Pan   Dehai  

Over  the  past  twenty  years,  established  artist  Pan  Dehai  has  been  widely  known  for  creating  the  image  of   the  ‘Corn  Men’  in  his  works.  And  for  artists  who  were  active  in  the  1980s,  the  name  of  Pan  Dehai  is  also   associated  with  an  influential  group  of  artists  in  the  history  of  Chinese  Contemporary  Art,  that  is   ‘Southwestern  Art  Group’,  which  came  into  being  after  the  ‘New  Age’  Art  Exhibition.  For  Pan  Dehai,  an   artist  who  sets  to  exploring  the  passions  of  life  and  the  questions  in  essence,  his  works  judges  these   aspects  from  a  special  perspective,  making  us  understand  this  world  more  truthfully  and  get  to  know  what   we  are  interested  in.

作品
传记

潘德海(1956—)吉林四平人。1982年畢業於東北師範大學藝術系油畫專業。代表作品有《掰開的苞米系列》、《火紅的年代系列》、《勞動者系列》、《胖子系列》、近期的《小時候系列》、《人間戲劇系列》等。代表論文有《想像與行動的對話》等。

潘德海是「西南藝術群體」中傑出的代表人物之一。與張曉剛、毛旭輝有「西南三劍客」之稱。1985年,潘德海同毛旭輝、張曉剛等人在上海、南京舉辦了《新具像》畫展。次年,同毛旭輝、張曉剛等人成立了「西南藝術研究群體」。1987年開始在紙上進行「苞米」這一特殊圖像的實驗和探索。1989年「苞米」系列作品入選中國美術館舉辦的《中國現代藝術展》。

 

從成熟的「苞米」系列開始,潘德海找到了屬於自己的符號形態,在視覺語言上確立了自己的獨特風格,思想上找到了載體與歸宿。約90年代後期,潘德海對「苞米」這一符號進行了改造與延伸,以《頭髮越來越少》為起點,正式開始了第二個符號——「胖子」系列的創作。「胖子」是一個導索或載體,真正想表達的是在政治濃度越來越低的時候,時代迎來新的問題和困惑。作品中「胖子」的形象豐滿遲鈍,充滿了慾望。與「苞米」系列深刻、沉郁風格完全不同的是,「胖子」這一全新視覺符號中增加了可以任意解釋的象徵、隱喻和諷刺趣味。色彩上,「胖子」系列逐漸從最初的灰調子,變得鮮亮而具有裝飾性,畫面中也出現了更豐富的題材,不同情境胖子的「臉色」也在變化著。近年的「小時候」系列和「人間戲劇」系列更以胖子描繪出中國於60至70年代間的趣聞軼事和帶入政治意義遠遠超過文藝價值的樣板戲裡。潘德海的繪畫語言日趨完整,表達的東西也越來越清晰。

 

In  form,  the  ‘Corn  Men’  are  a  synonym  of  affluent  materialistic  life  and  various   desirers;  yet  in  content  they  are  often  a  synonym  of  simple-­‐minded  people,  and  when  the  image  of  these   Corn  Men  is  connected  with  the  social,  political  and  life  scenes  during  the  red  era,  these  figures  dressed  in   blue  uniforms  give  us  a  sense  of  hardly  understandable  humor  and  absurdity.  This  not  only  enables  us  to   feel  the  empty  revolutionary  ideals  in  everybody’s  minds  at  that  time,  but  also  reminds  us  that  there  is  still   a  small-­‐peasant  mentality  and  other  feudal  ideas  in  our  pursuit  for  materialistic  desires  today.  For  his  latest   series,  Pan  Dehai  continues  to  bring  forward  this  concept  but  through  a  more  subtle  way  of  expression.

 

 

Bibliography

EXHIBITIONS

 

2012
"Youth Dialogue-Pan Dehai & Yu Fan Joint Exhibition" Yang Gallery, Beijing
"Modern Expression-Modern and Contermporary Oil Painting of Yunnan" National Art Museum of China, Beijing, China
2011
Future Pass, Venice Biennale, Venice, Italy
2008
Mahjong – Contemporary Chinese Art from the Sigg Collection, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA
Beijing-Athens: Contemporary Art from China, City of Athens Technopolis, Greece
Pan Dehai – Permeating Illusions, Watergate Gallery, Seoul, South Korea
Those Red Years: Pan Dehai Solo Exhibition, Myhumblehouse Art Gallery, Taiwan (solo)
2007
Viewing From Afar, Oriental Vista Art Collections, Shanghai, China
Set Up from Southwest, Guangdong Art Museum, Guangzhou, China 
From New Figurative Image to New Painting, Tang Contemporary Art Center, Beijing, China
Art and Collection, Poly Art Museum, Beijing, China
Pan De Hai Solo Exhibition, Poly Art Museum, Beijing, China (solo)
2006
2006 Yun Nan Contemporary Art Invitational, Square Gallery of Contemporary, Nanjing, China
International Art Exposition, Vanessa Art Center, Beijing, China
Create in Yun Nan, Yun Art Gallery, Kun Ming, China
Beijing International Art Exposition, Beijing, China
2005
Land of Warmth, Red Bridge Gallery, Shanghai, China
The Preordained Relationship Sky, Shenzhen Art Museum, Shenzhen, China
Scent of a Woman, Beijing, Shanghai, Hong Kong, China
Awakening: La France Mandarin-The French Influence on Chinese Art, National Art Museum of China, Beijing, China
2004
Gui Zhou Biennale, Guizhou Normal University Fine Art Museum, Guiyang, China
Awakening: La France Mandarine, The French Influence on Chinese Art, Urban Planning Exhibition Center, Shanghai, China
Chinese Contemporary Art Exhibition, Germany Duisburg Art Gallery, Germany
Contemporary Art Museum, Roman Contemporary Art Museum, Italy
2003
Guiyang Oil Painting Biennale, Guiyao, China
Schoeni Art Gallery Anniversary Exhibition, Schoeni Art Gallery, Hong Kong, China
2002
Chinese Contemporary Art Exhibition, Germany
2001
Girls and Boys, Soobin Art Gallery, Beijing, China
Pan Dehai Chubby Series, Schoeni Art Gallery, Hong Kong, China
Receding Hairline, Schoeni Art Gallery, Hong Kong, China (solo)
Girls and Boys, Soobin Art Int'l Gallery, Singapore
2000
Asian Contemporary Art Exhibition, Contemporary Art Gallery, London
1999
2000 Asia Exhibition, France
1996
Reality, Today, and Tomorrow, International Art Gallery, Beijing
1994
Pan De Hai Solo Exhibition, Goethe Institute, Beijing (Solo)
1993
From Mao to Pop Art, Australian Art Museum, Melbourne Art Museum, Melbourne, Australia 
Post ’89 New Art, Hong Kong Arts Center, Hong Kong
1991
China Contemporary Philology Exhibition, China Paint Institute, Beijing, China
Annual Exhibition of Oil Painting, Chinese History and Military Museum, Beijing, China
Chinese Contemporary Philology Exhibition, China Painting Institute, Beijing, China
1989
Chinese Contemporary Art Exhibition, National Museum of Art, Beijing, China
China Contemporary Art Exhibition, National Art Museum, Beijing, China
1988
China Contemporary Art Exhibition, Chengdu Art Museum, Chengdu, China
1985
New Image Fine Art Exhibition, Shanghai and Nanjing, Chin