编号:124
铜板、铜线、树脂 雕塑
版数：8/10
2001年作
签名：CAIZHISONG 8/10
出版：《故国》。
说明：本作品直接得自艺术家本人。
CAI ZHISONG(b.1972) EULOGY OF HOMELAND 4
Resin, copper plate, copper line, sculpture
10 Available
Dated 2001
Pubished: Homeland.
Note: This work is offered by the author.
91×63×48cm
RMB:400,000-500,000
蔡志松 Cai Zhisong
1972年出生于辽宁。1997年毕业于中央美术学院雕塑系。2001年毕业于中央美术学院雕塑系研究生同等学历班。1998-2008年任教于中央美院。现为中国雕塑协会会员，中国工艺美术协会雕塑委员会委员。
主要展览及艺术活动：
1997年 获岗松家族基金奖。
1999年 “第九届全国美术作品展”，北京。
2000年 “纪念抗日战争胜利五十五周年美术作品展”，获金奖。
2001年 “中国河北国际雕塑邀请展”，获优秀作品奖。
“法国巴黎秋季沙龙”，获泰勒大奖。
“中国当代艺术欧洲巡回展”，欧洲各国。
“西湖国际雕塑邀请展”，杭州。
2003年 “中国·福州国际城市雕塑邀请展”，获优秀作品奖。
“第一届今日中国美术大展”，北京。
“首届北京国际美术双年展”，北京。
2004年 “第十届全国美术作品展”，获铜奖。
获中央美术学院佳作奖。
“中国·想象：中国当代雕塑艺术展”，法国。
“德国科隆国际艺术博览会”，德国。
“亚洲艺术邀请展”，美国。
“中国·比利时当代雕塑展”，比利时。
2005年 “‘开放空间’雕塑作品展”，北京。
“移植的风景—中国当代雕塑与装置展”，美国。
2007年 “‘塑本求源’当代雕塑邀请展”，北京。
Cai Zhisong, born in Shenyang of Liaoning Province in 1972, graduated from the Department of Sculpture of China Central Academy of Fine Arts(CAFA) in 1997, where he received the Master’s Degree in 2001 and stayed for teaching until now. Currently he is the member of China Sculpture Institute, member of the Committee of Sculpture of Chinese Art and Crafts Association. Awards: the Gold Medal in “Fine Arts Exhibition for Commemorating the 55th Anniversary of the Victory of Sino-Japanese War”, 2000; the Tayler Prize of “French Autumn Salon”, 2001; the Bronze Award in “The 10th National Fine Arts Exhibition”, 2004, etc. Main Exhibitions: “The 1st Beijing International Biennial”, Beijing, 2003; “Art Cologne”, Germany, 2004; “Chinese Contemporary Sculpture and Installation Exhibition”, Washington, U.S.A, 2005, etc.
蔡志松先生的作品让我们震动，作品是非常明确的现代艺术，但却同时深深植根于中国的历史与文化之中，同时又赋予其一个新的灵魂，所以他很自然的获得了2001年巴黎秋季沙龙的泰勒大奖这一殊荣。
他的作品是历史与现代的完美结合，既体现了艺术家对多种技艺的掌握，又表现出不墨守成规的特点，用一种内在和含蓄的感染力来结合了传统与现代。毫无疑问，这些作品使我们心灵激荡。
各种文化的对话和相互之间的丰富与充实是必要的。如果艺术的创新不能够完全逃避它们的共性，那么对于艺术家来讲应该把这个共性看作一个过程，而不是承受一种难以忍耐的历史必然性。
蔡志松先生就是处在这个环境里，这位艺术家唤起了我们的深思，他向我们巧妙地暗示了一个新的艺术道路，这个实践过程将是绝对可以取代单纯视觉上的愉悦。
—比利时驻华大使 万德斯
Art that moves the soul
The works of Cai Zhisong intrigue us. They are truly contemporary. At the same time, they have deeper roots in Chinese culture and history. This latter dimension rewards them with a spiritual feel. Accordingly the artist received the TAYLOR Prize at the Prize Salon d’ Automne in 2001. Simultaneously those sculptures confront us with memory and modernity. They might look frozen in time but this perception is deceiving. They rely on tension between complementary poles. It is this undefined feeling that our emotions find their “feedback”.
Civilization have to dialogue and must interact to survive. The tides of globalization have reached the shores of culture but should not be undergone as a “fatality”. On the contrary, the artist has the ability to turn determinism upside sown and to mould globalization into a more acceptable and diverse dynamic. Cai Zhisong invites us to consider an alternative to Fukuyama’s “The End of History”. His familiarity with paradox provides us a remedy against the threat of advancing monocausalism.
—Belgian Ambassador to China, Gaston Van Duyse-Adam