傅文俊 Fu Wenjun

视觉艺术家 visual artist

《退场》系列 Leaving the Stage
《退场——从何而来，从何而去》
Leaving the Stage – Where Came from, Where to Go
《退场——大隐》
Leaving the Stage – Reclusion
《退场——国计民生》
Leaving the Stage – National Economy and People’s Livelihood
《退场——脊梁》
Leaving the Stage – Backbone
《退场——节奏》
Leaving the Stage – Rhythm
《退场——力量》
Leaving the Stage – Power
《退场——凝结于此》
Leaving the Stage – Condense in the Time
《退场——情节》
Leaving the Stage – Story
《退场——退色记忆》
Leaving the Stage – Fading Memory
《退场——线型结构》
Leaving the Stage – Linear Structure
《退场——遗留》
Leaving the Stage – Leave Behind
《退场——再次守望》
Leaving the Stage – On Watch Again

媒介：数绘摄影
尺寸：110 x 140 cm
创作年代：2008
傅文俊的摄影《退场》系列作品，向观众展示了那些从“岗位”上退下来，已经废弃不用的机车、工厂等形象。“退场”的主题和作品的视觉效果都表明，作者是从一个现代之后的特定立场和视角，去呈现和表达现代工业文明这一对象的。这也就是说，傅文俊摄取的图像，以及对图像所进行的改造，不仅把仍然在场的工业文明给景观化、艺术化了，而且更为重要的是把他们给历史化了。这意味着，对于作者来说，重要的并不是这些机车、工厂在经历了漫长的使用之后，因老化或被更先进的设备所取代而退出历史舞台这一事实，重要的是艺术家对这些象征着工业文明的对象所采取的文化、艺术和美学的立场与态度。
——《历史的意味》邹跃进（中央美术学院教授）

Media: Digital Pictorial Photography
Size: 110 x 140 cm
Year of Creation: 2008
Leaving the Stage, a photographic series by Fu Wenjun, presents to viewers a collection of locomotives, factories, and other industrial relics that have been retired from their “posts” and left in disuse. Both the theme and visual language of Leaving the Stage make it clear that the artist approaches the subject of modern industrial civilization from a distinctly postmodern perspective.
The images Fu captures—and more crucially, the ways in which he transforms them—do not merely aestheticize and monumentalize what remains of industrial civilization; they historicize it. That is to say, what matters is not simply the fact that these locomotives and factories have withdrawn from the historical stage due to aging or replacement by more advanced technologies. What truly matters is the cultural, artistic, and aesthetic stance the artist adopts toward these objects as symbols of industrial civilization.
— The Sense of History, by Zou Yuejin
Professor, Central Academy of Fine Arts