傅文俊作品《城市在被看见与被遗忘之间》荣获第十五届佛罗伦萨国际当代艺术双年展视频艺术类二等奖 – 了解更多
2025年10月18日-10月26日
意大利佛罗伦萨Fortezza da Basso
2025年10月18日至26日，第十五届佛罗伦萨国际当代艺术双年展于佛罗伦萨Fortezza da Basso举办。本届双年展以“光与暗的崇高本质（The Sublime Essence of Light and Darkness）”为主题，通过多元媒介汇聚全球艺术家，共同思考文明与自然、理性与感性、可见与不可见之间的相互生成关系。
在这样一个以哲学视角拓展艺术边界的国际平台上，中国当代艺术家傅文俊凭借参展作品《城市在被看见与被遗忘之间：我的视觉艺术记录》荣获第十五届佛罗伦萨国际当代艺术双年展视频艺术类二等奖。这一重要奖项标志着作品在国际语境中获得高度肯定，也进一步凸显了艺术家在跨媒介创作与人文议题思考上的国际影响力。
光与暗的议题自古希腊哲学家赫拉克利特、毕达哥拉斯到东方《易经》的阴阳之理，始终是关于世界运作本质的探问。本届双年展正是基于这种哲学持续性，邀请艺术在时间与精神层面重述光的本体性与暗的深度。
傅文俊的作品在这一语境中，以时间作为媒介与构成逻辑，将三件跨越十余年的重要创作重新编织为一段非线性的视频叙事。作品呈现了重庆城市空间在工业转型时期的剧烈变迁，从吊脚楼民居的消逝，到“棒棒”搬运工群体的身体记忆，再到工业文明褪去后的数字化跃迁。在影像、雕塑与装置之间的跨媒介转换中，视觉既是记忆的容器，也是时间的切片，光线穿行于影像断层之中，使被遗忘的事物重新显形。
视频作品《城市在被看见与被遗忘之间：我的视觉艺术记录》揭示了观看行为背后的伦理与哲思。当城市的原初纹理不断褪色，当劳动者的身影被高速更迭的城市形态边缘化，当工业时代的废墟被电子语言重塑，艺术家试图追问：在被忽略与被记录之间，谁决定什么得以被看见？作品使观看转化为一种对存在本质的敏感体认，让光与暗不再是形式对立，而是人文、技术、历史与记忆在不断交叠中的参照和互证。
在佛罗伦萨——这座曾以光照亮整个文明进程的城市——艺术家傅文俊以当代视觉语言重新触摸这一本源性的哲学命题：光不仅是照亮万物的物理现象，更是一种通向理解、共感与再生的精神力量。作品在此获得视频艺术类二等奖，正是其深刻思想性与形式探索力的集中体现，也为中国当代艺术在全球叙事中书写下新的篇章。
Fu Wenjun’s work “The City Between Being Seen and Being Forgotten” was awarded the Second Prize in the Video Art category at the 15th Florence Biennale – Read more
October 18 – October 26, 2025
Fortezza da Basso, Florence, Italy
From October 18 to 26, 2025, the 15th Florence International Contemporary Art Biennale was held at the Fortezza da Basso in Florence. Centered on the theme The Sublime Essence of Light and Darkness, the Biennale brought together artists from around the world working across diverse media to reflect on the generative relationships between civilization and nature, reason and sensibility, the visible and the invisible.
Within this international platform—one that expands the boundaries of art through a philosophical lens—Chinese contemporary artist Fu Wenjun was awarded the Second Prize in the Video Art category for his exhibited work The City Between Being Seen and Being Forgotten: My Visual Art Record. This significant recognition affirms the work’s strong resonance within an international context and further highlights the artist’s global presence in cross-media practice and humanistic inquiry.
The discourse on light and darkness, from ancient Greek philosophers such as Heraclitus and Pythagoras to the Eastern cosmology of yin and yang in the I Ching, has long been a fundamental investigation into the nature of how the world operates. Building upon this philosophical continuity, the Biennale invites art to rearticulate the ontology of light and the depth of darkness across temporal and spiritual dimensions.
Within this framework, Fu Wenjun’s work employs time as both medium and structural logic, reweaving three major works created over more than a decade into a non-linear video narrative. The piece traces the dramatic transformations of Chongqing’s urban space during its period of industrial transition—from the disappearance of stilted residential houses, to the embodied memories of the bangbang porters, and further to the digital leap that followed the retreat of industrial civilization. Through cross-media shifts between video, sculpture, and installation, the visual image becomes both a vessel of memory and a slice of time, with light moving through the fractures of imagery to render the forgotten visible once again.
The video work The City Between Being Seen and Being Forgotten: My Visual Art Record reveals the ethical and philosophical dimensions underlying the act of looking. As the city’s original textures gradually fade, as the figures of laborers are marginalized by the rapid turnover of urban forms, and as the ruins of the industrial era are reshaped through digital language, the artist poses a fundamental question: between neglect and documentation, who decides what is allowed to be seen? The work transforms viewing into a sensitive awareness of the essence of existence, where light and darkness are no longer formal oppositions, but points of reference and mutual verification among humanity, technology, history, and memory as they continuously overlap.
In Florence—a city that once illuminated the course of civilization through light—Fu Wenjun revisits this foundational philosophical question through a contemporary visual language: light is not merely a physical phenomenon that illuminates all things, but a spiritual force that leads toward understanding, empathy, and renewal. The awarding of the Second Prize in the Video Art category stands as a concentrated acknowledgment of the work’s intellectual depth and formal exploration, and marks a new chapter for Chinese contemporary art within the global narrative.
意大利萨莱诺当代艺术双年展 – 了解更多
2025年10月18日-11月2日
意大利萨莱诺弗鲁西奥内宫
2025年10月18日，意大利萨莱诺当代艺术双年展（Biennale d’Arte Contemporanea di Salerno）在意大利历史悠久的弗鲁西奥内宫（Palazzo Fruscione）揭幕。本届展览以主题“A.I. vs. A.I.——人工智能与艺术智慧”为思想起点，探讨当代艺术在技术革新与意识觉醒之间的张力。
由策展人朱塞佩·戈尔加与奥尔加·马尔恰诺创立的萨莱诺双年展，自2014年以来始终关注艺术与科技的交汇。2025年第六届双年展汇聚来自全球的艺术家与思想者，在算法主导的时代语境下，重新审视“创造”的意义——当机器生成图像与语言，人类的艺术直觉将以何种方式继续存在？
在这一思想框架中，傅文俊的作品以独特的视觉哲学，呈现“抽象的觉知”这一命题。他通过将中国传统绘画的写意精神与现代抽象艺术的结构语言相结合，重构出自然与哲学之间的关系。这种跨越时间与文化的视觉语法，不仅是一种形式的融合，更是一种精神的回返——一种对艺术本源的再度凝视。
傅文俊的创作揭示出一种非算法的“智能”：它不以运算生成意义，而以感知、经验与思考重建人与世界的联系。在人工智能渗透艺术的当下，他的抽象图像成为一种思辨的姿态——一种在视觉层面进行的哲学思考，借由形象抵达意识的深处。
Biennale d’Arte Contemporanea di Salerno – Read more
October 18 – November 2, 2025
Palazzo Fruscione, Salerno, Italy
On October 18, 2025, the Biennale d’Arte Contemporanea di Salerno opened at the historic Palazzo Fruscione in Salerno, Italy. Taking “A.I. vs. A.I. — Artificial Intelligence and Artistic Intelligence” as its conceptual point of departure, the exhibition explores the tension within contemporary art between technological innovation and the awakening of consciousness.
Founded by curators Giuseppe Gorga and Olga Marciano, the Salerno Biennale has consistently focused on the intersection of art and technology since its inception in 2014. The sixth edition in 2025 brings together artists and thinkers from around the world to reconsider the meaning of “creation” in an age dominated by algorithms: when machines generate images and language, in what form can human artistic intuition continue to exist?
Within this intellectual framework, Fu Wenjun’s work addresses the theme of “abstract awareness” through a distinctive visual philosophy. By integrating the expressive spirit of traditional Chinese ink painting with the structural language of modern abstract art, he reconstructs the relationship between nature and philosophy. This visual syntax, spanning time and culture, is not merely a formal synthesis but a spiritual return—a renewed contemplation of the essence of art itself.
Fu Wenjun’s practice reveals a form of “intelligence” that is non-algorithmic: one that does not generate meaning through calculation, but rebuilds the relationship between human beings and the world through perception, experience, and reflection. At a moment when artificial intelligence increasingly permeates artistic practice, his abstract imagery assumes a contemplative stance—a philosophical inquiry conducted on the visual plane, using form and image to reach the depths of consciousness.
《“成渝地·巴蜀情”诗书画印艺术展》 – 了解更多
2025年10月14日-10月31日
重庆市政协书画院展览厅
2025年10月14日，由重庆市人民政府文史研究馆、四川省人民政府参事室及四川省人民政府文史研究馆联合主办的“成渝地·巴蜀情”诗书画印艺术展在重庆市政协书画院展览厅隆重开幕。重庆市人民政府文史研究馆馆员、艺术家傅文俊受邀参展，携两件代表性作品《还是那棵黄桷树》和《他心通No.2》亮相。
在纸本综合材料作品《还是那棵黄桷树》中，傅文俊以重庆市树——黄桷树为核心意象，描绘其根深叶茂、四季常青的生命姿态。作品创作于2025年6月由重庆市人民政府文史研究馆组织的“古道沧桑·巴蜀风情”主题调研采风写生活动之后。此次采风活动在四川内江与重庆荣昌举行，艺术家在实地感受古道遗迹与乡土人文的基础上，提炼出自然与文化交融的精神象征。
作品中，黄桷树不仅是城市的绿荫，更是时间的见证者。它扎根巴蜀山水之间，历经岁月沉淀，象征着坚韧与包容的地域精神。傅文俊以厚重的色彩和丰富的层次，呈现出生命的延续与文化的积淀，表达出对土地与历史的敬意，也寄托了川渝人民心系山河、守望家园的情感。
《他心通No.2》为傅文俊的数绘摄影作品，取材于世界文化遗产重庆大足石刻。艺术家将佛像造像与现代头部CT影像拼合，形成了古代信仰与现代科技的对话。“他心通”是佛教六大神通之一，意为洞察他人心智的智慧之力。艺术家借此探讨当代文明的精神困境——当科技的发展不断向外延伸时，人类是否仍能保持对内心的观照。
作品以冷静而富有哲思的视觉语言揭示了人类在知识、信仰与欲望之间的张力，提出了一个重要的时代命题：真正的“通达”，或许不在于掌控世界，而在于理解自我。
傅文俊的两件作品在展览中形成了深刻的思想对照：一件扎根大地，象征文化的根系与精神延续；一件内省人心，映照科技时代的自我觉知。它们共同呼应了“成渝地·巴蜀情”诗书画印艺术展的主旨——以艺术之形承载文化之魂，在历史与现实的交汇中，书写成渝双城的精神新篇。
“Chengdu–Chongqing Land · Bashu Sentiment” Poetry, Calligraphy, Painting, and Seal Art Exhibition – Read more
October 14 – October 31, 2025
Exhibition Hall of the Chongqing Municipal Committee of the Chinese People’s Political Consultative Conference (CPPCC) Calligraphy and Painting Academy, Chongqing, China
On October 14, 2025, the “Chengdu–Chongqing Land · Bashu Sentiment” Poetry, Calligraphy, Painting, and Seal Art Exhibition, jointly organized by the Chongqing Municipal Government Institute of Culture and History, the Sichuan Provincial Government Counselor’s Office, and the Sichuan Provincial Government Institute of Culture and History, opened ceremoniously at the Exhibition Hall of the Chongqing Municipal Committee of the Chinese People’s Political Consultative Conference (CPPCC) Calligraphy and Painting Academy.
Fu Wenjun, a research fellow of the Chongqing Municipal Government Institute of Culture and History and an artist, was invited to participate in the exhibition, presenting two representative works, Still That Huangjue Tree and Thought Reading No. 2.
群展《至美的痴迷》 – 了解更多
2025年7月24日-10月24日
意大利威尼斯 Spazio SV 艺术机构
2025年7月24日至10月24日，意大利威尼斯 Spazio SV 呈现当代艺术展览《至美的痴迷》（La Sublime Ossessione）。本次展览以“收藏”作为哲学隐喻，深入探讨人类在理性与欲望、秩序与混沌之间的精神张力。展览将空间转化为一处象征性的“收藏者之室”，在理性与痴迷的边缘，呈现个体通过艺术与物的积累追寻永恒与自我映照的内在动力。
傅文俊展出《问茶》系列作品中的三件。该系列以独特的方式回应了“痴迷”与“占有”的主题。作品受印象主义与抽象艺术的色彩与几何构成启发，以摄影语言记录重庆老式茶馆的空间与氛围——那些在城市剧烈变迁中仍然存在的精神庇护所。它们以日常的形式承载着时间的记忆，也折射出人与空间之间持续的精神连接。茶馆中的陈设、光影与人物姿态被反复凝视与重构，呈现出一种近乎“收藏性”的观看方式。
这种凝视既是一种情感上的占有，也是一种精神上的救赎：通过影像的积累与再造，艺术家将时间的流逝与地方记忆转化为可被保存的片段，使平凡的日常获得超越经验的意义。《问茶》系列因此成为“痴迷”主题的隐喻——它展示了人类面对消逝的无力感时，以艺术之眼留存、占有并重塑世界的渴望。
Group exhibition “La Sublime Ossessione” – Read more
July 24 – October 24, 2025
Spazio SV, Venice, Italy
From July 24 to October 24, 2025, Spazio SV in Venice, Italy presents the contemporary art exhibition La Sublime Ossessione (The Sublime Obsession). Taking “collecting” as a philosophical metaphor, the exhibition delves into the spiritual tension between reason and desire, order and chaos. The exhibition space is transformed into a symbolic “collector’s room,” where, on the edge between rationality and obsession, it reveals the inner drive through which individuals seek eternity and self-reflection through art and the accumulation of objects.
Fu Wenjun presents three works from his Ask Tea series. This body of work responds in a distinctive way to the themes of “obsession” and “possession.” Inspired by the color sensibilities and geometric structures of Impressionism and abstract art, the works employ a photographic language to document the spaces and atmosphere of old teahouses in Chongqing—spiritual refuges that persist amid the city’s dramatic transformations. In their everyday forms, these teahouses carry memories of time and reflect an enduring spiritual connection between people and place. The furnishings, light, shadows, and gestures of figures within the teahouses are repeatedly observed and reconfigured, giving rise to a mode of looking that is almost “collective” in nature.
This gaze is both an emotional form of possession and a means of spiritual redemption. Through the accumulation and re-creation of images, the artist transforms the passage of time and local memory into preservable fragments, allowing the ordinary to acquire meaning beyond lived experience. The Ask Tea series thus becomes a metaphor for “obsession,” revealing the human desire—when confronted with the inevitability of disappearance—to preserve, possess, and reshape the world through the eyes of art.