劉煒

一九九六年作

香港，少勵畫廊
現藏者購自上述來源

〈 劉煒〉（中國上海，紅橋畫廊，二〇〇八年），85頁

This work is in good condition with minor wear in handling around the edges and corners. Minor foxing to canvas is visible from the back of the canvas, and minor stain marks to the upper left quadrant which are only visible upon close inspection. There are minor chips to the impasto on the upper edge 39 cm from the left edge and10 cm from the top. Minor abrasion is observed in the lower center, 29 cm from the left edge and 22 cm from the bottom edge. Very minor craquelure on the left figure's eyebrow is observed. No evidence of restoration of the work observed when examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

創作於一九九六年的《遊泳2號》(拍品編號647)是劉煒一張重要轉折時期的作品，它橫跨了他九十年代中期著名的〈游泳系列〉，及九十年代後期，以糜爛的山水及人物為題的〈肉系列〉，是研究劉煒創作不可或缺的一張。游泳一直是劉煒早期作品的重要題材，其中最早期的〈革命家庭系列〉中，游泳的踪影隨處可見。一九九四年，於聖保羅雙年展上，劉煒展出了傳奇的〈游泳者系列〉，令許多學者和策展人感到十分震撼，其中包括上屆「威尼斯雙年展」的策展人阿其列．伯尼托．奥利瓦。在一次座談會上，劉向因事未能出席「聖保羅雙年展」的著名藝評家栗憲庭栗提到：「很多人我都不認識，奥利瓦特别激動並特别主動地說我們以後要做展覽。」¹

一九九五年是劉煒創作生涯中最重要的年份之一，他住進了宋莊，選擇了不跟隨大夥兒的美學理念，而追求繪畫風格的轉變。事實上，當時「政治波普」成為當代中國藝術在國外展覽的重要符號，並取得相當程度的注目，形成熱潮。就在此時，劉煒選擇離開了早期有著濃厚政治色彩的〈革命家庭系列〉，繪畫語言變得更為潑皮及肆意，完全從學院派的寫實畫風中解脫出來，情感藉畫筆赤裸裸的釋放出來，題材更無視所有社會上的規限，挑釁著觀者的接受能力及對繪畫約定俗成的看法，並開始創作〈肉〉系列。《遊泳2號》正是此關鍵時期代表之作。作品以兩個泳者為主體，回應了劉煒這個早期重要主題，唯筆觸與早年的精細迴異不同，筆觸肆意放鬆，以濃重筆調把玩著人物造型及海面暗湧，把藝術家內心的情感毫無保留地投放在畫之上。劉煒說過：「畫畫必須要有感覺，要對得住自己的心。只有内心鮮活，才能保持創造力的鮮活，也才能使畫永遠鮮活。」²《游泳2號》正正表現了慾望與人性的交纏，當中既喧鬧且囂張，五味紛陳的人生在劉煒的筆下，充滿著生命最原始的狀態。

¹《方力鈞》，文化藝術出版社，北京，中國，2010年，第45頁
²《劉煒》，紅橋畫廊，第7頁