2016年1月5日，“态——王少軍艺术展”学术研讨会在中央美术学院美术馆贵宾厅举行。本次研讨会邀请了雕塑界的艺术家、策展人和批评家，就展览展开对王少軍雕塑艺术的探讨，并展望中国雕塑的发展历程及方向。以下是嘉宾发言摘录：
丨盛扬
我觉得少軍是一个不断在探索、在创造，在探究新的事物、新的表现的人。这不是一个固步自封，是一个力求进步，力求创新的非常可贵的艺术家。我觉得超越别人并不是最可贵的，超越自己是最可贵的，少軍可贵的地方是他过去做的东西自己不满足，所以要超越它。
丨徐里
一个艺术家的生命力在于其在学术上、创作上地不断追求、不断发展，这在少軍的身上体现得非常突出。艺术的发展在于创作，少軍从传统的现实主义写实表现手法到当下对雕塑新语言的表现形式的探索，以及对当代社会现代生活的个人思考，在这些作品中都有很多很好的尝试，无论是“角儿、趣儿和事儿”，它们不仅超越了自己惯有的表现手法，在对艺术的追求过程中也实现了对艺术创作的演变，更加轻松、放松地跟生活、跟自己的理想走得愈发紧密了。
丨曾成钢
我觉得一个艺术家先是创作，最后是建立自己的风格，再回到艺术的本质这两个字。有“艺”必有“术”，“术”很简单就是技术、艺术、礼术，“艺”是你的想法和创意，或者是一个表现，对形式和语言、情感的表达，我觉得少軍能把这些东西始终贯穿于对自己作为一名雕塑艺术家的理解之中，那么自然、优雅和沉静。
丨苏新平
这个世界非常多元化，但有两个选择：一个是外部的世界；一个是内心的世界。少軍始终在自己的内心世界不断地循环，这也会促进和造成他未来作品的走向和面貌。他在中央美院奠定了意识和技能，以及中央美院给予的很扎实的基本功，这是每个美院人都会得到的，还有在其他地方无法实现的能力或者是知识。他学到了东西以后，早期的作品可能做一些项目或者是一些雕塑，可能还带有学习的成份，但后来逐步又回到了自我的状态里，不断地追问、尝试实验，实现他今天的样式、风格或者说是语言特点。
丨王华祥
少軍是特别好玩儿的人，特别会玩儿的人，我知道他喜欢小的玉器和鼻烟壶，这个玩儿有很多的文化传承，有一种中国独有的民间文化，这种东西跟我们很遥远，被时间隔离了。但少軍其人和作品其实给我提供了一种现实当中非常真实的文化存在，在他身上能够体现出一种气质和嗜好，这样的嗜好会变成他的作品，这是很奇特的。有很多东西方中关于生活、政治、文化和生存等的东西，加上他个人的一些特质，所有这些东西和历史，会在他内心的炉火中融化，只有一个很低调、很沉默的、或者是比较封闭的状态才可以产生这样的一种艺术。
丨孙振华
我去年在《美术研究》中写了一篇评论少軍的文章——《用雕塑探索心灵的世界》，我写了这么一段话，“王少軍是一个审美型的创造者，他坚持不懈地用雕塑和这个世界对话，他的艺术创作与他的人生方式高度一致，在这个人心浮动的社会转型期，他始终不紧不慢，保持着自己内心的节奏，既不懒散也不匆忙，既不断进行艺术上的突破和创新，又不急于求成急功近利。作为1978年恢复高考后中央美院招聘的第一批大学生，作为一个在创作和工作岗位工作了30多年的雕塑家和教师，他的从容和淡定在今天具有精神神态的标本意义”。他让我们认识到了一类人、一种创作方式、一种创作的态度，也是一种心态。
如果说少軍在雕塑上为我们当代做了些什么，我觉得他至少可以归纳为五个方面：第一，他用雕塑来探索心灵的世界，在雕塑艺术多元化的今天关注心灵和内心的问题。第二，他的探索比较有原创性，我们现在是需要寻找到一个很中国式的雕塑方式，他这种探索应该是对我们整个中国式的雕塑体系的探索起到了建设性的作用。第三，个性化，他创作了一个全新的人物形象系列，主要就他的光头人物而言，形成了他个人特别富有个性化的雕塑语言系统。第四，他还坚持具象雕塑，他为具象这种方式找到了一种进入当代的探索，他没有抛弃具象，而是在具象的技术上形成了当代的转换。第五，他的心态，少軍的作品所体现出来的态度，这种不紧不慢、锲而不舍的心态，不求闻达但求自己表达的满足，这样一种心态对我们是很有启示的。
丨朝戈
我觉得少軍的内心跟他的性格是很质朴的，质朴是艺术中很重要的品质，他的作品和性格是很暗合。新作我看了以后很受启迪，有一点“硬朗”，有一点文人对日常生活非常敏捷的索取力和比较放松的判断。
丨张路江
我关注到展览上少軍那些鲜为人知的水彩画，有很多是在新疆画的，那个时候恰恰让少軍回到了内心世界。在他的水彩里，看到了少軍捕捉到地非常敏锐的内心形象，包括今天我们在展览上看了大量的少軍的雕塑作品，每一个雕塑都让人产生一种控制的力量，一种思想的延续。
丨曹庆晖
这个展览可以根据展线顺着看、也可以倒着看，感觉是不一样的。如果你顺着看，会发现有一种原来如此，一步一步这么走过来的感觉，会发现这个艺术家有一个一般性的成长过程。如果是倒过来看的话，就有一个特殊性，展场主体的魂和体高度融合了.
这里面到底是什么样的“魂”？什么样的“体”？这个躯壳的特征就是光头，指向文化属性的话是一个北方人的平民形象，这是一个他所谓的“体”。在这个体和形象中，“魂”是一种什么东西？因为通过他的“体”所表达出来的东西，我觉得更多的是那种人到中年以后，不只是一个艺术的思考，人到中年以后艺术是人的一部分，这里面有更多的人的考量，这里面有幽默、有悬想、有愤怒、有讽刺、有紧张、有参悟，有有所谓，也有无所谓，这种“魂”的东西和“体”之间是有关联的。“魂”和“体”不是两张皮没法儿靠的，中间一定是有一个东西，这个东西在少軍老师的雕塑中更多是一种表述，这里面的表述系统基本上是隐喻系统，这不仅仅是学院的雕塑可以给予的东西，这个背后更多是民意系统。
丨刘礼宾
在20世纪中国雕塑的发展脉络里一直有关于传统的、中国体量的问题。在我看来，如果我们把这个问题推得更深一点，比如说我们考察中西方雕塑，塑造方法、营造理念都不通，但用的都可能是泥，如果我们再回到这个中国体量问题的时候，有可能经过西方传统的写实训练，可能会直接转化。问题是停留在样式上或者是塑造方法的层面上还是直接进入“体”这个层面。油画领域、雕塑领域好像都有这个趋势。
丨吴洪亮
这个展览叫“态”，因为中国字特别好玩儿，我也喜欢起一个字名字的展览，一个字就有很深的延伸。我看到了“态”就想，作品本身是一个“态”，王老师本身也是一个“态”，做艺术有态度，其实是一直在容纳的状态下寻找新的态度。用四个词来形容这次展览，第一是看水彩画时“夸父追日”这四个字，其实是精神性的诉求；第二是“入木三分”、“出纸三分”，我看到了雕塑里轻的部分，我想起了李叔同的书法，那时候很多人对他的评价是这样的，尤其是他晚年的书法正好跟我们对书法的认识是反的，原来叫入木三分，后来叫出纸三分，我希望表达的是王少軍老师中的淡和轻的部分；第三个词叫“龟兔赛跑”，很多事情恰恰是这样的，我们从来没有看过少軍老师那么急过；最后是“真味是淡”，我记得在策划展览的时候也聊过，淡的感觉是长久的，还需要玩儿的东西。
丨孙伟
看少軍的水彩和小的东西，给我的感觉是在轻松的里面有一点刻意地拨弄的感觉，小画里面的小情节、小冲突，有一点拨弄的感觉，画面很轻松，画得很简单，但有种弹性，画面里面的张力都还有的，也有趣味，有一点轻轻的点到为止的感觉，包括在语言的表述上、记录上、起题目上都这样的感觉。
丨西川
在我观看展览后总体的感觉是，这些作品非常地和煦、非常地温和。雕塑也好、水彩画也好都非常地优美，感觉非常新鲜。这个展览是个小叙事，他把展览放在一个时代的序列里面，它是一个当别人做大叙事的时候他做小叙事，当别人做各种猛烈的实验时候，这个展览还是一个相对温和的展览，它在这里面一定是有它的位置的。在少軍的作品中我看到的是对美本身的修养，会使得他在很美的状态下呈现出来。但有一些具体的特征，就是减法，就是他的艺术中是一个充满了减法的艺术。
丨文国璋
少軍做最传统、最完整的这一类技法是很透的。第一次看少軍的展览是在798，那是他个展的第一次。给我的印象是，他基本上跟现在是一脉相承的，老让我想到丰子恺，中国文化人的一种特殊的气质，他不含糊、不回避。这次的展览在这个基础上大大地提高了一步，更成熟、更完美。我觉得一脉相承或者是千变万化都不是最重要的，最重要的是作为艺术家个人的气质，个人的性情是不是打动人了，是不是让人一惊一震，而且还有很深的内涵，功力上少軍并不差。现在我们看到了少軍的雕塑和水彩，让我感觉到作为一个艺术家来讲他不受画种的限制，他会借用两者之间有更多联系的画种来充分地表现。两种之间都会有启发，这次的水彩我觉得是很足够看的，不空，没有那种随便玩玩儿的感觉，感受很足，很有感受力。
丨郭红梅
王少軍老师非常清楚地意识到自己面对历史在创作中要探讨的问题，以及所必须要解决的途径，比如说他说我们重新认识具象学的雕塑在当代社会中拥有的价值，取决于我们应继续试验新具象实验的可能性。比如说他说抽象的具象化，比如他说要拓展中国新雕塑使它更富有魅力，使它变成新的雕塑语境和空间。通过将抽象具象化，使得王老师的作品一贯有一个主线，它保留了雕塑之所以为雕塑能存在于历史长河中的意义，就是纪念碑性，而又有了当代的转换，这种当代转换一种是语言上的，另一种是精神内涵上的。不再是精英文化的颂歌，确实成为了平凡世界的纪念碑，尽管它是平凡世界的纪念碑的一种情绪，但它依然是面向历史进行思考和创作的高级知识分子的当代的诉求。
丨于凡
从少軍身上可以看出中国雕塑的新具象雕塑或者是学院雕塑教育转变的过程，我觉得这是一个缩影，是我们雕塑整个状况的一个缩影。在吸取传统的时候，很多地方会和西方的现代主义、语言探究、形式不谋而合。
丨张伟
作为一个雕塑家在自己的修养和练功、修炼方面怎么来控制与展示，其实是一个控制力，我觉得少軍给我解决的是这种问题，我一下子明白了很多。传统雕塑跟传统文化还有一定概念上的区别，我们做东西实际上首先在雕塑层面，因为都是雕塑家，雕塑层面是有自己特定的观察对象的，特定的手段的。
丨殷双喜
少軍这个展览有一点回顾展的味道，这里面有对中国文化、中国传统的回望。比如说少軍这些作品我们说里面传统的因素处处都能看到，但你不会说它是老古董，不是去模仿这些传统，还是感觉是很现代的，结合了对当代的理解，而且里面还有中国文人气息。我觉得这对教学是有影响的，我们的教学体制和课程设置，学生的困难在于他们没有老师们现在这样超越技术、驾轻就熟的能力，很多还在技术上有困惑，一旦这个问题到了一定的程度，在技术之上要的是什么？要给他什么东西，我觉得这个问题不是一般的传统的形式套路和形式语言，那个东西单纯模仿是没有出路的，但这个传统的味道和机制怎样才能解开？今天少軍是“以身试法”做了一个探索，在这方面做了很多的工作。现在雕塑我感觉一点不缺形式、不缺材料、不缺语言，这方面特别舒服，但需要进入到中国审美的境界。
来源：中央美术学院
学生 张柏寒/文
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I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
