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　　这一点正是艺术家进行艺术创造的一个基础。在当代艺术的批评和讨论中，大家很关注艺术家画什么，特别是面对当下中国各种流行的图式或符号时，如何坚守一种绘画的立场就成为问题。是让艺术成为外在于艺术主体的东西？还是艺术家追寻自己的生命轨迹和经验感受去思考艺术呢？显然，这是目前的中国艺术需亟待解决的课题。而王立伟置身于中原地区，并没有随波逐流，让风行天下的无意义图像裹挟住自己，而是立足于自己的文化脉络，从中探求艺术表达的空间。

　　王立伟发现自己这个最直接的文化意识，也是经过了很长一段时间，而且又不能直接地诉诸于完全的再现。所以，他不断去发现那些最深入他内心的文化记忆，同时又去尝试一种独立的表现形式，借以营造出当下的视觉意味。王立伟的作品画面简练，人物富有情节化场面，被放置今天的环境中，充满想象和戏仿，使这样的江湖叙事显现得富有生机和趣味。但这些文化故事中的英雄已经转化为某类象征，流露出几许的落寞和孤独。这些豪杰侠士在不同的虚拟空间里做着看似英勇的举动，但在挥刀相向之际、剑戟棍棒腾挪之时，全无了着力点和对象，这是新的时空下的英雄孤寂。但它们又不都是纯粹的英雄偶像，这样，视觉语言就进入到文化语言的反思中，以视觉的具体性来置辩传说英雄的抽象性，让文化情结回到当下的文化无根状态中。在这种情况下，“江湖的传说”被赋予某种现实的文化意义，症候着某种失落，一种远去的文化背影。

　　王立伟之所以如此投入地营造这些故事和虚拟的空间，即是回应他被不断纠缠的那些梦想。他要释放自己的文化力比多，将中国文化的解读变得多样化，同时也与个人的艺术梦想联系起来。所以，他的理想是将那种繁复的语言释义简化成最直接的视觉，让自己与自己的梦想对话，与其沉浸在不属于自己的社会生活中，还不如回到一种文化想象的再造中。只有在这样多样化的不同艺术再造中，今天的艺术才会有生命力，也才会更丰富，才不至于让我们过早地失去对绘画表现能力的信心。

　　就此而言，王立伟是在孜孜以求地探索自己的绘画方式，希望切入到我们的文化心理中，希望在这方面走出一条路来。这也是当代对绘画作为思考方式的一种要求，其难度可想而知。中国艺术走到今天，依然不乏有心人，不乏将艺术绘画看作自身需要的人，甚至看作是对话世界、对话自我、对话某种意识的表达。这在王立伟而言，他要把久远的江湖英雄梦化为艺术梦，而艺术梦的成立和实现，就是每个人的真正英雄梦。　　

　　2009-5-20 于中央美术学院美术馆
　　（作者单位：中央美术学院，美术史博士，美术评论家）

　　Everyone''s Dream of Becoming a Hero
　　
　　--"Paintings of Vagrant Life in Series" by Wang Liwei
　　
　　Wang Chunchen
　　
　　We all countrymen have a dream of becoming a hero in our minds. I have read and looked such heroic stories and legends ever since our childhood, in which, the warriors and knights-errant are often subconsciously desirable. It is also in such cultural atmosphere that the painter Wang Liwei is grown up. As a result, he was left an indelible impression on his memory.
　　
　　This is the very basis of artists'' artistic creation. Contemporary art criticism and discussion concern more about what the artists paint. It becomes a problem that how to hold one stand of painting while the various patterns and symbols are currently prevailing in China. Does it make the art subject to something beyond the art subject, or does the artists track their own life course, and experience and feelings to think about arts? Clearly, this is the issue demanding an prompt solution in Chinese art. Wang Liwei, however, does not drift with the tide and let the popular and meaningless images sweep himself along even though stays in central plain area, but rests on his own cultural context to probe into the space of artistic expression.
　　
　　It takes a very long time for Wang Liwei to find the most direct cultural awareness of his won, which, however, can not be directly resorted to reproduction in full. Therefore, he continuously digs out the cultural memory in his deepest heart, and tries an independent form of expression so as to create the current visual significance. Wang Liwei''s works, succinct in picture, rich in plots which involves with figures and abounds with imagination and parody in today''s circumstance, are to be found vivid and interesting in the narration of vagrant life. The heroes in these cultural stories, however, have turned into some symbol, exuding some desolation and loneliness. These warriors and knights-errant seems to be brave in different virtual space, but have no points and objects when they pull a knife on others or prance about with swords and sticks; this is the loneliness of heroes in the new space. But they are not pure hero idols. Thus the visual language enters the reflection of cultural language, explaining the abstractness of heroes of legend by the concreteness of visual sensation and letting the cultural feelings return to the rootless state of current culture. In this case, "Wandering Heroes" is imbued with some realistic cultural meaning, manifesting certain loss and a kind of receding culture shadow.
　　
　　The reason why Wang Liwei is so devoted to making such stories and virtual space is to respond to the dreams that get him entangled continuously. The culture he is to release is more, and his interpretation of Chinese culture becomes diversified accordingly, and at the same time, it links with the personal art dreams. Therefore, he dreams to simplify the complicated language interpretation into the most direct visual sensation, make dialogue between himself and his dream. It is better for one to return to a kind of reproduction of cultural imagination than to be immersed in a social life not belonging to himself. Only in this diversified different recreation of art, today''s art can survive and be much richer, and cannot go so far that makes us lose the confidence in expressive ability of painting so early.
　　
　　In this respect, Wang Liwei is diligently striving after his own form of painting in the hope of pitching in our culture psychology, and of exploring a new path. This is a requirement set forth by the present age for painting as a way of thinking, and it is conceivable how the difficulty is. Chinese art moving till today, there are still no lack of people who deem the art-painting as their own needs, even as the expression to conserve with the world, the self and some consciousness. For Wang Liwei''s part, he is to change the ancient dream of becoming vagrant heroes into art dreams, and the formation and achievement of the art dreams is the real dream of becoming heroes.

　　In Art Gallery of Central Academy of Fine Arts on May 20, 2009
　　(Author''s unit, Central Academy of Fine Arts, Doctor of History of Art, Art Critic)

王立伟的“江湖组画”