冬纪

Wang Jun always falls into some absolute questions too deep, like what the state called “finished” is, or when a painting is finished, even what is a painting.

If he can’t answer these questions effectively, Wang Jun will firstly consider it as a continuous process of smearing, an event which can be expanded on any surface. In fact, it is the action of smearing guides Wang Jun into the painting problem. He has smeared on books and magazine, as the boredom to semantics. After all, he hopes that he only need make contact with a world of things, including pigment, brushwork and plane. As a result, painting is not a meaning-presenting action, but for the first an object in phenomenology.

Throwing himself into thinghood is not for the purpose to change the painting into something, but to present the presence of subjectivity. It is just like the man who keeps still and silent in the noise, although sometimes they call him a wood, the thinghood makes the relationship between the redundancy meanings and the nervous life world (mainly the relationship between the subject and the object) break up, and makes the subjectivity, as a pure presence of sheer willfulness stop producing objectivity.

Therefore, the content of the painting is not important any more. Although he has consulted ready-made pictures and there are always blurry images on his paintings, the content of his paintings is lines and the texture against the lines, the object is the subsistence of time. In that sense, we can say Zhang Jun can never finish some painting, just like the labour of Sisyphus.

Bao Dong

09.5.23

王俊总是陷入一些绝对的问题中无法自拔，如一幅画的什么状态才能叫做完成，抑或是，一幅画什么时候才叫做开始？甚至，什么叫画一幅画？

当无法有效地回答以上的问题时，王俊首先把绘画理解成一个持续的涂抹过程，一个可以在任何表面上无限展开的事件，实际上，王俊正是从“涂抹”这一行动本身来涉入绘画问题的，之前他涂写过书本与杂志，把“涂抹”作为对语义的厌烦。总之，他希望与之打交道的只是一个颜料、笔触、平面，即物的世界，于是绘画不再是一种意义表征的行为，而首先成了一个现象学的对象。

通过绘画来投身于物性（Thinghood），并不是为了使绘画变成物，而是为了呈现出主体性的在场，就像一个人在生活世界的纷扰喧嚣的环境中保持静止和沉默一样——有时候人们会说他就像一块木头——物性在这里使那些冗余的意义与紧张的生活世界的关系（主要是主客体关系）产生了裂缝，使主体性不再生产出客体性，而只作为一个纯粹意志的在场。

因此，王俊的画的是什么已经不重要了，虽然他也参照现成图片，虽然他的绘画也经常有着模糊的形象，实际上，他绘画的内容是线条以及与线条对抗的肌理，其对象是一种时间的持存性。在这个意义上，可以说王俊的某张画是永远无法画完的，就像西西弗斯的苦役那样。

鲍 栋
09.5.23