Title: 段建宇 离地十公分 | BestBlogs.dev
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Published Time: 2026-08-08 12:07:00
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段建宇 离地十公分
The article introduces contemporary artist Duan Jianyu's solo exhibition and her creative philosophy, exploring how she integrates everyday objects and female power into her paintings. Follow·
Today·1279 words (about 6 min)
AI Summary & Key Points
Summary
This article, originally from Southern People Weekly, provides a detailed report on artist Duan Jianyu's solo exhibition 'Daisies, Breeze, No Relatives Writing Poetry' at the UCCA Center for Contemporary Art in Beijing. It reviews her growth experiences, representative works (such as 'A Minimalist Exhibition That Failed Because of Too Much Breast Milk' and the 'Facekini' series), and quotes her core view on the relationship between painting and life—'ten centimeters above the ground.' By describing everyday images in her works such as baskets, daisies, and cows, it shows how Duan Jianyu integrates the diversity of human life and multicultural elements onto the canvas, focusing on the authentic vitality of women and her imagination and allusions to reality. The article combines factual reporting and artistic interpretation, presenting readers with the creative trajectory of a contemporary female artist who is both absurd and sharp.
Main Points
* 1. Duan Jianyu's creations often draw inspiration from everyday objects.
She mentions ordinary things such as baskets, daisies, a gentle breeze, and cows, believing that they are simple yet full of vitality, capable of carrying rich emotional and cultural connotations on the canvas.
* 2. "Ten centimeters above the ground" is her core philosophy on the relationship between painting and life.
She believes that painting should be broader than reality. It can allude to or imagine reality from ten centimeters above, rather than simply imitating it, so as to give art lasting vitality.
* 3. Her female figures break away from traditional aesthetics and emphasize authentic vitality.
For example, in the 'Facekini' series depicting middle-aged women swimming while wearing facekinis, Duan Jianyu believes they are indifferent to the gaze of onlookers, reflecting women's confidence and autonomy after the passage of time.
* 4. The exhibition presents nearly three decades of her artistic exploration.
The solo exhibition brings together nearly 50 paintings, five sculptures, one painting installation, and manuscripts, spanning painting language, creative methods, and viewing perspectives, demonstrating her continuous reflection and innovation in contemporary painting.
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原创 格雷 2026-08-08 12:07 广东
她将人间百态与多元文化融于画布，并持续挖掘绘画关照现实的新维度
▲“段建宇：雏菊，微风，没有亲戚在写诗”展览现场，UCCA尤伦斯当代艺术中心，北京，2026
她将人间百态与多元文化融于画布，并持续挖掘绘画关照现实的新维度。
本文 首发于南方人物周刊
文、图/格雷
编辑 / 杨静茹 rwzkhouchuang@126.com
艺术家段建宇一直很喜欢猫，偶然发现奶牛与奶牛猫的黑白斑纹如出一辙，便想以此打造一场妙趣横生的展览——放眼望去，错落的黑白斑点浑然一体，仿佛天然的极简主义图景；同时耳畔的牛哞与猫鸣此起彼伏，奶牛不断涌出奶液，漫遍整个空间，地面湿滑，让观众步履蹒跚。
段建宇把这场注定“失控”的展览落笔成画，取名《一个因奶水太多而失败的极简主义展览》（2026），放置于她在北京UCCA尤伦斯当代艺术中心最新个展的开篇。这幅画仿佛一则荒诞的微型小说，流露出艺术家灵动的想象力，也传递出她面对生活的种种未知和失控时的从容心境。
▲《一个因奶水太多而失败的极简主义展览》 ，2026 布面油彩、丙烯、油性笔、油画棒、喷漆与铅笔
“雏菊，微风，没有亲戚在写诗”（2026.5.1-2026.8.30）是段建宇在北京的首次机构个展，也是她迄今时间跨度最大的阶段性回顾，汇集近50件绘画、五组雕塑、一组绘画装置及部分手稿，从绘画语言、创作方法与观看视角等多个层面，呈现她在当代绘画领域的持续探索与反思。
段建宇1970年出生于河南郑州。她下笔的对象常取材于寻常之物——篮子、雏菊、微风、奶牛，它们平凡质朴，生机盎然。展览标题将这些寻常意象与波兰诗人维斯瓦娃·辛波斯卡的诗句相融合，像一句随口道出的生活絮语，诗意被嵌入日常，正契合段建宇一贯的创作内核。
▲《雏菊，世界上最纯洁的花朵》，2026 布面油彩、丙烯、油性笔、喷漆与铅笔
身为女性创作者，段建宇格外关注女性的现实处境。她塑造的女性形象，跳出了纤细优雅、青春貌美的传统审美范式，多是体态丰腴、随性自在，带着鲜活的生命力。她们无意取悦旁人，而是坦然地沉浸于自己的生活。
“脸基尼”系列（2019）便是这一视角下的代表作。段建宇在社交媒体上留意到，不少中年女性在海边游泳时会佩戴脸基尼。最初她只觉得有趣，而后渐生敬佩。“她们根本不在意旁观者的围观或嘲笑。”段建宇觉得这种“彪悍”正是一种女性力量，也由此思考：当女性步入中年，历经岁月沉淀与生活历练，看待世界的心境悄然改变。她们愈发相信自身的力量，坦然做自己人生的主宰。这种舒展、真实的生命姿态成为这一系列的灵感源泉。
▲段建宇的手稿，约2016-2026
在近30年的艺术实践中，段建宇以荒诞灵动又暗藏锋芒的笔触，呈现日常生活中的张力与困境。她将人间百态与多元文化融于画布，并持续挖掘绘画关照现实的新维度。她始终在思考绘画与生活的关系——二者既不能过分贴近，也不能全然疏离。她提出一个恰当的尺度：离地十公分。
“我觉得绘画是一个无所不包的世界。它把现实生活包容进去了，绘画可以离现实十公分，然后影射它或者想象它，而不是跟现实一一对应，让绘画生活服帖于现实生活。”在她的理解中，绘画的世界理应比现实更为广阔丰盈，艺术才能拥有更持久的生命力。!Image 19: 图片
!Image 20: 图片   
Key Quotes
> I think painting is an all-encompassing world. It embraces real life. Painting can be ten centimeters above reality, and then allude to it or imagine it, rather than corresponding one-to-one with reality, making painting submissive to real life.
> They are not at all concerned about being watched or ridiculed by onlookers.
> The female figures she creates break away from the traditional aesthetic standards of delicacy, elegance, and youthful beauty; they are mostly plump, carefree, and full of vivid vitality.
Tags
Art
Contemporary Art
Painting
Female Power
Life Aesthetics
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