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FAMOUS, December 27, 2013 Cover Story "People of the Year Special Series " - Artist of the Year
How to Become A Big Shot
Edited by FAMOUS editorial team
By the end of each year, FAMOUS magazine editors will launch the selection of our "People of the Year". Every time when we look back the past 365 days, there are always some people who have drawn our attention, not just because of their fame, wealth, or glory, but of the real things they have accomplished, and these things are influencing and changing the industries they are in. the range of our selection covers various fields, including finance, culture, fashion, entertainment, etc. it is undeniable that these seemingly a little bit "crazy" people share common characteristics, such as being vigorous, sharp, passionate, creative... they are becoming a joint force to push the era forward.
This year the list of "People of the Year" includes: the influential people in culture of the year Guo Jingming, the movie star of the year Wu Xiubo, the musician of the year Wang Yujia, the filmmaker of the year Xu Zheng, the new artist of the year Wang Zijian, the entrepreneur of the year Yao Jinbo, the artist of the year Zhu Wei, the team of the year Crazy Guess Figure team, the dramatist of the year Tian Qinxin, the historian of the year Yuan Tengfei.
Editor's note: Bit Shot.
By Yang Fan
"In every issue of the magazine, you have to create a sense of excitement."
So, the FAMOUS saved the strength, and did a great thing at the end of this year.
In this special issue, we feature 10 madmen! Because of their craziness and fearlessness in this year, they have drawn everyone's attention and became big shots of their industries.
These big shots are waiting for verification. When new stars come on stage, people will see the best part of them, while time is the boss who in charge of verifying the overall value of each individual. Time will distinguish between temporary luck and enduring strength, and differentiate real pioneers from speculators. Although some big shots have been proved successful, they still confront the era diligently in their own ways. On the list of fame and fortune made by the onlookers, the temporary ups and downs are not important. Such people focus more on the basic value they have established, with their hearts floating above the fray.
These big shots are not masters. As Gao Xiaosong said, "Like all flowers bloom in the same season, and all stars shine in the same sky, masters in film, literature and music usually come together. And when they are gone, no one is left. This is the law of art, no matter in the East or West." With so many shining lighthouses lighting the sea, it's lucky to grow up in that era. Everyday Gao Xiaosong had 10 RMB in pocket to hesitate what to buy. A new record by Luo Dayou? A novel by Wang Shuo? Or a movie by Chen Kaige? Today he has 100 RMB, but doesn't know what he should wait for and who is worth to wait for? Fortunately, there are some people left. Under the light of those idealistic masters, when the lighthouses were all turned on, they have given the sea a second look. So, even when the lighthouses are put out, when the sea is dark, they know where to go. The road may be stained with dusts and mud, being swayed by commercial factors as well, but in their hearts there is high ideal. At least they know the direction without holding a flashlight.
The big shots often start from scratch, or even being strongly criticized. It's very simple, because when they started, they had not been forgiven by the crowd yet. It's common that people who think more and know ways to do more are considered as betrayers of literature ideal, music ideal, or a variety of other ideals, such as Wang Yujia, who dances on the classical music stage with short skirt and boots, or Guo Jingming, who knows how to produce "product". While those who get drunk every night crying out of dark and disappointment are praised for their pureness of insisting on ideal, nevertheless, in fact, they didn't do anything.
Angry idealists are more likely to mix their ideals with method. It seems that their ideals are unconditional and therefore, utilizing any methodology is unnecessary. For example, they never imagine that to become a big shot, one need to do more work than complaining about the degradation of society and the blind of people. Well, I don't mean to cater for public's interests when you just start your career. However, if what you do have become "product" eventually, it will need more intensive promotion to let people know its existence and importance. That is method, not about ideal. Publishing a magazine is the same. We want to spread our magazine to more readers, because only when our readers get the magazine first, then they are likely to read its elaborate content. The cover determines whether most readers will stop for it, and then, compared with the anxiety in news media, being interesting and relaxing is important as well. If we could not do that, since people have been bothered by financial problem, personnel dispute, flight delays and polluted air, no one will pick up our magazine. Being exciting, yes, being exciting in each issue. How to live an thrilling life - that's why people would like to read FAMOUS. Anyway, if I am a true idealist, I will stop complaining, and start to understand the way the world works, to read more books, to love those who deserve our love, for instance, to have a good chat with the 10 big shots here.
FAMOUS does not intent to record the fate of a people or the value of an era, either of which is too long for a year. In this issue every 12 months, we just hope to introduce some people you should know, such as Wang Zijian, who speaks jokes that take us self-examination, or Guo Jingming and Xu Zheng, who have been struggling in the arena long enough to know how to deal with the world. They are mirror to us, reflecting our own impatience and evil. All things are related to human hearts and human nature. These four words are commander of society. I hope you will have similar or even deeper feeling than us after reading their stories. Let's learn the insights of life together.
When Tian Qinxin drank Pu'er tea "slowly, seemingly relaxingly, while eliminating the irritability in rehearsals", and then she created the "Green Snake".
When Wu Xiubo sang the song "Mountain", "climbing over the mountain turns my hair white", he wants to continue his acting career until 80, even "there is no immortal waiting for me as I wished".
Being noisy outside, I hope everyone can find quiet and peace, and sway the inner rage away.
See you next year.
The Artist of the Year Zhu Wei: He Makes Ink and Wash Contemporary
The Artist of the Year - Zhu Wei
Five years ago when talking about "ideal" in an interview, Zhu Wei melt his ridicule into seriousness and said that his dream was to make ink painting valuable. He always refused to give in and kept thinking - why the local things had not been accepted yet? He didn't care about market price, but chose to devote himself to ink and wash. Things have changed today. Being dressed up as "New Ink", the ink and wash has been popular and has stepped into the contemporary art circle. In November, Today Art Museum in Beijing held Zhu Wei's solo ink painting exhibition as a perfect ending of 2013. His friends made fun of him, "In the past you earned US dollar, and now you are earning RMB. You have taken two advantages."
"The past" refers to 1990s of the 20th century. He was among the very first group of contemporary Chinese artists who were influential overseas, and recognized by western commercial galleries and auction market. Since 1993, he has started his cooperation with Plum Blossoms Gallery, whose branches located throughout Europe, the United States and Hong Kong. Their contract was signed for 12 years. In the Western market, although what he painted were ink paintings, the price of his paintings was similar to those contemporary oil paintings painted by oil painters, such as Fang Lijun, which made him "become rich" very early. He is a real witness and beneficiary in the 30 years of Chinese contemporary art.
However, being described as "lucky" or "gaining advantage", he felt innocent. "I have always kept appealing for ink paintings like Mistress Xiang Lin. I even have written a column for it for 7 years!" He wrote a column for an art magazine, and wrote, "I said almost every day that we should not neglect ink paintings, the traditional form of painting is also a form of contemporary". He had been abroad for many years, knowing that when the Westerners look at an artwork, they don't care what materials the artwork uses. As long as it tells a contemporary story, and tells it in an interesting way, it is a contemporary artwork. But when he returned to China to attend exhibitions, he often encounters questions like: "Oh, how can someone paint ink and wash like this? What is this?" People don't know how to evaluate him. Some art critics labeled his works as "ink and wash of political pop" simply and easily just after a quick glimpse. He didn't know what to say. Discussion and classification like this has continued for more than 10 years without a result, while he has been at large for so many years. It is in an awkward situation even when his works come to auction houses, "they were classified into calligraphy and painting immediately, and then their price will obviously lower than oil paintings."
In the past two years the passion for ink paintings started to grow. Zhu Wei also wondered why it becomes so popular that everyone was surprised. "Ink and wash does not pop up recently, but must be an accumulation of predecessors' efforts. New Ink is not new. At such an age, we have been painting ink and wash for more than 20 years, and it grew basically in step with Chinese contemporary art and oil paintings. Ink and wash just had been neglected because people thought it's too traditional, too ethnic." His exhibition this time is to set the record straight, "some people just recognize it lately, but actually we are always in the game."
In the early 1990s, Zhu Wei, a fan of Rock n Roll, was painting Chinese traditional boneless meticulous painting while listening to Cui Jian's rock music, which sounds completely contradictory. Figures in military uniform or Mao suit, the red flags, fresh flowers, uplifted arms, red curtain, and dull look of people in meeting that often appeared in his works created a sense of irony and conflict. It naturally reminded viewers of ideology and politics, and art media and art critics overseas were also willing to portray him as a rebellion characteristic against the system.
Zhu Wei thinks the reason why ink and wash was looked down upon is it has been separated from real life for a long time, not representing the vigorous social reality but "limiting itself within some small sentiments". He makes the ink painting connected and communicated with contemporary society, full of flesh and blood, cry and laughter. Chinese society is an authoritative society, and politics is everywhere, thus artworks should reflect this kind of social phenomenon. "A lot of my works are accepted by the Western collectors and audiences, which shows that the ink and wash as a media is not a problem. The most important is what you want to express."
Zhu Wei was unusually busy in 2013. He had solo exhibitions in Singapore, Indonesia and Beijing. Now he is preparing for his new solo show. However, he said half self-deprecatingly and half seriously, that painter is nothing more than a skilled worker. "I have been in this career for more than 20 years. It's like travelling on a roller coaster, in which one is stuttered and has no time to consider anything deeply." The only thing satisfies him is his work. Beyond its decorative feature, it conveys some concepts to the audiences and makes them feel touched.
About the past year
A thing that concerns him the most:
My principle concern is whether ink painting can be contemporary. If the problem is resolved it's probable unprecedented, and there must be followers coming up.
A people that he admires the most:
Ink painter Gu Wenda. He used to paint landscapes, and later experimental ink, such as installation. He turned ink and wash into a cultural symbol, and he had already jumped out of ink and painting. He has walked in another way, but you still can find elements of ink in his works. His innovation is form.
A moment that he enjoys the most:
Enjoying the relaxing moment with friends. I have been in a place which is not so complicated, and I don't want to squeeze myself into the fame and fortune scene, which is too tiring.
《名汇》二零一三年十二月二十七日封面故事“年度人物特辑”之年度艺术家
如何成为一个大人物
策划：《FAMOUS 名汇》编辑部
又是一年即将过去的时候，《FAMOUS》杂志再次启动了“年度人物”的评选。回顾365天，总有一些人，让我们的目光聚集在他们身上，并非是因为他们的名声、财富、光环，而是他们所做的实实在在的事儿，正在对他们自身所处的行业发生着影响和改变。我们的评选范围跨越了财经、文化、时尚、娱乐等多个领域，不可否认，这些略显“crazy”的人们，有着共同的特质，活力，敏锐，充满激情，富有创新精神……他们正在形成一股合力，推动着这个时代的前行。
年度人物包括：年度文化影响力人物郭敬明、年度电影明星吴秀波、年度音乐人王羽佳、年度电影人徐峥、年度新锐艺人王自健、年度企业家姚劲波、年度艺术家朱伟、年度团队疯狂猜图团队、年度戏剧人田沁鑫、年度历史学者袁腾飞。
编者言：大人物
文 / 杨帆
“在每一期杂志上，你必须创造出一种兴奋感。”
于是《FAMOUS》攒着劲，年底干了一票大的。
这期年度人物特辑，有10个疯子！他们因着一年的一股疯劲，不管不顾，愣是闯进了所有人的视野，成为自己领域的大人物。
这些大人物，等待验证。新锐登场时，大家会看到他最出色的一面，时间则负责检验每一个人的整体价值，会分辨你是一时幸运，还是准备充分，是投机分子还是真正的开拓者。一些人虽然已经成功过检，但仍以各自的方式与这个时代周旋，孜孜不倦。在旁观者制作的名利榜单上，一时的涨跌，不叫事。这样的人更关注的是自己确立的基本价值，心已在沉浮之外。
这些大人物，不是大师。高晓松曾唏嘘过，“大师都是扎堆来的，电影、文学、音乐百花齐放，群星璀璨，但走的时候一个也不留，这是文艺的规律，不管东方西方。”能够成长在那个年代，很幸运，有大批耀眼的灯塔照亮海面，高晓松每天拿着10块钱都在等待着，是买罗大佑新出的唱片，买王朔的小说，还是陈凯歌的电影？现在他拿着100块钱都不知道等待谁，谁值得等待呢？好在有人多看了几眼。在理想主义大师的光芒照耀下，海面上都被灯塔打亮了，清楚自己要去哪儿。多看了那几眼，即使后来灯塔都熄灭了，海上一片漆黑，也基本知道，那个方向在哪儿。虽然路上可能要沾上很多灰尘、泥土。也会被商业左右，但仔细看看他们心里，还是有理想的，至少知道方向在哪里，不用拿着手电去找。
大人物们，经常起于微时，甚至起于唾弃的口水中。很简单，因为他们做的时候，并不见容于周围的人。事情通常就是这样，似乎那些明白点道理，知道如何能做更多事情的人总像是背叛了文学理想、音乐理想或者其他各种理想的逃兵。比如用短裙皮靴踩在古典音乐舞台上的王羽佳，比如知道怎么做“产品”的郭敬明。而那些夜夜买醉大声呼喊黑暗、失望的人，却被赞誉为纯粹的坚持理想，其实他什么都没做。
激愤的理想主义者总是容易把理想和方法混淆，似乎理想是无条件的因此也必须不讲求任何方法论。比如成长为大人物，除了在无人点赞然后大骂世风日下人们都瞎了眼之外，还需要更多的工作去做。当然，我不是主张在刚做事的时候就心里盘算，迎合这个迎合那个，没必要如此，但是，当事情最终成为“产品”，它需要更精心的推广，让人们知道这个存在以及关注它的必要。这就成了方法问题，无关理想。出版杂志也同此理。我们想让杂志被送到更多读者手中，只有先拿到杂志，读者才有可能去读我们精心制作的内容，封面如何选择，决定了大部分读者是否会为它停下脚步，然后是有趣，跟新闻的焦虑相比，我们更轻松，如果办不到，没人会拿起杂志，因为他们已经被报表和人事斗争，航班延误和糟糕空气弄得够闹心的了。兴奋感，是的，每期都要——如何生活才能让我们心潮澎湃——这就是人们读《FAMOUS》杂志的原因。总之，如果我是个真正的理想主义者，那我会停止抱怨，多去了解世界的运转方式，多读点书，保持对那些值得热爱的人和事的热爱——比如跟这10个大人物好好聊聊。
《FAMOUS》没打算记录人物沉浮或者时代价值，不管时代大历史还是个人小历史，一年都只是一瞬间而已，我们只是希望每年这个专辑都能帮助自己发现几个值得认识的人物。比如王自健，他的一个段子就具备让人反省的力量，比如郭敬明和徐峥，他们在足够久的江湖生涯中与这个世界周旋的方式，让我们读来好照见自己的浮躁和恶。万事万物离不开人心和人性，这四个字就是将领，统帅起现实世界的千军万马。希望你在看完他们的故事之后，也会有与我们相似的感受，或者更多。我们一起感悟，然后让生命活出无滞无碍的圆融。
田沁鑫用普洱，“慢慢悠悠地喝，看着随和，却打掉了排练中的烟火气”，最终泡出了一盅《青蛇》。
吴秀波唱《山丘》，“越过山丘，虽然已白了头”，他想一直演到80岁，“还未如愿见着不朽。”
外面很吵，愿人们都能和静清寂，荡去内心的戾气。
明年再见。
年度艺术家朱伟：让水墨变当代
年度艺术家--朱伟
五年前，在一个对谈中言及“理想”，朱伟化调侃为正经，非常认真地说自己的理想就是让水墨画值点钱。他始终有一股气堵在心里：本土的东西，怎么就不行了呢？不管市场起伏不起伏，他一心想把自己的水墨画好。河东河西，如今水墨果真火了，还被打扮成了“新水墨”，名正言顺地登堂入室当代艺术圈。11月，北京今日美术馆举办了一场朱伟的水墨作品大展，做为2013年的一个完美收梢。朋友们拿朱伟打趣，“当年你就已经拿水墨挣美元了，现在又让你赶上了，占了两回便宜。”
“当年”说的是20世纪90年代，他是最早一拨儿在海外产生影响并被西方商业画廊和拍卖市场接纳的中国当代艺术家。从1993年开始，他便与分支机构遍布欧洲、美国和中国香港的万玉堂画廊合作，一纸合约一签就是12年。他的画虽是水墨，那时在西方市场却与方力钧等人的当代油画价格相仿，这使他很早“致富”。对于30多年的中国当代艺术而言，他是实实在在的亲历者和受益者。
可是，说“幸运”、“占便宜”，他觉得自己无辜又百口莫辩。“我可是一直在呼吁水墨画啊，跟祥林嫂似的，专栏写了都有7年了！”他在画画之余为艺术杂志写专栏，称自己“天天都在提倡不要冷落水墨画，传统绘画形式也是有当代性的”。他在国外多年，西方人看作品，不管是用什么材料画成，只要说的是当下的故事，并且说得有意思，那它就是当代作品。回国办展，朱伟却时常遇到这样的问题：“哟，水墨怎么能这么画？这算什么？”不知道该怎样来评价他。也有艺术评论家，看了一眼他的画，立刻就简单省事地给贴上了标签，“你这叫水墨政治波普”，他不知怎么接话。这样的讨论及分类进行了十几年，却一直没结果，他也悠闲了这么多年。即使到了拍卖行，也依然尴尬，“一进拍卖行，作品马上就归类到书画了，价格肯定上不去， 跟那帮搞油画的人一比，明显就吃亏。”
这两年水墨开始升温，朱伟也纳闷，怎么就热了，一下子弄得大家都招架不过来。“水墨并不是从现在开始热的，一定是前面有人一直在默默地做着。新水墨，‘新’啥呀，我们都这么大岁数了，画水墨也画了20多年了，基本上水墨是跟中国当代艺术、跟油画同步的，只不过水墨被忽略了，觉得它太传统、太民族。”他做这个展览，为的就是以正视听，“有些人现在才看到它，其实我们一直在玩儿。”
90年代初，对摇滚乐相当发烧的朱伟一边画着工笔画，一边听着崔健的摇滚乐，一边用中国传统的没骨工笔来进行当代观念的创作，听上去南辕北辙。他的作品中经常出现的穿军装、中山装的形象，以及会场上的红旗、鲜花、高举的手臂、红色的帷幕、人们木讷的神情，都制造出讽刺意味和冲突感，很自然地让观者联想到意识形态和政治。海外的艺术媒体与评论者也乐于把朱伟塑造成体制反叛者形象。
朱伟认为水墨画之所以让大家不待见，是因为它长期以来脱离生活，不表现这个社会现实的轰轰烈烈，“老弄一些小情调、小趣味”。他让水墨画也能跟当下社会挂钩，发生互动，变得有血有肉、有哭有笑。中国社会是一个权力社会，政治无处不在，艺术作品也应该体现这种社会现状。“我很多作品在西方藏家和观众那里都能被接受，这就说明水墨并不是障碍，关键看你要表达什么。”
2013年对朱伟而言异常忙碌，他在新加坡、印尼、北京办了个展，新的个展也在筹备。不过，他依旧用他那种半自嘲半认真的口气说，画家无非就是个熟练工。“二十多年混下来，就像是坐上过山车，一路跟头把式冲下来，啥都来不及想。”唯一满意的，就是自己的作品，除了装饰功能之外，还能把一些观念传达给观众，对人有所触动。
关于过去一年
一件最关心的事情：
我现在最关心的是水墨画能否当代的问题，弄好了肯定有人跟着，说不准就前无古人后无来者。
一个最欣赏的人：
水墨画家谷文达，他以前画山水，后来做实验水墨，比如装置。他把水墨变成文化符号了，已经跳出水墨和绘画了。他用的其他途径，但还能找到水墨的元素，他是在形式有新意。
一个最感到享受的时刻：
跟彼此感到不累的朋友们在一起玩。我混的圈子是让我不累的，势利圈我就不往里混了，如非要往里挤那种的，累。 |
