最大的欲望

经过历时一年多的准备，索美画廊于2019年4月13日推出“最大的欲望——王立伟雕塑个展”。本次展览由沪上艺术策展人侯萍女士担纲策展。

雕塑艺术家王立伟是近年来当代艺坛颇为亮眼的人物。他用皮质材料创作了大量的以人体为媒介，探寻生命源泉与死亡本质的作品。著名艺评家贾方舟先生曾评论：“雕塑家王立伟的“皮质雕塑”是一个非常独特的创造。这种具有独创精神的材料选择和形式表现，以一种柔软温馨、更接近生命本体的语言形态，一下子拉开了和硬质的传统雕塑的距离，使其在当代雕塑领域中独树一帜。”

近年来王立伟获得学术与市场的肯定与赞誉。他曾斩获2012年度“曾竹韶雕塑艺术奖学金” 获曾竹韶大奖、“中国姿态”•第二届中国雕塑大展获中国雕塑青年新锐奖、“中国姿态”•第四届中国雕塑大展获中国雕塑佳作奖。

此次展览经过艺术家与画廊的长时间准备，会有十余件王立伟精品雕塑作品呈现。其中多件为画廊独特的场地特殊构思创作，力图将整个展示空间与作品紧密融合。王立伟雕塑个展学术研讨会会同期举行。此次展览亦为索美画廊2019年开年首展，追求精品展和强调体验为索美画廊近年的展览定位。

王立伟老师曾言“人类最大的欲望是生命，最大的敌人是死亡，那么无论宗教、哲学还是艺术都是针对死亡恐惧症的一剂良药。”

在艺术作品中，生命和死亡的表现既可以表现的很魔幻，也可以很现实；既可以很伟大，也可以很渺小；既可以温情，也可以很残酷。那么希望更多的朋友可以来到展馆自己去王立伟的作品前，去驻足、去体验、去思考...

The greatest desire

After the preparation of over one year, the painting hall of Suomei will introduce “The individual show of Wang Liwei’s sculpture---The greatest desire“. This show will be hosted by Hou Ping, the Shanghai art exhibition planner.

The sculpture artist, Wang Liwei is a quite noteworthy figure of contemporary art circle in recent years. He has created enormous works with leather materials, taking human body as the media, exploring the source of life as well as the essence of death. The renowned art critic, Jia Fangzhou has remarked: ‘the leather quality sculpture of the sculptor Wang Liwei is a quite unique creation. This type of unique choice of materials and forms of representation, has keep itself at a distance from the traditional hard material sculpture and made a special contribution in the contemporary field of sculpture。’

In recent years, Wang Liwei has received the confirmation and praises of the academic world and the market, like the grand Zeng Zhuyun prize of ‘Zeng Zhuyun Scholarship of Sculpture Art“in 2012, the prize of the new pioneering youngster of Chinese sculpture in the 2^nd session of Chinese Sculpture Fair of ‘Chinese Stance’， and the prize of excellent works of Chinese sculpture in the 4^th session of Chinese Sculpture Fair of ‘Chinese Stance’.

This exhibition has been prepared for a long time by the artist and the painting hall, and over ten pieces of excellent works of sculpture of Wang Liwei will be exhibited. And many pieces of the works have been especially created for the unique environment of the painting hall and the works have been tried to get incorporated into the exhibition space. The academic discussion conference of Wang Liwei’s individual sculpture exhibition will be help at the same time. This show will the first one of Suomei Painting Hall in 2019, and the pursuit of exhibition of top quality of works as well as emphasis of experience is the focus of exhibition of Suomei Painting Hall in recent years.

Mr.Wang Liwei once remarked:‘the greatest desire of human being is life, and the greatest enemy is death, then, either the religion, philosophy or arts are one type of fine medicine for the fear of death.’

In artistic works, the representation of life and death can be implemented as fantastic, or realistic; both grand and mideocre, both gentle and cruel. Then, it is hoped that more friends will come to the works of Wang Liwei in the exhibition hall, to observe, to experience and to think...

形 的 延 伸 与 线 的 创 造   ——王 立 伟 的 皮 质 雕 塑             

贾 方 舟

雕塑家王立伟的“皮质雕塑”是一个非常独特的创造。这种具有独创精神的材料选择和形式表现，以一种柔软温馨、更接近生命本体的语言形态，一下子拉开了和硬质的传统雕塑的距离，使其在当代雕塑领域中独树一帜。

以皮质材料“包裹”已经成型的雕塑，这个最初的动议具有很大的实验性质。因为它不是为自己塑造的人物设计一件衣服，而是为其“植皮”！他需要用大小不同的很多块“皮”，通过组接、粘合、缝制等技术性程序来完成。而恰恰是这一过程为他的作品带来一种特有的品格。皮块与皮块的衔接、衔接部选择在哪里、衔接的宽度（多余部分）如何确定，以及衔接部分的横截面（立边）如何处理等等，这些细节给艺术家富有个性的表现带来许多意想不到的可能性。

如果是一件以寻常材料完成的人体雕塑作品，艺术家可能在“人体”身上留下或者强调工具制作的痕迹，但不可能出现与身体本身无关的空间、光影和线条。但当王立伟为已经塑造好的人体“植皮”的时候，空间、光影、线条这些形式因素就自然成为这件作品独特创造的关键。从头发、五官、体毛到身体的每一个局部和细节，都因“皮革”这一特殊材料的使用而变得生动而有创意。特别是在皮与皮粘合后被染黑的那些横截的“立边”，奇异地成为附着在人体上无法剥离的“线组织”。在一定的光影下，这些线组织形成陌生而奇妙的“人体”新的“空间隔离”，而这种人为的分割并非人体所本有，它们是被创造出来的一种“虚体结构”，并且成为一件雕塑最具有魅力的部分。特别是皮块在粘合与缝制过程中产生的线条和多余部分形成的特殊空间光影是一种极具创造性的表达方式。强烈的线条和光影是对身体结构的抽离与重组，使每个局部都与众不同，并且充满令人兴奋的视觉效果和形式张力。它们依据人体的结构而来，但并不纯属于人体的“结构线”。在更多的情况下，这些线是在皮块与皮块自身结构中产生的，因此具有独立的审美价值。它与中国传统艺术中的以线造型有异曲同工之妙。

由于线的出现，王立伟的雕塑不再是“雕”和“塑”，而是具有了一种以线造型的“绘画性”效果，虽然这些线不是画出来的。在他的皮质雕塑中，常常幻化出一种“席勒式”的简约凌厉的造型风格。不只是线条的出现使雕塑具有一种绘画感，而且有些局部如眉毛、眼睛、嘴巴等虽然是使用了一种线型材料，但其效果却直接呈现为一种绘画性。雕塑虽然是在三维空间中展开，但传统雕塑中的衣纹处理就常常是平面的、绘画性的。一些当代雕塑家也试图在雕塑中寻求绘画性的效果，例如向京，她就是把雕塑当做“素描稿”，通过“着色”——即在雕塑上“绘画”来完成。这和传统的彩塑不同，她的目标是使更富于感性的色彩语言成为她雕塑的一个重要组成部分。

作为雕塑的材料，皮革是一种来自动物体的有机物，皮质本身的生命感既是生命结束后的物质留存，也是生命永恒的见证。艺术家通过皮革这一材料，使生命物质以艺术的方式回转到艺术的生命体中，呈现出一种可触可感的视觉真实性。正如艺术家所说，“皮革作为雕塑的一种材料语言，更加凸显出与生命有关的主题，正是生的延续与死的终结，构成东方生死轮回的哲学观，凸显出生命的易逝与永恒”。

但王立伟的皮质雕塑，又不完全是在“再现”的观念下使用这一材料，虽然皮质材料温馨、松软的感觉可以使我们回归到一种生命体验之中，但他给雕塑“植皮”并非一味地让观者回到“皮肤”的感觉之中，为此他没有做“肤色”处理，相反，他常常根据作品需要辅以一种主观色彩。在有些情况下，“植皮”甚至演变为“着装”，例如“达摩”和一个跪坐的男孩，皮质材料的添加已经演变为一种更具有质感的塑造手段。

不是不同的材料可以创造不同的语言，而是材料本身就是一种语言。艺术家对某种材料的发现和借用，实际上就是开辟了一块属己的语言领地。但这块语言领地给艺术的进一步拓展可能提供多大的空间，这是王立伟需要面对的课题。从他的新作中，我们可以看到一些不断向前拓展的迹象，为我们提供了新的期许，愿他在自己的语言系统中有更多更新更趋近当代状态的突破。

The extension of shapes and the creation of lines

—Wang Liwei’s sculpture with skin material

                                                   By Jia Fangzhou

The young sculptor, Wang Liwei’s sculpture with skin material is a quite unique creation. This type of unique choice of materials and representation of shapes, by a status of language soft, warm, nearer to the body of life itself, has at once kept at a distance from the hard-material traditional sculptures, and built a special type in modern field of sculptures.

The initial suggestion that the molded sculptures are to be enclosed by leather materials has much quality of experiments, because it means not to design a suit for the character one has designed, instead, to “build some skin”! He needs many pieces of “leather” of different sizes, and finish the job by the technical procedures of patching, pasting and sewing, etc. But it is this exact procedure that has brought some special character for his works. The details like the linkages of different pieces of leather material, where to choose the linkage, how to decide the width of the linkage points(the extra part), how to treat the cutting face of the linkage parts, etc can bring enormous possibilities to the featured representation of the artists.

If the works of human figure sculptures are completed by ordinary materials, the artists may leave or emphasize the prints of processing by tools, but it is not possible for these elements of forms like space, light and shades, lines that are irrelevant with the body itself to appear. When Wang Liwei is to add the human skin for the sculpture which has been built, these elements of forms like space, light and shades and lines turn naturally the key of the unique creation of this works. From every minor part and detail of the hair, organs on the face, body hair and the body will become vivid and innovative because of the using of the special material, leather. Especially, those transverse "vertical edges" which are dyed black after the leather is pasted to another skin have become strangely "line tissues" which cannot be peeled off from the human body. Under certain light and shadow, these "line tissues" will form strange and mysterious new “space isolation” of the human body, and actually this type of man-made splitting is not originally owned by human body, and they are created as "virtual structure" and has formed into the most charming part. Especially the light and shadow of the special space formed by the lines and extra parts in the procedure of pasting and sewing the pieces of leather is a form of representation of extreme creativity. Strong lines and light and shadows are the abstraction and reforming of the human body structure, so that every minor part is unique and full of exciting visual effects and extension power of forms.  They originate from the structure of human body,but not belonging to the structure line of human body alone. In more occasions, these lines are created in the structure of pieces of leather, thus possessing independent values of aesthetics. This has something similar with the Chinese traditional arts that builds shapes by lines.

Due to the appearance of lines, Wang Liwei’s sculptures are no longer mere “sculpting” and “molding”, but also own the “painting “effect of creating shapes by lines, though these lines are not painted. In his leather sculptures, this is often transformed into a simple and sharp "Schiller style". Besides the appearance of lines helped to cause the feel of paintings, some minor parts like the eyebrows, eyes, and the mouth, etc. which have used one type of linear materials, also represented one type of feel of paintings. Though the sculptures are to be displayed in the three-dimensional space, the treatment of the clothing patterns in traditional sculptures are usually plane or of the feel of paintings. Some contemporary sculptors have also tried to seek the effect of the feel of paintings in sculptures, like Xiang Jing who regards sculptures as "sketches" and completes them by "coloring"—to complete the works by "painting" on the sculpture. This is different from traditional color sculpture, and her goal is to incorporate more emotional language of colors as an important part of her sculpture.

As the sculpture material, leather is an organism taken from the animals. The feel of life of the leather itself is not only the material remaining after the end of life, but also the eternal witness of life. By using the material of leather, the artist lets the life material to turn into the life of art in an artistic manner, so as to present a kind of touchable and perceptible visual authenticity. As the artist once said, "Leather, as a material language of sculptures, enhances the themes related to life. It is the continuation of living the life and the end of death that constitute the philosophic perspective of the Eastern cycling of life and death, emphasizing the perishability and eternity of life".

Not that different materials can create different languages, but that the material itself is one type of language. That the artist invents and uses one type of materials, is actually to create a piece of land of language for himself, but how much space this land of language can provide for the further exploring of arts, this is the task facing Wang Liwei. From his new works, we can see some prints of expanding forward, providing new expectations for us, and we wish that he will achieve more new and more contemporary breakthrough in his own system of language.

But Wang Liwei’s leather material of sculpture does not adopt the material in the view of “representation“ .Though the warm and soft feel of the leather material can bring us back to a kind of experience of living, he planted the “skin”for the sculpture not only in order to let the audience go back to the feel of “skin”, so that he does not carry on the treatment of “skin color”, instead, usually he would add a subjective color according to the need of the works. In some occasions, skin planting even evolves into “putting on the suit”， e.g. in the works of Damo and a kneeling boy, the adding of leather materials has evolved into a way of molding with more feel of quality.

有意味的雕塑形式

    在当代的雕塑语境中，造型的多样性以及材料的宽泛特征，极大地丰富了雕塑艺术的空间阐释与人文思考。王立伟的雕塑比较直观地体现了这一点。

雕塑家王立伟科班出生，本科、硕士兼有修成，尤其是鲁迅美术学院的笃实学风，在他的创作中留下了扎实、清晰的痕迹。他在自己的一篇文章中这样描述自己的学习感受：“我的本科五年是在鲁迅美术学院渡过的，至今仍清晰的记得在第一堂雕塑课上老师说过最多的就是：雕塑的思维方式。我们被要求认识“形体”、“空间”、“塑造”，要舍弃平面式的绘画语言。这是我第一次意识到雕塑与绘画的不同，明确自己是在“做”，而不是在“画”。在严谨的教学环境下，我们对照模特做了非常多的写实训练，使得我对雕塑形体的塑造以及技法锤炼的很熟练，对人体结构从里到外的形体认识也是轻车熟路”。惟其如此，当人们看到王立伟的雕塑作品时，可以体会到他专业创作的基本功。在作品里可以看到他对造型的准确把握，娴熟地面对创作中的可能。

王立伟雕塑的造型特征反映出他对形的追求，即“用强烈的、动感的、恍惚不定的线和对物象结构的抽离与重组，使每个局部都与众不同”。（引自王立伟创作谈）这种对空间造型的自由选择和对形的恣意描述，显示出雕塑家本人对雕塑区别于绘画的深度思考。

王立伟雕塑具有强烈的绘画性特征，比如用线来界定造型的边缘，线的流畅体现着作品的写意随性，但是又不失为造型的立体空间的存在。

雕塑作为艺术家的创作意图的表征时，作品的意义也随之提出。

在王立伟的雕塑中，塑造的手段变得灵动而率性时，作品的意义就会变得益发明显：一种根植于中国传统文化中的对绘画性雕塑（中国传统雕塑自秦代以后，雕塑具有典型的写意特征）的阐释，显得清晰起来。

长期以来，对于中国绘画与雕塑的关系虽无太多的争论，然而在实践范畴却有着语意模糊的现象。人们常常对中国式雕塑的界定语焉不详。王立伟在其个人的雕塑创作实践中，通过明确的造型诉诸其本人对生存意义的思考，通过直接的符号形态诉诸其对传统的解读，进而显示雕塑造型存在于兹的意义。因此，简单地将王立伟的创作归置为传统雕塑是不准确的。也正是在创作中引用了动物的毛皮作为雕塑材质，我们在其作品中看到了当代艺术的一种风范。

雕塑的材质问题，在以往的东西方传统雕刻中，是无需过多讨论的。这时基于雕塑自身的本体功能特征所决定的。当雕塑这种艺术形式走过漫长的历史来到当下时，却不可避免地遇到了艺术形式的发展与变迁，形式的嬗变要求，体现出雕塑家不再拘泥于传统写实的创作唯一性。形式多样性的要求，艺术家自身主观意念的解读，雕塑家随类赋形/彩的对雕塑传统功能性消解，社会快餐文化的平面化…都对当代雕塑产生了巨大的影响。

作为雕塑家的王立伟，他赋予皮革这种材质以某种符号意义，正是说明雕塑家对当代社会的一种传统式的追问。由于皮质材料的特殊符号语意，赋予了作品广域解读的可能性。凸现出王立伟的雕塑别样特点。

如前所述，简单地将王立伟的作品归类于传统雕塑是不妥当的。但是，我们必须看到一个事实：即他的雕塑没有脱离雕塑本体对材料的功能性需求。这里所说的是，从雕塑家自身对作品材质的要求，可以看出其对传统雕塑材料的眷顾。反观其以往作品，就可以发现，无论是皮质材料，还是金属的材料，抑或其他材料。当某种材料本身成为雕塑家的作品特征时，一种个性化创作的典型样式产生了。

雕塑语言和绘画语言的跨界探索，或许是王立伟雕塑的本质思考，而皮质材料的运用，可能是其雕塑语言的能指所在。正是在这种存在层面上，我们看到雕塑家的深度思考，即试图将中国文化中的意境阐释通过具体的“质”来展示，亦试图予以富有质感的立体造型来表达自身对社会现象的某种关注。探索与描述，似与不似，小者写其形，大者写其意。作为浸淫在现代氛围中的“传统人”，我们看到的是雕塑家创作的随性和思考的执意。

王立伟创作多产而丰富，具备了一个面对市场的雕塑家的基本状态。同时又不失为个性化的坚持，这也是对其作品收藏者的期望。在面对未来的期许之中，作为艺术家的王立伟还有很长的路要走。在更大的意义上来讲，我们愿意看到他对艺术的探索愈加深远，对文化的认知愈加深厚，创作造型的意味愈加有趣。

                                                              许健

农历乙亥年二月初九 松江

Meaningful forms of sculpture

In the contemporary semantics of sculpture, the diversifying of the shapes and broad features of materials has greatly enriched the decoding of space and humane thinking of the art of sculpture. Wang Liwei’s sculpture has vividly represented this point.

The sculptor, Wang Liwei comes from the major of arts and has made some achievements in his days of university days and his period of postgraduate studies, and especially the hard-working style in Lu Xun Academy of Arts has left strong and clear prints in his creation. In one of his essays, he described his impression of studies: ‘my five years of university studies have been spent in Lu Xun Academy of Arts, and till now I still remember clearly that in my first course of sculpture the teacher said for most times: the method of thinking of sculpture. We were demanded to learn “body”, “space”, “mold” , and to discard the painting language of plane style. This was the first time that I realized the difference between sculpture and paintings, and make sure that I was to “make”, not”paint”. In the strict learning environment, we have taken many realistic training comparing with the model, and this helped me to be familiar with the molding of the body of sculpture and the practice of techniques and the learning of the forms of human bodies.’ Just because of these experiences, when people watch the works of sculpture of Wang Liwei, they can feel his basic qualification in professional creation. From his works, we can see his correct handling of shapes and dexterous treatment of the possibilities in creation.

The molding features of Wang Liwei’s sculpture have demonstrated his pursuit of forms, ‘to ensure every minor part be unique by using passionate, empowering, dimly uncertain lines and the abstraction and reforming of the structure of the images of objects” (from Wang Liwei’s comments on his own creation work). This type of free choice of space shapes and passionate description of the forms has demonstrated the sculptor has deep thoughts about the difference between sculpture and paintings.

His sculpture has strong features of paintings, e.g. to define the boundary of the molds by lines, the free flow of lines have displayed the carefree feel of the works, but also exist as the three-dimensional space of shapes.

While the sculpture acts as the feature of the purpose of creation of the artist, the significance of the works has been proposed. In the sculpture of Wang Liwei, the method of molding has become flexible and carefree, the meaning of the works become more conspicuous. One type of decoding of the sculpture of the feel of paintings based on the Chinese traditional culture(since Qin Dynasty, the Chinese sculpture has owned the typical freehand feature) is turning clear.

For a long period of time, there has not been much dispute about the relationship between Chinese paintings and sculpture, but there is the phenomena of obscure meaning in the category of practice. People often do not have clear definition of Chinese style of sculpture. In the practice of his individual creation of sculpture, Wang Liwei has expressed his own reflections of the significance of existence by definite molding, and expressed his decoding of the tradition by direct status of symbols to further display the value of sculpture. Thus, to simply classify the creation of Wang Liwei into the category of traditional sculpture is not correct. Because the skin of animals are adopted as the sculpture materials, we can see some style of modern arts.

The problem of material of sculpture, need not much discussion in former Eastern and Western traditional sculpture. This is decided by the feature of subject function of the sculpture itself. When the form of art of sculpture has passed through the long history to enter the current age, it faces the development and changes of the forms of arts and the transformation demand of forms which have demonstrated the singularity of creation of not obeying the tradition of realistic description. The demand of diversification of forms, the explanation of the subjective conceptions of the artist himself, and the functional dissolving of the tradition of sculpture of molding after the shapes of the object, the planarization of social fast food culture------all have enormous influence upon modern sculpture.

Wang Liwei, the sculptor, has brought some kind of significance of symbol to the material of leather, as is some traditional examination of the contemporary society by the sculptor. The special meaning of symbolism of the leather material has granted the works the possibility of explanation in a broad sense, and this has demonstrated Wang Liwei’s special characteristic of his sculpture.

As the above narrated, it is not proper to classify his works into traditional sculpture, but we need to observe this fact: his sculpture does not exceed the functional demand of the sculpture upon materials. What we comment here is, we can find his love of the traditional materials of sculpture. Looking at his former works, we can find, by leather materials, or metal materials or else, when some type of materials have become the feature of the works of the sculptor, one typical style of individualized creation has been created.

The exploration of trespassing the fields of sculpture language and painting language, is perhaps the essential thinking of Wang Liwei’s sculpture and the using of leather materials may be what his sculpture language refers to. Just in this layer of existence, we can discover the deep reflections of the sculptor, to demonstrate the semantic explanation of Chinese culture by specific “quality”, and also try to express his concern of social phenomena by the three-dimensional molding of rich feel of quality. Exploration and depiction, likeness and the difference, depiction in minor details and communicating the spirit in the major sense. As the “traditional man”in the modern atmosphere, we see the freedom of creation and the persistence of thinking of the sculptor.

Wang Liwei’s creation is rich and abundant, having the basic status of a sculptor facing the market. In the meantime, he has his own individualized insistence, as is also the expection of the collector of his works. Facing the future expections, the artist, Wang Liwei has a long way to go. In a broader sense,we are willing to finding that he goes further in the exploration of arts, having more profound understanding of the culture, and more interesting creation of molding.

By Xu Jian

 On Feb.9^th, 2019(in the lunar calender), in Songjiang.

王立伟

1983年生于黑龙江                            

2009年毕业于鲁迅美术学院雕塑系，获学士学位

2012年毕业于天津美术学院雕塑系，获硕士学位

现南开大学滨海学院艺术系教师，中国雕塑学会会员

个展

“表相”王立伟观摩展（北京）

“空相”王立伟雕塑展（厦门）                             

“最大的欲望”王立伟雕塑个人展览（上海）                 

“永恒的詰问”王立伟雕塑展（厦门）                 

联展

2019年

“无态度的态度”青年雕塑家邀请展（香港）                

2018年

第五届世界佛教论坛（福建）                               

“行山”中国传统文化的当代形塑（河北）                   

天津市首届公共艺术大展（天津）                           

“万物之维”当代雕塑展（北京）

“中国写意·当代艺术展”（青岛）                         

 为宅雕塑.2018中国青年雕塑家邀请展（济南）               

2017年

天津青年美展（天津）                                     

穿越“青年艺术+”优秀作品海外巡展（斯里兰卡、曼谷）                   

2017年库里蒂巴双年展（巴西）                           

启航2017“青年艺术+”国内巡展北京站（北京）

“再塑造”中国当代雕塑家邀请展（北京）

“新维度”2017当代中国雕塑艺术家提名展（北京）

2016年

“中国姿态”·第四届中国雕塑大展（山东）                 

“青年艺术100”北京启动展（北京）

“关键链接”中瑞艺术展（瑞士）                         

“图像视点”青年艺术+海外巡展（新加坡）                  

翼——中国雕塑学会青年推介计划第二季巡展（北京）

2015年

城市之光·当代雕塑与装置博览（上海）                    

国家艺术基金·青年艺术+ （北京）

2014年

ART TOMSON 当代艺术沙龙展（天津）                       

“中国姿态·第三届中国雕塑大展”（济南）                

第12届全国美术作品展（太原）                             

“天天向上”-名师提名展（济南）                                      

成都中国当代青年雕塑邀请展（成都）                        

2013年

“天天向上”筑中美术馆2013年度名师提名展（北京）         

“第五届中韩雕塑交流展”（首尔）                          

“2013年中央电视台雕塑大赛”（北京）

“空间的肖像”2013芳草地艺术节（北京）

“色温”中国青年艺术家扶持推广计划（伊斯坦布尔）           

“师道”——中国国家画院雕塑院师生联袂展（大同、北京）     

“语言的飞扬”——中国雕塑年鉴展，中国国家大剧院（北京）

“呈”——中国雕塑学会青年推介计划（北京）

2012年

“天天向上”——2012筑中美术馆年度名师提名展（北京）

“倾塑 艺述”——当代雕塑艺术展 （北京）

中国当代雕塑家作品展（ 青岛）                               

“曾竹韶雕塑艺术奖学金”获曾竹韶奖（大同）                  

首尔国际雕塑邀请展（首尔）                                  

“启”今日美术馆 （北京）

“应物象形”Eli Klein Fine Art（纽约）                      

2011年

“中国姿态”·第二届中国雕塑大展（温州）                    

第四届全国青年美术作品展（北京） 

第二届重庆美术双年展（重庆）                                

中国青年雕塑家作品展（长春）                                

中国雕塑学会沙龙“青年推介计划”全国巡展，798学会沙龙展览，常熟美术馆，通中心美术馆、上海城市雕塑艺术中心

“北方雕塑展”（德国，汉堡）                                 

获奖情况：

2012年度“曾竹韶雕塑艺术奖学金” 获曾竹韶大奖

“中国姿态”•第二届中国雕塑大展 获中国雕塑青年新锐奖

“中国姿态”•第四届中国雕塑大展 获中国雕塑佳作奖

收藏情况：

筑中美术馆、中间美术馆、中国雕塑博物馆、中心美术馆、鼎立艺术馆、0艺术中心、梅江美术馆、中国雕塑学会、天津美术学院美术馆、鲁迅美术学院及私人收藏

Liwei Wang

Born in Heilongjiang province, China in 1983.

Acquired bachelor’s degree in 2009 in the sculpture department in Luxun Academy of Fine Arts.

Acquired master’s degree in 2012 in the sculpture department in Tianjin Fine Arts Institute.

Present: teacher of arts department in Nankai University Binhai College, member of China Sculpture Institute.

Solo Exhibition

’skin appearance’ Wang Liwei Exhibition(Beijing)

Empty-Appearance Wang Liwei Sculpture Exhibition(Xiamen)

The Greatest Desire Wang Liwei Sculpture Solo Exhibition(Shanghai)

The everlasting query Wang Liwei Sculpture Exhibition(Xiamen)    

Joint Exhibition

2019

Attitude/No Attitude Young Artists Invitational Exhibition(Hong Kong)

2018

The Fifth International Buddhism Forum(Fujian)                 

Walking Mountain --- the Contemporary Form of Chinese Traditional Culture(Hebei)   

The 1^st Public Art Exhibition in Tianjin(Tianjin)                   

Dimension of All Things--- Contemporary Sculpture Exhibition(Beijing)  

Chinese Liberal Style --- Contemporary Art Exhibition(Qingdao)

Sculpture for Life --- Chinese Young Artists Invitational Exhibition in 2018(Jinan)

2017

Youth Art Exhibition in Tianjin(Tianjin)

Across Young Artist Promotion Project Tour(Sri Lanka、Bangkok)

Curitiba Biennale in 2017(Brazil)

Young Artist Domestic Tour Beijing in 2017(Beijing)              

Reshaping ---China Invitational Exhibition of Contemporary Sculptor(Beijing)  

New Dimension---China Nomination Exhibition of Contemporary Sculptor in 2017(Beijing)

2016

Chinese Pose---the Fourth Chinese Sculpture Exhibition(Shandong)

Art Nova 100 Opening Exhibition in Beijing(Beijing)

Critical Connections Art Exhibition of China and Switzerland(Switzerland)

Visual Views Youth Plus---Young Arts Promotion Pr