吉林省德惠市市委常委、组织部长

简历：1966年8月出生，吉林长春人，男，汉族，中专（在职研究生毕业）。1992年加入中国共产党，1987年参加工作。历任双阳县新安镇中心校教师；双阳五中教师；双阳县新安镇团委书记；双阳县（区）委组织部科员；双阳区委组织部主任科员；双阳区委组织部干部一科副科长、副处级组织员；双阳区委组织员办公室副主任（副处级）；双阳区委常委会秘书（副处级）；双阳区委常委会秘书、机要局局长（期间：2001年9月--2004年7月在吉林省委党校经济管理专业在职研究生学习）；双阳区委组织部副部长（正处级）；现任德惠市委常委、组织部部长。

分工：主持市委组织部工作。分管党建、组织、干部、人才和老干部工作；联系人事和编制工作；分管市委老干部局、市委党校、市委党史办、市编办、关工委工作。

艺术家、油画家——杨树峰

杨树峰个人简历：

Resume of Yang Shufeng

1982年毕业于西北师范学院美术系油画专业；

1982——1984年在校抗拒分配，在社会上流浪两年零三个月；

1984年重新分配到兰州市园林局下属的金城盆景园；

1985年与单位签订停薪留职合同，成为真正的自由人；

1985——1989年创作了大量的、当时称为现代艺术的作品，名为“85黑色游戏”系列，其中包括绘画、陶艺、木雕等；

1985年举办兰州858现代艺术展，并于同年筹建东方艺术沙龙；

1986年开始烧制陶艺品，同年成立兰州特种艺术研究所；

1987年举办杨树峰333件现代陶艺展；

1987年应邀参加甘肃中青年艺术家座谈会，在会上批评美协主席对新生艺术的限制；

1988年在兰州金城盆景园举办兰州新艺术个人展；

1988年参加中国黄山现代艺术研讨会；同一年，作品入选中国美术馆举办的现代艺术大展，但被本人拒绝；

1979——1989年的十年间，创作了500余幅绘画作品、1000余件陶艺品和50多件木雕作品；

1990年举办迎亚运现代艺术大展；此后再没有参加过国内任何有关艺术的活动和展览，同时开始反思85艺术并潜心进行艺术创作；

1990——1992年卧病三年；

1993年到海南创业，同时进行艺术创作并承接装饰工程；1996年独自去美国闯荡人生，同时进行艺术创作；

1989——2009年间创作了大量新作品，同时也撰写了大量有关艺术创作、反思85思潮及当下社会和艺术问题的文章，极具探讨和研究价值，以后将陆续推出并与社会见面。

In 1982, he graduated from Fine Arts Department of Northwest Normal University, major in oil painting;

1982 – 1984, he disobeyed the allocation of the university and became the society ranger for two years and three months;

In 1984, he was re-assigned to Golden City Bonsai Garden, a subsidiary of Lanzhou Garden Bureau;

In 1985, he signed a Leave Without Pay Contract with his unit and became a truly free person;

1985 – 1989, he created a lot of so called modern art works of that time, named "85 Black Game" series, which include paintings, pottery, woodcarving, etc.;

In 1985, he held Lanzhou 858 Modern Art Exhibition, and prepared for the establishment of Oriental Art Salon;

In 1986, he began to produce ceramics and found Lanzhou Special Institute of Arts;

In 1987, he held Yang Shufeng Modern Ceramics Exhibition, exhibiting 333 ceramics;

In 1987, he was invited to participate in a forum of Gansu young artists, at which he criticized the constraints of Chairman of Art Association to new arts;

In 1988, he held Lanzhou New Art Solo Exhibition in Lanzhou Gold City Bonsai Garden;

In 1988, he participated in China Huangshan Modern Art Seminar;

At the same year, his works were selected to be exhibited in the contemporary art exhibition held by Art Museum of China, but he refused;

1979 - 1989, he created more than 500 pieces of paintings, more than 1,000 pieces of ceramics and more than 50 pieces of wood works;

In 1990, he held a modern art exhibition for celebrating the coming of Asian Games; from then on, he did not attend any domestic art events and exhibitions ever and began to reflect 85 Arts and devote himself to artistic creation;

1990 – 1992, he was confined to bed for illness for three years;

In 1993, he came to Hainan to start his business, devoted to artistic creation and began to undertake decorative project;

In 1996, he began his lone turbulent life in the United States, and did not stop devoting to his artistic creation;

1989 – 2009, he created a large number of new works and wrote a large number of articles of great explore and study value on art creation, reflection of 85 thought and the current social and artistic issues, which will be rolled out to the society later.

八五时代 生命写意

对当代中国美术来说，85新潮美术运动是一段难以忘怀的火热记忆。尽管1989年的“中国现代艺术展”使它在褒贬难辩的争吵中匆匆落幕，但它仍然给整个美术界烙下了深深的印记，至今对中国当代美术产生着深远的影响。

事隔二十多年，我们已经可以对这场运动进行较为冷静客观的评价：85新潮美术运动的起点是对“文革”期间美术异化为政治话语工具的反拨，是一次向艺术本体回归的潮流。但是在80年代中后期整个社会文化情境的影响下，它迅速偏离了原来的轨道，被卷入了一场民族精神解放与文化革新运动，并在其中充当了急先锋。它所思考、关注与批判的问题已远远超出了以往的所谓艺术问题，而是全部的社会、文化问题。

85另类艺术家杨树峰的生命写意艺术，也是在同一个时间和空间里形成的，但他却是当时所谓主流艺术圈的一条“漏网之鱼”。社会发展的大环境和个人生活经历也曾将他推向当时的精英艺术探索之路，而他独特的个性品质以及身处西北边疆的生活环境却使他对“探索”的理解与当时中国所谓现代精英艺术圈的主流观念产生偏离。他没有像当时同样在进行现代艺术创作的同行们一样，在西方的各种哲学观念、文化观念中去寻找艺术的归宿，而是从自己内心、从自己的生命出发去探索艺术的本体问题，去寻找艺术的真正归宿。他用生命尽情地去游戏，用艺术尽情地写意，三十年来洋洋洒洒从不曾间断，这种内向的探索使他在社会中越来越孤独，在精神上却越来越富有。

杨树峰这一时期的创作全部围绕着生命的意义、艺术的价值、纯艺术语言及艺术精神的建立而展开，采用不同材料、不同手段创作了大量的作品。其作品如同他的生命日记，在短短五六年中完成了从写实、表现、抽象、观念到行为、公共等多种艺术语言与生命的磨合，留下了生命写意的五百多件作品。如果没有强大的内在生命力，怎么可能在探索的状态下完成如此数量的作品！只有一个理由，那就是他已经忘掉了创作本身，而是在用生命去写意。

当然，在中国85新潮美术行列中，杨树峰的独独缺席却也成就了他，使他在另一片荒野之地创建出另类体系，他的作品是生命的游戏，豪放的写意，貌似无规则，却在无规则状态下显现出真正的秩序。

杨树峰的作品的价值，在于其艺术创作始终没有偏离对艺术本体这个根本问题的探求，是在人性、精神、生命层面对观者的成功征服。他的艺术体现生命、贯穿于生活，可以跨越时间、跨越空间、跨越文化与人们进行交流。此时举办“85时代生命写意杨树峰333件（1979-1989）艺术作品展”，观者不仅可以分享他的艺术成就和人生体验，更重要的是可以纠正人们对“85新潮美术”运动的精神认知的偏离，使人们从85精英文化中找到精神层面的艺术价值，并以此推动整个社会对文化、对艺术本质的理性思考，唤起社会对纯人性化艺术精神的尊敬。此次参展作品包括绘画、文献、图片等，观众将更立体、更真实地感受到艺术家艺术风格的衍变和确立过程。作品使用的材料多种多样，油画、水墨、纸板画、木雕和陶艺（图片）等。

在过去很长一段时间里，一些所谓的艺术家为了与西方对话，建立起不真实的艺术语言，在求得认可的同时获得了暂时的成功，但却导致了艺术生命力的衰竭，给艺术创作带来了巨大伤害，并由此产生了极为严重的文化艺术滞后事实。进入二十一世纪的中国开始为世界所瞩目，中国的当代艺术也被世界所关注，因此发展具有强大生命力的纯艺术作品正逢其时，这需要所有热爱艺术、尊重艺术的艺术家们长期的共同努力。

所幸杨树峰在三十年前就已经成为追求艺术真知并进行艺术实践的先锋。让我们在展览中共享这些生命力与社会碰撞而产生的生命写意艺术，共享这视觉与精神上的饕餮盛宴，共同感受一段属于全人类的生命艺术之旅。

85 Times ·Life Impression

Art Exhibition of 333 pieces of art works（1979-1989）,Yang Shufeng

Preface

As for Contemporary Chinese Art, the 85 Modernization Art Movement was a fiery and unforgettable memory. Although the 1989 "Chinese Contemporary Art Exhibition" made it end in hurry and in quarrels, it still bore deep imprint tothe entire art world and produced a far-reaching impact to the Chinese contemporary art.

After a lapse of 20 years, we have been able to give a more sober and objective assessment to this movement: the beginning of 85 Modernization Art Movement is a beginning of art backwash, for art had been alienated to be a political discourse tool during "Cultural Revolution”, and 85 Modernization Art Movement was a trend of returning to the art ontology. But under the influence of the cultural environment of the whole society in the mid-to-late 1980s, it quickly deviated from the original track and involved in the movement of national spirit liberation and cultural reform, becoming thevanguard of the movement. The issues it thought, concerned and criticized had gone far beyond the so-called art range, covering all social and cultural issues.

The life impression art of Yang Shufeng, one of the 85 alternative artists, was formed at the same time and space, however, he was a lucky fish escaped net in the so-called mainstream art circles. The big environment of social development, as well as his personal life experience, pushed him to the road of exploring the elite art of that time, while, his unique personality traits, as well as his living conditions in the northwest frontier, brought him to deviate from the understanding of "explore” and from the mainstream ideas of the so-called modern elite art circles of that time. He did not look for art destination in the Western philosophical ideas and cultural values, just like what his colleagues done at that time, but found the true art destination from his inner self and own life for the issue of art ontology. He used to go to enjoy the game of life with heartily art freehand for three decades, without intermittent. This kind of inward exploration made him more and more isolated in society, but become increasingly rich in spirit.

His creation during this period all began with the establishment of the meaning of life, the value of art, the pure art language and the artistic spirit, creating a large number of works with different materials and different means. His works are just like his life diary, and himself, after the run-in of life and many artistic languages, including realism, performance, abstraction, concepts, behavior and public, in just five or six years, left 500 pieces of life freehand works. Without internal vitality, how could he complete so many works in exploring state! Only one explanation, that is he is already forgot create itself, but to painting with life.

Of course，in the ranks of 85 modernization art of China, the absence of Yang Shufeng had instead enabled him to get a piece of wild land to create an special system. His works are the games of life and the bold freehand, seems irregular, but reveals the true order.

The value of works of Yang Shufeng lies in their consistent exploration of art ontology without deviation and also lies in their successful conquest of the viewer in levels of human nature, spirit and life. His art reflects life, runs throughout life and can exchange with people across time, space and culture. At this time, Holding the Art Exhibition for the 333 pieces 85 life-freehand art works (1979-1989)of Yang Shufeng, can make viewer not only share his artistic achievements and life experience, but also correct the spirit and conscious deviation of people to 85 modernization art movement, enabling people find spiritual artistic value from the 85 elite culture and pushing the rational thinking of art and culture to the whole society, as well as calling for the respect of the society to pure humanized arts spirit. The exhibition works are part of the works that the author created at 1980s (1979-1989), including painting, literature, pictures, etc. The audience will feel the Evolution and establishment of the art style of the artist in a more three-dimensional and more realistic way. The author used a variety of materials, including oil paintings, inkwash painting, cardboard painting, carving, pottery (picture) and so on.

For a very long period of time in the past, some so-called artists established untrue artistic language for a dialogue with the West, and led to the failure of artistic vitality at the same time that they sought for approval, although they obtained a temporary success, they brought great harm to the art creation, causing serious arts and culture lag. Going into the twenty-first century, China has begun to win focus attention of the world, and Chinese contemporary art has also been concerned by the world, bring a opportunity for the development of pure art works of strong vitality, which requires joint work of all artists who love art and respect art.

Fortunately, Yang Shufeng has become the pioneer in pursuit of artistic truth and conducting of art practice three decades ago. Let us share these life freehand arts created by the collision of vitality and society, as well as this visional and spiritual gluttonous feast, appreciating a life art trip of all mankind.