2009年圆明园37位代表性艺术家回顾展
“圆明园画家村艺术展”的“回归”，这个在上世纪90年代成为备受关注的艺术群体，他们中的很多人甚至影响了现代艺术的走向。展览策划者是当代艺术奠基者栗宪庭先生，将展出方力钧、岳敏君等中国当代艺术先锋人物的作品以及许多文献性图片和实物，据栗先生说，这也是迄今全面反映圆明园画家村的首次展览。
艺术总监Art Director/艺术顾问Art Consultant ：栗宪庭Li xianting
策展人Curater：刘馨雨Liu Xinyu
参展艺术家Artist：（按拼音顺序）
迟耐/Chi Nai, 朵夫/Dove, 大罗/Da Luo, 方力钧/Fang Lijun, 郭建/Guo Jian, 鹿林/Lu Lin,
刘彦/Liu Yan, 刘峥/Liu Zheng, 刘枫华/Liu Fenghua, 李新辉/Li Xinhui, 刘文进/Liu Wenjin,
摩根/Mo Gen, 任福生/Ren Fusheng, 任思鸿/Ren Sihong, 孙珂/Sun Ke, 石头/Shi Tou,
孙艺玮/Sun Yiwei, 邵译农/Shao Yinong, 王迈/Wang Mai, 王强/Wang Qiang, 王音/Wang Yin,
王秋人/Wang Qiuren, 魏野/Wei Ye, 薛昌河/Xue Changhe, 徐志伟/Xu Zhiwei, 徐若涛/Xu Ruotao,
杨青/Yang Qing, 杨卫/Yang Wei, 伊灵/Ying Ling, 余佰公/Yu Baigong, 岳敏君/Yue Minjun,
杨少斌/Yang Shaobing, 张东/Zhang Dong, 张洪波/Zhang Hongbo, 钟天兵/Zhong Tianbing,
申伟光/Shen Weiguang
书籍资料
Works
Cover Design, oil painting on canvas, triptych, 400x200x160cm, 1991,封面设计
《腊肉》不仅是一件雕塑作品，更是一种神学的宣言。它以身体的有限性指向永恒的维度。十字架在这里不再是形象的再现，而是灵性在肉身中的显现。朵夫让观者直面一个关于存在的终极命题——当信仰被肉体承载，当灵性穿透物质，人是否能重新认识“人”这一形象本身？
Cured Meat is not merely a sculpture, but a theological declaration. It uses the finitude of the body to point toward the eternal. The cross here is no longer a representational image but the manifestation of spirituality within flesh. Dove confronts viewers with an existential question: when faith inhabits the body and spirit penetrates matter, can humanity rediscover the essence of being human?
朵夫曾写道：“我的作品不是为了讲述一个故事，而是为了提供一个崇拜、沉默和精神感知的空间。”
“十字架不仅是基督的十字架——它是永恒与时间的交汇点，是天堂与地球的交汇点。”
“My works are not meant to tell a story, but to hold a space for worship, silence, and spiritual perception,” Dove once wrote.
“The cross is not only Christ’s—it is the intersection where eternity meets time, where heaven touches the earth.”
北京，油画 ，220x180cm,2008
For Dove, entropy is not an end but a passage. In the decay of form, new order breathes.
In the fading of visibility, the unseen grows radiant.
His canvases are not depictions, but acts of being—oscillations between time and eternity, between structure and grace.
In his paintings,
light no longer belongs to vision, but to faith;
form no longer speaks in language, but in silence.
Even as the world dissolves in entropy,
the Divine remains.
熵变”在他那里，不仅是物理的象征，更是神学的现象学：秩序的衰减与灵性的更新同时发生。绘画在此不再是造形的行动，而是存在的见证——一种在时间与光之间的呼吸。
在朵夫的画布中，
光不属于视觉，而属于信仰；
形式不诉诸语言，而召唤沉默。
当世界在熵变，
神性，依然在场。
Let me think about it before making a decision,installation, 24 laser lights, 24 crystal diamond，让我想想再做决定