2014

《王鲁炎》圣埃蒂安现当代美术馆，圣埃蒂安，法国

《鲨鱼与人类》，海洋博物馆，摩纳哥

2011

《无法缺席-文轩当代艺术展》, 文轩美术馆, 成都, 中国

《UCCA-VISION青年视觉 纸上展馆系列1：越轨》, 尤仑斯当代艺术中心, 北京, 中国

2010

《王鲁炎》个展, 整体美术馆, 首尔, 韩国

《桥梓艺术公社首届艺术节——最低限度展》, 桥梓艺术公社, 北京, 中国

《2010釜山双年展--中日韩特别展Now,Asian Art》群展, 釜山, 韩国

《事物状态--中比当代艺术交流展》群展, 中国美术馆, 北京, 中国

《玻璃工厂》群展, 伊比利亚当代艺术中心, 北京, 中国

《亚洲路标》群展, 伊比利亚当代艺术中心, 北京, 中国

《中国和日本的当代美术展》群展, 釜山市立美术馆, 釜山, 韩国

《趣味的共同体: 2000年以来的中国当代艺术》群展, 智利当代美术馆, 圣地亚哥, 智利

《The TAO of Now》群展, 白兔子美术馆, 悉尼, 澳大利亚

2009

《事物状态--中比当代艺术交流展》群展, 布鲁塞尔皇家美术宫, 布鲁塞尔, 比利时

《个体》项目展, 卓越艺术, 中国.北京

《王鲁炎》个展，604画廊，韩国，釜山

《意派—世纪思维》今日美术馆, 中国.北京

2008

《王鲁炎: 整体的背面》(个展) , 卓越艺术, 中国.北京

《历史的消耗》, 东亚艺术, 中国.上海

《趣味的共同体》(开幕展) , 伊比利亚当代艺术中心, 中国.北京

《我们的未来: 尤伦斯基金会收藏展》 尤伦斯当代艺术中心, 中国.北京

《观念的笔记: 中国当代绘画的局部叙述》, 伊比利亚当代艺术中心, 中国.北京

《悬在空中, 浮于表面》, 林大画廊, 中国.北京

《消耗》2008年釜山双年展, 韩国.斧山美术馆

《亚洲方位》第三届南京三年展, 南京博物院, 中国.南京

《美好时光—Pfund与王鲁炎双人展》ELLITA Contem porary画廊，瑞士，苏黎世

《意派》CAIXAFORUM 艺术中心 马幼卡， 巴塞罗那， 马德里西班牙

《中国公寓艺术1970—1990》水木当代艺术空间，北京

《艺术的魅力--中国当代艺术及其收藏展》今日美术馆，北京

《中国幻想》铸造美术馆，北京

2007

《被锯的锯?》(个展), 阿拉里奥北京, 中国.北京,

《被锯的锯?》(个展), 何香凝美术馆, OCT 当代艺术中心, 中国.深圳

首届今日文献展《能量: 精神·身体·物质》, 今日美术馆, 中国·北京

第二届美术文献展《观念的形态: 1987---2007中国当代艺术的观念变革》, 美术文献艺术中心,

湖北省博物馆, 中国.武汉

《85新潮—中国第一次当代艺术运动》, 尤伦斯当代艺术中心, 中国·北京

《细节的气质》, 红楼基金会, 英国.伦敦

2006

《超设计》第六届上海双年展上海美术馆, 中国.上海

《创造历史: 中国20世纪80年代现代艺术纪念展》, 何香凝美术馆, OCT 当代艺术中心,中国.深圳

《江湖》Jack Tilton 画廊, 纽约, 美国

《伯拉图与他的七个小精灵》, OCT 当代艺术中心, 中国.深圳

2005

《东经116°与北纬40°的聚落》国际当代艺术展, 798大窑炉工业空间, 站台中国当代艺术机构,

"欧洲当代中国"艺术中心, 中国.北京

《间+隔》中国当代艺术展, 海－上海创意LOFT, 上海.中国

《Banana Surfer》, IEUM 画廊, 中国·北京

2004

《左手右手》, 798大窑炉工业空间, 中国·北京

《前进: 中国当代艺术--新加坡国立大学博物馆收藏展》, 李光前艺术博物馆, 新加坡国立大学文化中心, 新加坡

2002

《首届广州当代艺术三年展, 重新解读: 中国实验艺术十年 (1990--2000) 》, 广东美术馆,中国.广州

2000

《第三届当代雕塑年度展》, 何香凝美术馆, 中国.深圳

《进与出: 中澳华人当代艺术展》, 何香凝美术馆, 中国.深圳, 驻北京澳大利亚大使馆,中国.北京

1998

《开放的本体》, 亚洲协会, P.S.1当代艺术中心, 美国.纽约

1996

《第二届亚太当代艺术三年展》, 昆士兰艺术馆, 澳大利亚.布里斯班

《首届中国当代艺术学术邀请展》, 首都师范大学美术馆, 中国.北京

1995

《约克尔.与"新刻度小组" 的对话》"新刻度小组作品3", 新柏林艺术协会 (NBK), 德国.柏林

《构形展2--文化的对话》"新刻度小组作品4", 德国.埃尔富特

《来自中心之国.中国前卫艺术》"新刻度小组作品5", 圣塔莫尼卡艺术中心, 西班牙.巴塞罗那

1993

《后八九中国新艺术展（1979-1989) 》"新刻度小组作品2", 香港艺术中心, 中国.香港

《沉默的能量: 来自中国的新艺术》, 牛津现代艺术博物馆, 英国.牛津

1991

《中国前卫艺术家展--非常口》 "新刻度小组作品1" , 日本.福岗

1989

《中国现代艺术展》, 中国美术馆, 中国.北京

1979

《星星画展》(首展) , 中国美术馆外, 中国.北京

 王鲁炎和他的艺术作品在中国当代艺术历史中始终是一个“另类”，在中国当代艺术价值观的转向过程中，王鲁炎建立起自己的艺术观念和方法论，与流行的艺术理论与观念形成鲜明的对比。他的艺术观念体系中最显著的特征是一直在探讨一种具有普遍意义的艺术观念：从日常生活、社会美学、技术标准中延伸出对判断的质疑和困惑的反思；在艺术语言上，用绘图和设计的方法来消解绘画性，以此建立起自己独特的绘画语言，他的绘画作品排斥了叙事性及情感因素的介入，并通过这种严谨而精确的反映再现了社会现实中人们视而不见的识别和分辨经验，如《锯与被锯？》、《注射器系列》（索取还是给予？）、《自行车系列》前进还是倒退？等等。在这种设计的基础上，他把这种平面化的语言延伸成为一种装置概念，这种装置概念给人一种视觉刺激和观感上的震撼。“W三角尺1-2”（4X8米，两件，每件两吨重）和“被锯的锯？”（3.5X10X2.8米，重13吨），事实上这两件作品是17年前的方案，王当时也因此被称为“方案艺术家”，今天我们看到方案变成了现实，也就是说“方案艺术家”的身份转换为“装置艺术家”。在现场，观者会感受到物质材料的质感和艺术作品所包含的动态的力量，恰恰是这种难以区分的机械的主导性才增强了观念的强度。在装置作品“W三角尺1-2”中，两件尺子正反面分别标刻为8mm/cm,12mm/cm和10mm/cm,10mm/cm，他把人们忽视的“双重标准”放大，提醒人们对标准化世界观的质疑和反思。众所周知，即使在今天，在国与国之间的争论中，也存在着这种“双重标准”。

上世纪70年代投身中国当代艺术实践，是中国现代艺术进程的重要参与者之一。1988年，他与顾德新、陈少平成立“新刻度小组”，通过合作、制定规则、执行规则实现了取消个性的作品观念与作品形态，探讨具有普遍意义的艺术观念；而这也成为王鲁炎艺术观念体系中最显著的特征：以理性代替个性，从日常生活 、社会美学 、技术标准中延伸出对判断的质疑和困惑的反思。在艺术语言上，他用绘图和设计的方法来消解绘画性，排斥了叙事性及情感因素的介入，通过严谨而精确的反映再现了社会现实中人们视而不见的识别和分辨经验。第一届艺术与设计大奖赛候选人。

 Two thousand and fourteen

King Ruyan, St. Etienne Museum of Modern and Contemporary Art, St. Etienne, France

Sharks and Human Beings, Marine Museum, Monaco

Two thousand and eleven

Unable to Absence - Wenxuan Contemporary Art Exhibition, Wenxuan Art Museum, Chengdu, China

UCCA-VISION Youth Visual Paper Exhibition Series 1: Deviation, Ullens Contemporary Art Center, Beijing, China

Two thousand and ten

Wang Luyan Solo Exhibition, Holistic Gallery, Seoul, Korea

The First Art Festival of Qiaozi Art Commune - Minimum Exhibition. Qiaozi Art Commune, Beijing, China

Busan Biennale 2010: China, Japan and Korea Special Exhibition Now, Asian Art Group Exhibition, Busan, Korea

State of Things - China-Belgium Contemporary Art Exchange Exhibition Group Exhibition, China Art Museum, Beijing, China

Group Exhibition of Glass Factory, Iberian Contemporary Art Center, Beijing, China

Asian Road Signs Group Exhibition, Iberian Contemporary Art Center, Beijing, China

Contemporary Art Exhibition in China and Japan, Busan Museum of Art, Busan, Korea

Community of Interest: Contemporary Chinese Art since 2000, Chile Museum of Contemporary Art, Santiago, Chile

The TAO of Now Group Exhibition, White Rabbit Art Museum, Sydney, Australia

Two thousand and nine

State of Things - Contemporary Art Exchange Exhibition between China and Belgium, Royal Palace of Fine Arts, Brussels, Belgium

Individual Project Exhibition, Excellent Art, Beijing, China

Wang Luyan Solo Exhibition, 604 Gallery, Busan, Korea

Italian School of Thought in the Century Today Art Museum, Beijing, China

Two thousand and eight

Wang Luyan: The Back of the Whole (Solo Exhibition), Excellent Art, Beijing, China

Consumption of History, East Asian Art, China. Shanghai

Community of Interest (Opening Exhibition), Iberian Contemporary Art Center, Beijing, China

Our Future: Collection Exhibition of the Ullens Foundation. Ullens Contemporary Art Center, Beijing, China

Notes on Ideas: A Partial Narration of Contemporary Chinese Painting. Iberian Center for Contemporary Art, Beijing, China

Suspending in the Air, Floating on the Surface, Lin Da Gallery, Beijing, China

Consumption 2008 Busan Biennale, Aksan Art Museum, Korea

"Asian Orientation" Third Nanjing Triennial, Nanjing Museum, Nanjing, China

Good Time - Pfund and Wang Luyan Duo Exhibition, ELLITA Contem porary Gallery, Zurich, Switzerland

CAIXAFORUM Art Center Majuka, Barcelona, Madrid, Spain

Chinese Apartment Art 1970-1990 Shuimu Contemporary Art Space, Beijing

The Charm of Art--Contemporary Chinese Art and its Collection Exhibition, Today Art Museum, Beijing

China Fantasy Foundry Art Museum, Beijing

Two thousand and seven

Sawn Saws?(Solo Exhibition), Alario, Beijing, China. Beijing,

Sawn Saw?(Solo Exhibition), He Xiangning Art Museum, OCT Contemporary Art Center, Shenzhen, China

The First Today's Documentation Exhibition Energy: Spirit, Body and Matter, Today's Art Museum, Beijing, China

The Second Art Documentation Exhibition, Conceptual Form: Conceptual Change of Contemporary Chinese Art from 1987 to 2007, Art Documentation and Art Cener,

Hubei Provincial Museum, Wuhan, China

85 New Trend - China's First Contemporary Art Movement. Ullens Center for Contemporary Art, Beijing, China

The Temperament of Details, Red House Foundation, London, UK

Style and Evaluation

 

Wang Luyan and his works of art have always been an "alternative" in the history of contemporary Chinese art. In the course of the transformation of contemporary Chinese artistic values, Wang Luyan has established his own artistic concept and methodology, which is in sharp contrast with popular artistic theories and concepts. The most prominent feature of his artistic concept system is that he has been exploring a kind of artistic concept with universal significance: from daily life, social aesthetics and technical standards, he extends his doubts and puzzles about judgment; in artistic language, he uses drawing and design methods to dispel the paintability in order to establish his own uniqueness. His paintings exclude the involvement of narrative and emotional factors. Through this rigorous and accurate reflection, he reproduces the recognition and discrimination experience that people can't see in social reality, such as Saw and Sawn? 》 "Syringe Series" (Request or Give?) Is Bicycle Series Forward or Backward? Wait. On the basis of this design, he extended the planar language into a device concept, which gives people a visual stimulus and visual shock. "W triangle ruler 1-2" (4X8m, two pieces, each weighing two tons) and "saw by saw?" (3.5X10X2.8m, weighing 13 tons). In fact, these two works were the plans of 17 years ago. Wang was also called a "project artist" at that time. Today, we see that the plan has become a reality, that is to say, the identity of "project artist" has been changed into "installation artist". On the spot, the viewer will feel the texture of material and the dynamic force contained in the works of art. It is precisely this indistinguishable mechanical dominance that strengthens the strength of the concept. In the installation work "W triangle ruler 1-2", the positive and negative sides of the two rulers are marked as 8mm/cm, 12mm/cm and 10mm/cm, 10mm/cm respectively. He enlarges the "double standard" that people neglect and reminds people of their doubts and Reflections on the standardized world outlook. As we all know, even today, in the disputes between countries, there are also such "double standards".

 

In the 1970s, he devoted himself to the practice of Chinese contemporary art and was one of the important participants in the process of Chinese modern art. In 1988, he and Gu Dexin and Chen Shaoping set up a "new scale group", through cooperation, formulation of rules and implementation rules to achieve the abolition of individuality of the concept of works and the form of works, to explore the art concept of universal significance; and this has become the most prominent feature of Wang Luyan's artistic concept system: to replace personality with reason, from Daily life, social aesthetics, and technical standards extend the questioning and confusion of judgment. In terms of artistic language, he uses drawing and design methods to dispel the drawability, excludes the involvement of narrative and emotional factors, and reproduces the recognition and discrimination experience that people can not see in social reality through rigorous and accurate reflection. Candidates for the First Art and Design Grand Prix.