张晓刚

纽约中国中心（ChinaCenter）的艺术总监翁菱1986年在重庆与张晓刚会面。

Weng Ling , artistic director of New York 's China Center , met him in Chongqing in 1986 .

张晓刚的讲话发表在国际钢铁协会（InternationalIronandSteelInstitute）于柏林召开的年会上。

Mr Zhang 's comments came at the Berlin annual conference of the International Iron and Steel Institute .

当中国的大学1977年恢复招生的时候，张晓刚是全省仅有的两名被位于重庆的四川美术学院（SichuanFineArtsInstitute）录取的学生之一，他比其他20名同班同学年轻10岁。

When China reopened its colleges in 1977 , Mr. Zhang was one of only two students in his province admitted to the Sichuan Fine Arts Institute in Chongqing . He was a decade younger than his 20 classmates .

5月，张晓刚坐在可以俯瞰香港会展中心（HongKongConventionandExhibitionCentre）的一家酒店里，会展中心此时已是香港当代艺术的重要展会香港艺博会（ArtHK）的展览场馆。

In May , Mr. Zhang sat in a hotel overlooking the vast Hong Kong Convention and Exhibition Centre , which had become a warren of art-filled booths for the region 's major contemporary-art fair , Art HK .

张晓刚现在还是生活在北京郊外一个传统村庄里一个有着高耸屋顶的工作室中，收藏他作品的人主要有前瑞士大使乌里•希克（UliSigg）、北京企业家刘兰、以及印尼华人农业大亨余德耀（BudiTek）。

Mr. Zhang still spends his days at his soaring studio in a traditional village on the city 's outskirts . His major collectors include former Swiss ambassador Uli Sigg , Beijing entrepreneur Liu Lan and Chinese-Indonesian farming tycoon Budi Tek .

不过，我与张晓刚就多种可能性进行过非正式会谈。

However , I had an informal discussion with Mr Zhang about various possibilities .

张晓刚表示，乒乓球运动是鞍钢企业文化的重要组成部分。

Mr Zhang said table tennis was a key part of the culture at Angang Steel .

在他暂时脱离创作油画的间隙里，张晓刚开始转向一种不同的创作媒介：铜。

During his hiatus from painting , Mr. Zhang is turning to a different medium : bronze .

张晓刚的朋友们说，他对自己的名人身份一直都感到不太自在。

Mr. Zhang 's friends say he has never felt entirely comfortable in the role of celebrity .

最终，张晓刚和一位曾经当过美术老师的人交上了朋友，这位老师教了他水彩画的基本功。

Eventually , Mr. Zhang befriended a former art teacher who taught him the basics of watercolors .

张晓刚、毛旭辉等十位国内知名艺术家近年来的数十件新作在此展出。

Dozens of recent works of ten well-known artists including Zhang Xiaogang and Mao Xuhui are displayed .

但是，张晓刚说他仍然在学习如何驾驭工作带来的压力与希望。

But he said he 's still learning how to navigate the pressures and expectations of the job .

张晓刚说他的压力部分来自于他试图找到下一个大创意的努力。

Mr. Zhang said some of his stress has come from his attempts to find his next big idea .

透过这个系列，张晓刚的主题是个人命运其实就体现他这一代的共同心理特徵。

Throughout this series , Zhang focuses on individual fates as embodiments of the collective psychological character of his generation .

张晓刚是国际钢铁协会副主席及中国标准化专家委员会委员。

Zhang is a vice chairman of the World Steel Association and a member of the China Standardization Expert Committee .

因此，张晓刚重新安排观众理所当然地接受这些肖像画、表现手法和主观性。

As such , Zhang radically reorders the viewer 's taken for granted notions of portraiture , representation , and subjectivity .

20世纪80年代初期张晓刚的事业刚刚起步时，中国还没有一家私人经营的画廊。

China didn 't have a single privately run art gallery when Mr. Zhang got his start in the early 1980s .

张晓刚艺术创作的核心主题是记忆&我们选择回首、忘却或者扭曲的东西。

Memory is the central theme of Mr. Zhang 's art - what we choose to remember , forget or distort .

张晓刚成功当选国际标准化组织主席，成为首位担任这一职位的中国人。

The International Organization for Standardization has elected Zhang Xiaogang as president , making him the first Chinese to assume the post .

透过不寻常的观点与肖像画《血缘：大家庭系列》，张晓刚成为这群前卫艺术家的领袖人物之一。

Zhang Xiaogang emerged as a leading figure of this new avantgarde through his singular vision and iconic Bloodline : Big Family Series .

张晓刚再次展现他利用象徵和神秘色系的偏向，以灰冷色调组成画作。

The composition is painted in a soft range of grays , and once again Zhang employs a symbolic and mysterious use of color .

张晓刚为每个人物都注入了「血缘」，纤细的红线将独立的个体相连结，意味著他们与生俱来却又脆弱的关系。

The figures are imbued with a feeling for tragedy and nostalgia , suggestive of the unspoken fates of these figures whose lives are yet to unfold .

事实上，在张晓刚同代的艺术家创作的作品上，我们也不难发现在表现个人的回忆时，艺术家如何回应大众集体要求，尽量抹灭历史带来的创伤。

This question of negotiating personal memories against the collective urge to erase past traumas can be found throughout the works of artist 's of Zhang 's generation .

张晓刚的作品希望能唤起集体意识的回忆与情感，其他画家如方力钧则深入探索私密、主观的领域。

While Zhang Xiaogang sought images evoking the memories and emotions of collective experience , others , like Fang Lijun , delved into the deeply personal and subjective .

在北京城的东北角儿一个“长满鲜花的地方”，在师傅张晓刚的临时画室里我开始学习绘画。

In " a place full of fresh flowers " at the northeastern corner of Beijing , I started to learn painting in the temporary studio of Master Zhang .

这个时期，张晓刚与其他西南艺术家一样，致力于创造崭新的审美观和美感形式，探寻时代精神。

Like his contemporaries in the Southwest , Zhang Xiaogang in this period endeavoured to establish a new aesthetic standard and style , to explore the spirit of his era .

张晓刚表示，他认为通过与阿塞洛-米塔尔的合作，鞍钢能够获得有益的国际经验，合作方式或许是双方在一家独立生产企业中分别持股。

Mr Zhang said he thought Angang could gain useful international experience through working with ArcelorMittal , perhaps through both companies taking an equity stake in a stand-alone production venture .

张晓刚在鞍山总部接受采访时表示：我们（鞍钢和阿塞洛-米塔尔）能够进行合作。我们有着类似的想法。

We [ Angang and ArcelorMittal ] can work together . We have similar ideas , Mr Zhang said in an interview at Angang 's headquarters in Anshan , northern China .

最早期的《血缘》系列画作偶尔还有特定的人物&好像张晓刚自己的父亲或母亲，或者以自己「百日」婴儿照为基础。

The earliest Bloodlines occasionally still depicted particular individuals-as with Zhang 's portraits of his own mother and father or his paintings based on his " 100th day " baby portrait .

张晓刚不愿估计在印度建厂将需要多大投入，也不愿透露他在与哪些业内同行洽谈潜在的协作。

Mr Zhang did not want to put a figure on how much the India facility might cost , nor say which other businesses he is talking to about potential collaborations .