CCAA(Chinese Contemporary Art Awards)1998
　　 哈拉德．森曼 (1998) Harald Szeemann for YangMian

　　以微笑或者大家的形象出现在每天的报纸和电视上的模特已经成为今天年轻女性文化的主要部分和社会问题。处在这种陈词滥调中的画家，在黄色、红色和紫色的背影上表现了各种不同的充满喜悦的姿势。他最先描绘的是前面的女孩，她们有时用手浪漫的托着头，有时骄傲的展示着新发型，有时侧身展示身体的美丽央线，有时带着小帽梳着小辫欢呼，有时抱着双手思考，但是无论如何总是而对观众。在稍近的一些作品中，画面开始复杂，四个女人站成一排，显示出美丽的发型或者优美的脸部曲线；圆形构图中的三口之家，父亲用录像机拍摄着妻儿；或者还有在聚会上穿着入时的人们。而在这样一些标准的美丽的图像有着一些稀薄的颜色，与其说它们是跟画面相关颜色倒不如说它们像一种塑料一样覆盖在这些图像上。
　　作品的标题或许更能说明这些典型行为和手势：《青春标准》、《标准家庭》、《丰韵标准》，这些标题不断从母亲到女儿的不同阶段的标准质疑。一旦这些相似的迷人的瞬间出现，便有一道鲜艳的颜色穿过画面，好象是对这些有着美丽姿态的人物的细小伤害。杨冕认真而巧妙的使用这些记号，从而提出问题，这样这些夸张的动作和美丽的标准便具有了相对性，诱惑的紧张感被强化。甚至连我们这些评委也对这些美丽的伤害怀着复杂的心情。
　　Identifiction with the smiling and laughing models that can be seen everday in newspapers and on television, has long since become a part of the mainly female youth culture, and in this way a social problem. To the painter who devotes himself to this cliche it offers a wide range of different postures and of blissful and unique background coiors of pink, pale yellow and mauve.His starting point is the frontal portraits of girls, sometimes romantic with their head resting on their hands, sometimes proudly displaying their stylish hair, sometimes p ush ing pert their bust line, sometimes jaunty with a lyttle hat and tight plaits,sometimes embarrassed with folded arms, yet always facing the vicwer. In the same direction, the focus on the crowns of their head, then a group portrayed face on to those in profile, a one-child family,in a tondo composition, with father filming and mother and child grouped in harmony, or a swanky duo dressed up to party, The slightly unreal appearance of these standardized groups is intensified by thinly applied colors, where the plastic effect results more from a masterful application of color rather than from a concern with the forms of the body.
　　The titles of the painting underline this search for typical behavioral gestures: youth standard, flesh tone standard, changingstandard,changing standard, standard of Familial Bliss, extending to the puestioning and confusion of different generations in M other/Daughter standard. Once familiar with these manifold charming appearances. One discovers a carmine blue or yellow brushstroke like a slight wound crosses the painting at various levels to the figures, yang mians devotlon and skill uses this mark to provoke questions. and through this expressive gesture, the standardizing of beauty becomes relative, the intensity of the seduction heightened.
　　　　　　　　　　　　　　　　　　　　　　　　　　文章来源：《2005杨冕眼中的“标准”》