那些火柴盒一般大小的绘画有着鲜亮的色块,昂扬且鲜明,但它们都来自于文革期间的监狱。康万华在非常时期的囚禁中,坚持绘画,对他来说那似乎是一种拯救118幅绘画作品,略显拥挤地挂在博而励画廊靠里侧的三面墙上,其中最小的作品只有火柴盒般大小,最大的不超过32开的书页。画作下方没有标签,也没有任何作品阐述,低调得有些简陋。这批尺寸极小但色彩艳丽、笔触恣意的作品组成了这个名为“监狱制造:绘画1976-1978”的展览。1975年秋,这批画的作者康万华“稀里糊涂”地进了监狱,在位于天津的茶淀农场度过了三年半时间。这批现在悬挂于798艺术区画廊中的作品就是他尽力避开狱警,在劳动和思想学习之余偷偷画下的。身着七分旧的羽绒服,青布裤子,老式皮鞋,鼻梁上架一副与脸型有些不符的大框眼镜,康万华略显拘谨地在《中国新 The paintings, which are about the size of a matchbox, are bright, high-spirited and vivid, but they all come from prisons during the Cultural Revolution. In her extraordinary imprisonment, Kang Wanhua insisted on painting. To him, it seems to be a rescue of 118 paintings that hung over the three walls on the far side of the Borgial Gallery, with the smallest of the only matches Box size, the largest not more than 32 open pages. No label below the painting, there is no description of any work, low-key is a bit crude. These tiny, but colorful, brushwork works make up this exhibition entitled “Prison Manufacturing: Paintings 1976-1978.” In the autumn of 1975, Kang Wan-hua, the author of these paintings, entered prison in a “sleepwalk.” He spent three and a half years at the tea farm in Tianjin. These are now hanging in the 798 art district gallery works is that he tried to escape the guards, in addition to learning labor and thinking secretly drawn. Dressed in seven minutes of the old jacket, blue pants, old-fashioned shoes, the nose on the shelves with some inconsistent with the face big frame glasses, Kang Wanhua slightly cautiously in the "new China