他者——自我6月24日下午三點(diǎn)在虹墻藝術(shù)畫廊開幕
展覽海報(bào)
他者. 自我
The Other / Self
策展人/Curator
劉芯濤/Liu Xintao
學(xué)術(shù)主持/Academic suppprt
齊廷杰/Qi Tingjie
展覽統(tǒng)籌/Exhibition Co-ordinator
古偉碧/Gu Weibi
參展藝術(shù)家/Artists(以筆畫順序排名)
楊方偉/Yang Fangwei 王睿/Wang Rui 主瑪于江/Zhuma Yujiang 蔣華君/Jiang Huajun 王家增/Wang Jiazeng 胡勤武/Hu Qinwu 普拉提/Polat
主辦:北京虹墻藝術(shù)畫廊
Host: Beijing Rainbow Wall Art Gallery
協(xié)辦:北京新安堂文化傳播有限公司
Co organizer: Beijing Xin'an Tang Culture Communication Co., Ltd.
展覽時(shí)間:2016年6月24日至2016年8月1日
展期/Duration:2016.06.24-2016.08.01
地址/Address：北京市朝陽區(qū)酒仙橋路大山子798藝術(shù)區(qū)南門陶瓷二街
Ceramic Second Street,798 Art Zone,JiuXianqiao Road,Chaoyang District Beijing,China
聯(lián)系人/ Contacts:石云貞
電話/ Phone: 010—58499316
電子郵件/E-mail: hqys2009@aliyun.com
網(wǎng)址/Website:www.bjhqart.com
“他者”邏輯下的“自我”認(rèn)定
文/齊廷杰
The “Self-identity” Under the Logic of “the Other”
By Qi Tingjie
“他者”邏輯，對于目前的中國當(dāng)代藝術(shù)而言，是一種擺脫了后殖民理論窠臼的語境預(yù)設(shè)，除了藝術(shù)家作為創(chuàng)作生命的個(gè)體，一切有可能影響到藝術(shù)家創(chuàng)作的外部環(huán)境的因素可統(tǒng)稱為“他者”邏輯，它不再指涉具體的東方與西方、傳統(tǒng)與當(dāng)代、學(xué)院與在野的問題，也不如英國學(xué)者安東尼·吉斯登提出的那樣，所謂現(xiàn)代性的獨(dú)特之處在于全球化語境下的“擴(kuò)張性”和個(gè)人失落帶來的“私密性”之間日益增加的距離，而是作為研究當(dāng)下中國當(dāng)代藝術(shù)“在場性”、“合法性”以及“敘事邏輯”的線索之一，作為藝術(shù)家進(jìn)行自我價(jià)值認(rèn)定與判斷的有效輔證，作為我們認(rèn)知中國當(dāng)代藝術(shù)呈現(xiàn)面貌與方法論轉(zhuǎn)變的深層原因。
For the current Chinese contemporary art, “the other” logic is a kind of default context out of the stereotyped postcolonial theory. In addition to the artist himself or herself as a creative individual, all the external factors may affect the creation of artist can be referred as “the other” logic. It is no longer specifically referred to the problem of east and west, tradition and contemporary era and academy and opposition, nor the mention of the British scholar Anthony Giddens that the uniqueness of modernism is based on the growing distance between the “expansion” of globalization and the “privacy” of individual loss. Instead, “the other” logic is regarded as one of the clues to study the “presence”, “legitimacy” and “narrative logic” of Chinese contemporary art, as the effective support for the artist to identify and evaluate the self-value and as the underlying cause for us to recognize the change of Chinese contemporary art’s presentation and methodology.
顯而易見的是，當(dāng)代藝術(shù)的敘事線索近年來發(fā)生著悄然的變化。從集體性的記憶空間到個(gè)人化的記憶碎片，從宏大敘事的關(guān)注、描繪到高度自我化的日常生活的視角轉(zhuǎn)變，這種轉(zhuǎn)變并不具有絕對意義上的非此及彼，不能說集體性的記憶空間就不具備個(gè)人化的生活、不具有內(nèi)心的真實(shí)或者只對自我的日常生活關(guān)注就會完全忽略外部世界。只是說，作為被壓抑的“他者”邏輯下的桎梏因素，我們盡量避免談及，集體性的日常與個(gè)人化的日常，在某種程度上都具有表達(dá)藝術(shù)真實(shí)的一面。作為獨(dú)立生命個(gè)體的存在，每個(gè)人都不免通過各種媒介與外部世界發(fā)生關(guān)系。從集體化的日常表述到私人化的日常表述，顯示出當(dāng)代藝術(shù)敘事方式的某種轉(zhuǎn)變：從被動(dòng)的、壓抑的轉(zhuǎn)向?yàn)橐环N更加主動(dòng)的、自由的訴說的方式。
Apparently the narrative clue of contemporary art has been quietly changing in recent years. From the collective memory space to individual memory fragments, from the depiction and focus of grand narrative to the highly self-concerned daily life, these changes don’t mean the absolute black or white. We cannot say that the collective memory doesn’t include the personal life and the inner truth or only the focus on personal daily life will make us completely ignore the external world. Just to say, as the repressed shackle factors under “the other” logic, we try not to speak that the collective daily life and personal daily life, to some extent, both have the part of expressing the real art. Existing as an independent individual, everyone cannot avoid the connection with external world through different medium. From the collective daily expression to the personal daily expression shows a certain change of the narrative style of contemporary art: from the passive and repressed narrative way to a more active and free one.
青年一代的繪畫邏輯似乎與前輩有所出入，他們貌似對周遭的現(xiàn)實(shí)世界漠不關(guān)心，當(dāng)然這種有意識的漠視并不意味著他們生活在真空中或者沒有社會責(zé)任感，他們只是選擇了一條更貼近生命體驗(yàn)、沉浸內(nèi)心的敘事模式，這種微觀敘事的模式與宏大敘事的模式都構(gòu)成了當(dāng)下中國當(dāng)代藝術(shù)完整的樣態(tài)。按照常規(guī)的觀點(diǎn)，宏大敘事一般對應(yīng)著社會的、歷史的、人文變遷的元素，這點(diǎn)由諸多藝術(shù)家的圖示語言可以看出，逆向推之，由圖示語言的變化也可以推斷他者邏輯的變換。假如說，“宏大敘事”是一種社會自上而下的對藝術(shù)創(chuàng)作的干預(yù)，那么，“內(nèi)心自我”則是由里而外的對于創(chuàng)作模式、創(chuàng)作對象的自主選擇。
The painting logic of the younger generation seems different from their predecessor’s and they seem indifferent to the surrounding real world. Of course this kind of conscious disregard doesn’t mean they live in empty space nor have no social responsibility. They only select a narrative way closer to the life experience and immersed to the heart. This microscopic narrative pattern constitutes the complete state of present Chinese contemporary art with the grand narrative pattern. According to the conventional view, the grand narrative generally has the social, historical and humanity elements, which can be seen from the image language of many artists. It can be reasoned reversely that the change of “the other” logic can be found from the change of image language. If we say the “grand narrative” is a kind of social intervention to artistic creation from top to bottom and then the “inner self” is the independent selection to the creative pattern and object from inside to outside.
本次展覽的七位參展藝術(shù)家，從表面看，每位藝術(shù)家切入問題的方式似乎都不一樣： 王家增以社會變遷、工業(yè)文明為切入點(diǎn)，描述了他作為經(jīng)歷過那個(gè)特殊年代的人對工業(yè)文明、工業(yè)社會的記憶以及帶來的各種問題的批判與反思，圖式語言具有生命的張力與歷史的厚重感，個(gè)體的存在與社會的禁錮形成對比，拷問靈魂深處莫可名狀的痛楚，這種感覺一直持續(xù)到最近的創(chuàng)作中;胡勤武放棄繪畫在實(shí)際生活中的功能性，用理性的方式接近心靈的體悟，有意識的控制看似“無意義”的重復(fù)，他的作品，可以視為是反社會宏大敘事的一種“精神宏大敘事”，用虛無去對抗不斷摧毀與重建循環(huán)往復(fù)的社會，無聲勝有聲;主瑪于江闡釋了對規(guī)則的理解，他對于日常生活中表面的規(guī)則持審慎的態(tài)度，一切人為的、表面的規(guī)則都具有其局限性，他試圖通過對現(xiàn)實(shí)生活中規(guī)則的解構(gòu)，建立起畫面秩序上法則的倫理，它可以是冷冰冰的、非感性的，但是絕對含有人性的溫度，這套法則來源于主瑪于江的生活日常，經(jīng)由藝術(shù)家的轉(zhuǎn)換成為藝術(shù)日常，拒絕向現(xiàn)實(shí)社會妥協(xié);蔣華君展示了一種荒誕的日常，從中可以感受到藝術(shù)家的敏感，他不再單純以宏大敘事為創(chuàng)作邏輯，更多的是從個(gè)體生命的存在體驗(yàn)出發(fā)，將自我的情緒影射到畫面上，以小喻大，略顯病態(tài)的驅(qū)殼帶有隱喻性，對個(gè)體的人文關(guān)懷代表追求自我的內(nèi)心嘗試;目前在法國工作學(xué)習(xí)的普拉提，對熟悉之物的陌生化處理是其藝術(shù)語言特征之一。他先選取歐洲古典主義建筑實(shí)景，然后將手掌置于觀看對象的一隅，最后用相機(jī)記錄下來，當(dāng)?shù)灼上�，普拉提在手掌的部位進(jìn)行再創(chuàng)作，或者畫社會風(fēng)景，或畫自然風(fēng)景，總之，機(jī)械的與人工的、熟悉的與陌生的交織在一起，形成了特殊的視覺效果;楊方偉的創(chuàng)作帶有明顯的80后敘事特征，即關(guān)注自我、關(guān)注內(nèi)心，描述也多是碎片化、片段化，藝術(shù)成為一種追求內(nèi)心、找尋自我的有效途徑，以幽默、調(diào)侃、甚至有點(diǎn)夢幻的組合去肆無忌憚的、輕松的表述;王睿的作品，表達(dá)一種對自我的認(rèn)知追尋以及價(jià)值觀判斷。他喜歡煞有介事的將一個(gè)存在個(gè)體置于看似很宏大的背景之上，比如沙漠、比如海洋，然后又植入了一些動(dòng)物的元素、卡通的元素，這種混搭的形式讓王睿的繪畫看上去似乎是冷眼旁觀，他只執(zhí)著于自己的內(nèi)心對周圍的一切進(jìn)行價(jià)值觀判斷。
Superficially the seven artists of this exhibition seem have different problem-penetrating methods. With the social change and industrial civilization as the point cut, Wang Jiazeng describes his memory about the industrial civilization and industrial society as well as his criticism and reflection about the problems it brought as a person experienced that particular age. The image language has the tension of life and the heaviness of history, the existence of individual contrasts with the social detention and the soul seems to be questioned about the inexplicable pain deep inside. All these are continued to his recent works. Hu Qinwu gives up the function of painting in real life, uses the rational way to approach the inner perception and consciously controls the seemingly “meaningless” repetition. His works can be regarded as a kind of “spiritual grand narrative” against the social grand narrative. To confront the constantly destructed and reconstructed cycle of society with the emptiness is as silence speaks better than sounds. Zhuma Yujiang explains his understanding of rules. He holds the cautious attitude to the superficial rules in daily life and he thinks all the artificial and superficial rules have their limitation. He tries to deconstruct the rules in real life and establishes the rule ethic above the image order. It can be cold and unemotional but definitely containing the humanity temperature. This rule system comes from the daily life of Zhuma Yujiang and is transformed by the artist to the artistic daily life, refusing to compromise with the real society. Jiang Huajun presents a kind of absurd daily life, from which we can feel the sensitiveness of artist. He no longer simply uses the grand narrative as the creation logic and more reflects his own emotion on the painting from the existing experience of individual life, trying to compare the big to the small. The seemingly sick body with metaphor and the humanistic care to individuals are the symbols of the inner attempt of self-pursuit. Pulati now is working and studying in France. The unfamiliarity process to familiar things is one of his artistic language features. He first selects the European Neoclassical buildings as the real background, then places his palm in the corner of his viewing object and finally records the image with the camera. When the negative comes out, Pulati conducts the recreation on the palm, painting the social scenery or the natural scenery. In a word, those mechanical and artificial, familiar and unfamiliar things are combined together to form the special visual performance. The works of Yang Fangwei obviously carry the narrative feature of the post-80s generation, namely self-concern, heart-concern and mostly fragmented description. Art becomes an efficient way to pursuit the heart and know himself. He uses the humor, ridicule and even the combination in dream to wildly and relaxingly express. The works of Wang Rui express the pursuit to self-recognition and the judgment to value. He likes to seemingly seriously place an existing individual on the seemingly grand background, such as desert and ocean, and then implants some elements of animal and cartoon. This kind of mix and match makes Wang Rui’s paintings look like silent and indifferent and he only persists on the value judgment to everything around from his heart.
所以，“他者”邏輯下的“自我”認(rèn)定，并不是強(qiáng)調(diào)真實(shí)的自我、內(nèi)心感受會超越或者推翻以往宏大敘事的線索，或者轉(zhuǎn)向自我的當(dāng)代藝術(shù)會失去它原有的銳度以及批判性。只是，經(jīng)由藝術(shù)的敘事方式的轉(zhuǎn)換，能夠更大限度呈現(xiàn)藝術(shù)的現(xiàn)實(shí)時(shí)，也能夠最大效果的揭示藝術(shù)的真實(shí)。
Therefore, the “self-identity” under the logic of “the other” doesn’t emphasize that the true self and inner feeling will surpass or overthrow the previous clue of grand narrative or the contemporary art turning to self will lose its original sharpness and criticalness. However through the change of artistic narrative way, the reality of art can be presented to the greatest extent and the truth of art can be revealed to the maximum effect.
作品欣賞
主瑪于江參展作品《理性的溫度》主瑪于江136X170cm 2016
甫拉提 塔依爾江作品 手上的風(fēng)景 The hands of the scenery, 照片紙上油畫，40x30cm
胡勤武作品 150x120cm 2014年 布面丙烯
蔣華君作品 據(jù)說今天可以改變過去 150×200cm +60 ×80cm 布面油畫 2014
王睿作品《卡爾的獨(dú)木舟》 布面油畫 150cmX200cm 2011年
楊方偉作品 臺階上的春色 120x150cm 布面油畫 2105