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反常态–白色的诱惑-798囍画廊

  

Photos some by Apollools

反常态
方振宁

我看到一幅作品,整个画面无比空旷,走到近处才能隐隐约约地看到画面上有一个半裸的女子悬在一根极细的红线上试图用两臂前行,那种悬念油然而生。这就是刘骐鸣的一幅油画。它让我想起日本文学家芥川龙之介那篇著名的小说《蜘蛛之丝》,说的是一些被困在地狱里的人,看到上空有一个洞,从洞的边缘悬下来一根蜘蛛的丝,于是人们拼命地拉着那根丝向上爬,其结果怎样?读的人都不敢去想。这种文字所带来的视觉传达已经到了极致,这是文学家的手法,也是芥川龙之介窥视到的世界。

接着我看了刘骐鸣的一系列作品,极细的线和丝是他的绘画中主要的语言。这似乎已经是刘骐鸣的绘画风格,而这一风格的形成是一系列经历的到达。这种到达重合了两种经历,一是绘画的经历,二是人生的经历。从1995年到2006年之间,刘骐鸣的绘画基本上不会给人留下记忆,而这之后发生了急剧的变化,那就是我们看到的线系列。这线,如同身体内的神经,牵动着生活中最敏感的部位,也是漂浮的持续。

漂浮,落下,倒置,这种种状态是对秩序和正常状态的一种摩擦或冲突,冲突的方式是极端的。李暐的“撞入”系列寻求的是自由度和反重力。他把自己当作空中飞行物发射到各种场所。李暐不选择飞行途中的片段,而是“飞行物” 有了着陆点,他把自己摆在让外界感觉需要排除的状态,如图一颗被发现的定时炸弹或钉子户。有时他撞入海湾,但感觉不能沉没。身体成为他试身的道具和独特的艺术语言,而我们还没有发现相同者。

尽管我在刘卓泉的作品中看不到同样的风格,但能够从他的几组作品中感受到他对艺术涉足的深浅。我们从摄影装置《是谁》中,看到作者对人性的关照,如果不是这组作品揭示了张家口一家精神病院的真实情景,我们不会知道半个世纪以前的朝鲜战争,产生过几千名因战争导致精神病的军人的生命在飘零,这是历史经历者的纪念碑。《旧物》,以玻璃瓶或鼻烟壶为载体进行的“内画”,在民间是一种世传的手艺,而刘卓泉借用它来封存记忆。这些被描绘在玻璃瓶内侧的对象都是生活的片段,但是当一棵生锈的子弹、一把文革的锁、一根作者父亲用过的针被精心的刻画之后,他就和时间有了内在的关系。刘卓泉用煤和调和物制作的央视大楼等标志建筑作品,力度很强,煤,这种材料可以成为审美的对象,绝对是一个意外。

艺术家的态度和常人是相反的,但是态度的结果都会有人为其买单。富有者想拥有一辆“悍马”,这没什么不对。艺术家用皮革、海绵等柔软的材料缝了一辆冲气的“悍马”,气不足,瘫在那里,这也不错,只是别让那些拥有“悍马”的新贵物质消费者们看见之后崩溃就行。同样都是消费,而买单者不同,任何时代都如此。物质和精神消费的世界实际上是并存的,齐佳铭的红色软体汽车系列就是精神产品的制造者。

王宁德的作品因为是摄影,在当下很容易被人忽视,因为把油画当做主流绘画艺术的人的比例仍然不少,不知道有没有人注意到王宁德作品中荒诞现实主义的成分?王,用了一个非常简单而常见的表情,作为作品的观念而出现,那就是所有被拍摄的人物都闭着眼睛。他真的是把眼睛作为两个世界的机关。每个正常的人都可以随时做一次实验,你试着闭一下眼睛,你会感觉到什么?王宁德发现眼睛无非就是睁或闭这两种状态。既然如此,这个世界上就应该有50%的照片是睁眼的,还有50%应该是闭眼的。王,认为人的很多重要时刻恰好是闭眼睛时发生或在进行中。因此他选择了另一个50%。

吴高钟认为爱那些微不足道但是切实亲切的东西是因为别无选择,实际上没有人会去干涉他的选择,这是艺术家一种自我定位。吴高钟的爱并不是甜蜜的那种,他用“猪毛“这一媒介,封存了他向别人展示了他的宠物,它们确实是一些生活中特别平常的道具,而吴给了它们特别的身份,使得我们无法轻易接近这些物体,因为它让我们悚然。如果作品在尺度上有所扩大的话,悚然会演变成恐惧。用毛发,木雕制作的大型装置《大拳头》,是让人看后不得安宁的作品。有机物的腐烂摄影,是他的另一个系列,那是对菌类的赞歌,他在腐烂中看到灿烂,在梅雨季节欣赏有机物腐烂上出现“青绿山水“,这一切在他那里一点也不悚然。

徐一晖是中国有过一段艳俗艺术热的时期的代表艺术家,他至今还在那种情节中,但是场景有所变化,而身份没变。一个中国太空人登上了某个行星,他仍然不忘阅读最高指示。这是暗示即使是飞到那无人的地带,政治,仍然以一种意识形态左右着人们。其实徐一晖没有名言他的态度和立场,只是把现代生活中的杂货聚集在一起,呈现在那里,艳俗艺术实际上是一种装傻的讽刺。

他把所有以不规律形式出现的信号噪点,都转换成已经失去生命的各种内脏,器官以及血斑。这些匀质的画面,美丽的像一张壁纸,可是无生命的腐烂的内脏仍然带着血腥和恐惧进入我们的记忆中,它是暴力的暗示,和政治纠缠在一起。尽管10分钟《一号信息》的录像是在一个电子的界面上滚动,但视觉和想像的空间却无法分格。

2008.7.25

The Inverse of Normal

by Fang Zhenning

I see a painting that appears vastly empty. As I walk closer, I find on the canvas there seems to be a half-naked woman suspended in the air from an extremely thin red thread, trying to make her move forward with two hands, a picture that inevitably sets up suspense in the viewer. The creator of this painting is Liu Qiming. It reminds me of the Japanese writer Akutagawa Ryunosuke’s famous fiction “The Spider’s Thread”, which narrates that a group of sinners trapped in the Hell, were desperately attempting to climb up a spider’s thread that was lowered down from the heaven. What happened next is hard to imagine. The exquisiteness of imagery in the fiction has reached perfection under the writer’s hand, and the story presents us the world through Akutagawa Ryunosuke’s eyes.

In Liu Qiming’s paintings, one could notice that the use of extremely thin threads and fine lines has become the artist’s dominant language, an established painterly style, which is formed throughout a succession of life events. Two kinds of individual experiences resonate in his work: one is his painting career; another, life itself. During 1995 and 2006, Liu Qiming didn’t leave a traceable imprint on our mind, until the thread series, which shows a drastic change. The threads, just like nerves in our bodies, find their way to the most sensitive parts of our life and, on the other hand, they suggest a continuum of floating.

Floating, falling and inverting can be reckoned as intrusions into the order of the normal state in an extreme manner. In his “Li Wei falls…” series, Li Wei tests dimension of freedom and defies gravity by having his own body thrust into various locations like a flying object. Li Wei didn’t stop on the scenario during the course of flying; he would rather select the moment when the ‘flying object” lands somewhere. The composition of the picture transmits the message that his existence is temporary and just like a time bomb that was discovered, or a nail household that cannot escape being demolished. Sometimes, he bumped into the sea, but maintained half-immersed and perfectly erect above the water. His body is used as stage properties in his stuntman’s show, and this unique way of artistic representation has been Li’s signature method and has not been shared yet.

Although Liu Zhuoquan’s work is devoid of a consistent style, his accomplishment in the art still comes through from within. Liu’s photographic installation Who? sheds light on human nature by discovering historical evidence from a lunatic asylum in Zhangjiakou. If it were not for Liu’s work, many would be kept in dark about the fact that thousands of veterans, who have survived the Korean War a half century ago, are spending the rest of their lives miserably in the asylum. And Liu has built a monument to pay homage to those who have lived through a history. In folk society, inner-painting art on snuff bottles and glass bottles is artistic handicraft and skill passed down along direct line of descent. For Liu Zhuoquan’s Old Articles, it is a means to seal memory. Fragments of life are painted on the inside of glass bottles, but once a rusty bullet, a lock from the Cultural Revolution, or a needle used by the artist’s father has been meticulously portrayed, these old items become latently related with time. Liu Zhuoquan has used coal and mixed substance to reproduce landmark buildings such as CCTV Tower. Isn’t it a miracle that coal can be transformed into an aesthetic object to create such a powerful visual shock?

Artist acts differently from ordinary people and different actions lead to different results. The rich has right to buy a “Hummer” for himself, and the artist will harm nobody if she takes delight in sewing an inflatable “Hummer” with soft materials like leather and sponge, and then leave it collapsed with insufficient air. But don’t forget to keep those rich materialistic consumers and “Hummer” owners away from it. It happens all the same in every era that money is spent away in different ways by different people. Material and spiritual types of consumption exist in parallel. The red soft-bodied car series labels Qi Jiaming a maker of spiritual products.

Even nowadays, oil painting is still considered by many as the mainstream category, so Wang Ningde’s photography could well escape our attention. Absurd realism is characteristic of Wang Ningde’s artwork. Wang has his figures close their eyes, and this simple and common facial expression is used as a concept throughout his work. Eyes truly serve as a device that links two worlds. Any average person can try to close eyes and test how you feel. Wang Ningde discovered the simple truth that eyes can be either closed or open. Consequently, half pictures in this world will be eyes open and the other half, eyes closed. In fact, Wang believes that many significant moments in one’s life were spent, or are happening, at the time when eyes are closed. That is why he has chosen the other half.

For Wu Gaozhong, his love towards those insignificant yet warm and substantial things is inevitable. Nobody could intervene with his choice as it is the artist’s self-orientated free will. However, Wu’s love is not the sweet type. He has used “pig’s hair” as medium to wrap and display his pets. Those originally ordinary forms become unfriendly and inaccessible at once under the new identities Wu gave them. Should the works size be increased, the shocking viewing experience will definitely grow into sheer terror. The large-scale installation Fist made by hair and wood-carving gives the viewer creepy uneasiness. Wu’s another series is photography about decaying organic matters, in which he chants eulogy on fungus and captures splendor in the perished and rotten. Appreciating “blue mountains and green water” emerging from the rotten organic matters during the rainy season in China, is anything but spectral for him.

Xu Yihui is a representing artist at a time when Gaudy Art became popular in Chinese contemporary art history. He seems to have indulged himself in the old role. The artist is the same, only the context has changed now. In his work, a Chinese astronaut doesn’t forget to read the supreme instructions even when landing on some planet, alluding that politics controls people’s minds ideologically even in no man’s zone. Xu Yihui didn’t clearly state his attitude and standpoint. What he did is assemble groceries from modern life and show them openly. Gaudy Art is actually a bitter irony masked in silliness.

He has transformed the irregularly occurring noise signals into lifeless intestines, organs and blood stains. The pictorial patterns look as even and arresting as wallpapers; nevertheless, the inanimate rotten intestines mixing with bloody terror sneak into our memory, hinting at the intermingling of violence and politics. The 10 minutes video loop Information No. 1 is played nonstop on the electronic device, uniting the visual and imaginary in one space.