前言/ 賈廷峰

從2016年俞心樵個(gè)展《安靜》至今己過(guò)了半年之久，似乎命運(yùn)的捉弄，關(guān)於此次展覽及俞心樵本人在極不安靜的狀況下發(fā)生許多驚濤駭浪的變化，正如俞詩(shī)中所說(shuō)：用安靜批判一切安靜。這種悖論構(gòu)成當(dāng)下這個(gè)浮燥而喧囂的時(shí)代一種奇異的風(fēng)景。

基於對(duì)悲觀的社會(huì)現(xiàn)實(shí)及生存現(xiàn)狀的深刻考量，藝術(shù)家俞心樵以近作《命運(yùn)》系列給予了回應(yīng)。他認(rèn)為集體價(jià)值觀的大面積坍塌，不可僅僅訴諸於政治形態(tài)、社會(huì)環(huán)境、歷史遺傳的外部藉口，其根本問(wèn)題在於個(gè)體自我意識(shí)的覺(jué)醒。他將掌紋這一具有特定象徵內(nèi)涵的文化符號(hào)置於畫面中心并加以放大，從而形成一種局部特寫的陌生化效果，一方面是對(duì)掌紋所承載的命運(yùn)指涉意義的消減，一方面又是對(duì)掌紋所影射的個(gè)體意識(shí)的強(qiáng)化與肯定。襯於絢爛底色之上的盲文，同樣是俞心樵作品中不可或缺的符號(hào)，零星凸起的圖釘，紮根於畫板之下，一股喟嘆命運(yùn)多舛的扼腕感隨之而生。盲文似枷鎖，掌紋似傷痕，盤亙?cè)诿恳晃挥^者的靈魂深處，將其引渡到意志與肉身的對(duì)決中，去扼住命運(yùn)的咽喉。神性與人性，宿命與搏命，個(gè)體與眾生，在俞心樵的觀念表達(dá)中，漸己突顯悲情英雄主義情懷。

顯然，俞心樵不信命。所有的苦難和荊棘於其而言，只是磨刀石，是為了讓他警覺(jué)周遭的黑暗，保持在一種鋒利的狀態(tài)，時(shí)刻準(zhǔn)備破開(kāi)庸常世界的精神霧霾。他的藝術(shù)同樣如此，飽含深刻的思想厚度與銳度和鮮明的詩(shī)學(xué)質(zhì)感，顯示出極其強(qiáng)烈的人文情懷及知識(shí)份子的憂患意識(shí)、悲憫家國(guó)情懷，俞心樵一直在探索藝術(shù)如何能行之有效地介入到社會(huì)現(xiàn)實(shí)中來(lái)，從而為空洞乏味的中國(guó)藝術(shù)界提供優(yōu)質(zhì)的別樣思考與實(shí)驗(yàn)。相較於那些光彩奪目的浮夸炫技與矯情造作的無(wú)病呻吟，俞心樵從純粹的人性出發(fā)，去觸及與揭開(kāi)本質(zhì)層面的真相，以深邃的智慧去滌蕩迷途的羔羊。從其作品中，體察到強(qiáng)烈的批判意識(shí)，有一種拷問(wèn)內(nèi)心的灼烈痛感，這種痛感反復(fù)地提醒我們，必須跳出生理官能的局限，才能獲得超越感覺(jué)世界的心性自由。在可喟、可嘆、似控、非控的情緒中，俞心樵拋出了一個(gè)世人皆不可回避的選擇，是安於現(xiàn)狀，還是突破樊籠？在其看來(lái)，一切昨日似已命中注定，明朝又物是人非，其實(shí)，全由自由意志的選擇和心靈深處的指引。

太和藝術(shù)空間打破常規(guī)，再次舉辦俞心樵 個(gè)展《命運(yùn)》，實(shí)際上是經(jīng)過(guò)謹(jǐn)慎考量後的決定。一方面本次展覽作品是對(duì)《安靜》的延續(xù)和深入，在語(yǔ)言風(fēng)格上具有一定的承接和拓展，在作品精神內(nèi)核上更富針對(duì)性的人文思考。另一方面，由於《安靜》所帶來(lái)的不同凡響，太和藝術(shù)空間接收到來(lái)自廣泛領(lǐng)域?qū)τ嵝拈缘娜诖妒翘匾?017迎春展的方式為大家奉上俞心樵的新作展。此展之後，俞心樵即將離京遠(yuǎn)行，因此，這也將是一次為了重聚的告別。

PrologueBy Tingfeng JIA

It has already been more than 6months since 2016 Yu xinqiao’s (hereby as Yu) solo exhibition passed， it seems that the fate has been playing a trick on him， about this exhibition and the changes that has happened through the extremely un-peaceful conditions. Just as Yu’s poem once said： ”May the peace critique on peace.” This paradox has become a phenomenon of this superficial and noisy era today。

Based on the consideration of pessimistic reality of the society， Yu’s recent work “fate” series has answered to it. He believes that the vast collapse of the collectivism shouldn’t be only explained and excused by external excuse such as the political point of view， social environment， and history， because the core problem is the awakening of our individualistic consciousness. He puts the palm print that represents the culture symbol in the middle of the painting and enlarges it， this is in order to create a kind of “defamiliarization” to the feature of a specific part. On one hand it is a subtraction towards the fate that the palm prints carry (palm prints are usually infer to one’s life and fate in Chinese superstition beliefs)， while on the other hand it’s to reflect palm prints strengthening influence towards individualistic consciousness. Braille that was set on the magnificent paint is also an important part of Yu’s symbols； dots that are fragmentally goes up and down were rooted on the surface of the palette that creates a feeling of pity. Braille is like chains， and palm prints are like scars， they are lingering in the deepest part of every viewer’s soul， and guide them towards the conflict between physical body and the consciousness， strangling the throat the fate. Divinity and mortality， fate and defy fate，individual and all living， under the expression and concept of Yu， and it all highlights the pathos sentiment on the work.

It is obvious， that Yu doesn’t really believe in fate. Through all kinds of pain and suffering to him were just honing for his life， and the purpose is to let him aware of the darkness that’s surrounding him， and it keeps him sharp all the time， makes him prepare to break through the mediocre haze of our world. His art is the same， full of deep thoughts and sharp poetic texture that expresses his strong humanism concern， and sympathy to his nation as an intellectual person. Yu has always been searching for a way to use art as interference towards the social reality， which would bring in some new thoughts and experiment to today China’s doleful art circle. Compare with those colorful， magnificent， and “skillful” works and their fake groaning， Yu’s works are all based on pure humanity， to touch and reveal the truth within， to guide those “lost sheep” with his wisdom. From his works， we could feel his strong criticism， and the pain of torture； this “pain” has been repeatedly reminding us to obtain the freedom of our soul that surpasses the world， we must step out of the physical limitations first. In those complicated emotions of sigh， praise， controllable， and incontrollable， Yu has thrown out an inevitable option， is it to stay where we are？ Or to break through the cage of our heart？ To his point of view， what has happened has happened， what are going to happen we might never know， the guidance is the freewill and the decisions in your mind.

Tai he art gallery break down the rules and once again opens Yu Xinqiao’s solo exhibition “Fate”， is actually a well thought decision. In one hand this exhibition is the continue and embed of Yu’s previous exhibition “peace”， and has extended the art language， and style towards the previous exhibition， and adds more humanism thoughts to the core spirit of the work. In another hand， because of the impact that “peace” has brought， Tai he art gallery has received many expectations and hopes from many areas. Therefore， we are proudly present Yu’s newest works on the 2017 Spring exhibition， after the exhibition， Yu is going to leave Beijing for a faraway journey， so it’s a farewell for the reunion.