西南地區(qū)當(dāng)代藝術(shù)有一條清晰的脈絡(luò)。就是從“傷痕反思”到“鄉(xiāng)土寫(xiě)實(shí)”，從“新具象”畫(huà)展到“西南藝術(shù)群體”，從文獻(xiàn)展到“中國(guó)經(jīng)驗(yàn)”畫(huà)展，然后發(fā)展到九十年代，在世紀(jì)之交形成三代并存、各有成就的格局。這種淵源在中國(guó)大陸的當(dāng)代藝術(shù)中是獨(dú)一無(wú)二的。
在這種延續(xù)性中，尋找代表性形象符號(hào)成為年輕藝術(shù)家表達(dá)自身體驗(yàn)的創(chuàng)作手法。但由此也帶來(lái)值得反省的危險(xiǎn)，即樣式的功利性和圖像的同質(zhì)化。
置身于豐富而又躁動(dòng)的創(chuàng)作氛圍，四位年輕的在校研究生自愿組合舉辦“三加一”當(dāng)代繪畫(huà)展，更多注重于藝術(shù)的實(shí)驗(yàn)性，他們尚在變化中而不具備完成的樣式。然而，正是跋涉過(guò)程中的探索，表達(dá)出對(duì)于藝術(shù)的由衷熱愛(ài)，令人深深感動(dòng)。警醒并不意味著回避，恰恰相反，他們能夠把各自近期作品予以呈現(xiàn)，與觀眾交流，秉承的正是西南藝術(shù)家直面問(wèn)題的勇氣。只有在問(wèn)題中不斷思索、不斷反省，其藝術(shù)創(chuàng)作才能真正成熟起來(lái)。
四位年輕藝術(shù)家的生活經(jīng)驗(yàn)和生存體驗(yàn)不盡相同，有來(lái)自遙遠(yuǎn)的非洲加納共和國(guó)的約瑟夫、有來(lái)自昆明湖畔的邢亞梅、還有兩位長(zhǎng)期生長(zhǎng)在西南腹地的楊暉與張彬。約瑟夫那充滿(mǎn)宗教色彩的作品，激揚(yáng)悲情，狂放而又濃烈，與邢亞梅具本土情境的表現(xiàn)主義作品相得益彰；楊暉與張彬汲取中國(guó)傳統(tǒng)文化特質(zhì)，在微妙異樣的當(dāng)代心理體驗(yàn)之中進(jìn)行嘗試性的轉(zhuǎn)換，前者冷峻內(nèi)斂，后者調(diào)侃放松。
對(duì)觀眾而言，每位參展藝術(shù)家都是具有獨(dú)立創(chuàng)作精神的個(gè)體。這一點(diǎn)對(duì)西南的年輕藝術(shù)家尤為重要。只有這樣，才能在傾聽(tīng)歷史回聲的時(shí)候發(fā)出響亮的應(yīng)和，才能在當(dāng)代社會(huì)的問(wèn)題情景中植入對(duì)藝術(shù)的責(zé)任與期待。
2007年11月23日
鄭娜于四川美術(shù)學(xué)院
Foreword
Zheng na
In southwest of China the contemporary art has a clear thread.It is just that from "wounds Reflection" to "native realism," "like a new" art exhibition to the "Southwest art groups" from the literature show the "China experience" art exhibition, and then developed in the 1990s, formed at the turn of the century three generations co-existed, and each group achieved it purpose. Such origins in mainland China in the contemporary art is unique.
In such continuity, and in the search, the symbols represented by these young artists are to express their own experiences in a creative way. But the resulting self-examination should also bring the risk that the pattern of utilitarian and the homogenization of images.
Outside the rich and restless creative atmosphere, the four young graduate student in the school organized a voluntary portfolio "three-plus-one" Contemporary Painting Exhibition, more focus on the experimental art, they are still without a complete change in the pattern. However, the journey is in the process of exploring, expressing their sincere love for the arts, it is deeply moving. The alert does not mean avoiding the contrary, they are here to show their recent works and the audience exchange at home, ‘southwest’ and these artists faces the question of courage. Only in the question constantly thinking, constantly reflect on their artistic creativity can truly mature.
There are two long-term growths in the hinterland of the Southwest, Yang Hui and Zhang Bin. Joseph then filled with religious themes and works by enhancing the Sadness, Wild and thick, with the situation with local criminal Ya-mei,s performance of works complement each other; Yang Hui Zhang Bin studied the traditional Chinese cultural peculiarities in the delicate strange psychological experience of a contemporary art. The conversion attempt of the former冷峻restrained, the latter fun relaxed.
To a viewer, each participating artists has an independent creative spirit. This is particularly important in southwest for every young artist’s life. Only in this way we will be able to listen to the historical echo of the times and seasons we live in.
【編輯:葉曉燕】
