策劃主辦：北京高地畫廊
策展人：馮博一
展 期：2008年11月1日至12月1日
開幕酒會(huì)：2008年11月1日星期六下午4：00-6：00
開放時(shí)間：星期二至星期日下午11:00至下午19:00(星期一休息)
北京市朝陽區(qū)酒仙橋路2號(hào)(798藝術(shù)區(qū)北門向南60米)
北京8502#信箱轉(zhuǎn)高地畫廊 PC：100015
電話：010-64377177
傳真：010-84599777
E-mail：gallery@vip.sina.com
網(wǎng)址：www.gaodigallery.com
Sponsor: Gaodi Gallery
Curator: Feng Boyi
Exhibition Date: 1st Nov.—1st Dec.,2008
Opening Party: 16:00-18:00, 1st Nov.,2008
Opening Hours: 11:00-19:00 (Tuesday-Sunday, Monday by appointment only) No.2 Jiuxianqiao Road,Chaoyang District, Beijing ,P.R.China
Tel: 010-64377177
Fax: 010-84599777
E-mail: gallery@vip.sina.com
Website: www.gaodigallery.com
確定的信念與不確定的張望——關(guān)于張旭東的油畫藝術(shù)
馮博一
最早認(rèn)識(shí)旭東還是在1995年。當(dāng)時(shí)，旭東在中國(guó)美術(shù)館舉辦個(gè)展，我去參加開幕式及學(xué)術(shù)研討會(huì)。接著，我們與冷林一起張羅“現(xiàn)實(shí)•今天•明天”現(xiàn)代藝術(shù)展在北京國(guó)際藝苑美術(shù)館的展覽和拍賣，他又是應(yīng)邀的參展藝術(shù)家?，F(xiàn)在看那時(shí)的場(chǎng)景照片，盡管只是十幾年的光景，卻真有恍若隔世之感。因?yàn)橹袊?guó)的變化太大，尤其當(dāng)代藝術(shù)變化之劇烈，令人實(shí)在難以得到足夠的安全感而心緒浮燥，甚至惶惑！有的時(shí)候，我們難以相信這種改變，但又要被迫接受自己的身份與客觀環(huán)境新的對(duì)應(yīng)關(guān)系之中。按社會(huì)進(jìn)化論的觀點(diǎn)，似乎我們?cè)诎l(fā)展，一天更比一天好；但文化藝術(shù)卻并不是按社會(huì)進(jìn)化論來演繹。是耶？非耶？感慨而以。
上世紀(jì)90年代，旭東的油畫藝術(shù)有著表現(xiàn)主義的意味。其創(chuàng)作的主題多為厭惡都市的喧囂，或暴露生存狀態(tài)的混亂、墮落和罪惡，充滿了隱逸的傷感情緒或是對(duì)“普遍的人性”的宣揚(yáng)。他那時(shí)的藝術(shù)特點(diǎn)是不重視細(xì)節(jié)的描寫，只追求強(qiáng)有力地表現(xiàn)主觀精神和內(nèi)心激情，強(qiáng)調(diào)表現(xiàn)自我感受，而導(dǎo)致對(duì)客觀形態(tài)的夸張、變形乃至怪誕處理的手法，以此來發(fā)泄內(nèi)心的苦悶與壓抑。后來，旭東給我的感覺有些“另類”與“邊緣”，但他的這種邊緣的另類不是如上世紀(jì)90年代初期一些藝術(shù)家的那種被迫的邊緣，而是一種自愿放棄或主動(dòng)地選擇。他偏居遼寧的葫蘆島，心無旁鶩地潛心畫畫。一路下來，其畫風(fēng)已是發(fā)生了很大的變化。他近些年的創(chuàng)作，畫面構(gòu)成愈來愈趨向單純、簡(jiǎn)潔，色調(diào)清晰、凝重；復(fù)數(shù)般、整齊劃一的人物形象更營(yíng)造了這種視覺上的純粹感；而裸體的，略顯比例不甚協(xié)調(diào)的人物造形，仿佛如精靈一般，都睜大著有些驚恐與疑慮的雙眼注視著莫名的且喧囂的現(xiàn)實(shí)世界。在我看來，身體動(dòng)作并不像語言那樣，是不具有很好的信息儲(chǔ)存功能的。他把身體變成了即時(shí)性消費(fèi)，就像很多時(shí)尚的消費(fèi)品一樣。那么，它應(yīng)該是單純的，而不是復(fù)雜的；淺顯的，而不是艱深的；簡(jiǎn)潔的，而不是冗長(zhǎng)的。同時(shí)，還可以看出他在延續(xù)了他以往表現(xiàn)主義繪畫的怪誕脈絡(luò)，憑附出人生荒誕性的現(xiàn)實(shí)處境。我理解旭東作品的荒誕性在于，荒誕不存在于具體的生活中，荒誕是由于他對(duì)于現(xiàn)實(shí)生活的自省和自覺所產(chǎn)生的一種形而上學(xué)的痛苦，甚至病態(tài)的感受。也就是說，他作品的荒誕感產(chǎn)生于對(duì)平庸無聊、安穩(wěn)閑適的日常生活的懷疑、追問與表達(dá)，從而有意將其思考訴諸這樣一種荒誕的、非理性的形式給予表現(xiàn)。荒謬的形式顯示了存在的本質(zhì)，這使得旭東圖像的魅力既虛泛又殘酷，既荒誕不經(jīng)又直指現(xiàn)實(shí)，既無序又緊張。也使觀者盡管不能獲得整體上的輕松和愉悅，但是，當(dāng)我們沉潛于每一幅看似荒謬的場(chǎng)景內(nèi)部，沉浸于每一幅類似于愕異的目光之中，我們又可以非常鮮活地感受到人性的乖張，生存的悖謬，以及語境中洋溢出來的創(chuàng)作主體對(duì)歷史、對(duì)現(xiàn)實(shí)的質(zhì)疑態(tài)度。
我不知道是何種原因?qū)е铝怂倪@種生存狀態(tài)的選擇，以及創(chuàng)作上的變化。但不過這也許反而成就了他藝術(shù)的純粹。因?yàn)檫h(yuǎn)離現(xiàn)實(shí)的江湖，使他的藝術(shù)保留了真情的細(xì)末微節(jié)，凸現(xiàn)了作品自身的神秘性。因而觀者能夠在他的作品中感受到一種致力于創(chuàng)作本身的沉靜。他已經(jīng)將自己調(diào)整到一個(gè)自由創(chuàng)作者的位置上，一種比較純粹的心態(tài)與表達(dá)。比如，他作品中的具體場(chǎng)景完全是虛構(gòu)出來的。它們只有真實(shí)的背景外表，而情節(jié)本身對(duì)這種真實(shí)又進(jìn)行了顛覆，解構(gòu)了虛幻的夢(mèng)境。這既是我們社會(huì)變遷過程的現(xiàn)實(shí)沖突與矛盾的真實(shí)寫照，又預(yù)示了社會(huì)轉(zhuǎn)型后的迷茫困惑與危機(jī)四伏，也表現(xiàn)了螻蟻般人群的集體無意識(shí)的焦慮。初看這些排列有序的裸體的小人小物，仿佛與其所攝取的場(chǎng)景有著一種關(guān)聯(lián)，仔細(xì)觀察卻發(fā)現(xiàn)他或她們與這些空間環(huán)境并不存在著敘事和情節(jié)的因果聯(lián)系。在他所設(shè)定的沒有邏輯的場(chǎng)域內(nèi)，現(xiàn)實(shí)中這樣的行為舉止似乎是不可能發(fā)生的，有一種不真實(shí)的存在和熟悉的陌生感。真實(shí)、含混與神秘之間的錯(cuò)位凸現(xiàn)了作品本身的荒誕性，介于現(xiàn)實(shí)與虛構(gòu)之間荒誕，又強(qiáng)化了虛構(gòu)性因素。旭東繪畫的敘事性呈現(xiàn)了“現(xiàn)實(shí)的另一面”，這是經(jīng)過藝術(shù)構(gòu)思和形象處理后的敘述，雖然包含虛構(gòu)的成分，但擁有一種完整性，它基于歷史和現(xiàn)實(shí)，同時(shí)又具有綜合超越現(xiàn)實(shí)的魅力。
這是我解讀旭東藝術(shù)創(chuàng)作的一種視角。作為同代人，我認(rèn)同并看他們不同于50年代和70年代，更不同于已閃亮登場(chǎng)的80后?？此麄兊倪M(jìn)出、徘徊，他們的堅(jiān)守，眼見他們的掙扎、忿懣、無奈，他們的本土之心，知曉他們的道德信念的次次沖撞失意和于現(xiàn)實(shí)間不能如70、80年代人的游刃有余，知道他們的大界限，還有知其不可為或者知其可為而不為的那一種只有60年代人才知的準(zhǔn)則。旭東給我的強(qiáng)烈感覺或可貴東西是堅(jiān)持，堅(jiān)持并不孤獨(dú)。盡管他不搶眼，沒有藝術(shù)市場(chǎng)的所謂銳氣，或者用來邀寵的激烈，但總有一些東西在里面，默默地抵達(dá)或抵抗。長(zhǎng)久以來，這個(gè)抵達(dá)或抵抗不那么揚(yáng)聲高叫，不那么容易嘩眾，卻仍然有人聽到，也許這是他執(zhí)拗的理由之一。60年代出生的人已經(jīng)承受了這一份不獨(dú)個(gè)人的困惑，他們?cè)谧杂X地終結(jié)某種東西，通過所謂的藝術(shù)創(chuàng)作，他們?cè)谧穯?。也許潛在內(nèi)心的心理隱秘只是開始，總有一個(gè)向著的世外，也許未必是桃源，卻有一個(gè)極為開放的空間。在現(xiàn)實(shí)的內(nèi)外仍有理想可存放的地方，那就是承擔(dān)社會(huì)責(zé)任的義務(wù)和作為一名藝術(shù)家的敏感與尖銳。
The first time I met Zhang Xudong was in 1995. By then, I went for the opening ceremony and academic seminar of his solo exhibition being held at the National Art Museum of China. After that, Leng Lin and us organized the modern art show called Reality•Present•Tomorrow at Beijing International Art Gallery, and he was one of the invited artists. Only ten more years past, looking back at the scene photos then seems as though it never existed. It’s all due to the huge transformation of China, especially in the field of art, in which’s so hard to gain enough feeling of security that everyone has been edgy and even confounded. Sometimes, it’s difficult for us to believe such change but, still, we have to accept the new relation between the objective environment and us. In accordance with the viewpoint of social evolution that we have been developing better day after day, but culture and art do not interpret life accordingly. Does it? Or, does not? Sign……
In 1990s last century, Xudong’s work had the touch of Expressionism. What was in his painting were mostly subjected by tiring of the noise of the metropolis, of chaos and corruption and sin of the survival condition with full of hidden sentimental emotion which could be marked as publicizing the common human nature. His work then were not much focused on details but seeking on manifesting instinctive mind and inner passion, emphasizing express the feeling of oneself so as to let out one’s mental anguish and depression by using a form of exaggerating, being out of shape and weirdness. Afterwards, I had a feeling of him that he was bit of exception and being a brinkman, in which he was not forced to be as other artists in the early 90s but willing to give up or forwardly choose to be. He resides in Huludao at Liaoning with great concentration on painting. He varied his way of artistic technique as time went by. His creation in recent year, the composition of it has been becoming mere and brief, and the measure of hue are quite distinct and dignified; more precise physiques and aligned in the picture, the figures build an unalloyed harmony in vision; the naked and slightly lack of proportion characters with big and doubtful eyes looking at this hectic world are alike fairy. To my point of view, body movement does not as same as language for it has no information saving function. He takes individual as an immediacy consumption as same as many of fashionable consumer goods. In that way, it shall be artless but complicated, be plain but abstruse and be compact but redundant. Simultaneously, one still can see the thread of Expressionism of his past which attached to the reality. It is comprehensive for me about the absurdity of his work, in which does not exist in real life though the contemplation of his own thoughts, feelings and sensations make him felt painful, in other words, the rediculousness in his work comes from doubting, questioning and expressing about mediocre and boring, or steady and comfortable daily life. Such form of display shows the essence of existence as to bring up the both virtual and cruel, preposterous and realistic, and random and strained into his painting. Despite audience can not receive the feeling of light and joy, they still can feel lively about human perverseness, the paradoxical state in existence and the questioning manner toward history and reality through his work.
I have no idea what causes his choice of such living state and the change of achievement. But it may help him to fulfill his aesthetic pursue. To be far from actuality is to enable his work retain in heartful details, and this is where mystique of the painting itself are being raised. So that people can be able to sense the quietness in his creation. He has already adjusted himself into the position of free creator and expressing in the state of his whole. For example, the scenes in his work are all fictional, though the stories themselves completely changed the reality and deconstructed the visional dream. It is a true reflection of what is in our social improvement. It indicates the perplexing and crisis-ridden situation after society transformation and also implies the automatic anxiety of crowd. At first view of these lined up and naked small figures in his painting as if there’s connection between them and the pictured scene, but in fact they have nothing in between. In his created and lack of logic scenario the behaviour of which almost impossible to be happened, it has a kind of unreal existence and familiar strangeness. The misplacement of being real, vague and mystery demonstrate the work itself is beyond belief so it strengthened the factor of fiction. The narrative of Xudong’s drawing shows the other side of reality which is after aesthetic conception and image-manipulation. Though it is surreal that has the integrity based on the past and present, meanwhile it goes beyond reality.
This is my personal angle of view in Xudong’s artistic creation. As the same generation, I reckon that they are different to those whom born in 50s, 70s and even farer from 80s. I understand their to and fro with lingering thought, their holdout, struggle, resentment and helplessness; and knowing, with their localized mind they are not highly competent with the crash and frustration between moral belief and reality; even more, the standard or norm only fully accepted by the group people of 60s and by knowing their boundaries of doing or not doing. What is the sorely impression I have on Xudong is his persistency as he is aware of that to persist doesn't mean to be alone. Though he is yet not eye-catching and has no fire and dash pertaining to art market, there’s still something in him – to achieve or to resist in silence with no regret for, in the end, it can be appreciated by others. People born in 60s have already borne too much bewilderedness of their age and, through their artistic creation, they are questioning, in which it may be secretly hidden inside of them, in spite of that, there still a place is open to their ideal, and that is to fulfill their social responsibilities and, as an artist, to have a keen sense of penetrating mind towards the world.
【編輯：霍春常】
