開幕時間：2008年11月22日15：00
展覽時間：2008年11月22日至12月
展覽地點：北京朝陽區(qū)酒仙橋路4號798工廠內(nèi)大山子藝術(shù)區(qū)百年印象攝影畫廊
Opening time: Nov 22 3:00pm ,2008
Exhibition time: Nov 22 ,2008 –Dec, 2008
Add:No4,Jiu xianqiao road,Chao Yang district, BeiJing.
DIRECTION: 798 PHOTO GALLERY
傳統(tǒng)的一切都痛苦地消失了
——曉川的影像近作
文/王春辰
什么是中國？什么是中國的現(xiàn)代化？同時，中國的當(dāng)代影像又如何去捕捉這一切細膩的情感變化呢？曉川最近的一批影像作品即折射了這一問題。藝術(shù)既是個人經(jīng)驗的表達，也是個人觀念的視覺述說，也可以說是藝術(shù)家面對世界的產(chǎn)物。今天的藝術(shù)如何有意義，不外乎這幾點。中國的當(dāng)前現(xiàn)實變化之大，史無前例，一個有心的藝術(shù)家如果不對此作出反應(yīng)，恐怕會失去許多作為有意義的藝術(shù)家的價值。
就此而言，在中國現(xiàn)場中的藝術(shù)家就應(yīng)當(dāng)超越歷史的局限和個人情趣的沉迷，就應(yīng)當(dāng)超越短暫的形式把玩。中國今天太需要有力量的藝術(shù)家出現(xiàn)，而不是沉湎在麻木的為形式而形式的小格調(diào)上。藝術(shù)家要不要情感？其藝術(shù)要不要視覺的現(xiàn)實力量？問題看似老生常談，實際上并不是許多人能做到的，因為此，就分別出了當(dāng)下的藝術(shù)家的差異和意義。那些創(chuàng)造意義的，自然要往前走一步，而藝術(shù)批評的聲音和敏感度，就是要注意這些紛亂中的藝術(shù)表達和追求。
曉川并不是那種張揚的藝術(shù)家，但內(nèi)心經(jīng)常沉浸在自我的思索中，常常為探索妥貼的視覺書寫而焦慮。曉川喜歡詩意一樣的視覺表達，但又不希望落入奢侈的抒情畫面，而是追求一種穿透視覺形式、能抵達視覺內(nèi)涵的形象。為此，他尋找著他的圖像語言，創(chuàng)造著他的視覺王國，最終的目標(biāo)是落實到我們這個變化多端的世界上，從超越視覺表象的空間抓取瞬間的歷史痕跡和社會語義。曉川的新作很凄美地創(chuàng)造了一個超現(xiàn)實的世界圖景，這就像是星光滑過天空，突然照亮了被黑暗掩蔽的大地一角，透露了中國社會裂變過程中那被拿走的一切。當(dāng)代中國是一種結(jié)構(gòu)性變化與結(jié)構(gòu)性失重的社會，許多我們曾經(jīng)擁有的生活經(jīng)驗和文化認(rèn)知都消失了，我們在不知不覺中已經(jīng)被重新塑造，但是我們?nèi)匀徊荒苣ㄆ絻?nèi)心的楚痛：過去的一切不再擁有，新的仍在變動之中，無根的感覺成為普遍的心理征候。這里已經(jīng)不是“田園將蕪胡不歸”的召喚，那畢竟可以退隱；這也不是“日暮鄉(xiāng)關(guān)何處是”的感喟，那畢竟是故鄉(xiāng)的情感記憶；這里更不是“詩意地棲居在大地上”的浪漫和幻想，真以為現(xiàn)實無比幸福。曉川的圖像營造顯現(xiàn)了一種失衡的心理表征：中國曾經(jīng)的文化優(yōu)雅已經(jīng)痛苦地消失了，微弱的文化脈搏像一場遺夢，骷髏不過是種種殘余的印記而已。
這樣的視覺隱喻恰恰突出了當(dāng)代影像的特征：可以自覺地將視覺圖像作為藝術(shù)觀念表達的手段，而不是作為被動接受的現(xiàn)實。影像視覺可以穿越我們的心理世界，賦予圖像一種直接性的思考維度。同時，曉川的作品也說明了影像可以“憂郁”起來，如悲歌一般。
All the Tradition Already Disappeared Painfully- Recent Photographs of Lu Xiaochuan
Wang Chunchen
What is China? What is China's modernization? At the same time, how does contemporary art of China capture the changes of all the delicate feelings? A group of photographic works of Lu Xiaochuan have reflected the problems recently. Art is not only the expression of personal experience, but also the descriptive vision of personal concept. Furthermore, it is the product of an artist observing and exploring the world. There is nothing but these points for today’s meaningful art. It is unprecedented that China's reality is changed dramatically. If the artists can not respond to it, I am afraid that they will lose many things as a valuable artist.
In this regard, China’s artists should go beyond the limitations of history and personal taste of indulgence, and transcend the short-term form for fun. Today’s China requires many more creative artists, but not mediocre artists indulging in the style for form for form’s sake. Do Artists need emotion? Does the art need the realistic visual power? The problem appears to be a platitude in fact, but not many artists can answer it. Therefore, there appear the difference of the current artists and the diversity of the meaning. Those who create meaning, of course, should take further step forward, and those art critics should be sensitive to it, whose voice should focus on the pursuit of artistic expression in chaos.
Lu Xiaochuan does not have an ostentatious character as an artist, but he is always immersed in the heart of self-reflection, and often feels anxious about how to explore the visual language. He likes such visual expression as poetry, but does not wish to fall into the luxury of lyrical pictures. However, he tries to produce the images with the visual connotation through the pursuit of a clairvoyance form. So, he searches for his image of the language, creates his kingdom of vision, and catches instant historical traces and social meaning in space beyond the visual appearance, in order to achieve an ultimate aim of recording our changing world. He creates a surreal beautiful picture of the world in his latest pictures that reveals all taken away in the process of fission of Chinese society, which seems that a falling star fries over the sky, and suddenly light up a corner of the dark world. Contemporary China’s society is a society of structural change and structural weightlessness loss of society, in which lot of life experiences and cultural awareness we had had have disappeared. We have been unconsciously re-created, but we still can not cure the pain in heart: a sense of rootlessness has become the general psychological symptoms, since the past no longer exists and all the new changes are still pregnant. There is no " why not return back when farmland has been deserted" calls, for it can retire after all; there is no sigh of "Where is my hometown when the dusk is coming down" too, for that is, after all, the fond memory of hometown; there is still further no romance and fantasy of "dwelling on the land at ease", thinking that the real life is perfect. His images appear to create a mental representation of the imbalance: Elegant Chinese culture has disappeared painfully, the weak pulse of the culture seems to be as a dream, and the skeleton is the various residual marks on it.
This is precisely the visual metaphor that highlights the characteristics of the contemporary photographic art: you can consciously see visual images as a means of artistic expression of ideas, rather than as a passive acceptance of reality. Visual images can pass through our psychological world, and give the images a direct dimension of thinking. Meanwhile, his works also shows that the image can take on the colors of "depression" like elegies.
On August 7, 2008, CAFA, Beijing
【編輯：霍春?！?/p>
