内在、本质、终极、救渡
江铭/文
每一个时代都有与这个时代相适应的特殊的艺术作品。这些艺术作品承载着我们对于时代的情感。而且人类每个阶段的文明都无法重复，这便决定了其文明标记的艺术成为阶段史，亦无法重复。所以康定斯基曾说过类似的话：“试图复活过去的艺术原则至多产生一些犹如流产婴儿的艺术作品。”但是我们经常看到这样一种情况，两个时代的艺术作品似乎存在着很多类似的联系，在艺术形式上也存在着基于基本需要的外在类似。那么是否艺术史的发展存在着一种重复的可能性呢？答案当然是否定的，因为重复没有可能。两个时代基于艺术形式上的外在相似的发生是缘于这样的几种因素：一、当两个时代在道德与精神方面存在着某种内在的相似趋势时；二、当一种曾经被狂热追求的相似的信仰消失掉，转而成为人们嘲笑的自慰器时；三、两个时代都存在着颇为相似的“内在情调”和基本特征时。那些被过去的人们用来表达各种问题与见解的形式便重新“复活”了。这并不需要人们去可意追求，它是人类理解自身和表达历史的必然。这样的一些相似往往发生在这样一些艺术家身上，他们在单纯的精神世界中追求表达内在的和本质的情感！一种关乎人类终极的救渡！
今日中国的历史与二十世纪三、四十年代欧洲的历史有着颇多的类似。人们从狂热的精神信仰追求的生活走向狂热的物质主义的发展道路，即而成为精神破产的一代，物质主义的魔魇困扰着我们，把我们的生命变成为罪恶和毫无意义的游戏。然而正是这样的时代，灵魂开始苏醒，精神开始抗争。一些不愿成为时代烂泥潭中的一块烂泥的人们借助着人类历史上曾经闪耀的星光正在寻找各自的救赎。
在后现代的解构中，观念艺术的泛起在整个二十世纪的后半叶里似乎成为艺术大海中最后的救命稻草，然而当艺术成为解决社会问题的注脚，当艺术将人生的终极问题――心灵革命悬置起来，转而去试图解决社会问题，或者把人生的问题推委给社会，当成为社会问题来解决的时候，究竟是我们时代的浅薄，还是一种时代的自欺？
社会给人的希望是它具有无限可能的完善性，革命从来都不能够解决一切问题，更不可能解决心灵问题。革命其实就像阿Q永远也不能够画好的那个圆圈。当今天的艺术成为社会革命的一部分，我们是否能够对历史抱有信心？他人是地狱，萨特的命题在每一个领域都能够成立。生命的短暂使我们对历史不可能满怀信心。正如鲁迅说的：“于浩歌狂热之际中寒。于天上看见深渊。于一切眼中看见无所有；于无所希望中得救。”（《野草?墓碣文》）。鲁迅遭遇的荒谬正是西西弗斯推向山顶又滚下山谷的石头。我们也一样。
当观念成为时代前卫的标记，当观念成为时髦的口号，当观念成为商品，那些独自关注心灵的内在表达与情感本质的艺术开始张显出它永恒的魅力！人类有着漫长的道路需要去走，社会――人生问题的解决需要一个递进的谱系，当我们面对最后的时光，有几个人能够给必死的生命找到一个不容质疑的答案？有几个人能够给自己的心灵找到一处没有尘埃的房间？当我们借助观念艺术之名在饕餮的宴席上探讨关于农民工、关于被侮辱被迫害者、关于腐败、关于贫富之间的差距时，我们的灵魂被藏在了何处？我们不惜重金去制作出那些巨大的后工业艺术品与那些被侮辱被损害者、与那些与土地结合在一起的底层人民的命运有什么关系？我们已经迷失在物质主义的泥潭中了。
我策划这次展览的初衷缘于对今日观念艺术的泛滥迷失在物质主义的泥潭中，似乎在关注社会与人民命运的当代艺术其背后是利益的角逐。在这样的一种情势下，一些艺术家回归自我的心灵深处成为对今日艺术历史的反叛者。这正是一个暧昧、焦虑、无所有的时代精神与信仰缺失后内在的迫切需要。
作品分析
李卫明 的作品在寻求着一种东方的智慧、和谐与灵性。在那些有着简单设计构图的表达中，是东方情感的达成，艺术家在探索着一种本缘状态的走向人类记忆深处的内心视像。闪烁不定的色彩与精神，充满着扑朔迷离的视觉效果，在那些光感与色感合二为一之际，艺术家回到心灵的原始阶段，那个刚刚出生的孩子第一次看到他的母亲！
唐城 的作品深深的渗透着宇宙情怀，在那些布满星空的奇异形象背后，是艺术家内心甜美、神秘的梦的再现。在某些作品中我捕捉到凡高的精神之火和夏加尔神奇的想象力。在那些灿烂的金绿色的画布上有着某种来自艺术家心灵的叙述，那些幻想与忧伤、希冀与诱惑、现实与梦幻的瞬间，是永恒的宁静与安详！
王宝明的作品在构造一种内心化、流动感的音乐精神，那些跳跃的线条，光斑一样闪烁的色彩在一个远离现实的世界中演奏着简洁、充满神秘气息的、穿越对世界全部体验的交响乐、奏鸣曲。他企图用宁和与庄严、信念与超越来武装那个只有走向内心才能够看到的世界。那些跳跃的小人、那些滑稽的小鬼、那些被随意描绘的抽象与具象的结合体共同构造着一个幽默的充满神奇魅力的图像世界。
徐微强 的作品是关于性图腾与巫师咒符的现代版本，他构造的那些可以辨认的幽默形象不是为了符号学的实验，而是与他的情感生活联接在一起的一种自醒。他借助着那些半抽象半具像的形象演义着一种与现代人有关的，也是从原始情感出发的精神世界的故事。《最后的晚餐》的时刻，我们将怎样面对这个世界，我们的灵魂能否找到一个可以安宁离去的理由？
周全胜 的作品在叙述性构思的召唤下，远离着学院的素描与色彩，也许规范的气质在他的生命中本身就是悖论，在严格的社会职业体系中，他内心的艺术家气质在拯救着他的生命与生活。那些随意的形象虽然与他的生活与记忆构成上下文关系，但是一种渗透生命本源的自觉常常左右着他的作品，成为他的作品自由蔓延的依据。艺术家对色彩的感受与其对幻象的迷恋交织在一起，在一种自我直觉的达成中走向奇妙的境界。
廖羽 的作品企图在绘画与音乐之间建立可以往来的通道，这种尝试是艺术本源的相通性给人制造的假想。视觉与听觉的感官传达是否具有某种相似的情感，一直是很多艺术家试图探索的奥秘。其实音乐与绘画本身并不直接制造情感，而是人的内在需要与人的外在体验促使人企图通过音乐或者绘画这些所谓艺术来表达自我与世界。其实并没有艺术这件事，是人类需要在没有意义的进化中找到一点意义，来给没有意义的存在一个可以继续的理由。
2007年1月写于
北京大山子环铁将府庄园艺术区
当代艺术资料库
comment :inherence essence ultimate salvation
Author : Jiang ming
Every epoch has its peculiar artwork fitting in with,which permeated our emotion to times. Every phase of human civilization had no way to repeat, so the art in every time becoming stage history and also had no way to repeat. W.Kandinsky said that if you are trying to revive forepassed art principle,the produces of artwork will not more than "abortive baby".
But a kind of condition often happened like this: two times artwork has some similar contacts and also similar form. Is there any probability that development of art history exists repetition? Of cause not.
If this happened, there must be several factors: 1 two times has some inside alike trend in morality and the spirit. 2 one kind of similarity belief used be fanatical disappears.3 two times has analogical " inherent sentiment " and essential features.
People do not do it sedulously. It is necessity that human being understands oneself and expresses the history. Some similarity sometimes happens in artists, who express some kind of inside and essential sensation. It is the ultimate salvation of human being.
Chinese history today has some similar with European history in 30s and 40s of 20 centuries. People marches from the life that fanatical spirit belief runs after to fanatical materialism, namely generation becoming a spirit going bankrupt. The nightmare of materialism devil perplex us , and turn our life into be crime and meaningless game. But exactly at that times , soul begin to revival, the spirit begins to contend. People who do not want to becomes a piece of mud in mud pool seeking each redeems through those similarity history.
Art becomes lifesaving straw and the footnote resolving a social problem. When art don';t care about soul revolution but to go and trying to resolve a social problem,or regard the problem of life as the problem of society. Is our times superficiality after all, of is still one kind of times self-deception?
Society has boundless possible to perfect by people, and revolution is not able to solve all problems, say nothing of to solve spirit problems. When art becomes a part of society, can we have the confidence to the history? The brief life makes us have not full confidence history.
When concept becomes marks of times, the stylish slogan and a commodity, art expressing with emotion nature begins to manifest its eternal charm! Human being has an endless road to go. When we face final days, which can find an answer to certainly concluding life? Who can found the room for self-soul without dust? When we talking about the peasant laborer, about being insulted and the corruption, where we put our soul in? We are already maze in the lair of materialist. But the art appeared as to care about the society and people. That is why do I scheme this exhibition. Some artists return to their soul and become rebel to today';s art history.
production analysis
Li Wei MingÕs work is exploring one kind of oriental wisdom , harmony and intelligence. The indeterminate color and spirit, are full of complicated and confusing, At the time, glorifying feeling and color feeling combined into one, artist returning to the intelligent primitive stage, like a new born baby first time sees his mother!
Tang Cheng ';s work deeply seeping the feelings of the universe , behind the production are mysterious sweet dream of artist. In some work, I catch fire spirit of Vincent van Gogh and magical imaginative faculty of Marc Chagall Between the Intelligent fantasy and the sorrowful , hope and being lured, real moment and dream are eternal tranquility and serene!
Wang baomingÕs works have music spirit in structure. He tries to use peace and solemn, belief and exceed to arm the world that could be see only when in the deep heart. Those leaping person and comical imps described a magical image world.
Xu qiangÕs work is modern edition of the nature totem and the wizard curse, and it not for experiment, but for self awake. He is connected with the modernist to the inner world from primitive emotion. When ÒLordÕs SupperÓ moment is coming, could our soul find a reason to leave?
Zhou quanshengÕs work being far away from an academy, maybe standard qualities is paradox in his life, in strict society occupation system, his inward artist qualities being saving his life and live. The artist feeling to the color mingles with the phantom , reaching one kind of marvellous realm.
Works of Liao yu attempt communicate music and drawing. Is there any similarity emotion between vision and the auditory? In fact, music and drawing did not create emotion directly, but people want to deliver themselves by music or drawing. Human being needs to find a little significance in meaningless evolution, and to give meaningless existence a reason to be continue.
|
发表于 2007-2-27 22:01:19
QQ好友和群
QQ空间
腾讯微博
腾讯朋友
收藏
转播
分享
淘帖
支持
反对
楼主