展览时间:2019.09.14——2019.09.24

开幕时间:2019.09.14(星期六)下午2点

策展人:沈沐阳

艺术家:

白奕 / 胡成成 / 倪超然 / 孙小笛 / 向宝傧 / 杨艺君 / 오민수(吴旻洙)

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Date:2019.9.14 —— 2019.9.24

Opening Reception:2:00pm,September 14, 2019(Sat.)

Curators:Shen Muyang

Artists

Bai Yi / Hu Chengcheng / Ni Chaoran / Sun Xiaodi / Xiang Baobin / Yang Yijun / Minsu

 


 

涌动与含蓄

/前言

去年,正值法国“五月风暴”50周年,那场后来被人们称为“西方文化分水岭”的运动再次回到大众的视线。简单来说,六十年代那场革命的问题在于一种僵化的统治术和不断个体意识觉醒的大众之间的矛盾。当年的种种口号和标语例如 “想象力当权” ,“我们拒绝用无聊致死的危险去换取一个免于饥饿的世界” 依然在给正处于后工业时代消费社会的人们某种对抗“日常”的动力。对于“五月风暴”,今天的人们实际上并不关心那些无处安放的左翼情绪的始末以及其结果的成败,而更愿意讨论其作为个性解放和批判异化的消费社会的积极作用和旗帜效应,同样需要被重视的是对于那场运动催生的关于日常生活的思考以及对现实的引导性。倘若我们回顾整个20世纪,就不难发现,那些“叛逆”的种子其实早就存在。早在40年代,昂利·列斐伏尔(Henri Lefebvre)在其巨制《日常生活批判》三部曲中就已经提出了相关理论,他认为在传统上,自启蒙以来的日常生活就被当作琐屑不值一提。我们生活在被风格化,同一种文化使得话语的方式,手势,习惯在不同社会阶层的内部具有一致的外表。类似的观点在革命之后得到新的补充,居伊德波(Guy Debord)在其《景观社会》开篇便指出了“景观社会”的本质:“在现代生产条件无所不在的社会,生活本身展现为景观的庞大堆积。直接存在的一切全都转化为一个表象。” 然而同样的问题在今天似乎更为迫切地需要去面对,人类从来没有面对过一个像今天这般信息,图像,欲望杂糅的时代。

相比之下,日常生活的危机症候对于艺术家来说倒是一个不错的思维方向,尤其对于承载着对未来生活美好愿景的年轻艺术家来说,这更是一个必须被讨论的课题。事实也在证明,无论你在不在意那些关于“日常生活批判”的长篇大论,就单纯面对现实而言,或多或少的会存在某种反抗的理由。

在本次参展的七位年轻艺术家中,我们不难发现,艺术家们对于日常的自我判断不经相同,但从其创作的概念来源以及表达手法上却有着本质上的差别。首先一类艺术家,他们的创作更倾向于个体意识的发掘,从潜意识中寻找对抗日常幻觉的突破口。相比枯燥的生活秩序和思维规训,他们的创作呈现出一种别样的“新幻觉”,在新一级的幻觉中,艺术家们构造的新世界变成了某种宣泄的出口,使得思辨之后的理智情绪在瞬间成为某种有效的方法论。例如胡成成,孙小笛,吴昊洙。这样做的好处在于能在复杂多元的群体意识中找到属于自己的身份定位,尤其是在如今现代城市化的日常生活中面临的诸多被群体情绪和集体欲望所摆布的低智行动中,反而能凸显自身冷静理性的立场。另一类艺术家则相对“保守”,他们选择直接取材于最直接的现实日常,充满了理性关怀。在现实的背后,艺术家们似乎在努力地避免将自我立场过分的参与到“还原”的工作中,而将重点放在了对于现实的关键性取舍上。在选择的结果中,再发挥自身最大的效能来成就对现实的二次再现。例如杨艺君,白奕,向宝傧,倪超然。在他们的作品中,我们能发现艺术家们对于现实提炼的智慧,这几乎是直白的诉说。如此敢于“直面”对于年轻的艺术家来说是一种难得的品质,因为摆明一种现实的难度远大于重复一段历史。

当然,我更愿意讨论的是这些年轻艺术家们的共通之处。我们发现今天的年轻艺术家们非常热衷于关注“日常”和“现实”的讨论,而他们共用的套路大概是通过先建立某种临时的“场”,进行铺垫,再将一切关于日常辩论的实际填充,在其中的每一个子集以及他们不同的排列组合则成为了所有问题的关键。从参展作品的整体观看而言,这更像是艺术家们集体搭建的临时戏台,所有的对于日常生活的反思,不论感性,理性还是知性的表演都会聚在一起,成就了一出看似荒诞陌生但实际合情合理的生活戏剧。这种手法非常类似于布莱希特(Bertolt Brecht)现代戏剧理论中的“间离”效果。这种表现方法的意义在于:“让观众对所描绘的事件,有一个分析和批判该事件的立场”,调动观众的主观能动性,促使其进行冷静的理性思考,从而达到彻底破坏舞台上的生活幻觉的目的,突出戏剧的假定性。简而言之,就是让观众看戏,但并不融入剧情。其实在艺术家们的“戏剧”中,并不注重“演员”的情感表达。人物的编排和情节的假定,将观众引入某段既明了而又模糊的现实或历史,看似熟悉,但却又十分陌生。这种奇怪的不确定的叙述逻辑,让那些不规则的情境成为艺术家表达的“话术”,在似与不似之间,揭示生活的本真。

“日常”的戏剧在这些年轻艺术家们的作品中展现了它上升为理想的可能。当然这不止是现实和戏剧的语境转换的乐趣,更有意义的是我们能在日常幻觉中寻找到久违的生活的温度。

沈沐阳

2019年9月

 

Surging and Implicature

/ Foreword

It was just on the 50th anniversary of the “May Storm” of France last year, so the movement that was later called the “watershed of Western cultures” returned to the public’s sight again. To put it simply, the problem of the revolution in the 1960s lies in the contradiction between the rigid rule and the awakening of consciousness of the mass. As for those slogans such as “imagination in power”, “we refuse to trade for a world free from hunger by the danger that is so boring”, it is still giving people in a post-industrial consumption society some incentive to fight against “daily activities”. When it comes to the May Storm, people nowadays do not really care about the beginning and end of the left-wing mood where there is no place to put it, as well as the success or failure of its results. While they are more willing to discuss the positive role and the banner effect of the consumption society as the individual’s liberation and the critical alienation. At the same time, the things that need to be paid attention to is the thinking about daily life and the guidance to reality that the movement gives rise to. Besides, it is not difficult to find that the seeds of “rebellion” have already existed if we look back at the entire 20th century. Henri Lefebvre had put forward the relevant theory in his trilogy of The Critique of Everyday Life, who thought that  the daily life had been treated as trivia since the enlightenment in the aspect of tradition. We live in a stylized world, in which the same culture that makes words, gestures, and habits have the same appearance within different social strata. On the other hand, the similar views had new supplement after the revolution. According to Guy Debord, he put forward the essence of “landscape society” at the beginning of his Landscape Society: Life itself shows a huge accumulation of landscape in a society where modern production conditions that can be seen everywhere. For everything that exists directly, it is transformed into a representation.” Instead, it is more in urgent need to face the same problem, since human beings have never faced an era with such a mixture of information, images and desires like nowadays.

The crisis symptoms of daily life are a good direction of thinking for artists by contrast, especially for young artists who carry a better vision for their future life, which becomes a topic that must be discussed. The fact also proves that  there is more or less a reason to resist simply in the face of reality whether or not you care about the long speeches about the “criticism of daily life”.

It is not difficult to find that the artists have different self-judgment for the daily life in the seven young artists participating in this exhibition, while they have the essential difference from the source of the concept of their creation and the expression method. First of all, the creation of the same kind of artists is more inclined to explore the individual consciousness, so as to find a breakthrough against daily illusions from the subconsciousness. Compared with the boring life order and thinking discipline, their creation presents a different kind of “new illusion”. The new world constructed by artists becomes some kind of catharsis exit in the new level of illusion, which makes the rational emotion after speculation become some kind of effective methodology in an instant, such as Hu Chengcheng, Sun Xiaodi, and Wu Haozhu. In terms of the advantage of doing this, it is that it can make them find their own identity in complex and multi-element group consciousness, especially in the low-intelligence operation at the mercy of the group’s emotion and collective desire in the daily life of modern urbanization, which can highlight their own calm and rational position instead. As for the other kind of artist, they are relatively “conservative”, who choose to extract the material from the most direct reality and daily life, which is full of rational care. The artists behind the reality seem to be working hard to avoid the excessive participation of self-positions in the “restoration” work, who focus on the key selection of reality. They then give full play to their own maximum effectiveness to achieve the second reproduction of reality in the selection results, such as Yang Yijun, Bai Yi, Xiang Baobin, Ni Chaoran. We can find the wisdom of artists that is extracted from reality in their works, which is almost equal to the straightforward speech. In addition, it is a rare quality for young artists to be so daring to “face it up directly”, since it is far more difficult to understand a reality than to repeat a history.

Certainly, I prefer to discuss what these young artists have in common. It is found that young artists nowadays are very keen to focus on the “daily” and “realistic” discussions, in which their common method is probably to build some kind of temporary “field” to lay the foundation, and then fill in all the actual stuff about the daily debate. As for the each subset of it and their different combinations, it becomes the key to all the problems. As far as the overall view of the exhibition works is concerned, it is more like a temporary stage built by artists collectively, in which all the reflection on daily life  will combine together no matter it is perceptual, rational or intellectual, thus presenting a seemingly absurd and strange but actually reasonable life drama. As for this technique, it is very similar to the “alienation” effect in Bertolt Brecht’ s modern drama theory. When it comes to the significance of this method of expression, it lies in that it can “let the audience have a position of analyzing and criticizing the event described”, which can mobilize the subjective initiative of the audience as well as urge them to think calmly and rationally, so as to achieve the purpose of completely destroying the illusion of life on the stage and highlighting the hypocrisy of the drama. In other words, it is to let the audience watch the play, but not bring in the plot. As a matter of fact, it does not pay attention to the emotional expression of the “actor” in the “play” of artists. Through the character arrangement and the assumption of plot, it can introduce the audience to a clear and vague reality or history, which seems to be familiar, but very strange. As a result, this strange and uncertain narrative logic makes those irregular situations the “skill of speech” expressed by the artist, which reveals the true nature of life between the similarity and non-similarity.

On the basis of the “daily” drama, it shows the possibility of rising to ideal state in the works of these young artists. There is no doubt that it can not only reflect the fun of the contextual transformation of reality and drama, but also can make us find the temperature of life that we have not seen for a long time in our daily illusions.​

Shen Muyang

September,2019

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/白奕

2014 学士毕业于四川美术学院油画系
2018 攻读于四川美术学院油画系硕士至今

 

作品阐述:

对我来说,趣味性是一种无意识、本能的但却又体现了隐藏在语言之下的欲望爆发的行动。作品以趣味性的日常生活图像为创作对象。通过截取图像局部的重点来强调我的主观关注点,将存在的行为抽离其原本的现实环境再放置于一个相似但又不与客观存在的新空间里。作品最后成为这个“点”与主观感受交流的记录。

/胡成成

2012学士毕业于四川美术学院美术教育系
2017攻读于四川美术学院油画系硕士至今

 

作品阐述:

我选择把对自己刺激最强的、印象最深的信息直接与创作的中心意念挂钩。在绘画过程中对日常收集到的图片素材进行加工和改造并辅以情感的浸润。为突出画面的氛围感,有意剔除画面多余的东西,作品旨在营造神秘的氛围以表达日常体验中不可言说的精神世界。

/倪超然

2013 学士毕业于四川美术学院油画系
2017 攻读于四川美术学院油画系硕士至今

 

作品阐述:

“日常”是每个人终其一生都身处其中的生存环境,列斐伏尔最早提出了对日常生活的批判,使人们逐渐认识到日常生活举足轻重的地位。正因日常生活于人们就如空气一般,身处其间却未曾引起应有的关注和重视。自后工业时代以来,人们的日常生活已与以往产生了天差地别的差异,然而这样的差别在产生之初也许会一石激起千层浪,其后却随着时间的推移被社会和人所消化和接受,从而极大地改变了人们的生活方式和日常状态。我在创作过程中,从一开始就从身边异化的日常生活环境入手,这些场景也许对大众来说司空见惯,但究其存在的实在和逻辑,却值得我们深思其意义、价值和对我们生活环境的影响和社会景观构成。

在我目前的创作阶段中,我在总结以往创作经验的基础上,进一步深入探画面中不存在的人与画面中呈现出来的场所之间的关系问题,包括人对场所的营造,场所可能对人所产生的反向影响,场所在经历时间过程中所获得的在外观上的改变以及这些痕迹所映射的人类活动等方方面面的思考。而现实主义的创作技法对我目前的创作历程来说,也能更好地表现日常可见的物象经过艺术家个体的创作所呈现出的陌生化结果。

我也希望可以通过自己的创作,进一步探讨人的个人身份与场所的交互影响,提供给观者日常可见物组合形成非理性场域的荒诞感和陌生感,引起人们对日常生活的关注和思考。

 

/孙小笛

2014 学士毕业于四川美术学院美术教育系
2018 攻读于四川美术学院油画系硕士至今

 

作品阐述:

作品旨在以霓虹灯的形式表现现代年轻人光怪陆离生活之下的孤独感,及对个人经历、思考和行动的探测,强调个人与他人的相互关系,即不仅仅关注他者,也不执着于自我的孤立,而是两者相互缠绕相互影响,焦虑与自由。

/向宝傧

2014 学士毕业于厦门大学油画系
2018 攻读于四川美术学院油画系硕士至今

 

作品阐述:

在我的绘画创作实践中,生活小景是我表现的主要方面。在照片摄影捕捉以及滤镜过滤后的单色场景具有老照片似的感染力。用油画颜料进行堆叠重塑,使画面具有一定凝重感,同时表达了自身对所关注图像的重新认识。使这种既熟悉又陌生的场景再次呈现,并以主角的方式进入,使普通平凡的物体具有各自的话语权。

/杨艺君

2012学士毕业于景德镇陶瓷大学绘画系
2017攻读于四川美术学院油画系硕士至今

 

作品阐述:

《百合》系列作品来自于在读研究生期间创作,描绘的是平日司空见惯的花卉——百合(香水百合及白百合)。就这一系列作品素材是通过拍摄真正的百合花从它拥有花苞,完全盛开到凋谢,整个过程积累了上千幅绘画素材所提炼出来的。在我看来,从主观意义上讲,情感与创造性是艺术特有的本质,而感性本身又缺少一种攫取事物本质的气势和力度。因此,在艺术创作中需要强有力的理性支撑来达到最终效果。我用特写的方式来表现这些形象,自然形象只是创作过程中的一个参照,这些花蕊作品,不拘泥于形式,每一幅的花都通过有意识地筛选和提炼,抽离了自然花朵原有的结构形状,将其上身为艺术的高度。在表现手法上:以这种负片的效果作为画面的主体色,这种反常规的画面色调形式,是想跟观众在视觉上有一种不一样的视觉感受。试图把具象的局部细节放大化,抽象化,通过这一点来揭露人的内心世界和物的本质的复杂性:删繁就简,将局部或细节的繁琐之处进行概括梳理,使之更加调理,整齐,以加强整体感觉。

/오민수 Oh   吳旻洙 Minsu

1979년 제주 서귀포 출생
인천대학교 미술학과 한국화전공 및 동대학원 졸업
홍익대학교 동양화과 박사과정 수료
/
1979年出生于济州西归浦
仁川大学美术系韩国画专业与研究生毕业
弘益大学东洋画系博士课程结业