人在现场
文/付晓东
“人的身体是灵魂的图景。”——维特根斯坦
生活如戏，于夜晚逝去，而在第二天重新开始。每个人在演员和观众之间不停的转换着角色，在令人头晕目眩的生活参与中，获得某种沉浸其中的快感。历史的真相永不可知，但我们却可以通过艺术的方式，沿着记忆中的细节，个人化的情绪，一瞬间的感知，去无限的接近真实。中国正面临着一个巨大的价值观转折的关键时期，纷繁复杂现场经验包裹着生活在其中的个体化的艺术家，他们或声色犬马、或悲凉寂寞、或迷茫困顿、或自艾自怜。在此次2006年中国国际画廊博览会中，F2画廊所带来的11件作品，正是承载着中国巨大舞台之下的精神样貌的艺术作品，充满着委婉曲折的隐喻和切肤之痛的唏嘘。
深夜，公路上的街灯，在玻璃窗上折射着冷漠的光。孤独的峨冠博带的古代文人的身影，鬼魂般的浮现于狭窄而透明的《电话亭》中。缪晓春用逼真的高科技数码制作的照片营造了一个貌似真实的虚假世界，一种个人内心与外在世界相隔绝的令人心酸的疏离感扑面而来。这个长袍的异质形像更象是缪晓春本人的内心独白，他所固执坚持着的矜持、古典、冷静，在这个日益现代化的、西方化的、科技化、物质化的世界中显出格格不入的尴尬。他如佛教徒般的静默的面对着电话机，而跨世的巨大的孤独感渐渐从照片中弥漫出来，在毫无知觉之时已经入侵了观者的内心。
另外一个孤独者是马六明。他的男性性征的身体流露出女性阴柔气质的风格，玩弄着性别错位的矛盾性。照片中，十几条垂死挣扎的活鱼被吊在空气之中，马六明自己却在淋浴水管下优雅的抚摩自己秀丽的身体。鱼在中国传统的民间中，有男性性器的暗示，而在饥渴缺水的鱼的包围中自我扶弄，无疑具有挑逗的意味。有趣的是，这张1996年所拍摄的《鱼》的简陋的浴室，是他当时生活的真实环境。在这样一个简陋、粗糙的暗示着冷硬的石灰涂刷的现实房间里，制造出的却是一种超现实的绝望梦境的氛围。
行为艺术家苍鑫的素描作品使用了一种传说中萨满教避世修炼的方法，他蜷缩着身体，把自己囚禁在巨大的冰块之中。周围零星的怪异的蕨类和菌类的植物，把整个场景拉到天荒地老与人迹罕至的洪荒神秘之境。在自由的境界，没有什么不可能的事。他通过助手的描绘，来实现自己的身体无法达到的更加离奇的行为方式，凶悍的使绘画成为他的行为艺术的外延。
行为艺术家张洹则是用经典的黑白影调的摄影手法，自虐的行为方式来表达一种“无权者的反抗”。他的《皮肤》系列中，他表情严肃的撕扯自己的面颊，用身体和精神双重疼痛来调动观者的感官。在习惯性接受不公正境遇和逆来顺受的屈辱之中，对无助、委屈、尴尬与蹂躏的反抗变得毫无必要。自我作践在这里成为一种心照不宣的表演，一种非政治的政治。
在孤独的海洋中，在美得绚目的悉尼歌剧院前，朱冥的作品是一个透明、脆弱、虚幻、柔韧、充满空气的塑料“气泡”。他的裸体被封闭于其中，他从一个胶管不断的吸进空气，塑料气泡中的压力和缺氧的状态一直大到人体所能承受的极限。海中气泡有如同缔造生命的母亲的子宫，而它又可能将虚幻的生命随时扼杀。图片所呈现的便是生死临界的那个瞬间。
年轻的艺术家刘瑾更关注青春话题的叙述，这里展出的是他的《天使系列》中的一张。北方，盛夏，茂盛的杨树，普通的农村小院的红砖墙上，搁浅的是青春期充满迷茫的理想。他虔诚的蹲在墙头，背着残破但依然洁白的翅膀，目光漂向迷离的远方，怅惘……曾经，在每个人的内心，都有一个天使。即使是伤痕累累，永不可能起飞的天使。
盛奇的作品拍摄了自己残缺了小指的左手。他选择各种政治、经济、文化相关的一寸照片放在手心，小指的残缺与照片意义发生了冲撞与相互指涉。这张英姿勃发的80年代海军的老照片，在充满意味的大红底子上，显得格外强烈。宏大叙事的社会背景，成为了个人化的微观的生活经验的注脚。
李颂华的作品《远程写生》利用了网络媒介。在A、B两个地点，他与另外一位女艺术家通过网络视频，互相在镜子上进行裸体写生的过程。通过MSN的聊天软件的小窗口视频下，远距离的人体显出一种隐秘的暧昧和安全的色情。这种偷窥的违反道德的方式，又被艺术的名义和大张旗鼓的宣传所颠覆。
我们都曾经玩过一种简单的电脑游戏“找茬”，就是两张相似的照片，在若干细节上些许的改变，要求在规定的时间内全部找出。李青利用了童年共有的游戏经验，来试图调侃绘画和图象之间的关系。颜料的厚度和手绘的面貌强调了绘画的不可复制性的复制。在掩藏与暴露之间，把观者对绘画技术和内容的欣赏抹去，成为了一种图象细节游戏。
尹朝阳的油画《迷惑》描绘了漆黑的环境中，一个少年被一团光亮的未知物所引诱，虽然里面闪着彩色的光，却暗示着不安的死亡与堕落。许恒的作品《I》中，则复制了N个矫柔造作的时髦少女，围绕在舒坦自然的少年周围，搔首弄姿的心态。
此次F2画廊的作品陈列中，行为影象和观念绘画作品，以局部的细节化的身体语言，再现了不同年代和境遇中灵魂的图景，书写出社会文化转型时的中国现场的经验。
MAN IN THE SCENE
Written by: Fu, Xiaodong
“Human’s body is the soul prospect.” – Ludwig Wittgenstein
Life is like drama, passes in the night, and will make a fresh start in the second day. Each individual switches his role incessantly between the actor and the audience, participating in a life which has a dizzy spell so that one can obtain some kind of pleasant sensation. The historical truth may never known, still, we can approach the truth limitlessly by way of artistic style, along with the details of memory and individualizing mood, and the sensation in a twinkling of an eye. China is facing a crucial time of a tremendous value transition. Each artist lives in a life full of complex scenes, in which they are either wallow in sensual pleasure,or dismal incidents, or confusing, or very much feeling self-pity. In the Chinese International Galleries Exposition 2006, there are 11 items on display that F2 Gallery brings along. They are technically imbued with tactful metaphor and keenly felt pain of the world, in which represent the new face of our country.
Late at night, those street lights along the sideroad were refracting kind of indifferent luminous at the windows. The lonely figure of ancient scholar dressed traditionally appearing like a ghost in the narrow and transparent Telephone Booth. Miao, Xiaochun built a lifelike false world in his picture that taken by high tech numerical code equipment. To blow on to the audiences a sense of one drifting apart sadly from the entire world. The figure wearing a long gown was more like Miao Xiaochun his very own monologue. The persistency of his restrained, classical, and calm behaviours was incompatible awkwardly with a world filled by all modern and materialization, western and science and technology. He was quietly facing the telephone set like buddhist, as to spread a sense of loneliness into the heart of audiences without the slightest touch.
Moreover, another lonely person was Ma, Liuming. His obvious masculine body even reveals very feminine that shows a contradiction of sexual dislocation. In the picture, a certain amount of dying fishes hung up in the air. And, Ma Liuming, who was caressing his own delicate body under the shower. In traditional Chinese folk cultrue, fish implies male sex organ. It is signified teasing while caressing oneself among thirsty fishes. What interesting is, the simple and crude bathroom where he took the picture called The Fish in 1996 was where he lived, a true scene. In such a plain living place, he actually made out a kind of desperate surreal atmosphere.
Installation artist, Fan Xin, his sketch used a sort of legend Shamanism method, to imprison himself among huge icecubes. The surroundings ferns and fungus pull the entire scene into an untraversed mysterious region. There aren’t anything impossible in a free realm. Through the assistant’s narration, he was to achieve the most odd action, in which painting is becoming the extension of his work.
Another Installation artist, Zhang Huan, who used classical white and black of photographic technique to express a non-power of revolt. In his series work of Skin, he was tearing his face seriously so as to arouse the audiences with the pain from both his body and spirit. To be accustomed to accept the humiliation and unfair circumstances, it was unnecessary to resist the suffer and helplessness. Self-mistreatment in here becomes a performance with no word and a non-political politics.
In front of the splendid Sydney Opera House, in the middle of the vast sea, the work of Zhu Ming was an air-filled plastic bubble of transparent and fragile, unreal and pliable and tough. He was inside the bubble nakedly and inhaling from a plastic pipe until it rearched human body’s limitation under the pressure and being short of oxygen. The bubble seems like the womb of a women, in which it can kill the mere illusion at any time. The picture presents the very moment of being alive or dead.
The young artist, Liu Jin, who pays more attention to the youth topic. What displays here is one of his ‘Angel Series’. The north, midsummer, luxuriant poplar, the ideal of confusing puberty was stranded on the ordinary courtyard red brick wall. He was squatting on the top of the wall with ragged but cleaning wings, looking into somewhere far away. In a sense, there is always an angel inside each person. But angels with wounds all over the body who will never be able to fly.
Sheng Qi photographed his own incompleted little finger of left hand. He put an inch photo that related to politics,enconomies and culture on the palm of his hand. The incompleted little finger and the significance of the picture bumped into each other critically. This old picture of 80’s navy really catches your eyes on a meaningful loud red base. The great narrative social background has become the footnote of personalizing experience of one’s life.
The work of Li Songhua, Long-distance Sketch, used the network medium. A and B, two defferent places, he and a female artist, both naked, were sketching mutually on the mirror while caming through the internet. The long-distanced bodies appeared in a sexy way under the dark dubious scene through MSN. The way of peeping run counter to morality, and also overturned under the name of arts.
We all know this easy internet game called Spot the Difference, from which is to find out the differences between two detailed pictures in a certain amount of time. Li Qing used his gaming experiences making an attempt at teasing the relation between the drawing and image. Both the thickness of colour and the appearance of handpainting emphasized the painting is not possible to be duplicated. Among the consealment and exposition, it becomes a kind of image game without admiration toward drawing technique and content.
Yin Chaoyang’s oil painting called Confussion described, in the pitch black environment, a young boy was tempted by an unknown bright object. It implys the restless death and degeneration, even though it is shining with vivid colours. In Xu Heng’s work named I, duplicated a group of indulging fashionable young girls, who centre on the youth with fortune.
Along with all the items on display by F2 Gallery, such as installation image and paintings, they all are reproduced the scene from different times and spaces. And, too, it represents a changing scene of China in culture aspect with great prospects.
责任编辑：胡适应 |
