无界东西,境有高下

我看《无界东西——国际青年艺术家优秀作品展》


2021年08月30日 10:51    来源:美中时报    苏刚

       《无界东西——国际青年艺术家优秀作品展》终于在在线开幕了,虽然不知疫情何时结束,也不知结束后会不会再来,但人类的生活仍然在继续,艺术仍然在继续。然而,这一切仍然需要从艺术语言上谈起,因为在绘画语言上,界无东西,只要操持同一种语言就可以实现深入的交流,这是艺术的魅力所在,也是本次展览的精彩所在。


       然而,以创造名义,艺术观念经历了一个历史的嬗变。19世纪德国哲学家黑格尔(Hegel)宣称艺术终结了;20世纪早期,艺术家马列维奇(Malevich)等人宣称绘画死亡了;20世紀60年代,约翰布鲁克曼(JohnBrockman)宣称人类已死;阿瑟丹托(Arthur Danto)宣告艺术终结。但是,现实世界中的画家依旧坚守艺术创造的观念,并保护创造观念不受极端思想的影响。当下,这40多位青年艺术家奉献出100多件作品,不仅用作品证明他们对于艺术的独特选择,也证明了特殊时期无形压力下展现出来的内在定力与面对生死的智慧。其中一些极其优秀的作品,比如Not Guilty作品中的哨子与手铐的诙谐、Searchfor light 中的在光芒下寻找光明的迷茫、3.328-2中的仰视的视角与虚空的悬疑、Theart of paper中从对纸的迷恋引出的重构与再生等等,展示了艺术家对当下这一特殊历史时期的微妙细致的感悟与委婉的表达。



Not Guilty《无罪》,杨礼杰 Lijie Yang,(不锈钢装置) 40X40X3750px-2020.jpg


Searching for light [寻找光明]200x3750px 油画王晓勃 Xiaobo Wang


3.328-2 100x1500px, 2020. 黄子林 Zilin Huang


纸的再生艺术[The recycled art of paper]萨莉亚.帕克    Sariah Park


Ballerina [芭蕾舞者]53x850px  陈敦煌 Dunhuang Chen


Floating Life Series [浮生]   290x1250px,2017 .Jie Cai 蔡杰


非洲舞蹈 [African dance] 180x8000px 陈俊穆 Junmu Chen


为自由前进 [March towards freedom] 陈龙阙 Longque Chen


《神马都是浮云》Everything is illusory   160x3200px ,2013. 默涵 MoHan


《祈盼之春》The spring of hope 70x110 cm, 2020   谭建武 Jianwu Tan


西藏系列1.2.3, Tibet series 1 . 2 & 3 .   唐伟民 Weimin Tang


       当然,展览中的大多数作品是写实主义的艺术风格,坦诚地讲,以工具性来考察艺术语言上,它们是平等的。不会因为某种艺术形式是新鲜的、没见过的就是好的。安德鲁•怀斯说:“我用蛋彩画颜料作画就是因为它是一种固定的媒介,可使笔触细致,不致杂乱,表达我本来的个性。”值得注意的是,展览中的写实主义作品坚守的是一种艺术语言,但表达的是各自的思想与情感。其中,Ballerina的奇思妙想、Floating life series日常生活的琐碎与意味、African dance的激情四射、March近似于场景设计的奇诡、The spring of hope的含蓄与内敛、Everything is illusory对情感真实性的怀疑、Tibet series 1 & 2的人物的虔诚与画家的审视……这些画面都在各自的视角上揭示了画家对生活的感悟与观看。从这个角度来讲,来自东方与西方的青年画家们一起展出自己的作品,这本身就是一种跨越东西界限的艺术交流,它让我们看到了不同地域与文化背景的人们以不同视角观看的世界、以不同的方式表达自己的处境、以不同的理念诉说自己的思考。


       然而,真正弄清一件艺术作品,不仅需要仔细研读和体悟作品的审美特性及其内在意味,还需要分析作品与其历史文化语境的密切关系。这正是本次展览的关键点——俄罗斯与中国画家的写实虽有渊源,但味道不同;美国艺术家对于材料的开放与表达的自由与中国画家的含蓄相映成趣、中国写实画家彼此之间不同视角的思考与判断……这些在同一场域里被展览空间联系起来,生成一种文化交流的线索。确切地讲,采用语境论的视角,有助于打破经验主义印象批评的窠臼。在这一步的基础上,可以厘清艺术作品生成的条件,进而恰如其分地阐明作品的审美特征及其价值意义。其实,这一步的工作是留给读者,留给真正的有心人,只有在艺术解读的步骤里,艺术作品才能得以在不同的心灵里重生,艺术的永恒才能实现。


       但是,本次展览在整体面貌上仍有问题值得继续探讨。具体来讲,尽管艺术以画家个体的视角出发的,但更为重要的是,艺术作品是用来交流的。中国的画家们喜欢以美女为载体,这符合中国人的审美口味,也有利于在市场上找到买家。但“大路艺术感染人、小路艺术取媚人”,以本次展览中的作品为例,中国青年一代的写实画家在抛开宏大叙事,以个人化视角进行艺术探索进行了三、四十年后,无论是在整体把握能力上、画面深入程度上、精神境界的扩展上、绘画材料应用上,还是对画家个人内心世界的发掘上,都取得了鲜明的进步。但在超越自我,以时代的视角、人类的视角来思考方面不足。


       也就是说,这些优秀的画家可以把自己的声音扩展为民族的声音、时代的声音、一个阶层的声音,因为一切都要回归到有关人类的终极思考。


       Borderless—Eastern and WesternExcellent Artworks Exhibition by International Young Artists has been finallyinaugurated online. Although we do not know when the COVID-19 pandemic will endor whether it will come back after the end, life is keeping on and art is stillalive. However, it is to be discussed with the language of art. The language ofthe painting represents boundlessness, as long as the language is also able toachieve in-depth communication. This is the attractiveness of art, as well asthe highlight of this exhibition.


       However, in the name ofcreation, the concept of art has experienced a historical transmutation. Hegel,the 19th-century German philosopher, declared the end of art; In the early 20thcentury, artists like Malevich announced the decease of painting; In the 1960s,John Brockman proclaimed the termination of mankind; Arthur Danto stated thedeath of art. However, artists in reality still insist on the philosophy ofartistic creation and protect the notion of creation from the influence ofextreme ideologies. At present, more than forty young artists have dedicatedover 100 works, which not only prove their unique choice of art with theirworks, but also demonstrate their inner resolve and wisdom in the face of lifeand death under the invisible pressure of this particular period. For example,the jocularity of whistle and handcuffs in Not Guilty, the confusion of looking for light under theillumination in Searchfor Light, the perspective oflooking up and the mystery of void in 3.328-2, the reconstruction and regeneration derived fromthe fascination with paper in TheArt of Paper, etc. All of these worksmanifest the artist's subtle perception and euphemistic expression of thisspecial historical period.


       Of course, most of theworks in the exhibition belong to the style of realism, and frankly speaking,these pieces are equal in terms of the instrumental language of art. Theinnovation or unusualness of the style doesn't mean it's good. "I usetempera because it's a fixed medium," says Andrew Wyeth "It allows thestrokes to be detailed, organized and express my own personality." It isworth noting that the realist works in the exhibition adhere to a language ofart, but they express their own thoughts and emotions. Among the rest, thewhimsical idea in Ballerina, the trivialization and meaning of daily life in Floating Life Series, the strong passion in African Dance, the strangeness of approximate scene design in March,the implicity and introvert in TheSpring of Hope, andthe uncertainty on the authenticity of emotion in Everything is Illusory, the piety of the characters and the examination from the painter in Tibet Series 1 & 2... These images reveal painters’perception and view of lifefrom their respective perspectives. It is demonstrated that young artists fromeastern and western displayed their works of art in one exhibition together.The exhibition itself is a cross-boundary art exchange. It also enables theaudience to see the different geographical and cultural backgrounds of peoplein a different perspective on the world, express themselves in different wayswith different ideas about their own thinking.


       However, to completelyunderstand a piece of art, it’s required to carefully read and understand the aestheticcharacteristics of the work and its inherent meaning, but also to thoroughly analyzethe intimate relationship between the art and its historical and culturalcontext. This is the pivot point of the exhibition -- that Russian and Chineserealism is related, but perceived in difference; The American artists' opennessto materials and freedom of expression compared to the Chinese painters'implicity, along with their thinking and judgment from different perspectiveson each other... These are connected by the space of exhibition in the samedomain, generating a clue of cultural exchange. To be precise, adopting a contextualismpoint of view helps break the mold of empirical criticism of impression. Basedon it, we can clarify the conditions for the creation of art, and then properlyilluminate the aesthetic characteristics and value of works. In fact, this stepis for the reader and for those who really enjoy the arts. The eternity of artcan be realized when the process of interpretation of art is accomplished andthe works of art can be reborn in different minds and hearts.


       Nevertheless, there arestill problems in the overall appearance of this exhibition that are worthy offurther discussion. Specifically, although art starts from the perspective ofindividual painters, more importantly, works of art are used for communication.Chinese artists enjoy beautiful women to be the carrier, which is in line withthe Chinese aesthetic taste and is also conducive to finding buyers in themarket. However, the mainstream forms of art infect people, and the niche formsof art inspire people. For example, the realism painters of the younggeneration in China have put aside grand narratives and have conducted artisticexploration from a personal perspective for 30 to 40 years. Later, both interms of the overall grasping ability, the depth of the picture, the expansionof the spiritual realm, the application of painting materials, or theexploration of the artist's personal inner world, he has made significantprogress. However, it is insufficient in surpassing oneself and thinking fromthe perspective of the times as well as human beings.


       In other words, theseexcellent painters can expand their voices into the voice of the nation, thevoice of the times, and the voice of a class, because everything must return tothe ultimate thinking about humans.



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