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展訊

磁場(chǎng)

展覽名稱：磁場(chǎng)——韓建宇.張馳雙個(gè)展

主辦單位：深圳市羅湖區(qū)文化廣電旅游體育局

承辦單位：羅湖美術(shù)館

廣州薇薇文化傳播有限責(zé)任公司

學(xué)術(shù)主持：郭赟

策展人：蔣薇

展覽時(shí)間：2021.7.28－2021.8.08

展覽地點(diǎn)：深圳南極路6號(hào)羅湖美術(shù)館

前言

孔子《論語(yǔ)》云：四十而不惑！“80后”作為21世紀(jì)成長(zhǎng)起來(lái)的第一代人，曾在相當(dāng)長(zhǎng)一段時(shí)間里被當(dāng)做“異類”大加批判，及至今日，最早的一批“80后”已然邁入“不惑之年”，“80后”一詞及其指代的對(duì)新青年的爭(zhēng)議則似乎慢慢消散在文化史的煙塵之中。

韓建宇抽象NO.13 布面木板油畫金屬件 170x140cm 2021

然而，80后一代藝術(shù)家或許需要被重新嚴(yán)肅地審視。事實(shí)上，即便邁入四十大關(guān)，80后依然被當(dāng)做青年，80后藝術(shù)家的作品往往不同于六零后、七零后藝術(shù)家們難以磨滅的厚重的歷史遺痕或者沉重的個(gè)人記憶，也有別于九零后新人類藝術(shù)家群體普遍傾向于個(gè)體的微觀情感世界表達(dá)。甚至“八五”也被視作一個(gè)斷代，“八五前”與“八五后”時(shí)常被嚴(yán)肅地加以分論。其實(shí)并不奇怪，“八五前”在新世紀(jì)前成長(zhǎng)并完成了對(duì)世界的認(rèn)知，而“八五后”的價(jià)值觀生成在千禧年之后。

張弛鳳凰木板景泰藍(lán)綜合材料 61x61cm 2021

世紀(jì)更迭之際實(shí)際上是一個(gè)巨變的時(shí)代，2000年左右正是網(wǎng)絡(luò)時(shí)代走向中興的時(shí)代，也是“信息時(shí)代”、“消費(fèi)時(shí)代”和“廣告時(shí)代”以摧枯拉朽之勢(shì)刷新所有人價(jià)值觀的時(shí)代。這是“八五前”藝術(shù)家在靈魂深處有別于更年輕一代藝術(shù)家的時(shí)代基因。

韓建宇抽象NO.12 布面木板油畫金屬掛件 170x140cm 2021

韓建宇早期作品中帶有英雄主義色彩的表達(dá)暗示了藝術(shù)家對(duì)于宏大敘事的迷戀，但作品中肆意潑灑潰散的顏料以及猩紅的色調(diào)可以視作對(duì)某種意義上崇高的消解。《同志》系列作品既是對(duì)英雄主義的向往，也是對(duì)某種明星的解構(gòu)。今天的某種明星很多時(shí)候事實(shí)上也成為了被消費(fèi)的對(duì)象，基于媒體傳播的變異，以及意識(shí)形態(tài)的交互作用，在新的文化形態(tài)中往往表現(xiàn)為一種碎片化的歷史形態(tài)，這其實(shí)很大程度上也是新一代藝術(shù)家的歷史意識(shí)，他們對(duì)歷史的認(rèn)知不再局限于某種單向度的邏輯。這勢(shì)必導(dǎo)向歷史與文化的懷疑論，因之不難理解韓建宇之后作品走向帶有浪漫主義色彩表達(dá)，所以作品既帶有對(duì)歷史視野的留戀與解構(gòu)，又帶有荒誕且現(xiàn)實(shí)的想象。

韓建宇場(chǎng)景NO.4 50X60CM 布面綜合材料 2019 (4)

韓建宇在后來(lái)的作品《法?！放c《禁區(qū)》中，這種歷史敘事進(jìn)一步隱退，以更隱晦的方式暗示著某些不可言說的若隱若現(xiàn)的歷史碎片或者是營(yíng)造某種帶有隱喻性的現(xiàn)實(shí)時(shí)代圖景。在韓建宇新近的作品《林中路》系列以及《場(chǎng)景》系列中，對(duì)語(yǔ)言的探討與嘗試、對(duì)個(gè)人情感世界與群體現(xiàn)象的分析，以及對(duì)環(huán)境與現(xiàn)實(shí)景觀的反思成為了藝術(shù)家試圖去探討的問題。相對(duì)而言，藝術(shù)家開始更多地關(guān)注人之存在、社會(huì)的異化以及周遭環(huán)境的變化。

張弛食物鏈頂端的男人布面油畫 200x170cm 2013

作為生活在南海岸多年的東北人，張弛的作品色彩艷麗而熱烈，既有東北的艷俗文化痕跡，又雜糅了南方熾熱而絢麗的海岸風(fēng)情，畫面充滿了富于想象力的奇幻圖景，其間充斥著大量性與欲的描繪，既直白又隱晦。張弛作品中飽滿的情感及紛繁的敘事與藝術(shù)家平日中略顯沉默的性格大相徑庭，可以見出藝術(shù)家豐富的內(nèi)心世界。作品中的造景容易讓人聯(lián)想到原始主義樸素而天真的語(yǔ)言，但這種樸素的語(yǔ)言更反襯了隱匿期間欲望的熾烈。

張弛愛的反射布面油畫 200X170CM 2012

張弛巨幅作品《鳥人的歡樂世界》從圖式上而言讓人聯(lián)想到宗教天頂畫的幻境，充滿肉欲的女人體像諸神或者飛天般或隱匿或穿梭在巨大的充滿象征性的繁花之間，女人體皆為鳥頭人身的鳥人，鳥頭表情僵直如若面具，而肉身則充滿情欲，花、胡蝶和鳥人們充斥著性與欲的歡愉。這是一幅充滿大量現(xiàn)實(shí)隱喻的巨作，巨大的尺幅傳遞著某種宗教式的威嚴(yán)?！栋嬴B朝鳳》背景中的圓明園背景暗示著破敗與頹喪，這其實(shí)也是張弛作品的核心表達(dá)：恣意歡愉背后的虛幻，繁華盛景之下的糜爛！張弛的作品多數(shù)以隱喻和象征的方式折射現(xiàn)實(shí)，獸首人身、狗頭鳥身或者是長(zhǎng)著人體軀干的鳥蟲畜獸，均在性與欲的驅(qū)動(dòng)下飄然入幻。藝術(shù)家對(duì)欲的描繪與想象基于真實(shí)世界的反思，所謂“色即是空”，社會(huì)百態(tài)承載的是一個(gè)欲念四射的時(shí)代！

韓建宇抽象NO.11 布面木板油畫，金屬釘金屬門把 170x140cm 2021

韓建宇與張弛皆為1981年生人，今年已步入“不惑之年”，從藝二十余載， “八五前”的老青年歷經(jīng)時(shí)代變幻，早已從容面對(duì)所有“誘惑”或者“疑惑”，但當(dāng)代藝術(shù)始終在提出、思考以及探討新的問題，并沒有所謂的“烏托邦”或者“美麗新世界”，有問題的世界才是一個(gè)真實(shí)、良性且充滿生機(jī)的世界，不惑而問惑，此亦當(dāng)代藝術(shù)應(yīng)有之義！

文／郭赟

張弛鳥人的歡樂世界，布面油畫，200x510cm 2008

Confucius says in the Analects: “At 40, I no longer had doubts.” As the first generation to grow up in the 21st century, the Post-’80s generation used to be criticized as “oddballs” for a long time. Today, the earliest batch of Post-’80ers has reached “the age of having no doubts”. The term “Post-’80s” seems to be slowly disappearing into history. In fact, the Post-’80ers—now in their forties—are still regarded as young people. The works of artists born in the ’80s are often different from the indelibly heavy historical relics or grave personal memories of the artists born in the ’60s and ’70s, and they are also different from the Post-’90s / millennial artists’ highly-personal expression of the micro-emotional world.

韓建宇場(chǎng)景NO.5 50X60CM 布面綜合材料 2019

Even the year of 1985 is regarded as a turning point, and the terms of “Pre-’85” and “Post-’85” are often under strict categorization. In fact, this is no surprise: the Pre-’85 generations grew up and formed a full view of the world before the new century, while the values of the Post-’85 generations were formed after the new millennium. The turn of centuries was actually an era of great changes. Around the year of 2000 was the era when the Internet was thriving, and it was also an era in which the “information age”, “consumer age” and “advertising age” drastically changed every individual’s values. This is the historical element that distinguishes the mentality of Pre-’85 artists from that of younger generations.

張弛雞神布面丙烯 80X100CM 2021

The heroism in Han Jianyu's early works suggested that artists were infatuated with grand narration, but the scattered pigments and scarlet hues could be regarded as a resolution of sublimity in a sense.Comrade series works are not only the yearning for heroism, but also the deconstruction of political stars. Today's political stars have become the objects of consumption many times. Based on the variation of media communication and the interaction of ideology, they often show a fragmented historical form in the new cultural form. This is actually the historical consciousness of the new generation of artists. Their cognition of history is no longer limited to a certain one-way logic.

韓建宇林中路NO.6 220x200cm 亞克力木水彩紙丙烯 2019

This is bound to guide the skepticism of history and culture. Because it is not difficult to understand Han Jianyu's works are in romantic expression, so the work "Lugouqiao Incident" has not only the nostalgia and Deconstruction of historical vision, but also the absurd and realistic imagination. In later works Fahai and forbidden area, this historical narrative retreats further, suggesting some unspeakable historical fragments or creating some metaphorical realistic era picture in a more obscure way. In han Jianyu's recent works "Lin Zhong Lu" and "Scene", the discussion and attempt of language, the analysis of personal emotional world and group phenomenon, and the reflection on environment and realistic landscape have become the problems artists try to explore. In contrast, artists began to pay more attention to the existence of human beings, social alienation and the changes of surrounding environment.

張弛絕情谷布面油畫 200cm直徑圓形 2013

As a Northeastern man who has lived on the Southern coast for many years, Zhang Chi produces works that are colorful and passionate, with both traces of the gaudy culture of the Northeast and touches of the hot and splendid coastal style of the South. His paintings are imaginative fantasies with depictions of sex and desire—both straightforward and obscure. The full emotions and complicated narratives of Zhang Chi's works indicate a personality that is quite different from the artist’s: Zhang is quiet in real life; this contrast shows how rich the artist's inner world is. The landscaping in his works is reminiscent of the simple and innocent language of primitivism, but the simple language further divulges the fierce desires behind it.

韓建宇抽象NO.8 布面木板油畫，金屬釘金屬盒 200x180cm 2021

The huge work “The Happy World of Birdman” reminds people of religious murals: sensual female bodies are hidden or weaving in huge and voluptuous flowers; the female bodies are bird-headed human bodies with stiff mask-like faces, while the human torsos are all erotic, immersed in the pleasures of sex and desire. This is a masterpiece full of metaphors, and the huge size conveys a certain religious majesty. The Old Summer Palace in the background of “A Hundred Birds Worshipping the Phoenix” implies dilapidation and depression, which is actually the core of Zhang Chi's work: illusion behind pleasure, erosion under prosperity. His work reflects reality via metaphor and symbol—it is the artist's reflection on the real world. The Heart Sutra says: “Form is precisely emptiness.” What society carries is an era of lusts and desires, and everything will eventually fall into vanity.

張弛來(lái)自非洲的的禮物布面丙烯120X200CM 2021

Born in 1981, Zhang Chi has reached his forties, with a career in art of more than 20 years. The Pre-’85 artist at the age of having no doubts has experienced the changes of times and has faced everything calmly. However, contemporary art is always presenting, contemplating and discussing new issues, maybe a world with issues is the real, healthy and lively world. Only by asking questions while having no doubts can you feel the existence of body and soul. This is also what contemporary art should be about!

抽象NO.7 布面木板油畫，金屬釘 200x180cm 2021

參展資料

參展藝術(shù)家：韓建宇

1981年生于廣東湛江

2006年本科畢業(yè)于廣州美術(shù)學(xué)院油畫系第四工作室

2009年碩士研究生畢業(yè)于廣州美術(shù)學(xué)院油畫系

2016年法國(guó)巴黎國(guó)際藝術(shù)城訪學(xué)

2020年中山大學(xué)訪問學(xué)者

現(xiàn)為廣州美術(shù)學(xué)院油畫系教師，第四工作室主任

廣州市美術(shù)家協(xié)會(huì)油畫藝委會(huì)副主任

參展藝術(shù)家：張　弛

1981　生于遼寧

2003 畢業(yè)于深圳大學(xué)師范學(xué)院，獲學(xué)士學(xué)位

2006　畢業(yè)于華南師范大學(xué)美術(shù)學(xué)院，獲碩士學(xué)位

現(xiàn)任教于廣州仲愷農(nóng)業(yè)工程學(xué)院何香凝藝術(shù)設(shè)計(jì)學(xué)院

學(xué)術(shù)主持：郭赟

藝術(shù)批評(píng)家、策展人。生于1984年，湖南郴州人。四川美術(shù)學(xué)院美術(shù)史專業(yè)畢業(yè)，曾任藝術(shù)國(guó)際網(wǎng)編輯部主任、長(zhǎng)沙力美術(shù)館執(zhí)行館長(zhǎng)，現(xiàn)為雅昌藝術(shù)網(wǎng)專欄評(píng)論家、深圳祥山藝術(shù)館執(zhí)行館長(zhǎng)。