清清白白的纯粹与幽静的大约_美学家资源音讯_雅昌音信

法兰克福学派的主要成员狄奥多阿多诺(Theodor Ludwig Wiesengrund
Adorno)恒持艺术必须是作为社会批判的武器,无论阿多诺在怎样的程度上对让-弗朗索瓦利奥塔(Jean-Franois
Lyotard)的后现代思想建构给予怎样的启示,他在骨子里依然是一位现代主义者,后现代主义艺术一反现代主义把艺术作为盛载与叙事苦难、焦虑及深度思想对话的形式,江衡的后卡通油画系列全然无视北方学界主流意识形态的喧嚣,完全以一种释然的平静和简单的纯粹在康德古典美学倡导的无目的的合目性中,平平谈谈地摇拽着自己的视觉造型。的确,在江衡的后卡通油画艺术空间中没有沉积着任何社会的功利性,也没有北方艺术家与艺术批评家蛰居于民间,却时时以不平的心态抵抗官僚权力意识的躁动,其所有的只是一眼可以看到底的澄澈、透明、童心和无欲望的暖色调;江衡的后卡通油画系列在诠释着这样一个反阿多诺现代主义理论的后现代艺术美学主题:艺术再也不是批判社会的武器,其全然保守着卡通娃娃童贞的心态,丝毫不愿在牢骚、哀怨、无奈与张力中耗尽生命抵抗主流意识形态的暴力,也没有躲藏在心理的阴暗处向社会乞讨诸种功利的物欲情绪,他的后卡通油画只是一种安适与惬意的游戏,绝然不屑降解或污染艺术的高贵性而隐喻那些宏大的政治意图,或拒绝某种官僚意识形态的政治性。我们从他的作品命名中就可以提取这样一种感觉:游戏机的年代、像卡通娃娃一样可爱。

Visual sounds emitted like a sociologist

以上海与广州为中心的南方,长三角与珠三角在无视北方的后现代主义批判中构成了相当规模的后现代经济与商业文化区域,他们率先接受的是西方后现代高科技及其经济体制、国际化的商业运作模式;在西方发达国家的经济与科技胁迫第三世界国家的经济与商业文化走向全球化的时代,南方在无视后现代主义批判理论的反讽中于恰切的本质意义上,较之于北方真正提前进入了后工业文明及后数码打造的商业经济时代,经济与商业是南方文化的区域特色,并且经济与商业也是文化构成的一个交集(intersection),文化不是仅指沉积于其中的人文元素。我们在此想说的是,南国画者江衡的后卡通系列作为视觉艺术恰恰就是在南方后现代高科技及其经济体制、国际化的商业运作模式中滋生出来的后现代自然艺术生态。非常有趣的是,其恰恰是北京后现代主义思潮批判及文化研究所抵抗的后现代商业大都市的媚俗文化产物。

Jiang Heng has portrayed a profound experience graphically without any
historical reference: a kind of happiness and beauty in absence or
emptiness. Those plump, happy, liberal, and unconventional new Asian
girls make you feel uncertain about which city or street they are from.
They are educated with the popular media of global capitalism; they use
products from the popular culture industry, and move in the same
cyberspace.

然而,在后现代商业大都市的生存紧张中,卡通元素不仅是青少年在日常生活审美中所释放焦虑的专利,其也是成年人在苛求简单与平静中心灵安顿的家园。其实,卡通是在暴力中给你一种平静!所以,江衡是一位栖居南方商业大都市文化语境下的卡通写实主义者。和江衡在广州同期崛起的南方卡通一代族群,他们以汉语油画的视觉艺术形式营造了一方区别于现实卡通世界的后卡通艺术生态。这就是我们为什么把江衡的油画作品定义为后卡通系列的学理依据。

Jiang Heng is one of the important representative artists of Chinas
Cartoon Generation, he is no longer concerned with the so-called depth
of the image; in his artistic language, he has dispelled with the
homogenous language of oil painting and the characteristics of academic
painting. He has purposefully intervened in social life with his visual
representations in advertisement and cartoon style. Jiang Heng primarily
makes intersections into popular trends through the dreams and
expectations of young people.

江衡的卡通系列油画作为后卡通艺术空间是在心理写实主义的路数上完成的,无论他的作品在造型技法上是怎样的变形或略略呈现出形上感,其油画的视觉构图是对现实卡通多元造型的本真摹写,并不是现实卡通走进他心理之后的变形,而是他所摹写的现实卡通本身就获有变形的元素,于是江衡让一种瞬间的心理现实凝固为永恒的卡通视觉形象。所以,他的后卡通视觉系列是写实主义的,并且是心理现写主义的。

虽然江衡的艺术创作在不同阶段里呈现了完全不同的面貌,但有一点却是相同的,那就是他始终以流行文化与消费文化的方式切入艺术创作,并由此表达了相关的观念。用他自己的话说,他是希望突显出流行文化与消费文化所带来的巨大诱惑以及种种异化现象。

江衡是来自于广州的学院派画者,从上个世纪90年代中期以来,江衡崛起于南国广州画界后,就以一种天真的纯粹坚守在后卡通的创作风格中,并且一直行走到当下,他的作品有《美女!鱼》系列,《满天星》系列,《散落的物品》系列,《消费时代的景观》系列,《偶像》系列与《快餐盒》系列等;就我看来,无论他的作品是在怎样不同系列的命名中出场,其作品的创作风格还是在同一的视觉惯性中呈现出后卡通的文化情愫。

澳门微尼斯人手机版,世人所熟悉的江衡的艺术,便是他那几乎千篇一律的符号化的媚眼美女,她们傻笑着,做着各种符合世俗要求的媚态和表情,传递着一种或可称之为天真与美丽的性别信息。从某种意义来看,我觉得江衡的媚眼美女像是一句重复出现的反语,述说着与表面信息完全相反、甚至是相互抵触和冲突的内容。

Yet the speed in which time recycles can often be overwhelming for
people to adjust to the shocks of substituting values. The mainstream
art of any particular time, each region embraces its own mainstream,
Jiang Hengs Post-Cartoon oil painting series consists as the mainstream
art representing his generations visual experience of this time in the
southern regions. Those like Luo Zhongli are the reflexive generation
who portrays the Father and the suffering of the Chinese nation; and
those like Jiang Heng are the cartoon generation who fabricates visual
arts in the post-modern urban civilization.

――鲁虹(2002)

―――杨乃乔2008于复旦大学

江衡所创作的《美女》系列作品,或者说江衡对我们时代文化的敏感及提升是以为时尚美女造像为切入点的。时尚正在成为我们这个时代的标志和面孔,而美女恰如是这一标志性面孔的表情。他通过具有广告的单纯、亮丽的色彩,又借用了中国传统年画和旧上海的月份牌画的平涂技法,将在商业文化影响下流行的时尚美女矫揉造作的姿态和暧昧矫饰心理状态直观地呈现出来,试图把当代中国正在兴起的消费社会中的时尚化、虚拟化生活加以典型化波普化地处理,用夸张的笔调具象地勾勒出这个时代物质与精神崇拜的生动且荒诞的情境,而戏谑的语言方式背后隐含的是他对当下生活的深刻关注以及严肃认真的反思。但他没有回到启蒙传统的老路上去展开批判,而是使用后现代主义的反讽手法进行戏谑和戏拟。有意模拟时尚流行文化的表征方式在于作者对当代中国过度膨胀的消费和时尚文化所进行的批判、质疑立场,尤其特别的是挪用了传统年画、国画中的吉祥图案作为画面的背景,强行拼贴出后现代与前现代文明的两种不同符号图式,于是作品进入到另一个层面–从当下现实的层面进入到一个历史的层面,这样,一个后现代的消费社会转向了一个前现代的乡土中国,从而凸现出当代中国巨大的文明落差,正是这种文明的巨大落差构成了江衡反思中国时尚消费文化的一个参照系。作品要表现的主题思想也集中于反思后现代主义式的消费时尚文化在这个时代的困境和荒诞性上。

这,就是所谓的后现代卡通暴力。

20世纪60与70年代,思想家对西方生活状态表示出了严重的关切,并提出过经典的批评,现在轮到了中国,在奔向现代工业化时,在城市化狂热进程中,艺术家发出的视觉声音,是对中国这种进程的回应与回音。

美术批评的价值判断往往收获于对作品的第一印象。我在江衡的油画作品那里收视的第一感觉即是:如果把他的后卡通系列从他所栖居的南国广州带入北京的美术批评圈子,放大地说,在北京的主流文艺理论批评思潮中,江衡的后卡通系列,其必然被定义为是来自于南方商业大都市文化的非深度性后现代视图拼帖与碎片什么的。不错,江衡的后卡通系列无法不引起我们的一个思考:这就是创作与批评的地域性差异问题。

――黄专(2001)

Jiang Hengs cartoon generation marginalized those who attempt to
construct or resist politics through art and art criticism. Their
principles of aesthetics for post-cartoon believe in naivete, childrens
innocence, purity, simplicity and restfulness as lifes ideology to lead
this era. They have also pronounced that it is unnecessary to stir up
any storm in this nation to call upon the entire nation. To make an
event or an action into a comprehensive social activity is in fact a
type of eastern backwardness. Therefore, they reject mass culture or
national cultural exaggeration, reject depth, praise surface, praise
drifting beyond bureaucracy and political power, and respect those who
lead fragmented lives; their purity and simplicity assert: they do not
wish to deconstruct anything, do not allegorize, or satirize, they will
not play mind games or tricks with any bureaucratic power through
artistic approaches, they advocate art itself, uninterested in political
pop, and believes the poor taste in art and life itself is belittling
mainstream ideology. They would rather endure poor taste than pretend to
be the elite of the backward regions and participate in endless and
inconsequential discussions on mainstream ideology. Nor are they
interested in intervening with unnecessarily tensions of ideology.
Because their psyche has not been occupied by mainstream ideology or
bureaucratic and and political discourse, nor is there any backward or
complex bureaucratic personal politics. What they have received is all
under the rules and moral principles of global economy and commercial
modes, they do not reject maturation, but to obtain a kind of innocent
purity and restful simplicity in the maturation beyond desire.

———-Jiao Yuhong

总体地讲,从上个世纪80年代到当下,中国在门户敞开中对西方的接受呈现为两种宏观态势。以北京为中心的周边北方区域,铸成了一批人文学者过度地凌驾于经济及商业发展之上的学术文化生态,他们注重在意识形态上接受与借用西方的诸种文化思潮,并且使之在他们这些当代汉语学者的诠释和过滤中胶着于主流意识形态,打造为一种极富政治批判性的理论话语,这就是90年代以来淹没汉语学界的后现代主义、后殖民主义、女性主义、视觉理论等文化批判理论,当然这些后现代文化批判理论也被南方学者弱化使用,所以这种学术文化生态也因此首先充分拉动了北方文化品质中人文精神的高涨,因此,北京学者族群为了一厢情愿地彰显学术批评的意识形态张力,他们以西方的后现代主义理论及文化研究什么的抵抗侵入汉语语境下的西方后工业科技及其推动经济发展所带来的商业文化生态。看到底,这是本土国产的人文精英与技术精英在分别接受西方精神文明与物质文明同时,于汉语语境下争夺生存话语权的冲突。

――――董志强摘之《失去灵魂的维纳斯江衡作品解读》

绘画作为一种平面物理的视觉艺术是以光色构图等几何元素对历史、当下社会语境及个人心理进行视觉的记忆,因此形式是绘画重要的美学记忆元素,至于绘画形式所负载的是具象的意义还是抽象的意味,这必然要取决于绘画的技法、流派、表现风格与画者存在的文化生态。当然就西画而论,无论是古典画派的写实,还是现代画派的变形,或是后现代画派的拼帖与装置等,就美术批评家而言,他们必然要把解读的画者及其作品还原或带入其所属的历史及社会原初语境下进行意义的诠释与提取。画家与美术批评家的互为依存关系也正是在这里形成互动的张力。

实际上,江衡是90年代中期以中国广州为中心展开的卡通一代美术运动中最具代表性的艺术家。在中国美术史上甚至世界美术史上,将卡通或漫画、动漫等作为绘画体裁,甚至掀起以此为主体的美术运动还是首次。这次美术运动在中国南方广东省以广州为中心波澜不惊地开展时,正赶上以北京为中心的玩世现实主义
(Cynical Realism) 和波普艺术(Political
Pop)完满落幕的时候。这两场运动提倡的理念有着明显的不同。与前者反对官方主流的强烈要求相比,卡通一代则是一次寻找是什么给人们带来了影响、反省自身的成长历程,质询内部世界本质的航行。

近十几年来,无论是在北京还是在上海,我看惯了平庸,看惯了周遭画者堆积如山的作品强行壅滞于画界,实际上,在千篇一律的重复性、商业性与炒作性中很难收视到让人醒目的作品。2008年夏季,马钦忠先生曾把江衡的油画系列推展于我的视界,无论如何,让我收获了一位来自于南国青年画者的另类气息。

――马钦忠(1997)

我阅读过几篇关于江衡后卡通系列油画评价的短文,凭心而论,几位画评者几乎都是驻足于北方的后现代文化批判话语体系中,对江衡的卡通系列进行力不从心地过度诠释,对本无思想深度的后卡通视觉造型在一种人为讨还的思想性与深度感中夸饰性地把玩江衡。

Peng Feng

Looking back at the developmental history of Eastern and Western
culture, and it is not difficult to notice a phenomenon that would
dishearten the literati. Literature and art, as a mode of representation
for carrying historical tragedy and social calamity, often rise as
humanity marches through the transition from darkness to dawn. Either
Western rationale and science or Chinas democracy and science, both have
waved the banners of rationale and democracy to promote the development
of science and technology in order to resist backwardness and
conservatism. If literature and art do not carry historical tragedy and
social calamity in their modes of representation, then they would lose
their intrinsic aesthetic quality and cultural importance it is what
makes literature and art pioneering. However, people have strained
historical tragedy and social calamity to the modes of literature and
art, can often be overbearing. In fact, the financial and commercial
wealth brought about from the development of science and technology soon
marginalized literature and art from the once tumultuous mainstream.
Eventually, literature and art destroyed themselves in the
self-regulated aesthetic movement in pushing forward historical and
social development. For example, since the 1980s, the wave in literature
and art of scar, reflection and searching for ones root came to light in
China, and how tumultuous and mainstream was their transition henceforth
to its development, at the same time, exciting and moving. What was
remarkable was, Luo Zhonglis Father, shown on the Second National Youth
Art Exhibition in 1980, carried the suffering of the Chinese nation
represented in its realist mode, in the same year, there was also Chen
Danqings Tibet series. Of course, Luo Zhongli, Chen Danqing and other
painter born in the 1970s are two different groups of painters under two
distinctive cultural ecosystems who arent comparable under the same
aesthetic standards.

江衡的作品充斥着消费时代和享乐主义的矫饰气息,那些极度华丽和感官性图像呈现的是主体亏空后的状态。

而在南方却呈现出另外一种艺术生态景观。江衡们的卡通一代让那些利用艺术及艺术批评营构政治与抵抗政治的惟利是图者统统边缘化,他们的后卡通美学原则认为:天真、童稚、纯粹、简单、平静才是引领这个时代的主流生活意识;他们也以此宣告:这个时代没有必要再从事让这个国家掀起任何波澜且具有整体性的民族行动了,把一个事件或一种行动做大或做成整体性的社会行动,这是一种东方式的落后,所以他们拒绝群体性与民族性的人文夸张,拒绝深度感,崇尚平面化,崇尚游离于官僚与政治权力之外,对作为碎片式的个人表现出一种尊重;他们的纯粹与简单在宣称:他们从不解构什么,既不隐喻什么,也不反讽什么,他们绝对以绘画的方式与任何官僚权力掌控者玩耍政治化的智力游戏,他们崇尚艺术本体,对艺术的政治波普从不感兴趣,认为对艺术对生活本身的媚俗就是对主流意识形态的蔑视,他们宁愿媚俗也不愿佯装落后区域的文化精英无休止地参加毫无结果的主流意识形态的讨论,也从不愿意介入不必要的意识形态张力,因为在他们的心理生态中没有主流意识形态或官僚政治话语的侵入,也没有落后且复杂的官僚人脉关系,他们所获有的一切都是在与国际接轨的发达经济与发达商业模式下运作的规则与道德伦理原则;他们从不拒绝成长,而是在成长的非物欲中获取一种天真的纯粹与平静的简单。

—冯博一(2003)

Nevertheless, deciphering Jiang Heng and his work, I suddenly discovered
that, Jiang Hengs post-cartoon oil painting series have completely
became amnesiac of the mainstream ideology once it was cast by the
current cartoon context; therefore, we have been reminded again, behind
the pretense of cultural spirit, there lies beneath the backwardness and
creative delay in comparison to the economy and commercial scales of
that particular region.

20世纪的艺术之所以拒斥美,原因在于要揭示非人性,之所以揭示非人性,原因在于要让人变得更人性。如同荀子的性恶论那样,目的不是弘扬人性中的恶,而是要正视进而彻底改变人性中的恶。也许丹托担心,如果让艺术去追求美,就有可能不能实现它的批判或者教化功能,因为人们为被作品中的美和由美引起的愉快情感所吸引,从而会削弱作品的批判力量。

江衡作为70后的汉语油画者,他们这一代人从少年经历当下在无可规避中所遭遇的日常审美生活元素,其最大的娱乐性信息接受量就是卡通符号的轰炸,后数码时代的媒体、网络、影像、游戏、DVD、广告、出版、动漫等媒介都成为巨量卡通符号信息的载体,这是国际发达国家、民族与区域商业大都市的普泛现象。其实,无论卡通符号以怎样的视觉造型在怎样的虚构中叙述怎样的故事,并以怎样的后数码技术打造怎样的后现代卡通乌托邦,且使怎样的后现代都市生存者在怎样的精神自慰中做出怎样的生存姿态,卡通元素的侵入与拥围已成为他们70后或晚近这几代人不可磨蚀的心理现实。

Jiang Heng is the old member of Cartoon Generation, and Old here does
not mean his age but his qualification.

然而时代转型的迅速有时让人在价值替换且无可适从的震荡与休克中不知所措,一个时代有一个时代的主流艺术,一方空间有一方空间的主流艺术,江衡的后卡通油画系列就是南方区域这个时代在他们这一代人的视觉体验中经历的主流艺术,罗中立们是触及现实对父亲及中华民族传统的苦难进行叙事的反思一代,江衡们也是触及现实对当下后现代都市文明给予视觉艺术打造的卡通一代。

杨小彦(2007)

北京是中国的政治与文化中心,漂泊且云集在这里的艺术家与艺术批评家,无论他们以怎样的视觉叙事方法与批评话语来表达自己,均隐喻在国家意识形态中,自作多情地守护着汉语后现代语境下最后的自我精英身份,并且大多数人在想象性的生存悲壮中追问创作与批评的张力性与深度感,在不同程度上表现出坚定于历史使命感与社会责任感的无能为力;因此,在北京或北京大山子798艺术区呱呱坠地的精英视觉艺术作品,大都夸张着耸人听闻的视觉冲击力;唐代诗圣杜甫有语不惊人死不休的表达,而在这里有视不惊人死不休的危言耸听。看惯了北京那些鱼龙混杂之真假精英的视觉艺术构型,再回过头来再看视南方江衡的后卡通系列,把看视者所获有的具象视觉感提升为一种形上的价值判断,批评者能够对其有效操用的批评话语及理论概念只能是:女性化、身体化、媚俗化、碎片化、拼帖化、装置化、平面化、商业化、卡通化、动漫化、数码化等,那些从上个世纪90年代以来套用西方后现代理论让人说烦了、听厌了的批评套话。

——Cao Zengjie

从某种意义上讲,我们不能不承认,文学艺术喧嚣般崛起的背后恰恰隐喻着其在未来的落后与保守,也隐喻着两种文化形态在发展中所形成的差异性;当下的中国北方在科技、经济与商业的发展水平上相对滞后于南方,此外,北方的官僚意识及其道德自律的需要调整性,都需要文学艺术及其批评依然在扩大化的层面上保持着对历史与社会的批判性,文学艺术及其批判性也使艺术家与人文学者充满着不平、忿恨及演绎着诸种功利性。

―― Lee Jin-myung(Korea,2007)

The key player Theodor Adorno of the Frankfurt School believed avidly
that art must serve as a weapon for social criticism, regardless of what
kind or to which degree Adorno has enlightened Jean-Francois Lyotards
construction of post-modernism, who is still a modernist at heart.
Contrary to modernism, post-modernism uses art as a form of dialogue to
carry or narrate hardship, anxiety or profound ideas. Jiang Hengs
post-cartoon oil painting series ignores the hype of mainstream ideology
in northern China, who is calmly at ease with a simple purity to
gracefully devoted to ones own visual production while following Kants
promoted unintentional harmony. Indeed, there isnt any saturated social
interest in Jiang Hengs post-cartoon oil paintings, nor is there any
restlessness like the northern artists or critics, who are cloistered in
everyday life, yet resist to officialdom of unfairness, there is
however, the conceivable clarity, transparency, naivete and the
inappetence with warm tones. Jiang Hengs post-cartoon series exemplifies
for the post-modernism aesthetic topic that is contrary to Adornos
modern theories, that art is no longer the vehicle by which to criticize
society. In these works, the attitude of the cartoon dolls remains
unchanging, without willing to exhaust ones life to react against the
violence of mainstream ideology from complaints, sorrow, helplessness an
tension, nor has he hid in the darkest area of his mind to beckon
various interests and materials from society, his post-cartoon is only a
peaceful and enjoyable game, it would not disdain to taint the elegance
of art by referring to those grand narrative of political intent, or the
politics of certain officialdom. It is obviously just by looking at the
titles of his work, The time of Playstation, As cute as a cartoon doll.

――Feng Boyi(2003)

实际上,一方水土养一方人,一方人养一方文化生态、一方文化生态营造一方艺术族群。近十几年来,我们在从事艺术批评时一直在忽视这样一种现象,中国在政体上是一个有着国家意识形态的主权国家,然而南方与北方在经济、科技、商业与文化生态上的不同发展程度及差异性,绝然拉开了两方区域文化生态与艺术族群的美学价值观。

在此意义上说,江衡的作品可以看作是对我们当下时尚社会的一种形象表达。作品中一系列相互复制、没有个性、没有灵魂的快乐时尚美女形象,恰恰构成对时尚本质的一种揭示。

回溯东西方文化发展史,我们在历史的反思性闪回中不难发现这样一种多少让文人墨客沮丧的现象,文学艺术作为负载历史悲剧与社会苦难的表现形式,其总是崛起于人类行走在黑暗与黎明的转型时代,无论是西方的理性与科学还是中国的民主与科学,都曾借以文学艺术的表现形式扬掣着理性与民主的大旗喧叫着科学与技术的发展,以抵抗落后与保守,如果文学艺术在表现形式中失去作为历史悲剧与社会苦难的负载性,就完全失去了自身的美学价值与文化份量。文学艺术的先锋性就在于此。但是,人类把历史的悲剧与社会的苦难威压于文学艺术的形式中,多少让文学艺术承受得太多而不堪负重。问题在于,实际上科学与技术的发展所带来的经济与商业的发达,又让文学艺术曾在主流的喧嚣中很快地边缘化了,最终文学艺术在自律的美学行动中推动历史与社会发展时却击垮了自己。远处不说,上个世纪晚近80年代以来,伤痕、反思与寻根文学艺术思潮,曾在中国从黑暗走向黎明,从黎明走向开放与发展的转型期是怎样的喧嚣与主流,且怎样地让人激动而撼人心魄。让人难以忘却的是,在1980年第二届全国青年美展,罗中立的《父亲》以超级写实主义的构型盛载了整个中华民族的苦难,同年还有陈丹青的《西藏组画》等。当然罗中立、陈丹青等与70后的青年画者,是从两种文化生态走出来的两类不同画者族群,其不可能被置于同等的美学价值判断中进行比较。

上世纪90年代中期创作的《美女.鱼系列》。使他好评如潮,一举成名。其《满天星系列》,美女形象消失,物质商品形象铺陈画面。新创作的《散落的物品系列》,讨人喜欢的都市大美女回归画面中心,《满天星系列》中的枪、花朵、药丸只是带一点偶意的衬托在美女周围。评论家都着重他的新月份牌经验,避短扬长地消解油画语言的纯粹性和学院性,直接用擅长的广告手法绘制。艺术手法的观念表达与反思流行文化与消费的观念,在画面非常有效的达到一种思想的和谐和艺术的统一。这正是当代许多青年艺术家难以达到的,也是江衡独特的艺术价值之所在。

在此我想设问的是,就中国的经济、科技、商业与文化来评判,究竟是北方还是南方率先且真正地进入了后现代文明的生存状态?是北方还是南方率先且真正地与国际经济发达的西方国家进行一体化的接轨?当然是以上海与广州为主区的南方!但问题是,如果我们设问,谁是汉语语境下的后现代工业文明时代的新保守主义者?是操用西方后现代主义思潮批判后现代高科技及其经济体制、国际化的商业运作模式的抵抗者?还是后现代高科技及其经济体制、国际化的商业运作模式的推动者?实际上,我们拨开北京人文学界后现代文化批判思潮及其文化研究的迷雾,从某种程度上讲,北方的学术文化是这个时代的彻底的新保守主义者,而南方的经济模式与商业文化恰恰以前卫的姿态宣称一种务实的后现代文明社会的到来。

读完这些儿童小说,再来看江衡的画,会有一种奇特的感受。那些小说是写给儿童看的,用成人的眼睛看儿童,看到了生活中纯真的一面。江衡的画则正好相反,是画给成人看的青春启示录。在这里面,有儿童的趣味,有儿童式对纯真的追求,但却有着儿童所没有的对生活的深入理解,有对世道人生的深深的忧虑。

天真的纯粹与平静的简单评江衡的后卡通油画系列及其对主流意识形态的全然失忆

摘之上海艺术博览会青年艺术家推介展(亚洲)

摘之《艺术家图像志江衡》

Albeit the different appearances shown throughtout Jiang Hengs artistic
career from different periods, one thing has been constant is his entry
to artistic creativity through popular culture and consumer culture, in
with which to convey relevant concepts. Using his own words, he likes to
highlight the irresistible lure and various kinds of phenomenon from
popular and consumer culture.

无论如何,在读解江衡及其作品后,我们突然发现,江衡的后卡通油画系列被现世卡通语境捆绑后,对主流意识形态产生了全然的失忆;因此,我们也豁然明白了另外一种启示:在人文精神张力佯装夸饰的背后隐喻着一方文化在经济与商业动作规模上的相对落后及艺术创作的滞后性。

Jiang Hengs work focuses on todays consumption culture. From a broader
perspective, both these approaches provide multiple theoretical
interpretations on Chinas social transition, all of which offer rooms
for interpretation. Art historically, it is the beginning of artistic
representation, reflection, and criticism on the current consumer
culture in China. Jiang Hengs symbols of femme fatale push forward
artistic cultural representation in terms of artistic expression and
cultural content.

文明这个术语应该涵括精神与物质两个不可剥离的层面,后现代主义理论与后现代工业科技本应该是在同生中共谋的一体化现象,然而,在其从西方侵入汉语本土后,却被人为地界分为两个不可整合的悖立面。

――――周 宪 (南京大学)摘之《用眼光质询存在》

把江衡的卡通系列带入北方的艺术评价思潮体系中也的确如此。

Precisely, Jiang Hengs femme fatales are samples of our time, the body
sample of a material era. The focus on the body in contemporary culture
has reached an unprecedented height, body and class, body and power, the
meaning of the body and strategy have always been the points of focus,
but the physicality of the body and its social implications have been
generalized as the materialized consumption society and our desire for
it. For this reason, the decorative, physical, and details of visual
characteristics are enforced.

我们在讨论中国南北文化当下分野在学术与商业两个层面上的差异性时,是为了使我们看视江衡的卡通系列油画提供一种必要的学术视域。实际上,从光色与构形来看,江衡卡通油画系列的创意不是受西方与日本早期手绘经典卡通的影响,而是对后数码时代由电脑绘制的卡通造型进行油画创作上的摹写,所以江衡卡通系列其所表现的光色与构型几乎是复制数码卡通造型的视觉效果,其缺少西方与日本早期经典卡通手工绘制的人本元素;甚至,江衡这种对数码卡通制作的视觉效果进行逼真的复制,在油画技术上表现为一种写实主义与照相主义,如摄景图片系列中的卡通美少女、盘中餐、爱神之箭等。

江衡的后卡通油画系列就是南方区域这个时代在他们这一代人的视觉体验中经历的主流艺术,罗中立们是触及现实对父亲及中华民族传统的苦难进行叙事的反思一代,江衡们也是触及现实对当下后现代都市文明给予视觉艺术打造的卡通一代。

From Visionary Emptiness to Lost Paradise A look into Jiang Hengs work

—— Tan Tian(2007)

Zhang Fa (Peoples University of China)

In the 60s and 70s, thinkers showed great interesting in Western life,
and have raised classic criticisms. And now its Chinas turn, as it
surges towards modern industrialization, in the process of fervent
urbanization, the visual sounds emit by the artist are response and
echoes to such progress in China.

看江衡的作品,很容易让人记起狄更斯《双城记》中的那些话:这是最好的时代,这是最糟的时代;这是理性的时代,这是疑迷的时代;这是信仰的时代,这是迷茫的时代;这是希望之春,这是失望之冬;人们面前拥有一切,人们面前一无所有;人们由此升入天堂,人们由此坠入地狱。

Modern Transformation of the Oriental Painting on Courtesans On Jiang
Hengs Paintings

Looking at Jiang Hengs paintings once having read these childrens
stories, ones impression of it would be unique. Those novels are written
for children, yet looking at them from the adults perspective at
children, we receive the innocent facet of life. Jiang Hengs paintings
are of the contrary. They are paintings of youthful enlightenment for
adults. Here, there are childish characteristics, and the childrens
pursuit for innocence, but also ones deep understanding of life that is
absent for children, as well as ones profound anxiety of the world.

美术理论家贡布里希有一句名言:绘画是一种活动,所以艺术家的倾向是看他要画的东西,而不是画他看到的东西。在今天这个欲望喷涌和体验翻新的消费文化时代,贡布里希所揭示的原理是否还适用呢?如果你去琢磨江衡的美女系列作品,也许会有所发现。在他的图像学里,一个独特的图像形态美女跃然画面。更有趣的是,这些长相各异的美女脸上,一个突出的图像符号一以贯之:大得不合比例的眼睛。那一对又一对大眼睛正凝视着什么?当你作为观者去凝视这一凝视时,又会有何种发现?

This is what Jiang Hengs works focus on.

—-李振铭(韩国2007)

摘之《从太虚幻境到失乐园江衡作品一瞥》

可以预期的是,过了2008,仍然是消费主义的时代,仍然是感官主义的时代,但是美女们在未来,是否还如江衡现在表述的那样,温情而媚眼,可能是一个值得警惕的提问。

—Interpreting Jiang Hengs Femme Fatale Series

―――-谭天(2007)

It is easy to be reminded of the opening words in Charles Dickens Tales
of Two Cities when looking at Jiang Hengs paintings, IT WAS the best of
times, it was the worst of times, it was the age of wisdom, it was the
age of foolishness, it was the epoch of belief, it was the epoch of
incredulity, it was the season of Light, it was the season of Darkness,
it was the spring of hope, it was the winter of despair, we had
everything before us, we had nothing before us, we were all going direct
to Heaven, we were all going direct the other way.