蝴蝶飘忽背后再谈江衡的物欲偶像及其背后的父权意识_艺术家资讯_雅昌新闻

Now, we have to come to the second and third keywords: material desire
and idol. In my view, these two keywords are both different and similar.
They vary in the concept but in the visual field, they constitute Jiang
Hengs art, and the stylistic origins of the artistic trend, which is
associated with his own.

第一要涉及江衡的园丁。江衡当年就读于苏黎世华西京师范高校大美院,跟从李邦耀学习油画。本来,常识判别,华师美院从品位和准则上就好像理所应当比巴塞罗那美院稍微差一点,不过,正因为华师美院在二十时代开始时代果决地从长江美院推荐了一群老师,他们还要也是神州今世艺术运动的显要成员,结果便慢慢退换了高校原有的章程生态,在南边地点的空气之中,催生了一心两样的艺术结果。江衡是那结果之一。

The first is of a universal character, which is a common feature of
adult society in which rules and disciplines reign. These rules are
repeated day after day and, hand in hand with ones growth, immersed into
adult life. When characterizing social phenomena, they become what is
defined by sociologists as generation gap, so as to describe the
discrepancies or even confrontations in taste between two generations.
Growth is indispensable but it has to be achieved in accordance with the
rules of adult society. Yet, clashes are also inevitable and, evolving
with the changing time, may lead to serious social problems, which will
then harass and increasingly reform the aged adult society. The clashes
often take the form of youth agitations and, on a personal level, become
the will to refuse, to refuse to grow up, to refuse to bend to the rules
of adult society. However, growth cannot be denied or stopped.
Therefore, only interests may be stalled. If one refuses to grow up, he
had better subsequently evolve towards art, and show his resistance to
the style.

也正是说,来自省外的诀要思潮、本土掀起的章程活动和华夏社会的烈性转型,是产生江衡艺术之外貌的外表标准,未有这个标准,很难想象他会撰写出今后大家所熟习的风格。

先是个根本词:成长。

I remember in one of my essays discussing the Cartoon Generation of
Guangzhou, I have mentioned certain causes for the formation of this
style,

笔者敢料定,江衡对于女子有一种不或者言说的正视。那还不是这种普通意义的骨血之躯信赖,这种信赖是物理性的,具备荷尔蒙的气味。在多个开花的社会,这种物理性的口味随地都弥漫着,以致于令人痛恨到极点。浪漫的江衡不会介意这种表面包车型客车东西。他耿耿不忘记的,是一种曾经陪伴着少年时期南辕北撤的平易近民,这一慈眉善目,料定和她所每一天面临的规训,也便是一种权力有关。

卡通一代首先针没有错靶子是投机,看自身是不是享有丰裕的穿透力,用以穿透南方人在学识上的局限性,以便获取一块观看的平台,并为文章的知识价值寻觅新的定位。作为外来文明的一块跳板,南方的确有所了某种优质性,但处于边缘区域,受五光十色的引发太多,艺术轻易走向肤浅和矫情,也是同理可得的实情。......影响我们的便是对所谓深度的不平常迷恋。......卡通大量涌向中华,既高效冲垮原本的古典阅读方式,也营造了与五、六十时代相异的卡通人。同有时间,电脑的推广以至人工情状的空前未有巩固,进一层隔绝了人与自然的有机联系,使得除了卡通人之外,又不断产生多量的电脑人。卡通一代的倡导人黄一瀚用大家是长非常的小的孩子来命名他的一件小说,其实用那几个主题材料来指称这么些生理上太早成熟而心理上却迟迟不发育、整日埋头在漫画和微型机内部自轻自贱的新一代的族群是特别贴切的。
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That is indeed an interesting phenomenon, using beauties as idols, with
their physical attribute divested of its fleshiness. Seen from that
perspective, Jiang Heng is a standard conceptual artist but not a
perceptual one. It is not his goal to be expressional. On the contrary,
stripping the works of their expressional features is conducive to the
concept he wishes to express. Thus, he draws a line between him and
expressionalism.

Speaking of Jiang Hengs art, one must mention a few key points. They
are:

本身感觉我们完全能够把成长看成是贰个退出母体的经过。伴随这一进度的是对男权的体会认知。有趣的是,认识男权和收受规训是同出一辙的,规训的指标是让自由之身成为约束的靶子,好让男权有贰个完结的载体。从这一层看,身体那就像能够印证,脱离母体的经过,同一时间会留给依恋,让日渐渐形成熟的肌体保留母体的体温。江衡只怕并不完全认识到她的成长对他的印象选拔的含义,但她一再把视觉停留在以女郎编织而成的偶像上,正是母体残存的一种波折显现。同期,他不让本身驻守在人事之中,而让母体残留,今后已经济体改成了的物欲偶像符号化,是指望隐蔽这种无法去除的对母体的采暖纪念。同有的时候间,江衡对男权始终犹犹豫豫,不肯轻松把自家交给以男权为底蕴的中年人社会。幸好她以艺术为业,那样,他就有空子通过不间断地形容青娥偶像,来抗拒男权的蛮横与横蛮,以致中间所散发的狂妄气焰。从那点看,江衡在她的形象中保持了一份有如物欲的自持,鲜明那是有其内在理由的。江衡对姑娘偶像的认知,本人就夹杂着一份自持,以至自制个中,不恐怕瓦解男权的不得已。那注脚江衡不是这种反抗型的音乐大师,他的措施,是对成年人的回答,带有玫瑰般的光彩,带有艳丽而除去性感的歌吟。结果,江衡在长达十年的方式施行中,加强了她对物欲偶像的体贴,以致内里,可能连友好都不能够言明的对稳步远去的母体的眷恋,和对父权的徘徊不定。那样,在新一轮的点子活动中,江衡就改成叁个鼓起的实例,让他,以致她那一代人,在物欲中华夏族民共和国成长社会规训中成长的还要,竭尽全承保持一块视觉的知心人领地,好让成年人的残余取得格局的外界,进而保证一份精气神底气,继续,就算无望,与男权,从而与权力的展开温柔的缠绕。这一纠缠相当重大,一旦实现,就能够让江衡,乃至他那一代人,或许持有与雷同方法思想的小说,失去最后一点股票总值。

Besides, Jiang Hengs perspective, his unique view on life and society,
as well as his overall understanding of others and on art were also
crucial to this formation.

In the 1990s, when Japanese cartoons made inroads into China, a quantity
of pirated cartoon books, along with the cartoon programs on TV and
attractive cartoon toys in the stores, became the playmate of the young
people, who barely had any private time. These shaped their visual
taste. In addition, in reality, as adult society pretentiously prohibits
things, the young generation intentionally or unintentionally regarded
the taste as a carrier of their denial, so as to unleash their right to
self-expression. That is the most important visual context that
accompanied Jiang Hengs growth, and it explains the basis of his
artistic style. In other words, he grew up under the influences of such
visual contexts and could find justification in the process for his
later styles in art. Today, his images of women with seductive eyes, not
only carry the yearning one has for denial but also effectively
strengthen the cartoon elements in the visual context. In time, they
will grow into striking symbols of individual art, and will become
celebrated in the artistic community.

In other words, the artistic trend from Chinas interior, the local
uprising of artistic movement and the rapid transformation of Chinese
society make part for the external conditions of Jiang Hengs art form.
Without these conditions, it would be difficult to imagine how he could
formulate the style we are familiar with today.

上世纪三十时代是日本漫画冲进中黄炎子孙民共和国的时候,大量盗版的卡通图书,伴随着彩电中的动画与厂商里抓住人的漫画玩具,成为青年消磨少得老大的贴心人时间的玩伴,而形塑了他们的看见野趣。不仅仅如此,在现实生活中,随着中年人社会过分虚伪地幸免,新一代人故意依然无意便把这一野趣作为她们谢绝的载体,好从当中夺取自己表明的职分。那就是江衡成长时最为关键的视觉上下文,也是解释江衡艺术风格的根底。也正是说,江衡是在这里一视觉上下文中成长的,也是在此一内外文中找到了之后风格的根据。前不久看来,江衡的媚眼女性形象,既承载了心中对屏绝的想望,同一时间又有效地固置了视觉上下文中的漫画要素,并应时成长为个人民艺术剧院术的灵光符号,而为艺术界知晓。

The primary subject of the Cartoon Generation is the self, whether the
self possess sufficient ability of transcendence, can the self go beyond
the boundary of southern culture in order to gain a new platform of
observation, and to redefine themselves according to the cultural value
of their artwork. As a steppingstone to foreign civilization, there are
indeed certain advantages in the south. However, as region on the
periphery, it is lured by various sources, therefore it is easy for art
to sidetrack to the path of superficiality and contentiousness, which is
now obviously a fact. what influences us is precisely the abnormal
infatuation of the so-called depth. cartoon overflowing into china
caused the traditional way of reading to rapidly collapse. This gave
birth to many of the cartoon characters from the 1950s and 1960s. At the
same time, the popularization of computer technology and the increase on
artificial environments further barricade the organic relationship
between human and nature, yielding large production of computer
characters besides the already existing cartoon characters. The founder
of Cartoon Generation, Huang Yihan has entitled his first work, We are
children reluctant to grow up. The truth is, this title accurately
refers to the younger generation who has physically reached maturity yet
are psychologically lacking behind a generation who completely immersed
themselves in comics and computers.

Apart from the typical big-eyed beauties, there emerges another object:
fluttering butterflies. Jiang Hengs butterflies are not without their
connotations; it is a visual elucidation of the material-desiring idol
as well as a fleeting memory of a fleeting scenario. Yet, I feel that
the fluttering butterflies are like a group of symbolic expressions,
which express the lightness of breaking away from maternity and of
lingering alongside patriarchy. There is antagonism in the hesitation,
antagonism which is not very strong but flutters upwards and downwards
in the air. Perhaps, to his generation, maternity and patriarchy are
like fluttering butterflies.

当自个儿把江衡的媚眼美丽的女生放在这里么一个与成年人相关的背景上时,他的作品的反语效果就起来表现出来了。那是一个潜藏在青春开始的一段时代甚至前青春岁月的粉茜红梦想,曾经是成长社会抑低的指标,而且和一个有的时候以来,艺术界所弘扬的深浅方驾齐驱。自然,就反语而言,作者而不是说江衡有意要用媚眼美丽的女子那样一种视觉修辞去从事反抗大概讽刺。小编相信他并未反语式的编慕与著述意图。相当于说,他不关心表面包车型客车抵御。他竟是有个别也不抵抗。相反,他只关心图像所传达的物质欲望。正因为那样,作者才读解出她创作中的某种真实,因为内里所揭露的,大概连她本人都不能够恢复意识到,是一种推却中年人社会的温情态度。

江衡的成才面对两重困境,一重是成材社会予以的,一重是视觉上下文。

除开,江衡自身的见识,他对生存和社会的特别规把持,对客人与措施的遍布认知,也起到了重大的功力。现在,世人所熟习的江衡的办法,就是她那差不离一模二样的符号化的媚眼美人,她们傻笑着,做着各个符合世俗须要的媚态和神采,传递着一种或可称之为天真与赏心悦目的性别消息。从某种意义来看,小编认为江衡的媚眼靓妹疑似一句再次现身的反语,述说着与外界新闻完全相反、以致是相互冲突和冲突的故事情节。

Behind Butterfly Flutters

杨小彦

For some reason unbeknown to me, whenever I look at Jiang Hengs imagery,
or at those seemingly duplicated idols series, I am gripped with an
overwhelming desire to pry into his innermost secrets that accompanied
his growth. To me, there lurks behind his imagery a psychological dream
of a youth, whose core is to cast off maternal control and run towards
patriarchic prowess.

Secondly, the cartoon generation movement headed by Huang Yihang in the
Guangzhou area in the mid-nineties has also had a direct impact on Jiang
Heng. Today, no one questions the significance of the Cartoon Generation
from Guangzhou, even though there are different opinions about it.
Although if we trace back on the origin of the so-called cartoon wave
now popular in the art arena, we find close ties with Guangzhou. I am
not making the statement that art with cartoon features are all derived
from the Guangzhous Cartoon Generation. In my view, the reason for the
popularization of cartoon style is more complex than what we imagine,
its sources were diverse. However, similar styles were indeed first
appeared in Guangzhou. What is interesting is, as a professor of the
Guangzhou Academy of Art, Huang Hanyi had to come to Huanan Normal
University art college to seek for support. Thus the first and second
exhibitions were successfully held at the exhibition hall of the art
college. It demonstrates certain moving tolerance from the art college
of Huanan Normal University. Jiang Heng has been one of the active
participants in the formative stage of Guangzhous Cartoon Generation,
and testified for the rationale of cartoon with his own style of oil
painting. Consequently, he became one of the most representative Chinese
artists from the Cartoon Generation in the mid-nineties. The
aforementioned Cartoon Series was a direct outcome of this sizable
southern artistic movement. Later on, his famous signature style wide
opened eyes with the nave and flirtatious gaze on the highly
materialistic female idols, was formulated in this process.

If we apply the theories of existentialism to art, in especial, to
artistic styles, we will find that art, including its style, is also
created and defines the many rules in an artistic society, described in
line with its own significance so as to provide people with its
identifiable traits. In other words, an artist, on deciding to do art,
will be flung to the artistic society where, through his exploration and
innovation, he will acquire the essence. Of course, the essence here
denotes the essence of art. Art initially does not have any essence and
its existence precedes its essence. That is an undisputed fact.

编辑:霍春常

在江衡的创作中,除了独立的大眼美观的女生外,不断涌出的另三个形象,正是飘扬的胡蝶。江衡画蝴蝶明确有他的意思,是物欲偶像的二个视觉表明,也是对一种飘忽情境的飘然纪念。然而,作者却以为,那飘忽的蝴蝶却像一组象征性语句,述说着退出母体的轻盈与面临父权的犹豫,并在犹豫个中夹杂着一丝敌意,那敌意并不浓重,相反,也是飘扬着的,在半天上升与坠落。可能,对江衡那一代人来讲,母体与男权自个儿好似依依着的胡蝶。

记得当时自身在一篇商讨苏黎世卡通一代的篇章中,提到了造成这种风格现身的少数原因:

物欲,加上犬儒主义与去智化,那三者合作形塑了三十时期以来的神州现代艺术,并变为这一移动的动脑背景。不管在那之中的分级风格有微微反抗性,也随意这一活动起点于对人生观艺术样式曾经存在的灵光倾覆,到了在三十时期以至新世纪,在经济腾飞艺术基金膨胀的振奋之下,无一例外成为物欲、犬儒主义与去智化的视觉代替品,协作书写着这有的时候代的完全精神性病魔症。

这么,小编觉着大家就能够明了江衡笔头下的媚眼靓妹了。那本来就不是真性的尤物,而是想象中的物欲偶像,呆在虚幻中,瞪着假装天真的媚眼,以永久不变的相貌和神情,注视着中年人社会的持续膨胀。相当于说,江衡通过媚眼美人,既贯彻了她的不肯意图,让年龄永世驻足在能够让音乐大师感觉欢跃大肆的时刻,同一时候又把一种少年的伤痛隐蔽了四起,而用偶像替代对现实的插入。

本人并不打听江衡的黄金时代生活。经常来讲,成长的窘况与抵抗,以至对成年人的不容是她们这一代人,以我之见,还应当包含下几代人的联手难点。正巧东瀛漫画形象背后的这种游戏般的放任,赋予这一不容以视觉的合法性,得以让漫天一代少男青娥们搜索到了走避成年人社会侵犯的机缘。可是,这是一种想象中的得以避开的机缘,实际上成长既然不可防止,人总要长大,并且连接在成长社会的规训下长大,那么,反抗就自然会演化为白日迷梦,演变为一种逃脱与出走的整合。

With this, I think we have a better understand the flirtatious beauties
under Jiang Hengs brush. They were not representations of true beauty to
begin with, but the imagined idols of desire, who are placed in a void,
gazing with pretentious and nave eyes, observing the constant inflation
of the grown-up society with their constant facial expression. In sum,
Jiang Heng has not only realized his intent of rejection with the women
gazing flirtatiously, but have allowed that age to be eternally planted
in a moment of enjoyment for the artist. At the same time, he has also
concealed a type of sorrow of adolescence, and has used idols to replace
the intervention of reality.

First of all, Jiang Hengs art points to growth, to an environment he can
not choose but have to live in. He was hurled into it at the very outset
and there he had to accept the rules of the game. At the same time, at a
certain point, under certain conditions, one learns how to respond to
things. This response is art and at the same time, not art. It is an
adjustment, with which one lessons the tension he is under living in
social reality. Once the style has become an effective mediator, its
symbolic significance is established. In that context, art is indeed a
kind of emblem rather than anything else, such as philosophy or
aesthetics.

Among the artists who came to the south and are still teaching at the
art college of Huanan Normal University, besides Li Bangyao, there are
also Fang Shaohua, Yang Guoxin and Shi Lei, they each occupies an
important position in the framework of contemporary oil painting. What
is especially important is their importation of artistic thoughts and
compositional concept from Chinas interior. It includes the Political
Pop art from Hubei in the early ’90s and the artists individualized
approach of representation in expressionism. More importantly,
throughout their teaching, they have always put the emphasis on
highlighting individuality, emphasizing on incorporating the individual
with his emotions, emphasizing art as an intervention on reality. With
which, meaningful artistic issues could be formulated, and using it as a
base of entry to current matters. Looking at a few oil paintings from
Jiang Hengs earlier period, they were indeed influenced by foreign
elements. For example, Jiangs Untitled series from 1994 depicts a red
male body in swing as its main subject and contrasting with a background
motif expressing desire. These works have mixed certain styles of pop
art, yet was executed in the expressionist approach. There are shadows
of the Hubei style of painting. And the Cartoon Generation series from
1996, has stylistically reflected the art of Li Bangyao. Without a
doubt, this was the formative years of Jiang Hengs artistic style.

In other words, the beauties under Jiang Hengs brush with their winning
eyes wide-open, stares into the distance, and has nothing to do with
sex. That is to say, Jiang Hengs beauties are not sexy. The reason is
rather simple: his beauties are not flesh but are the exterior of
material desire, a standardized idol. What is more, when Jiang Heng
keeps repeating his idols, he is only stating a concept, one that is
about the relationship between material desire and idol.

支持,五十时代广东中国广播集团州以黄一瀚为首的漫画一代运动,对江衡产生了直白的熏陶。今日,已经远非何人去猜忌圣地亚哥的漫画一代了,固然评价有异样,但风靡当下绘画界的所谓卡通风,追根穷源,和斯德哥尔摩照旧有着紧凑的交流。小编的意思并非说有着包括卡通风格的主意都根源于新德里的卡通一代。以小编之见,变成卡通风气漫延的因由,比人们想象的还要复杂,来源更为天差地远,但看似风格实在是在新北最先出现的。风趣的是,身为华盛顿美术高校老师的黄一瀚,却要到华师美术高校来搜寻支撑,让第贰次展和首次展在华师美术大学展览大厅成功实行。那表达华师美院的确存在着某种令人感动的超计生气氛。江衡从一初步正是华盛顿卡通一代的主动到场者,并用自个儿的水墨画风格去印证卡通的创立。以致于最后成为六十时代先前时代中华夏儿女民共和国漫画一代的基本点美术大师代表职员之一。下边提到的《卡通一代》类别,正是本场比一点都不大一点都不小的南方艺术活动的直白结果。后来她那有名的风格标记,也正是睁着天真媚眼、中度物质化的女人偶像,便是在这里中档成型的。

Jiang Hengs development faces two dilemmas. One is created by adult
society and the other by the visual context.

As I set Jiang Hengs flirtatious beauties against the background related
growing up, the sarcasm of his works began to emerge. The rosy dream
hidden subconsciously in the early years of adolescence or
pre-adolescence was once oppressed from the adult world, and also parts
separate ways with the promotion of depth in the art world in the past
while. Naturally, as of sarcasm, I am not emphasizing Jiang Hengs
intended flirtatious beauties as a visual description to react or
ridicule. I believe he did not have any sarcastic creative intent. In
other words, he is not interested in the superficial reaction. Or even,
hes not rebellious at all. In the contrary, he is only concerned with
the material desire conveyed through the images. It is precisely for
this reason, could I have interpreted the certain truth in his works,
because what it essentially displays, perhaps he might not even be
clearly aware of, is a kind of deterrent attitude in rejecting the
grown-up society.

自个儿早就就江衡的小说公布过意见,以为仅仅用漫画那样的概念,并无法丰富表达他的法门追求。以笔者之见,江衡所发挥的,是二个与成年人有关的难点,混合在这里中档的,则是再三的糊涂、不间断地规训与痴迷如梦的年青想象,是在成长社会面法化到场下,或真或假半推半就是真是假地推却成长。在那之中的重点词有八个,分别是成人、物欲与偶像。笔者感到,江衡的法子执行及其意义,基本上就隐含在这里三个基本点词中。

并发在当下的这一场南方艺术活动,曾经遭受大约整个艺术界的不予。曾几何时,形似风格却成为非常多70年间未来出生的新乐师群众体育的图式采取。这种现象在时间和空间中的反差,以至招致了人人对当下事实的概况。就像一开始作者所提出的,江衡归于初期的卡通一代,他的号子形成与演化已经有近十年的光阴。从那几个角度来讲,小编也终于比较早对这一方法现象做出反应的商量家。检索当年谈话,笔者意识,作者所感兴趣的并非外界的卡通。站在今天的境况去端详当年,所谓卡通,或然只是一种高超的图式挪用计谋。当然,在那之中也显示了年轻一代成长时故意的视觉背景。就在商量家用不一致的概念去述说几日前的漫画风格时,笔者感觉在这之中四个主题素材是,他们大约都对漫画当了真,而忘记相同风格早在四十时代前后,就形成出版行业和影象行业的重大内容。笔者由此把当下友好的言论刊在那地,是自己意识,纵然在那个时候的关切中,作者就已经多多少少地把漫画视为与成年人紧凑相关的三个标题。黄一瀚建议长相当的小的男女,或者只是他看成长辈对青少年人的无理思想。要是略略尖锐到新一代的切切实实条件中,对于中年人,他们所直面的,明显不是长相当的小,而是拒绝长大。这种回绝的千姿百态,切中了与成长有关的社会与历史背景,展现了成材社会和非成年人社会的不安关系,以致是冲突关系。作者料定,当年自家也只是看看生理成熟情感不成熟这些自为是的表象,而忽视了中间的意义。以小编之见,新音乐大师们为此选用偏侧卡通或与漫画乐趣有关的印象,表面看是其年轻期受特定的视觉形象影响的结果,但深远看,却揭露了她们在成长进程中,对规训其生长的成才社会的情态。假设那几个臆想创设,那么,笔者要说,呈今后视觉上的影像的某种一致性,自个儿便是三个有趣的答案,并告诉大家,他们是哪些对待成年人社会的。面临一个稳步虚伪的犬儒化中年人社会,作为美术大师,他们大约只好通过甄选曾经被中年人社集会场合放弃或忽视的影象类型,举例卡通,来表明对这几个社会的拒却。当然,随着艺术界自个儿的变通,卡通也最初产生一种显赫的品格,使拒绝上涨为新一轮的章程活动。后起的维护者终究是还是不是因为同样的来由,仍然是业已成功的前途所左右,才持续采用卡通,那当然要另当别论了。

I dare to assert that Jiang Heng has indescribable reliance on women. It
is not bodily reliance as it is commonly perceived. It is physical, with
the hormonal scents scattered about. In an open society, the physical
scent is so omnipresent that it has become nauseating. The handsome
artist does not mind such superficial things. Engraved upon his soul is
the tenderness that is drifting away from of youth; tenderness, which,
like the rules he has to bow to on a daily basis, is not unrelated to
power.

那个时候南下的美术师,明日仍然留在华师美院教书的,除了李邦耀之外,还会有方少华、杨国辛和石磊、他们多人的水墨画在现代水墨绘画艺术术情势中各有地点。尤其着重的是,他们推动了领头于外省的秘籍考虑和造型思想,包涵七十时代初福建的政治Pope和他们所特有的展现主义描绘方式。更关键的是,他们在传授中央市直机关接重申特性的张扬,强调个人与情境的重新整合,强调艺术对实际的干预,进而产生有含义的方法难点,并以此为幼功去达到切入当下的目标。看江衡开始的一段时期留下来的几幅水墨画,的确面前境遇非本土因素的震慑。1993年的《无题》类别,主演是扭曲的草地绿哥们体,背景则是宣布欲望的图画。这几张小说混杂了几许波普的作风,却又用了表现的花招,有着亚马逊河画风的影子。一九九九年的《卡通一代连串》,在画风上则显明颇受李邦耀艺术的震慑。不可否认,那是江衡艺术的作风源点。

不知缘由,每当小编盯视江衡的表象,也正是那七个仿佛有重复疑心的偶像类别时,一种窥伺者她成长的心中隐私的主张,就能泛滥开来。在笔者眼里,江衡在这里一表象背后,潜藏着贰个少年的观念迷梦,这一迷梦能够用脱位母体奔向父权的爱慕为基本线索。

商议江衡的不二秘籍,有多少个关键点是必得提到的,那么些关键点是:

The first keyword is growth.

This southern art movement at the time was once almost rejected by the
entire art world. And not so long ago, its similar style has become the
illustrative choice for most young artistic groups born in the 1970s.
The contrasts of this phenomenon in time have even caused people to
ignore its initial fact. As I have mentioned at the beginning, Jiang
Heng belongs to the earlier Cartoon Generation, the formation and
development of his symbolism has been almost ten years. From this
perspective, I am also one of the earliest critics who have commented on
this artistic phenomenon. As I retrieve my comment from the time, I
discover that my interest was not on the cartoon per se. To analyze them
with todays context, the so-called cartoon perhaps was only a
intelligible strategy of compositional appropriation. Of course, from
which we also find the visual reference specific to that young
generation. As critics apply different concept to comment on the styles
of todays cartoon, I think one of the problems among them is their
gullible believe in Cartoon, and have forgotten that similar style has
already been important content in publishing and film industries around
the 1970s. The reason I am reiterating my comment from the past is that
I discover, even with my view at the time, I have already more or less
treated cartoon as an intimate issue reflecting on the process of
growing up. The Children reluctant to grow up proposed by Huang Yihan
was perhaps his subjective view of young people as an elder. If we enter
into the particular context of the new generation, in terms of growing
up, what is before them is obvious not unable to grow up, but refusing
to grow up. This attitude of reluctance strikes a cord with the social
and historical background associated with growing up, which reveals the
intense, or even conflicting relationship between the adult society and
its non-adult counterpart. I admit, what I noticed at the time was the
symptom of physical maturity and psychological immaturity, but have
perhaps neglected its meaning. In my view, the reasons for artists to
choose cartoon or cartoon-like forms, from the surface its an outcome of
their specific visual influence during their adolescent period, more
thoroughly, it infiltrates their attitudes on the adult society that
manipulates their growing process. If this hypothesis is true, then
certain types of uniformity shown visually are in themselves an
interesting response. It tells us how they view the grown-ups society.
In dealing with the grown-ups society, that is becoming gradually
pretentious and cynical, as artists, they can perhaps only use forms
that has once been abandoned or neglected by the grown-up society, such
as cartoon, to express their rejection of this society (here I am
referring to the art world in the grown-up society). Of course, as the
art world transforms itself, cartoon began to come a prominent style,
and letting this rejection to become the beginning of a new cycle of art
movement. Whether its later followers shared similar motives, or was
driven by the prospect of future success and have chosen cartoon, of
course needs to be discussed otherwise.