澳门微尼斯人手机版意识的发展及即刻的情致_艺术家资讯_雅昌新闻

As suggested above, the Jiang Hengs soul reveals the fetishistic world
with tangible language. His women, who are well trimmed to fit the
sensibility of Asian viewers, turn into stuffed specimens by rich
sensuality, eroticism and hallucination surrounding them. The surface of
the stuffed samples still maintains the same beauty of a living thing,
but they are in reality lifeless, affecting the viewers sensibility. The
women in Jiangs work do not represent female sex in mankind but rather
symbolize the contemporary world we live in. The todays social reality
is too complex, too labile and too unstable. It might be better
described with the words such as distance, transience and obscurity. His
women are engaged in nothing but fruitless efforts to gain wealth, fame
and love in baser sense of the word which are often dubbed as universal
summation of life. Contemporary artists also feel it hard to flee from
this social reality. Their art lost the aura created by culture based on
rich artistic heritage from old masters such as Michelangelo, Leonardo
da Vinci, Rembrandt and Goethe. The art established by these great
masters is marked by a perfect symbiotic relationship between form and
soul, stasis and movement, and pictorial space and narrative time. The
social actors who direct the contemporary world are, however, the
children, as Schopenhauer once said, who are adrift on the cold waves of
desire that can never be satisfied. For those who live todays world,
which include intellectuals, artists, workers and public servants, life
is nothing but a dark pile of pulverized individuals, obsession and a
lack of well-wrought codes.

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.

世界上的美大致分为两种:一是自然赐予人类的美,我们称这种美为崇高;另一种是人类自身创造的人工的美。这些人造美包括时尚、设计、照片、化妆、卡通、饮食、求偶(courtship)、美艳的女人(coquettery)、礼物、建筑、桥墩、门、青春、历险经历等等,非常丰富多彩。而在上述如此之多的美好事物中,只有艺术的美是与众不同的。

这样,我以为我们就能理解江衡笔下的媚眼美女了。那本来就不是真实的美女,而是想象中的物欲偶像,呆在虚空中,瞪着假装天真的媚眼,以永远不变的面容和表情,注视着成人社会的持续膨胀。也就是说,江衡通过媚眼美女,既实现了他的拒绝意图,让年龄永远驻足在足以让艺术家感到愉快率性的时刻,同时又把一种少年的伤痛隐藏了起来,而用偶像取代对现实的插入。

The geographical condition of Guangzhou as a neighboring city of Hong
Kong and one of the faraway metropolises from Beijing, the capital of
China, helped the city to become one of the Chinas first cities to
contact liberal Western culture. The artists of the Cartoon Generation
were the first Chinese artists who raised questions such as what is the
world? and what am I? Those who were born in Asia in the 1970s are now
in their 30s. They may not be the principal axis of the society but one
may say that they form a generation with richer experiences because the
last three decades were one of the most tumultuous periods in Chinese
history. Unlike their predecessors, western values didnt let them
automatically promoted to the elite group, and the currents of
globalization led them from the traditional family-based society to the
age of limitless competition between individuals. They were of the
generation who learned of life not from their parents but who had to
suffer a sense of futility from the freedom guaranteed from selective
love. The common point linking the generation across entire Asia is that
they tended to spend more time on computer games and cartoons within the
urban landscapes suffering rapid urbanization. Jiang Heng has been
almost the only artist of the entire members of the Cartoon Generation
who was able to reconcile the outside society and the self forming the
inner world. He embraces this chaotic and whimsical world with devoted
love. As mentioned above, both simple cartoons and complex artistic
images by Jiang generate different moods among viewers despite their
outward similarities thanks to his soul fully bloomed in the process of
its conflict and reconciliation with the outside world. Our world in a
decade from now will be dominated by the generation of people who were
born in the 1970s. I find in the art of Jiang Heng the universal memory
and obligation of the world that we generate and perform.

首先要提到江衡的老师。江衡当年就读于广州华南师大美术学院,跟从李邦耀学习油画。本来,常识判断,华师美术学院从档次和规格上似乎应该比广州美术学院略逊一筹,但是,正因为华师美术学院在九十年代初期果断地从湖北美术学院引进了一批老师,他们同时也是中国当代艺术运动的重要成员,结果便逐渐改变了学院原有的艺术生态,在南方本地的气氛之中,催生了完全不同的艺术结果。江衡是这结果之一。

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。广州市邻近自由都市香港,又是离政治中心北京最远的一个大都市,因此可以比较容易地接触西方思想与文化。卡通一代不再追问世界是什么而是致力于探求我是什么。在亚洲,生于70年代的一代人在2008年的现在都已30多岁,虽然他们还没有成长为社会的主要力量,但却是亲身经历了最多变化的一代。他们不能像上一代一样无条件接受西方价值观就能成为精英,而得面对越来越激烈的世界化竞争,温暖的大家庭社会逐渐走远,他们不得不独自游戏独自承担一切。父母教给他们的单纯的、无条件的爱和他们面对的有选择、有条件的爱更使得他们无比困惑。在整个亚洲,这一代的人们的共同点就是在急剧变化的都市风景中,利用游戏、卡通等轻松愉快的手段来填补情感的空缺。而江衡几乎是无数的卡通一代艺术家中唯一一个将外部世界与自我完美融合在一起的艺术家。他用积极的态度拥抱充满变动、不安、失衡的现代生活。正如我前面提到的,任何单纯的卡通即使与江衡创作的艺术形象十分形似,但带给观者的感受却是截然不同的,理由正是因为它们没有被赋予在与外部世界冲突、融合的过程中绽放的江衡的灵魂。今后的10年中,70年代出生的人们将立足于世界的中心。我从江衡的艺术作品中看到了我们所创造并为之苦恼的普遍意义上的记忆和义务。

记得当年我在一篇谈论广州卡通一代的文章中,提到了造成这种风格出现的某些原因:

As is widely known, Jiang Heng is a leading player of the
Guangzhou-based Cartoon Generation that dominated the Chinese art world
in the late 1990s. It was a rare phenomenon not just in China but the
entire world that cartoon or animation emerged as a major artistic
movement in painting. The movement began in Guangzhou, a city of
southern China, by the time when the Cynical Realism and Political Pop
in Beijing were nearing the end of their success. These two art
movements were running for different goals. The first was, for instance,
a powerful message for the outer worlds, social and political worlds,
whereas the second, Cartoon Generation, was a journey in which artists
were seeking after a question of identity concerning the questions, what
affected us and how we grow.

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.

大概我们中的很多人都拥有对童年时的玩具snowball(一种玻璃球,球内有装饰有小屋等,将球体倒置摇动,会有雪样的东西飘落)的美好回忆。在圆形的玻璃球内,一望无际的原野上飘落着雪花,炊烟从小木屋的烟囱中冉冉升起,美丽的圣诞树暗示着幸福宁静的家庭生活。端详着这玻璃球的孩子们,不由得都会被这美好的一切所吸引,并渴望着能够融入其中。但他们很快会明白,这个愿望是无法实现的,并因此而倍感消沉。有的孩子甚至不惜打破玻璃球,以求一触这个美好的世界。但这个极端的手段带给他们的则是更大的挫折感。直到有一天,孩子们长大成人,才对
snowball 逐渐变得无动于衷。艺术正是长大了的人们的
snowball。它就好像是现实世界中的玻璃做成的神秘的空间,艺术家们细腻入微地体味领悟生活就像在体味艺术这个充满魔力的世界。人们在各种照片、时尚设计、化妆、礼品包装等方面表现出来的感觉也许仅仅是某种感觉,也许是经过培训的感觉,但艺术却绝不如此单纯,它是艺术家本身对生活的感受、对世界的看法即艺术家世界观的表现。因此,如果我们从艺术品中得到了某种感动,那一定是欣赏者与艺术家本人看待世界的视角达到了某种程度的一致,形成了共鸣。叔本华说:艺术是人格本身(art
is personality itself), 布丰也提到艺术是灵魂的面容( art is physiognomy
of the
soul)。因此,只有艺术才能将人内在的灵魂表现出来,而这种灵魂的表现是我们所无法分析的。我们所能做到的,不过是感受到它所传达的信息从而受到感动,又或者没能感受到它的提示,而将其忽视这两者之一罢了。

当我把江衡的媚眼美女放在这样一个与成长相关的背景上时,他的作品的反语效果就开始呈现出来了。那是一个潜藏在青春早期甚至前青春期的粉红色梦想,曾经是成人社会压制的对象,并且和一个时期以来,艺术界所推崇的深度背道而驰。自然,就反语而言,我并不是说江衡有意要用媚眼美女这样一种视觉修辞去从事反抗或者讽刺。我相信他并没有反语式的创作意图。也就是说,他不关心表面的反抗。他甚至一点也不反抗。相反,他只关心图像所传达的物质欲望。正因为这样,我才读解出他作品中的某种真实性,因为内里所透露的,可能连他本人都不能清醒意识到,是一种拒绝成人社会的温软态度。

One may divide beauty into two categories. One is that given by nature
to mankind as a gift, and we call it sublimity. The other is the
artificial one, the beauty made by mankind. This manmade beauty appears
through various media including fashion, design, photography, makeup,
cartoon, caricature, food, courtship, coquettery, gift, architecture,
bridge post, door, youth and adventure tale. Here, however, we tend to
divide the artistic beauty from the beauty mentioned above.

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.

A modern Chinese painter Jiang Heng tried to construct on his painting
the same agony that troubled Hieronymus Bosch five hundred years ago
when he painted The Garden of Earthly Delights. One may argue that there
is a difference between the two: The Boschs panels display imaginary
aspects of human life painted to highlight the value of life in this
world while Jiangs work raise a question via dramatization of distorted
reality what is the valuable life. The pictures by Bosch may hurt the
viewers sensibility by guiding them to the conventional judgment that
the beauty imprinted in their brain via idolatry, fashion and
exaggeratedly beautified women is directly related with the market. The
pain from the judgment is then soon replaced by a sense of freshness or
even hope. We may not feel the same sense from similar images in
cartoons, magazines and still pictures from animated films, but quite
mysteriously the Jiangs pictures make us have the same feeling.

Today, Jiang Hengs art people are familiar with is his repetitive
symbolized beautiful women gazing with flirtatious eyes, they smile
innocently, posing in various flirtatious poses and expressions that
satisfies the secular standard. They display this kind of so-called nave
and beautiful gendered information. To a certain extent, I think Jiang
Hengs women with flirtatious looks is a repetitive statement of sarcasm,
it conveys information contrasting with its superficial appearance, or
even of opposing and conflicting content.

The beauty of Jiangs art is in the optimistic view with which he can
give a room for the spirit of todays chaos. The emotions sweeping our
existence surrounded by numerous cultural elements will never be
meaningless. However, it is not that every individual is given a
significant meaning. Todays media exhibit nature that makes them clash
with each other. An individual is instable because it can neither digest
all the elements that form itself nor defy them outright, because
culture of our time is remained within the narrow-minded process leading
to the well-made codes. The current location of Jiangs art is where he
is convinced of, and waits for, the next years rich harvest produced in
the dark sedimentary soil offered by the uncomfortable, bad-tempered and
cruel waves of desire. His series of stray objects and idols criticize
the aforementioned cultural soil, but the form of his painting maintains
a tense conflict between the two force points, beauty and symmetry. He
criticizes the contemporary world he lives in but never tries to
slaughter it. He does not unreservedly defy the vertigo created by the
todays world but rather tries to contemplate it to get prospects further
away. The degraded objects and women in his paintings never lose the
bright, beautiful smile even when they are under threat from phallic
condoms or guns, blooded by the phallic arrows, or estranged from the
reality via phallic pills. The images show that Jiang never gives up his
boundless trust and love for the world despite the chaotic situation
succumbing it.

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.

在《人间乐园》创作出来整整500年之后,中国艺术家江衡将同样的艺术特色反映在了自己的作品中。唯一不同的是,波希的画是为了强调现实生活的重要性而绘制出来的假想影像,而江衡展现给我们的却是歪曲的现实的极度强调,目的是引起人们对真正宝贵的人生到底是什么的反省。偶像、时尚、留在人们脑海中的美好事物、美艳之极的女人等等这些迷人却被歪曲了的事物,通常在最初的时候会使欣赏者感情受到一定的伤害,但这种感受很快便被作品带给我们的清新感及希望而取代。令人不可思议的是,这样的感受我们只能在江衡的作品中体会到,而在几乎同样题材的或者类似的漫画、卡通、杂志、动漫形象中,却无法体会得到。

杨小彦

艺术家江衡通过带刺的语言来揭示物神化的世界。他笔下的美女们无一不符合我们亚洲人的审美,妖娆、艳丽、性感,而我们从这些看似青春与美丽的美女身上感受到的是现实中的巨大的空虚与无奈。实际上,他画的并不是这些美女,而是我们的现实世界。现代社会错综复杂(complex)、多变(labile)动荡(unstable),渺茫(distance)、无常(transience)、暧昧(obscurity)是它的实质。而为了所谓的人生的概括(universal
summation of
life),即财富与名誉,也只不过是为了获得世俗的爱而作的虚无的努力罢了。同样,现代艺术也很难超脱出这种社会背景去。现代艺术失去了米开朗琪罗、达芬奇、伦勃朗、
歌德这些人文主义文化的代表所具有的光环。那时的艺术将形象(form)与灵魂(soul)、静止(stasis)与动态(movement)、形象化的空间(pictorial
space)与叙事性的时间(narrative
time)完美地共现在了一起。而生活在当今时代,在社会上扮演各种角色的人们(social
actors),借用叔本华的的话说,就像在永远也无法满足的欲望的洪流中漂流的孩子们。对于包括知识分子、艺术家、劳动者、公务员等在内的所有人们来说,这是一个由各种各样阴暗的碎片堆积起来的并不完美的时代。

其次,九十年代中广州以黄一瀚为首的卡通一代运动,对江衡形成了直接的影响。今天,已经没有谁去怀疑广州的卡通一代了,即使评价有差异,但风靡当下画坛的所谓卡通风,追根溯源,和广州还是有着密切的联系。我的意思并不是说所有包含卡通风格的艺术都根源于广州的卡通一代。在我看来,造成卡通风气漫延的原因,比人们想象的还要复杂,来源更是千差万别,但类似风格的确是在广州最早出现的。有意思的是,身为广州美院教师的黄一瀚,却要到华师美院来寻找支持,让第一回展和第二回展在华师美院展厅成功举办。这说明华师美院的确存在着某种令人感动的宽容气氛。江衡从一开始就是广州卡通一代的积极参与者,并用自己的油画风格去印证卡通的合理性。以至于最后成为九十年代中期中国卡通一代的重要艺术家代表人物之一。上面提到的《卡通一代》系列,就是这场不大不小的南方艺术运动的直接结果。后来他那著名的风格标志,也就是睁着天真媚眼、高度物质化的女性偶像,就是在这当中成型的。

A look at The Garden of Earthly Delights Hieronymus, a triptych by Dutch
painter Hieronymus Bosch, guides the viewer to the full gamut of human
life in history condensed into a single work of art. The Three Poisons
(i.e. greed, hatred and delusion), Seven Vices, Earthly Delights and
their surroundings dominate the painting via the symbolic language
represented by a bird. The word vogel in modern German means bird which
had been widely used since the Middle Ages as a common expression for
sexual intercourse in art works. The Boschs painting lets its viewers
instantly know the meaning of truth, morality and beauty that mankind
seeks after. In his painting, viewers recollections about what is life,
how we lead a good life, and what results are made from this life are
not separated from each other but integrated to make a whole.

编辑:霍春常

Many of us have a loving memory of snowball that we had in our childhood
days. The memory often contains a landscape consisting of snowy field
unfolding itself as if in a magic glass ball, a cottage with smoking
chimney and a Christmas tree inside it. It creates a perfect scene for a
happy family. A boy looking into the glass bowl is soon drawn into the
world of magic unfolded by the fascinating landscape in it. His journey
into the magical world abruptly comes to an end, however, because he
soon realizes that he cannot be part of the world. He yearns to get into
it even by breaking the ball by dropping it onto a hard surface. The
excessive method leads him only to a larger frustration. It is only
after he has grown into an adult that he can have full understanding of
the snowballs secret and contemplate it with the artists indifference.
Art is the Snowball of the people who are grown up. Art is the world of
magic which is effectively divided from the real world. Indulgence into
this magical space is the same as the participation in the way the
artist looks at the world. Sensibility that created fashion,
photography, design, makeup or gift wrapping is nothing but sensibility.
It may have been born or made. Art, however, transcends simple
sensibility. It is the whole of what an artist feels and knows
intuitively as he or she lives on in this world. It is the way he or she
looks at the world, that is, the symbol of his or her world view. If one
is moved by a work of art, then, it means that he or she is moved by the
way the artist looks at the world via the work. The situation may be
better explained by the Schopenhauers expression, art is personality
itself, or Buffons, art is physiognomy of the soul. One can safely
conclude, then, that art is the only means with which we can reveal our
soul to the world. Similarly, we cannot analyze this expression of the
soul. We feel it and are moved, or just pass by it without any sense of
feeling.

也就是说,来自内地的艺术思潮、本土掀起的艺术运动和中国社会的急剧转型,是造成江衡艺术之面貌的外部条件,没有这些条件,很难想象他会创作出现在人们所熟悉的风格。

而江衡的艺术正是扎根于其游刃有余地观照这一时代、积极等待这一时代的进步的乐观的坚持之中。被无数的文化要素环绕着的我们体会到的种种感受,绝对不是毫无意义的。现代社会的各种媒体本质上都具有冲突的属性,每个人是无法体会到所有其他个人的感受的,但同时又不能完全将所有的东西都拒之门外。这个时代的文化还停留在不断发展的阶段,而江衡的艺术世界为我们提供了超越这个不确定、不成熟的状态,并且期待在下一个季节,在由被欲望的洪流带来的阴暗的碎片堆积而成的土壤上可以有所收获的信心。他的散落的物品(stray
object)系列、偶像(idols)系列虽然批判了前面提到的阴暗的文化土壤,但还是非常饱满地强调了绘画的两个力点–
美与和谐。他批判这个社会不合理的一面,但也决不扼杀希望。他不是无条件地拒绝社会的失衡,而是为了展望更远的地方而闭上双眼不断内省。在他的作品中,美丽的女子不管在受到令人联想到男性生殖器(phallus)的避孕套、手枪的威胁,被同样可以联想到男性生殖器的弓箭射伤流血还是服用了药丸而陶醉于幻想的世界时,都保持着美丽而又灿烂的微笑。这也正代表了江衡本人对于失衡、充满不确定性的社会并不放弃,相反充满了无限地信任与爱意的态度。

谈论江衡的艺术,有几个关键点是必须提到的,这些关键点是: