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对话与回想
作者: 佩卡·梅勒戈德 上传时间: 2014/12/1 来源: 本站 浏览 2352 次 评论 0 条
 佩卡•梅勒戈德/文
 
  我并不知道和丽斌是否关心T.S.艾略特的诗歌,或他的绘画创作与T.S.艾略特的诗歌有何关联。我本人和艾略特没有什么交集,但我在少年时代听说过他那首最有名的诗《荒原》,从那时起,这个标题就渗入到了我的脑海里。 
 
  说来也巧,偶然读到一位好友写的对和丽斌“荒原”绘画作品的解读令我大吃一惊。2008年10月的一个午后,通过他的引见,我走进了和丽斌的画室,我记得那一天的昆明雾气蒙蒙,阴沉的天空即将大雨来临,但这却意外地为这次会面布置了一个完美的背景,映衬着黑白颜料层层堆积的巨幅画布。 
 
  和丽斌话不多,他平常也是这样的。但是,他的画作却在说话。我欣赏了其中的风景画,某种层面上看,它们与伟大的中国山水画传统相关联,但又和宁静而高雅的古典大师相去甚远,和丽斌深谙这些古典名作,但却不想复制照搬。多年来,我有幸拜访了多位昆明艺术家,在工作室或画展上观看他们的作品,这些愉快的经历也是一份特别的奖赏。但我必须承认,回过头看,与和丽斌和他的画相处的这一、两个小时,是我在中国体验过的最深刻的艺术经验之一。而且每当我看他最新的作品时,我就不由得想起那天的场景。
 
  不过这次我在瑞典看到他发给我的数码图片时,我总觉得缺少了某种重要的东西,或许与作品的尺寸大小有关。当在作品图录中或在电脑屏幕上看安德里亚斯•古尔斯基的摄影或安塞姆•基弗的画作就不会产生这样的感觉。有人会说,所有的艺术都是这样的。虽然我是崇尚“自然的”, 经常本能地对人造之物产生一种消极之感,但我不认同所有视觉体验都必须远离电脑才是真实或者真诚的这种说法。充满逼真细节的电视足球比赛有时可能更令人愉悦。所以我庆幸可以利用打印或数字化的复制品去领会勃吕盖尔绘画中所有精妙的细节。
 
  但我深信,为了充分欣赏和丽斌的作品,观众需要站在他的画布前。这些画大部分高近4米,很少有一边不到2.4米的作品。2008年10月的那个下午当我站在他的画作前,我就深深地被吸引了。我突然产生一种感觉,在他的很多作品中可以看到一个渺茫的身影,有时几乎是隐藏的,有时又以某种刻意的方式突显出来,在汹涌、黑暗的和严酷的环境中,这是一个看起来如此孤立和孤独的人,耷拉着两个肩膀,努力挣扎而不至于被裹挟进未知的黑暗中。似乎有一条小路通向某个地方,但在充满荆棘和荒芜的灌木丛中找到它却是那么的困难,那么它到底通向何方?无疑,它远离观众,进入画面深处。行走的人没有回头。在他的前面横亘着巨大的山峰,嶙峋陡峭,高不可攀。
 
  当时我看的画作中,只有三幅画作,除了黑白灰之外还点缀了其他的一些颜色,灰是那种差别细微的不同灰色。这些画作比较压抑,甚至令人产生恐惧感。它们之中的两幅中出现了一辆考究的大汽车,从陡峭的山腰上跌落下来,在红色、橙色和黄色中发生了爆炸,看起来几乎像是司机企图自杀的效果。第三幅绘画中正在升起强烈的红色烟雾,似乎是从远方燃烧的城市中冒出的。这些画作弥漫着幻灭感,像是末日景象...... 
 
  现在我坐在屏幕前欣赏和丽斌过去五年的绘画作品的图片,在这五年中他一直在延续创作 《荒原》系列,但其中的气氛已发生了改变。颜色丰富了:淡蓝色、绿色,甚至出现了一些花儿。我还不能肯定,但这难道不是春天的希望气息吗?大火仍在燃烧,却有了些果树、还有其他生物,鸟儿正在招呼着同伴——尽管它们还是让我想到阿尔弗雷德•希区柯克的一部恐怖电影。一些画面中出现的光芒,在我看来更像黎明而非黄昏。
 
  我反复回顾精彩的《逐日》组画中的《逐日. 另一面》,画面中我们实际上在俯瞰那看似难以翻越的山脊。好像我们并非从飞机上俯视,而是从另一座更高的山峰俯视,同时,太阳正在冉冉升起。
 
  我不禁怀疑,是否与五年前相比,艺术家看待世界的眼光有所不同了?也许就像T.S.艾略特本人一样,随着时间的流逝而让自己远离了《荒原》的幻灭世界?
 
  如果这些新的绘画中蕴涵着更多的希望,那希望之中就没有任何陈腐。在其最近的新作《逐日. 光之舞》中,那个小小的身影走进太阳,画中的强光也许来自危险的火山爆发时发出毁灭性的力量;也许来自那抚慰人心的太阳。也许小小的身影正徘徊在地狱门口,而非天堂门口…… ?
 
  我认为和丽斌属于那批喜欢诘问的中国年轻艺术家,很多当代人、包括大多数上一辈成功的中国艺术家不关心、或不敢关心的问题,在他们眼中却很重要:人之为人意味着什么?对生活是否有更深刻的意义?我们应该如何生活?不断询问此类问题是非常、非常重要的,尤其在我们今天这个技术消费型的社会中,无论我们携带的中国、美国还是瑞典护照,我们越来越趋同。
 
  和丽斌是一个严肃的人,当然他也有幽默的一面,这是我很欣赏的。这从他的行为艺术作品中可以最清楚地表现出来,脆弱和短暂的“现在”稍纵即逝,雄心勃勃的巨幅画面在这个星球上可能仍然会屹立数百年,二者形成强烈的反差。他的表现手法是新颖的,但也涵盖了严肃的主题,作品中总在微笑中完成,我认为——至少它们让我微笑,有时让我放声大笑。就像和丽斌正在做的行为:在世界旅行时收集不同的气味、口含河水清洗石桥、或通过耕种他自己的影子试图阻止时间一样,或他让植物在他身上自然生长、甚至长出他的身体之外。
 
  我最喜欢的一件行为作品是他阐述时间与生命、自然与文明关系的《日瑟浩奕》,他在自然之中拣拾枯枝灌木插在自己的背上,沿着古河床向上游行走,最后像一棵大树一样种在正在修建的高速公路大桥上,这是多么艰难和痛苦(甚至枯燥得令人厌烦)的一幅完美的画面啊,这中间需要多么严密、细致的耐力和坚持!和丽斌这样的人愿意去做这样的努力,我感到很欣慰。我知道,除我之外,在昆明和中国之外的瑞典,和丽斌也有许多的欣赏者,我很高兴和丽斌的作品被中国和瑞典之外的许多观众所熟知,我衷心希望和丽斌的书籍和作品能够在斯堪的纳维亚(丹麦、芬兰、冰岛、挪威和瑞典等北欧五国)有更好的传播与推广途径,被更多的人群关注与喜爱。
 
 
Reflections from meetings with the artist and his work
 
  I do not know if He Libin care for, or have any relationship to the poetry of T.S. Eliot. I can not say that I have. Except that the title of his most famous poem has stuck in my mind ever since I heard it in my teen age years: ”The Wasteland”...
 
  It so happened, that I was introduced to He Libin and his art through his Wasteland paintings. A good friend, whose descriptions of his art had made me curious, brought me to He Libins studio one early afternoon in October 2008. I remember a rather grey day in Kunming, which set a perfect stage for a meeting with He Libins enormous canvases with thick layers of paint in black and white.
 
  He Libin did not say much - he usually doesn’t. But his paintings spoke. I was shown paintings of landscapes. They were in some way related to that great Chinese tradition of landscape painting, but at the same time very far away from the tranquil and elegant classic masters that He Libin knows well, but do not want to copy. I have had the joy and privilige to visit many Kunming artist and spend time with their work in studios or at exhibitions. It has always been very awarding. But I must confess that this hour or two together with He Libin and his paintings stay in my memory as one of the strongest experience of art that I have ever had in China. And as I look at his more recent work, I am reminded. 
 
  However, looking at the digital images now sent to me here in Sweden, I feel that something important is lacking. It has something to do with size. Andreas Gurkskys phtographies or the paintings of Anslem Kiefer do not convey the same impression when reprinted in a catalogue - or when looked at on a computer screen. Some would say this that is true for all art. But although I am all for ”the natural” and often feel an instinctive negativity against the artificial, I am not convinced that all visual experiences has to be AFK in order to be real or genuine. A game of soccer can sometimes be more enjoyable and filled with realistic detail when seen on TV, and in order to take in all the intricate parts of a Bruegel-painting I am grateful to have access to printed or digital reproductions.
 
  But I am convinced, that in order to fully appreciate He Libins art, one need to stand in front of his canvases. These canvases are sometimes almost 4 meters high, and seldom measures less than 2,4 meter in one direction. And as I did stand before the canvases, that October-afternoon, I got sucked into the paintings. I suddenly had a feeling of being that very small human figure that could be seen in many of the works, sometimes almost hidden, sometimes standing out in an obvious way. It was a figure that looked isolated and lonely, with hanging shoulders, a figure trying to just survive in a overwhelming, dark and hostile environment. There seemed to be a path leading somewhere, but it was not so easy to find among all the thorny and barren bushes. And were was it leading? Certainly away from the audience, into the depths of the painting. The figure walking there did not look back. Ahead of him laid big mountains that seems too high an too steep to overcome.
 
  Only three of the paintings I saw, at that time, had any colour in them - apart from black and white and different nuances of grey. And these paintings were more depressing, even terrifying. In two of them a big and elegant car were exploding in orange, red and yellow as it tumbled down a steep mountainside, almost looking like the result of the drivers suicide attempt. In the third painting intense red smoke was raising from what appeared to be a distant burning city. The atmosphere in these Disillusionment-paintings felt almost apocalyptic, like things happening at the end of ones world... 
 
  Now I am sitting at my screen looking at the digital images of paintings He Libin has made during the five years that have passed since I visited his studio in Kunming. Among other things he has continued with the Wasteland-series. But the atmosphere in them has changed. There are more colours; light blue, green - even some flowers. I cannot tell for sure, but isn’t there some hope of spring in the air? Fires are still burning, but there are also fruit trees. There are other living creatures, birds offering some company - even if they also make me think of a horror movie by Alfred Hitchcock. And there is a radiant light in some of the paintings that look more like dawn than dusk, in my eyes. 
 
  I return time and again to the wonderful The other side in the Follow the sun-suite. Here we are actually looking down at the mountain ridges that seemed so difficult to overcome. We look down, not from an airplane, but from another, even higher mountain, it seems. And the sun is rising.
 
  I can’t help but wonder if the artist is looking at the world with somewhat different eyes, compared to five years ago? Maybe like T.S Eliot himself, who distanced himself to the disillusionment ot The Wasteland as time went by?
 
  If there are more hope in these newer painting, there is nothing banal in that hope. As that little figure is walking into the sun in the very recent painting Dancing of light, the strong light could as well come from the consuming power of a threathening volcano, as from a comforting sun. Maybe the little figure is standing at the gates of hell, rather than the gates of heaven..?
 
  I think He Libin belongs to that group of younger Chinese artists that think it is important to ask the kind of questions that many contemporary people - including most of the triumphant Chinese artists in the preceeding generation - do not care or dare to do: What does it mean to be a human being? Is there any deeper meaning to life? How should we live? It is very, very important that these kind of questions are continously asked, not the least in our techno-consumerist societies, more and more similar no matter if we carry passports from China, US or Sweden.
 
  He Libin is a serious person. But he definitely has a humourus side, which I certainly appreciate. This is most clearly seen in his performances, the passing moments of fragile and transient ”now” that stands in contrast to the ambitious and large paintings, that could still be on the planet many hundred years from now. His performances are innovative, and also covers serious subjects. But they are almost always done with a smile, I think - at least they make me smile, sometimes laugh. Like when He Libin is making a travel diary by collecting different fragrants, orally cleans a stonebridge, or tries to stop time by capturing his own shadow. Or when he let nature elements of nature grow over him, and even out of him. 
 
  I think my favorite performance is when He Libin illustrates ”a state of mind” by dragging behind himself very long pieces of bambo tied to his head, while walking against the waterstream in a small creek. It is a perfect picture of how difficult and painful (even boring) it can sometimes be to think and work seriously. I am glad that there are people like He Libin who is willing to do that. And I am not the only one. He Libin has many admirers also outside Kunming and China, not the least in Sweden. Together with many others, I am really glad that He Libins work can now be known for a greater audiance, as presented in this volume. We hope some copies of the book will also find its way to Scandinavia!
 
  Written by MD PhD Pekka Mellergård, one of the founder of TCG Nordica
编辑:【travelsky】
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