Categories
边想边说

苏亚碧访谈:日常诗意与内心关照

日常诗意与内心关照——苏亚碧访谈

时间:2014年7月5日上午
地点:苏亚碧大理州实验小学工作室

罗菲:请简单介绍一下你的艺术经历。
苏亚碧:我94年毕业于云南艺术学院附中,98年毕业于云南艺术学院美术系油画第二工作室。上学的时候我就开始用绘画的方式关注身边的日常物品,近几年使用了其他材料,每个阶段这些日常物品在我心里是不一样的。

罗菲:是什么给你灵感画这些日常物品?
苏亚碧:当时在大学宿舍的时候大部分时间都是我一个人,宿舍特别安静,很多东西就这样散落在宿舍里,窗台上。当时窗外风景也不是特别美,有凌乱的厂房,旁边还有一个很大的烟囱,烟雾飘出来的时候,我觉得它特别忧郁,也很诗意。那个时候我开始在速写本上画很多室内和窗外的场景,毛旭辉老师在一次课堂上很认真地看了我的速写本,还问了一些问题,他非常鼓励我这样画。

罗菲:能讲一下画中的这把刷子吗?
苏亚碧:这把长刷子是小时候家里用来整理床用的,它的毛质很硬,早晨起来整理好床单再用这刷子轻轻一挡,就可以把床刷得很平整。我从小觉得它的形状很好看,它像一个法器,有魔法,我从小就特别喜欢这个刷子。

罗菲:柜子上有映射出风景。
苏亚碧:镜子刚好收纳了风景和物品,形成了很奇特的视觉。

罗菲:柜子的抽屉里开始流淌出潮水般的浪花。
苏亚碧:这是视觉上的改变,它其实是一条围巾,但是看起来又像浪花一样。

苏亚碧《柜子》布面油画 115x150cm 2012
苏亚碧《柜子》布面油画 115x150cm 2012

罗菲:对,你把它画得像潮水一样涌出来,给人感觉有一种魔幻现实主义的味道,想起电影《纳尼亚传奇》里面的魔柜,柜子里有个神话世界。
苏亚碧:你的感觉特别到位,那段时间很想画那种景象,在画的时候是有意把它画得有点魔幻的感觉。这幅画是2012年底画的,当时都在传说世界末日(我是不信),恰好那时大理境内又有一些小地震发生,学校还经常组织学生防震训练,所以就画了一些特别不安的情绪和一些倾斜的房子在里面。画这个围巾的时候尽量不想让它太像现实中的围巾,很高兴你看出来了,这幅画就是有魔幻的感觉。

罗菲:为什么别针会出现在很多画里面?
苏亚碧:是一种视觉上的需要吧。

罗菲:这些别针都是开着的,没有闭合起来,在画面中是唯一一个很尖锐的东西。虽然整个画面很平静又很稳定,但还是有一点尖锐在里面。这是对你内心世界的隐喻吗?
苏亚碧:首先,从视觉上把针收进去的话,别针的造型就不好看,所以我还是喜欢这种带尖锐的造型。其次我还是喜欢这种比较低调的尖锐的东西。虽然整体很平和,但是还是保留了个性。对于个人来说,还是要保持一些比较个性的东西,比较尖锐的部分。

罗菲:你画画是为了什么?
苏亚碧:因为想表达,因为画画一直陪伴我很多年,早已是我生活的一个重要部分。画画是为了表达自己安静的情绪。

罗菲:你的画让人感到很有诗意。
苏亚碧:诗意是必须的,选择物品时就需要注意到这个。

罗菲:你是怎么实现诗意的?
苏亚碧:我觉得不是我实现的,有些东西天生就很诗意,当我看到它们的时候它们已经很诗意了。比如烟囱里飘出来的烟随着风轻轻缓缓的弥散。比如形状简单而精巧的别针,无论是打开还是怎样弯曲,它的造型依然是那么优雅。

罗菲:你也用铁丝等材料做作品,怎么开始尝试用其他材料的?
苏亚碧:08年一次偶然的机会在朋友家见她用细小柔韧的金属丝做首饰,我便参与其中。让我记起小时候我爸爸用细软的金属丝给我做一些小鸟的鸟窝,里面放上棉花球做的小鸟蛋,为此可以喜悦很长时间。我还记得小时候特别想用金属丝编一个花篮,但怎么也编不出喜欢的样子,也因此受挫难过。我觉得这个材料太好看了,它不能仅仅只是首饰。我就开始用金属丝编我画面上的物品,其实金属线本身对我没有任何象征意义,是“线”单纯而善变的特质让我很感兴趣。“线”的形态给我的感受是脆弱、无力、含蓄、多变的,有时像是触摸到某种心绪一样疼痛。金属线的可塑性很强,可硬可软,可曲可直,这种特性让我的作品有了更多的可能。
有时候我会怀疑自己太过保守,不敢从观念、形式或材料上突破和尝试。但对我来说,要做和自己没有关系的东西确实很难,我比较喜欢顺其自然地做作品。事实上我从97年到现在的作品还是有内在的变化和突破的。有的艺术家也是这样,表面上他们始终都在画同一类东西,比如莫兰迪,但整体看他的每个阶段又是有变化的。看到这些大师是这样做的,我就会更加相信自己。

罗菲:你认为自己的作品这些年发生了什么样的阶段性变化?
苏亚碧:从96、97年开始,大部绘画作品主要以日常物品、日常场景为主,媒介主要是布面油画和纸上作品两类。我很喜欢在画布上尝试一些绘画的常规材料比如炭笔、铅笔、丙烯等。我想绘画应该是自由的,但最重要的是它们能被艺术家放置在一个同构的层面上。1999年开始尝试一些纸上作品,一直都很喜欢在纸上作画的轻松、质朴感。铅笔在纸上的那种朴素感与我对“日常”的感受是最接近的。无论在画布上还是在纸上我都在寻找朴素而简单的“日常”。在绘画中我很喜欢用线条这种最简单、最本质的表达方式,所以2008年接触到金属线这类材料可以算一见如故。无论是用线条作画还是用金属线编织,“线”的那种即单纯又多变的矛盾特质最吸引我。2011年底参加了廖雯老师策展的《女红绣事》,开始了绘画、编织和刺绣的混合作品。

罗菲:你也是比较早参加诺地卡的国际项目的艺术家,比如2003年的“糖和盐”。现在回顾起来,这类项目对你有没有影响?
苏亚碧:参加“糖和盐”项目的并不全是做视觉艺术的,有文学的,写剧本的,大家在一起集体工作,当时带给大家的冲击和影响是非常大的,这种工作方式之前都没有过。我记得当时有一位瑞典艺术家与纺织有关,她用毛线编织成抽象的形状,再将编织好的织物浸到糖水里面,然后拿出来的时候,那个织物就立起来了。当时觉得太像魔术了,很好玩儿。“糖和盐”它揭开了我对材料幻想、尝试的一切好奇心。

苏亚碧《床》布面油画110x80cm 2014
苏亚碧《床》布面油画110x80cm 2014

罗菲:你参加了“糖和盐”还有2012年的“桥梁”两次国际协作项目,这两次项目时间跨度比较大,相隔十年。你第二次参加这种国际项目,觉得和之前有没有什么变化?
苏亚碧:有的,最明显的是第一次参加的都是女性艺术家,第二次就有男性艺术家参与进来。两次项目就工作方式和作品来说,第一次特别女性化,第二次特别男性化。当然,这样没有什么不好。参加“桥梁”项目的男性艺术家有你、和丽斌,还有几位瑞典的男性艺术家。两次项目的共性是瑞典艺术家无论男性或女性行动力都很强,个体更独立。“糖和盐”更强调艺术家之间的碰撞、协作和过程感,交流是在做作品和游戏中产生的。“桥梁”保留了艺术家个体的独立性也保留了共同协作的空间,与艺术家之间的交流从他们的作品以及拜访他们工作室的过程中产生,那种鲜活的陌生感是从未有过的。

罗菲:你认为区分男性艺术家和女性艺术家重要吗?
苏亚碧:这个不重要。但能感受到明显不一样,做“糖和盐”的时候我们没有什么计划,特别随性。“桥梁”项目的自发性和执行力特别强,中间没有给你打酱油的时间,项目分工明确非常高效。这种区别可能还是跟项目的特点有关系,“糖和盐”过程中的实验性和惊喜更多,经常有偶发事件,项目时间很长,跨度特别大,能有更多时间去尝试。

罗菲:你怎么看女性主义艺术?
苏亚碧:我觉得这是一种方式吧。

罗菲:一种策略?
苏亚碧:策略也谈不上,是不同的体验方式、视觉方式和表达方式。2002年孙国娟老师告诉我一个艺术活动“长征——在泸沽湖与朱迪•芝加哥对话”,整个活动的艺术家和作品都是和女性主义艺术相关的。这是第一次接触女性主义艺术的活动。现在看来女性艺术还是没有得到它应有的尊重和认识,经常会听到一些谈论女性艺术家的作品比如“太柔美了”、“太女性了”等等简单而表面的词汇,这样的认识还是依托于与男性艺术作为主导的对比中产生的,并没有将女性艺术家作为独立、完整的个体来解读。另外对女性艺术的认识太概念化,比如“柔美”、“繁琐”、“细腻”之类的视觉特质不是女性艺术的专属,一些男性艺术家的作品也有这些特质。

罗菲:你自己也经常去各地参加艺术活动,你怎么看云南的艺术家?
苏亚碧:云南艺术家关注的是和自己的生命有深切联系的事物,无论是对内心的关照还对外界的关注都非常尊重自己,没有刻意讨好谁的面貌。我非常喜欢云南艺术家。我在北京参加展览的时候发现在整个展览中云南艺术家的作品很特别,这种特别并不是显眼,而是因为作品很真诚,是发自内心的有生命的冲动和对环境的感动。

罗菲:艺术就是要表达个人内心吗?
苏亚碧:每个人对艺术的需要是不一样的。对我而言有时是为了内心的表达,有时是记录生活,有时是艺术语言的探索。同时,艺术还是要回到艺术语言的建构上,如果没有艺术语言的支撑,我们的内心和观念将不为人知,甚至是误解的。

Categories
边想边写

日常在诗意中冉冉升起

苏亚碧2010年裙子、镜子、刷子、梳子

日常在诗意中冉冉升起

——关于苏亚碧的艺术

文/罗菲

在许多人看来艺术似乎是“无用”的,然而艺术之所以还“有用”,就是因为艺术家为我们打开了一扇崭新的窗口,让我们从那些平凡得不能再平凡,琐碎得不能再琐碎的日常经验中看见另一层被遮蔽的现实:诗意现实。在那些表现诗意现实的艺术品中,它们往往提醒人们慢下来,凝视周遭并反馈给内心,内心再通过艺术这样的特定形式将其骚动不安的状况表现出来。

对心灵的表达是一些本土艺术家的共同关注,通过对心灵的描述和追问,艺术家完成了从手艺人到心灵守望者的升华。来自大理的艺术家苏亚碧即是其中一位心灵守望者。苏亚碧1998年毕业于云南艺术学院油画专业,自大学时期开始,苏亚碧着迷于描绘房间里的日常什物,如除尘用的毛刷、别针、衣柜、梳子、衣裙及梳妆台等家用物品。她以绘画和编织铁丝的方式为这些日常什物赋予个人化的情感和心智,编织起一层层诗意现实的薄纱。

苏亚碧绘画中的诗意,我理解是一种温和的漂泊感。那些画中的日常什物给人一种失重后在空中缓慢漂移,冉冉升起的印象。衣裙如梦游仙境,围巾如潮水涌出,别针总是不愿将最尖锐的那头藏起来。这样或那样的物品从抽屉和衣橱里出走,似乎要脱离既定秩序与中心格局,去寻求更加自由自在的状态。这一切都以某种温和的方式进行着,甚至以回忆的形式来描述它们的抗命状态,因为画面中总是出现相同的那几件与艺术家记忆深处有关的物品。它们从体制化的缺乏想象力的空间里挣脱出来,这种出游,即是抗命,即是漂泊。

因此我说那些什物都拥有了心智,成为对人存在状态的象征。在苏亚碧的艺术中,我看见人作为敞现诗意抗拒无意义的存在,人作为追求自由抗拒宿命的存在,人作为超越物质抗拒异化的存在。在这个层面上,艺术以看似“无用”的方式完成了“最为有用”的功效,即确信人作为精神性存在,并以此引起他人心灵的共鸣。

看苏亚碧的艺术,我们只需与她一道放慢脚步,凝视片刻,倾听内心。那一刻,日常在诗意中冉冉升起。

2014年10月16日夜

suyabi-poster-web

日常诗境——苏亚碧的记忆空间

策展人:罗菲
艺术家:苏亚碧
艺术评论:廖雯
学术主持:孙国娟
展览开幕酒会:2014年11月8日晚上8点
展览日期:2014年11月8日至12月3日(周日闭馆)
展览地址:昆明市西坝路101号创库艺术社区,TCG诺地卡画廊
主办:TCG诺地卡画廊
协办:大理学院艺术学院
电话:0871-64114692
网址:www.tcgnordica.com

日常诗境──苏亚碧的记忆空间

文/廖雯

2002年夏天我去大理避暑,昆明的艺术家孙国娟说,大理下关,有个女孩儿叫苏亚碧,画得很有感觉,你去看看。以我的书本常识,凡以“下关”命名的地方,都是天然形成的水陆交通要道,想来大理的这个下关也不例外。而当我从昆明坐了几个小时长途汽车,终于站在大理下关,眼前的景象却无论如何与“下关”这个名字带给我的想象对接不上。

记忆里当年的下关镇,只是一大片零乱的简易楼群,在明丽的苍山洱海之间显得格外狼藉。苏亚碧带我在她居住的小镇穿梭,我习惯性地调动所有感官感受这个新地方。以我特别的好奇心和观看能力,经常可以看见别人看不见的东西,而这个没有任何审美归属感的小镇,几乎没有可以着眼的细节。

那时,大约苏亚碧刚毕业不久,和几个年轻的艺术家合租了电池厂的一间厂房画画。印象中这间厂房几乎是空的,几根粗糙的水泥柱子歪七扭八,满地剥落的白灰墙皮七零八落,凹凸不平的水泥地,凹陷处甚至还汪着水,曲曲折折废铁料焊起来的防盗窗,无情地将窗外的蓝天白云切成碎片……几个年轻人的画,没有明显的分界,靠墙地下一溜摆过去,色调昏暗。

令我惊异的是,这种审美系统被彻底粉碎的、令人尴尬的风景,在苏亚碧画的画中却是别样的美好。苏亚碧以私密的视角,触摸着日常的零散事物,室内的衣柜、床、灯泡、门锁、衣裙、围巾、雨伞、梳子、刷子、拖鞋、别针种种,以及透过防盗窗的铁栏,从内向外可见的烟筒、高压线、电视塔、楼房、汽车、水龙头等等,从外向内可见的女人内衣、牙缸、暖瓶、钟表、椅子等等,都被散漫地放在画面各处,造型、比例、颜色、位置,都不甚合理(有些几乎是飘在空中),却完整地笼罩在一种细腻、温情、朴素的情调之中。画面的色调似褪色的旧照片,偶然有节制地使用灰度单色的画面,也如上色老照片,笔触塑形模糊、平面、散漫,仿佛是漫不经心地抚摸过记忆里细碎的物件,任感觉雾一样地流淌,在平庸和琐碎的日常中,为营造出诗一般的境地。苏亚碧称这些作品为《记忆日常》:“一直想用视觉日记的方式记录我的生活片段、我所经历的场景,在画布上用极为节制的颜色来还原它们的松弛与朴素(苏亚碧语)”。

之后,苏亚碧开始用一种精细柔韧的金属线,编织她反复画了多年的日常事物,平面的笔触变成了立体的编织。“编织”是女人最熟悉的方式,女人的日常生活很多是编织出来的,用线编织衣物、用竹子编织用品,用情感编织爱。编织对于女人不仅是一种制做形式,而是一种生存方式。苏亚碧用金属丝编织的日常物象,视觉上空而眩,“实在”仿佛被抽空了,一根一根看得见、摸得着的闪亮的金属丝,依稀勾勒出的物件形象,分明又与日常相连。我想,这亦虚亦实的意象,更贴近苏亚碧心中的“记忆”,而编织的类似修行的过程,“还原我的许多记忆(苏亚碧语)”,也结进了她日常的心境。

其实,描绘和编织,对于苏亚碧来说,心绪与手感的对应关系是一样的。苏亚碧的一些描绘和编织混合的作品,视觉和感觉上都更加细腻和丰富。

看苏亚碧的作品,我心底常常弥漫起一种温暖的感动。在这个信息纷乱、价值混杂的时代,在那个最平庸的小镇最无奇的日常生活中,能够保持诗一样心境和观看能力的女人,心底肯定有一份超常的美好和敏感。

2014年9月于宋庄

Categories
English Posts 边想边说

Her Poetic World and Passionate Mind: An Interview With Su Yabi

Her Poetic World and Passionate Mind: An Interview With Su Yabi

By Luo Fei, the Curator of TCG Nordica Gallery

Date: in the morning of July 5, 2014

Location: Dali Experimental Primary School

Luo: Could you please make a brief introduction about your art experience?

Su: I graduated from the Affiliated High School of Yunnan Arts University in 1994 and from the No. 2 Oil Painting Studio of the Department of Arts in Yunnan Arts University in 1998. When I was a student, I began to pay close attention to everyday objects around me in my painting and recently I stared to involve other materials in my works. Actually, these everyday objects in different stages are not the same for me in my heart.

Cabinet, Oil on canvas, 115x150cm,2012
Cabinet, Oil on canvas, 115x150cm,2012

Luo: What inspired you to draw these everyday objects?

Su: I was alone at the dormitory when I was in my university. The dormitory was particularly quiet, and many things scattered in the dormitory and windowsill. At that time, the view outside the window was not so charming, with not well-organized factory complexes and a big chimney, especially when the smog rolled up from it, a sense of melancholy devoured me, yet, it was poetic to me. I started to draw them in my sketchbook and Xuhui Mao, my teacher, caught a sight of it in his class. Then he carefully observed each page and asked some questions. He encouraged me a lot, driving me move on in the process of painting these objects.

Luo: Could you please share with me something about the brush in the picture?

Su: This long brush was used to make bed in my family when I was a child. As a scrubbing brush, it made beds smooth and tidy with just a gentle move. I thought its shape was unique and attractive, and full of magic, so I favored it at an early age.

Luo: How about the wardrobe with mirrored the scenery?

Su: While I was drawing the wardrobe, the indoor and outdoor scenes and objects were reflected in the mirror of the wardrobe, which formed a fancy vision.

Luo: Later, we see the tidal spindrift flowing out of the drawer in the wardrobe.

Su: It is just a visual change. Actually, it is a scarf, but looks like spindrift visually.

Luo: Yes, you portrayed it like tidal water pouring out, which filled with Magic Realism feeling. It recalled me the magic wardrobe in the movie “the Chronicles of Narnia” in which a world of myths exist.

Su: That is true; at that time, I was fascinated with this kind of painting. Therefore, I intended to make it look magic. I painted it in the end of 2012, which was regarded as the doomsday by a large number of people even if I did not believe it. In addition, some small earthquakes happened several times in Dali and some precaution trainings against earthquake were frequently organized at school, so some anxious mood and inclined houses were expressed in it. However, when I was portraying this scarf, I tried to avoid its real appearance as far as possible. I am glad you can sense its magical feeling.

Luo: Why the pin appears in many of your paintings?

Su: Well, it is a kind of visual needs.

Luo: These pins were open which are the only sharp-pointed ones in the pictures and can cause harm to a person if he is careless. Although the entire painting is very calm and very stable, there is always a sharp-pointed object inside. Is it a metaphor for your inner world?

Su: First, it is for the aesthetic account. If it is closed, it will not look like as beautiful as the open one. In addition, I prefer the low-key objects even if it’s sharp. It is peaceful as a whole, but also retains the unique character. Just like human being, keeping one’s personal individuality, the pointed parts, do matters.

Luo: What do you want to express through your paintings?

Su: I want to express myself by drawing, which has become a very important part of my life and has already accompanied me for many years.

Luo: Your paintings are filled with poetic feeling.

Su: That is what I focus on when selecting the items to describe.

Luo: How do you make them full of poetry?

Su: I don’t think it’s I who make them poetic, but they themselves are full of poetry. For example, the smoke rolling up from the chimney gone with the wind gently and slowly is poetic, so is the simple and delicate pin, whether it’s open or curved, it is elegant.

Luo: Some of your works are made of iron wire, when did you start this?

Su: One day in 2008, by chance, I saw some friends making jewelry with tiny and pliable metal wires at a friend’s place and I joined. It recalled me the bird-nest that my father made for me when I was a little girl. With some cotton bird eggs in, it once brought a sum of happiness for my childhood. I earnestly wish that I could make a basket in metal wire at that time but failed to make it as I wish, which frustrated me. That day in my friend’s place, I realized the key to this material. Its function is not only restricted in decoration and then I fall in love with it. There was no symbolic significance in the metal wires of my paintings. What intrigues me is the simple and flexible character of the wires. The thread is closely related with fragility, inability, fickleness in my world, but the metal wire is ductile, which can be hard or soft, straight or curved, adding the creativity of my works.

Sometimes I doubted myself for being too conservative to make a breakthrough whether in concepts or the materials. However, for me, it is too difficult to create or design something that is not related with my daily life. If I betray my heart, I will fell a sense of splitting up with the reality. In fact, even if I have been keeping painting everyday objects since 1997, I did made some adjustments and breakthrough in each stage with an overall look. Since the masters did so, I began to trust myself and be brave again.

Luo: What do you think of the detailed changes in your work over the years?

Su: I have focused on painting everyday objects or everyday scenarios starting from 1996, in canvas and paper. I tried to use conventional materials, such as charcoal, pencil, propylene in the canvas. Painting for me should be free, and what matters is all of these can be placed in the same isomorphic level. In 1999, I began to draw on paper. The relaxing and unadorned style attracted me greatly. Moreover, it is closest to my everyday life. I have been looking for the simple and ordinary “everyday feeling” no matter in the canvas or paper. In 2008, I felt like seeing an old friend at the sight of the metal wire at my friend’s place because the line for me is the simplest and most essential expression way. Whether painting with lines or weaving in metal wires, what draws in me is the contradictory feature of being simple and feasible. I joined the Needlework with Wen Liao as the curator, initiating the creation of works blending drawing, knitting and embroidery.

Bed, Oil on canvas, 110x80cm, 2014
Bed, Oil on canvas, 110x80cm, 2014

Luo: You are one of the artists who took part in Nordica International Project very early, such as “Sugar and Salt” in 2003. Looking back this project, how do you evaluate this project? What is the effect on you?

Su: The participants not only included the artists but also litterateurs, scripter. People from different fields assembled, working together, which was fresh for all of us and deeply affected us. I still remembered clearly that a Swedish artist, whose work is designing with textile, knitted a non-objective figure in woolen yarn then immersed it into the sweet water. After a while, it became erect after taking out of the water. It was so magic and funny, which triggered my curiosity about everything, especially the materials.

Luo: Except that, you also took part in another project- Bridge in 2012, with 10 years’ span. Is there any changes compared with the former one?

Su: Yes, the most obvious one is that all the artists are female in the first time while there were some male artists joined for the second time. As for the manners of working and works, one is feminine while the other is rather masculine. Of course, I like both of them. Libin and you also attended in “Bridge” project with some male Swedish artists. The common character is all the Swedish artists of both projects, both male and female, are more independent and more active. In “Sugar and Salt”, the impact and collaboration between artists were emphasized, and communications were carried out in games or in the process of creativity. While in “Bridge” project, we worked more independently to keep individuality. In addition, they also provided us opportunities to collaborate jointly. We could pay visits to their studios in Sweden, which filled with freshness and strangeness.

Luo: Do you think is it important to distinguish female artists and male artists?

Su: I don’t think so. However, I feel obviously different. In first project, we did not have any detailed plans, so we advanced the project at will. However, in “Bridge” project, each person had to finish the tasks allocated high-efficiently. The division of labor was very clear and you have no time to waste. The differences might be related to the characteristics of the projects. In “Sugar and Salt” project, we got more surprises in the process of continual experiments, for the project spanned a long time, which granted us more time to try. Moreover, the field of Nordica was large enough for us to do more experiments.

Luo: How do you think of the feminist art?

Su: I think this is a manner.

Luo: Is it a strategy?

Su: It’s not a strategy but a way to experience, to see and to express. In 2002 Guojuan Sun told me all of the activities and artists in “Long March-A Dialogue with Judy Chicago in Lugu Lake” are related with feminist art. This was my first contact of feminist art activities. However, even now, the feminist arts still fail to get her due respect and understanding, for we often heard people describe the works of some female artists “too soft” “too feminine” or any other superficial vocabularies. The female artists were just regarded them as the setoffs of the male artists, rather as an independent and integrated individual. In addition, the concept of feminist art is too conceptual and often is misinterpreted, the characters such as ‘soft’ or ‘tedious’, ‘exquisite ‘are not the elusive to female artists. Some male artists also have these features in their works.

Luo: You often went to participate in some exhibitions held in other places, what do you think of Yunnan’s artist?

Su: They pay close attention to everything closely connected with their life. They respect for themselves, and do not ingratiate themselves with anyone. I really appreciate the artists in Yunnan Province. When I attended the exhibition in Beijing, I found their works special. They were not eye-catching and conspicuous at first sight, but they were full of sincerity with immersed love for life and warmth touched by the environments.

Luo: Is art to express one’s inner world?

Su: Everyone’s need for art is not equal. For me, art is to express myself, to record life, or to explore the artistic languages in different phases. It changes with my experiences. In addition, the other important factor is what I want to express in the bottom of my heart. As for the way how you express it, it is advised to go back to the construction of artistic language. If there is no support of the artistic languages, our minds and ideas will be unknown, even misinterpreted.

Categories
折腾项目

非常日常•贰——薛滔2014年个展

xuetao-poster-500

非常日常•贰
——薛滔2014年个展

策展人:罗菲
主办:TCG诺地卡画廊
开幕酒会时间:2014年7月11日晚8点
展览时间:2014年7月11日至8月30日
地点:昆明市西坝路101号,创库艺术社区,TCG诺地卡画廊
电话:0871-64114692
网址:www.tcgnordica.com
www.xuetaoart.cn

有关薛滔2014年个展“非常日常•贰”:

2001年创库的成立带来了云南首次集中的艺术家群体实验,其中群展“体检”(2002)、“羊来了”(2002)和“影子”(2003)将本土70后艺术家的整体面貌向公众充分展现。随后他们以群体方式出现在上海、北京等地,云南新生代的艺术力量得到迅猛发展。薛滔作为这时期成长起来的实验艺术家、活动策划人,产生了非常重要的推动作用。

薛滔1975年生于云南大理,1994年在大理创办云南首个现代艺术群体“红心社”,2005年在北京创建“候鸟天空”艺术空间,积极推动云南艺术家与各地的联络。2012年他从北京回到昆明,积极推介本地新兴艺术家,为年轻艺术家撰写文章。作为活动组织人、策划人、联络人,他为云南本地艺术家做出了极大的贡献。

薛滔的学艺经历在70后艺术家中具有代表性,他从传统学院艺术起步,学习色彩与造型,采用现代主义理念与方法进行创作,之后进入全球化情境中的当代艺术,用个人化语言表达全球化语境中的艺术关切。薛滔自2000年以来始终采用报纸创作装置作品,其作品具有明确简练的形式和厚重感,为普通的报纸赋予十分特别的陌生效果。薛滔在三个层面展开了形式实验:有关时间的形式,有关能量的形式以及有关语言的形式。

薛滔曾代表中国艺术家受邀参加2007年至2008年在欧洲巡展的“中国电站”艺术展,该展览集中呈现了中国艺术家的新生代力量,获得广泛影响。薛滔也于2008年参加欧洲极负盛誉的法国圣•艾蒂安设计双年展。

薛滔于2007年在上海、北京举办首次个展《非常日常》,时隔七年,他将首次在家乡云南展示他的报纸类装置作品个展《非常日常•贰》,并在曾经举办过“体检”和“羊来了”等云南实验艺术的重要阵地TCG诺地卡画廊举办。这次展览将集中呈现薛滔自2007年以来的14件代表作,这将是云南首个装置艺术的个展,由此见证他在艺术创作上的持续探索。

展览将于2014年7月11日晚上8点在TCG诺地卡画廊开幕,我们诚邀您拔冗参加,欣赏一场装置艺术的盛宴!

相关文章:

《薛滔的形式实验》

《薛滔访谈:当代艺术在云南》

xuetao-ding

Extraordinary Daily: Xue Tao Solo Exhibition 2014

Curator: Luo Fei
Host by TCG Nordica Gallery
Opening: 8pm, July 11, 2014
Exhibition Duration: July 11 – Aug 30, 2014
Address: TCG Nordica, Chuangku, Xibalu 101, Kunming, China

The launch of the Loft in 2001 started putting the collective experimentation of Yunnan’s artists on stage for the first time. Among them were the group exhibitions like “Experience” (2002), “Sheep is coming” (2002) and “Shadow” (2003) that showcased to the public the overall outlook of Yunnan’s post-70s local artists. Later on, they made their presence known collectively in Shanghai, Beijing, and other cities. A new generation of Yunnanese artistic forces had witnessed a dynamic development. Xue Tao, being one of the experimental artists and event planners from this period of time, has had a very important role in promoting this development.

Xue was born in 1975 in Dali, Yunnan. He founded Yunnan’s first modern art community – the Red Heart Commune in Dali and later on the Migratory Sky Art Space in Beijing in 2005. He has always been actively promoting interaction between Yunnan’s artists and those from other places. He moved from Beijing back to Kunming in 2012 and devoted his efforts to introduce local emerging artistic talents, and to write articles for the young artists. As an event organizer, planner, and contact person, he has made great contributions to Yunnan’s local artist community.

Xue’s artistic journey was typical among the post-70s artists. He began with the traditional academic arts, picked up the languages of colors and models along the way, and started to make art with modernist ideas and methods. After entering into the contemporary art in the context of globalization, he employs personal language to express his artistic concerns in such a scenario. Xue has been creating installation works with newspapers since 2000. With clean and concise forms and their unique heaviness, his works add to the ordinary newspapers a special effect of unfamiliarity. Xue approaches the form experimentation at three levels, namely the forms concerning time, energy and language.

On behalf of the Chinese artists, Xue was invited to participate in the European Tour of the “Chinese Power Plant” Art Exhibition in 2007 to 2008. This Exhibition highlighted the power of China’s younger generation artists, and it was highly acclaimed. Xue also attended one of Europe’s most prestigious art events – Biennale Internationale Design Saint-Étienne 2008 in France.

Xue held his first solo exhibition – “Extraordinary Daily” in Shanghai, Beijing in 2007. Seven years later, he is to present his newspaper installation solo exhibition “Extraordinary Daily II” in his hometown – Yunnan. The location is exactly where Yunnan’s experimental art projects such as “Experiences” and “Sheep is Coming” were held – TCG Nordica. This Exhibition will focus on 14 representative works of Xue’s since 2007. It’s going to be his first installation art exhibition in Yunnan, testifying the ceaseless exploration in his artistic creation.

The Exhibition will be opened at 8 P.M. on July 11, 2014 at TCG Nordica. We would like to cordially invite you to join us for a feast of installation art!

Related Post: Xue Tao Interview: Contemporary Art in Yunnan

Categories
边想边写

薛滔的形式实验

薛滔作品《同胞》,2011年
薛滔作品《同胞》,2011年

薛滔的形式实验

文/罗菲

2000年后,实验艺术在云南的发展有两个重要节点,一个是2001年创库艺术社区在西坝路101号的成立,该社区由艺术家和艺术机构自发组织成立,成为中国最早的艺术社区之一。作为昆明的艺术文化中心,它极大促进了本地艺术家们的群体实验,本地艺术家与国际艺术家的协作以及艺术界与公众的交流。另一个是2005年至2006年的“江湖”系列艺术活动,该项目聚集了各地实验艺术家,以极其活跃的方式在各类场所开展艺术现场,融入大量民间娱乐和游戏精神,发展出极具市井气息和庆祝美学的先锋派样式。这两个节点都见证着本土艺术家们在实验精神上的自觉推进,为中国当代艺术的发生、发展提供了独特的考察价值。

创库初期是云南艺术家群体实验的首次集中爆发期,其中群展“体检”(2002)、“羊来了”(2002)和“影子”(2003)将本土70后艺术家的整体面貌向公众充分展现。随后他们以群体方式出现在上海、北京等地,云南新生代的艺术力量由此得到迅猛发展。薛滔作为这时期成长起来的实验艺术家、活动组织人,产生了非常重要的推动作用。

薛滔1975年生于云南大理,1994年在大理创办“红心社”艺术家群体,2005年在北京创建“候鸟天空”艺术空间,推动云南艺术家与各地的联络。2012年他从北京回到昆明,积极投入到推介本地新兴艺术家的工作中,为他们策划展览,撰写文章。作为活动组织人、策划人、联络人,他为云南艺术家所作的贡献已广为所知。

这里要来讨论下身为实验艺术家的薛滔。作为艺术家,他自2000年以来始终采用报纸创作装置作品,其作品具有简练明朗的形式和厚重感,为报纸赋予了特别的陌生效果,我想这是艺术家在形式方面努力的结果。因此从形式实验的角度看,薛滔至少在三个层面展开了探索:有关时间的形式,有关能量的形式以及有关语言的形式。

首先看有关时间的形式。报纸作为发布信息,传播思想的媒体在全面进入数字时代的今天已日渐式微。在今天,信息发布与传播变得越来越自由,信息流的发生越加密集,以致难以留下可触摸可嗅到的信息本身:油墨里的文字与图像。报纸作为传统工业社会的三大媒介之一(另外两样是电视和广播),它是唯一使得信息可直观存留于时空中的媒介,这个社会所发生、宣传和思考的一切如确凿证据登记在报。薛滔的创作,正是对这些信息的证据进行重新塑造,将报纸拧成绳状,再根据不同的结构搭建、堆积成不同的物体,如“椅子”、“挂毯”、“核”、“柱”、“帐篷”、“鼎”等。这些物体并不具备实用性,并且随着时间的推移,它们会变得越加脆弱、泛黄、褪色甚至受到损毁。这些作品的物理生命及其刊登的信息将渐渐衰老,这是薛滔作品的时间性特质,是一种有关时间的形式实验。在这种形式面前,观众会产生一种有关“过去”的意识,有关“旧”的意识,有关“消亡”的意识。在数字时代,信息从不老去,也不会被损毁,只会下沉,所以才需要人们不断点赞。在薛滔的实验中,时间的形式在报纸这样有限的媒介上被充分证实其存在,以此唤起观众对物质世界“永远不变”的期盼。

薛滔通过长时间繁重密集的手工劳作,把报纸拧成捆,用铁丝铁架搭建框架,再将拧好的报纸牢牢包裹在结构上面。这种方式克服了观念艺术中那种简单挪用的智力游戏,他秉承了艺术这一古老行业中对双手的颂赞传统。这是艺术家区别于哲学家、科学家等其他角色的根本性体现:用双手制造形式及其意义。这在多位云南实验艺术家身上都有所体现,如和丽斌、张华、孙国娟、雷燕、苏亚碧等,他们注重双手对材料的塑造和双手留下的情感痕迹。薛滔双手对废旧报纸的处理方式也为平凡物赋予了一种恒定的能量,他对报纸的拧与捏,以至他的情感、意志都被双手塑造于作品的体感之中,这即是人们常说的有体温的作品,也是薛滔作品打动人的地方,犹如表现主义绘画留下的笔触。我认为这也是薛滔作品最独特也最有难度的地方:如何始终保留双手的能量在作品上?使那些本来就会变形脆弱的报纸不会因时间而减弱,这比绘画更难,因为绘画作为能量的痕迹已经在那里,而薛滔的装置是要想办法留住最初的那种能量。它有时更像雕塑,给人一种恒定的存在感。我认为他主要是通过对单件作品的结构处理以及空间展示方式上的处理,来唤起视觉上恒定的能量感。犹如极简主义大师封塔纳(Lucio Fontana)在画布上切割的那一刀,半个多世纪过去,仿佛作者刚刚撒手离去,画布始终饱满地绽放在那里。因此,如何用双手为平凡废旧物赋予一种恒定的能量,这是薛滔对能量的形式实验。

薛滔的学艺经历在70后艺术家中也具有代表性,他从传统学院艺术起步,学习色彩与造型,然后用现代主义理念与方法进行创作,之后进入全球化情境中的当代艺术,用个人化语言表达全球化语境中的艺术关切。薛滔的创作,从2000年至今,也呈现出这样一种从现代主义艺术向当代艺术的转向,从做一个《太阳》(2002)到做《一捆》(2008),即从再现/表现能力向个人语言能力的转向,从“像一个物体”到“是一个物体”的转向,从“像一件艺术品”到“是一件艺术品”的转向。由此,薛滔的艺术语言走得越加开放和个人化,以致近期多件作品不再是传统意义上的雕塑或者装置,而是一次次观念行动的结果,如每天撕碎报纸的《如来神掌》(2013)和舂出来的《国情咨文》(2012)。通过对语言的形式实验,薛滔扩展了自己的方法论,材料的可能性,观念和形式的力度,其成果令人赞叹。

薛滔的艺术不止在形式实验上下功夫,在精神性(spirituality)、观念性、社会性和展示方式等层面也值得我们作进一步考察。这里之所以对形式实验稍加阐述,是因为中国当代艺术自上世纪九十年代以来,对现实问题的关注大过对形式问题的关注。并非对现实的介入比形式实验更次要(有时甚至更急迫),但我认为艺术的核心任务仍旧是对形式的更新,形式更新能让艺术对现实的介入变得更加敏感而锋锐。正因为此,薛滔的形式实验十分难能可贵。

薛滔作为2000年后云南重要的策展人和艺术家,从他那里我们可以窥探到中国当代艺术发展的独特境遇,本土当代艺术的活力以及作为艺术家的智慧与信念。

我把薛滔放在“云南当代艺术”的叙事逻辑里来介绍,不是因为他只是一位在云南活跃的艺术家和策展人,更不是因为他的作品有何种典型的云南特色,他的形式实验早已突破这些藩篱,他的作品早已在国内外重要双年展和艺博会上被介绍。正因为他多年在北京生活工作以及在国际上的展览经历,才促使我思考,他和那些有类似经历的艺术家会如何把外界的生存经验、文化碰撞和艺术探索带回到云南本土?他们的本土经验又如何被带入到全球化的当代艺术实践中?我看到,像薛滔这样的艺术家和他的同仁们,通过艺术实验、策划与写作,正在推动一轮地域性当代艺术的自主叙事,这将是中国当代艺术接下来十年甚至更长时间被关注的理由。

2014年6月29日