“和好与恩典”艺术节(挪威)

受挪威策展人Barbro Raen Thomassen及挪威利勒桑市艺术协会邀请,中国艺术家朱久洋、苏亚碧和罗菲将参加2017年4月1日在挪威利勒桑市举办的“和好与恩典”艺术节。其中包括“和好与恩典”艺术展,展览由上述三位中国艺术家及三位挪威艺术家Julie Arntzen, Laila Kongeyold和Gunnar Torvund共同参与。
艺术节将于4月1日下午2点在利勒桑美术馆开幕,开幕式上安排有罗菲的第一场行为表演。4月1日至4月6日期间有来自欧洲的艺术评论家、策展人、艺术家、诗人分享交流欧洲艺术传统中的相关精神表达,其中4月5日由中国艺术家、策展人罗菲分享关于中国当代艺术里的相关精神性议题。艺术节将于4月16日的复活节当日闭幕,分别安排有朱久洋与罗菲的行为表演。
此次艺术节正值北欧国家纪念马丁·路德宗教改革五百周年,各地都在举办相关的活动,今年整个的主题是“和好”。
​昆明TCG诺地卡文化中心作为此次艺术节的合作方,自1999年创办以来一直关注东西方跨文化交流,推动本地区当代艺术的发展。罗菲作为TCG诺地卡文化中心的艺术总监,与北欧国家的艺术界有着频繁而密切的文化交流,长期参与并主持本地当代艺术的国际交流。艺术家苏亚碧也曾于2003年受邀参与TCG诺地卡“糖和盐–中国与瑞典的艺术协作项目”,2012年参与中国-瑞典艺术家“桥梁”交流项目,并在瑞典乌普萨拉美术馆等地举办展览。艺术家朱久洋曾于2014年参与TCG诺地卡在丹麦、挪威等地举办的“先知性艺术”论坛,长期参与和主持中国当代艺术里信仰与艺术的对话。

朱久洋《落水者》个展短评

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朱久洋《落水者》个展短评

文/罗菲

朱久洋的“落水者”系列延续着他近十年来在终极追问方面的精神诉求,并发展了他个人化的绘画语言风格。在2007年《失落的记忆》系列油画中朱久洋描绘了大地和海面上的不断涌向天上高歌赞美的人群、和睦的夫妻、彼此洗脚的弟兄……而今“落水者”系列油画手法更加凝练,平面化的色域,极具张力的红蓝搭配,无处不在的汹涌的海浪……其雕塑作品《落水者》的原型更是来自油画《“失落的记忆”系列W》,一个在大海里手握浮木表情坚毅的男人——那似乎是他自己。

朱久洋是中国当代艺术领域在表达终极关怀方面极具代表性的艺术家之一,他擅长以悲亢、激昂、浪漫和民俗化的手法来描绘人的处境。他的艺术情感饱满,画面苍茫而沉郁,这与他曾在陕北高原放牧的成长经历有很大关系,他以视觉艺术的方式传唱着辽阔大地上的信天游。

和许多这类宏大叙事的作品不同,他在作品中极力引入基督教的救赎意识,他作品中的形象往往指涉现实和灵性两个层面,他们既是自己,也象征着人的灵性处境,就是人与上帝的关系。正如此次个展上的“落水者”既是那些落入水中受困的人,更是行走在水面上充满信心的信仰者。其行为表演《盲人宣言》(2015)里的盲人以陕北说书方式吟唱《世界人权宣言》文本,也象征着黑暗困境中的人对公义和自由的竭力呼求。《迷途的羔羊》(2013)里的一千只羊更是直指人类的迷失,以及为人的罪而受被挂在十架上的羔羊耶稣基督。《等到和好的那一天》(2014)里被惨遭杀害的女孩父亲在孤独地等待与杀人者的家人和好,正如圣子耶稣被人羞辱残杀,悲痛欲绝的天父却来寻求与人和好那样 ……

朱久洋的艺术通过这些具有象征性的画面来讲述人与上帝的故事,有着强烈的基督教存在主义气质,他通过描述人的处境对人当下的虚无处境发出深刻批判,他将人的无助和荒诞显明出来。他拒绝理性自明,却选择以“信心的一跃”来回应“那人,你在哪里?”的远古召唤。朱久洋的艺术充满人的悲亢和孤独,却隐含来自永恒者义无反顾的爱与怜悯。

2015年9月29日

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《落水者》 朱久洋个展
Drawing person – The Solo Exhibition of Zhu Jiuyang

策展人:郭宇宽
执行策展:舒昌莉
展览时间:2015.9.13—2015.9.28
开幕时间:2015.9.13 15:30
展览地址:上空间(北京市798艺术区陶瓷三街)
策展机构:NO装艺术联盟 三板斧艺术策划工作室
支持单位:三板斧艺术基金 《三板斧艺术评论》杂志

On Zhu Jiuyang’s Declaration of the Blind

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On Zhu Jiuyang’s Declaration of the Blind

By Luo Fei
Date and Time: February 6, 2015, 10 p.m.
Dialog: Over QQ Voice Message

Note: “The Declaration of the Blind” – the latest conceptual art by the contemporary artist Zhu Jiuyang – was premiered at the 99 Art Gallery and the Four-Dimension Art Space in Beijing on January 18 and 19, 2015. Five blind folk storytelling artists from Northern Shaanxi reinterpreted the full text of the “World Declaration of Human Rights” (hereinafter referred to as the “Declaration”) with their dialect. I had a dialog with Zhu Jiuyang on the background and the expression of his concept for this performance.

Luo Fei: How did you get to know these five blind people from Northern Shaanxi’s Yanchuan County?

Zhu Jiuyang: Years back, I watched the “Blind Storytellers”, a documentary by a young director Bai Zhiqiang. That was about a blind storytelling team from the Qingjian County in Northern Shaanxi. I was great touched and would like to one day work with them. Initially, I was thinking of inviting that group of blind people to perform. They used to be the members of the Performing Arts Propaganda Team during Mao Zedong’s era. However, they are too old now, and it’s rather difficult for me to work with them. Later on, Mr. Bai Zhiqiang introduced me to Mr. Cao Baizhi, a famous talking and singing artist in Yan’an. He then introduced me to this blind storyteller team. They come from Yanchuan, performing with Piba, or Chinese lute, while the previous team played with three-stringed instruments. Among five of them, only one can see a little bit.

Luo Fei: What did they normally sing previously?

Zhu Jiuyang: They used to sing Northern Shaanxi’s folk tales, plus they have been a self-organized Performing Arts Propaganda Team in the county.

Luo Fei: For this project, you spent three years traveling back and forth between Beijing and Northern Shaanxi.

Zhu Jiuyang: That’s right. Back and forth for three years. I thought it was going to be very simple, kind of like as long as I give them the “Declaration”, then they would go ahead and do it. Then I realized that’s not the case at all. It turned out that the adaptation of the “Declaration” into Northern Shaanxi storytelling performance required professional skills and was time-consuming. Because Mr. Cao was busy at that time, I literally said, for a couple of times, forget about it. Being generous, Mr. Cao agreed to help me with it in the end. Besides, it’s not easy to communicate with the blind team, as the ways of both thinking and working differ greatly from person to person. And the content for them to sing was totally new. The stories they were familiar with were the ones that have been passed down from generation to generation, those were easy to remember. There were also those songs that have been composed by the government about parsing socialism. They were all easy to remember. However, this was different in that it’s foreign to them and difficult to remember as there’s no plot in the “Declaration”. Mr. Cao was the only person who can talk to them. It occurred to me later that apart from him, I could have never been able to finish this project.

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Luo Fei: Could they understand your idea and cooperate actively?

Zhu Jiuyang: We practiced for a long time back to their hometown in Northern Shaanxi, but only one day at Beijing. That’s their first time to Beijing, and nobody really took them seriously back to their hometown. Mr. Cao explained the project to them and encouraged them to come over. I personally offered them financial support. Initially, only three of them wanted to come. Later on, as I said I could pay their air tickets and took them to the Tiananmen, the other two agreed to come too. It’s their first time to ride on the plane, and first time to Beijing. I also promised to take them and show them around at the Tiananmen Square. Actually they could not see anything there, so we just walked around the Square. At least they had their wish fulfilled.

Luo Fei: Did they feel something special when they sang this “Declaration”

Zhu Jiuyang: To begin with, it was a performance without plot, so it’s difficult for them to memorize. Then, some of them were worried whether they would be in trouble because of this. To which I told them that China is also a member of the United Nations, as well as a party of relevant treaties. Of course, they became understand the idea of the “Declaration” while working on the project and lamented that: “Oh, all humans are equal?!” I never specifically asked about their understanding on rights and they have never heard of the “Declaration”. Perhaps it all best summed up in one of the lines they sang: “Well, there’s never equality any time.” Perhaps they have felt something in the whole process. As one repeats one phrase again and again, it would press and influence his/her heart and mentality with something. This is the significance of the project from another perspective.

Luo Fei: Do you think they will take the “Declaration” back with them to their mountain areas in Northern Shaanxi?

Zhu Jiuyang: No one likes this at the grassroots level. They prefer those that are interesting and amusing. This is not fun.

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Luo Fei: The “Declaration” is a text composed of a total of thirty provisions, while traditional Northern Shaanxi storytelling is primarily about contents that are telling stories and entertaining. Are there any challenges for the audiences?

Zhu Jiuyang: For one thing, subtitles were not offered to the audiences, so they did not really understand what was going on. And I did it on purpose. Because, to me, this was primarily a project, not a show, so work was very ironic. It was indeed difficult for the audience to sit in a factory building without heater and to finish watching it. Fortunately, it went rather well with the live performance!

Luo Fei: It is the interestingness and the seriousness of the “Declaration” that formed the sharp contrast, and that in turn rendered the irony to the “Declaration”, as the traditional “storytelling” actually talks about fictional stuff. Besides, as I was watching them performing, it seemed as if the leading Pipa performer was on a rock show.

Zhu Jiuyang: That’s right. In fact, I have always thought that the folk arts in Northwestern China have very strong characteristics of modern music, like the folk songs, storytelling in Northern Shaanxi, and even the Qinqiang (or Shaanxi opera). Their talking and singing are actually the direct expression of their heart.

Luo Fei: Compared with other works of yours, what are the major inspiration and challenges?

Zhu Jiuyang: Mainly the relationship between the stage, music and contemporary art. Both the stage and music are unfamiliar to me. I dragged the stage and music into my works, yet could not present them as a show, and it was a performance art after all. It’s rather difficult to keep the boundary, as it could easily become a show if you were not careful. Apparently it’s not bad to have made it like a show! Why can’t it be a piece of work at the same time?

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Luo Fei: Looking at your personal creation course, you’ve been very good at introducing the scenarios and objects of your life experience, such as the flocks in your paintings and performances. For this time round, you introduced the blind storyteller team from Northern Shaanxi. From the perspective of Christian arts, you are expressive in your rendering of religious imageries. The paintings and on-site work – the “Lost Sheep” (2010), for example, obviously managed to introduce the Christian idea of “lost sheep” to the viewers. Likewise, the blind people have special connotation in the New Testament, suggesting the objects that are pitied and healed by Jesus. Jesus’s parable on the blind leading the blind was to teach the absurdity of the dead end of self-righteousness. The Blind Leading the Blind (1568), a famous distemper on linen canvas, by Pieter Bruegel the Elder was an excellent work on this theme.

Zhu Jiuyang: I think this is a special religious experience of mine that most of other artists lack. The voice of sheep in the “Lost Sheep” was a strong metaphor, pointing to a state of mankind. This time, the blind also meant to be metaphorical. According to the biblical narrative, we are all blind, thus cannot see the truth. So the metaphor of the blind is what I would like to address. This is the very thing I’ve been seeking, that is why my works do not specifically aim at any political view but humanity. It’s because in the problem of mankind, they are in nature political too. This will make the work more profound.

Luo Fei: That’s what brought the multiply levels of publicity in your works, being political or concerning public life for one thing and spiritual the other. The very act of the blind singing the Declaration on Human Rights has become an imagery of how the spiritually blind yearn for care and freedom. We know that the direct cause for people to draft the “Universal Declaration of Human Rights” was their reflection on the World War II. So, you made the “Declaration of the Blind” to discuss the reflection and longing for the beautiful existence of human being after men’s departure from God and escape from the Garden of Eden. Do I understand this right?

Zhu Jiuyang: In fact, the “Declaration of the Blind” was not just an expression of the reality, and I never give voice to any political situation. The truth is that I did it more from the perspective of humanity, while mirroring this problem somehow in some way. And ultimately it is an inquiry into human being itself. Aren’t we blind too? In today’s society, how far we are away from the right of true freedom. While the blind is singing to the sighted the rights and freedom of human being, isn’t it the same as enquiring our own hearts?

Luo Fei: Be it the live performance for the “Lost Sheep” or the “Declaration of the Blind”, you have introduced the most marginalized and strange objects to urban life, herds of nomadism for the former and folk storytelling from the mountainous region for the latter. It created a tremendous tension on the site, and formed a sort of confrontation. In the “Lost Sheep”, for example, the hanging sheep was unceasingly moaning and bleating, coupled with the tension between the wolf masked sheep and the rest of the flock. Those blind people performed in the “Declaration of the Blind” were a group of people from the bottom of the society with little education. With a group people joyously singing “Declaration of Human Rights”, just like the bleating sound of the hanging sheep, causing people to watch with embarrassment and anger. I think you have handled the absurdity of the rite well, and it’s like some of the scenes in your paintings. Whether it’s the bleating lamb hanged up in the air or the blind people singing the “Declaration on Human Rights”, they have been place at the center of a theater to be watched, or even be spitted on. It’s absurd and sacred at the same time, just like when Christ was crucified on the cross. It is not the strong that speaks out loud, but the weak that has been scorned at – the helpless lamb and the sightless and unprotected blind – this is what makes your works “absurd”. And its sanctity lies in their effort to give voice for others in spite of their suffering.

Zhu Jiuyang: When the artists look for resources and materials to apply in their creation, they are inseparable from his personal life experience. One winter evening many years ago, I was walking on the darkening road in the countryside. The air was mixed with the smell of soot, then I heard a still small voice: “Delicious konishii-” I saw a man, bending over, was dragging a cart while repeated breathing that one sentence. The small voice was cut to my heart. It occurred to me at the moment that the gentlest voice turned out to be most powerful one.

Luo Fei: Thank you for your sharing!

About “Declaration of the Blind”:
Artist: Zhu Jiuyang
Work: “Declaration of the Blind”
Formats: On-site Photograph, Video
Cooperating Artists: The Blind Storytelling Team from Yanchuan County, Northern Shaanxi
Performance Venues: Beijing Song Zhuang 99 Art Gallery, Original Four-Dimension Art Space
Props: Stage, white cloth, storyteller instruments
Content: “Universal Declaration of Human Rights”
Adaptation: Cao Baizhi
Length: About 40 minutes

Zhu Jiuyang: Waiting for that Day of Reconciliation

Waiting for that Day of Reconciliation
An interview with Zhu Jiuyang

Note: Early in the morning on June 4, 2013, I got a phone call from Zhu Jiuyang in Beijing. He introduced me to his current work-in-progress, a piece related to the Yao Jiaxin case.[1] He described how in this work, he wanted to incorporate reflections on the concept of charity, and asked whether I’d be willing to write something about this. He had plans to organize a seminar with Su Xiaohe (an independent literary critic and writer on fin economics) and include the participants’ discussion as part of the work itself. It’s an extremely timely discussion to be having in this day and age, and one of great importance. I realized that this work of Jiuyang’s was destined to be an ambitious, controversial experiment that would require me to reflect on the possibility of mixing Chinese contemporary art with current events and personal development.

At 9pm on the evening of June 5, 2013, we had the following QQ conversation.

Luo Fei: This work of yours reminds me of Wang Nanming’s book “The Rise of Critical Art: The Chinese Problem Situation and Theories of Liberal Society.” He believes that contemporary art is no longer art for art’s sake, nor is it the use of new techniques for technique’s sake. Rather, contemporary art is art that seeks to critique public opinion. This sort of art participates in the same public discourse as the media and popular events. Its core purpose is to bring about “justice” – meaning that it also seeks to advance human rights.
In the Yao Jiaxin case, the judicial aspects of justice were achieved. But on a deeper level, the case provokes a more pointed reflection on the concept of “forgiveness” – an issue that can never be resolved or indeed even influenced by the law. It seems to me that this work of yours on the one hand is a work of critical art that seeks to generate public discussion and uses public events in order to criticize the extreme hatred and pent-up anger present in Chinese society. On the other hand, you discuss public opinion on very personal and even spiritual terms, hoping to bring about the mutual forgiveness that is true basis of any “harmonious society.”[2] Without social justice, without the inner peace and a sense of being at ease with oneself and the world, there can be no true societal “harmony.” How did you first come up with the idea to use the Yao Jiaxin case?

Zhu Jiuyang: When I’m creating works, I honestly don’t think about it so much – sometimes, I just act on a feeling. An artist’s way of working is related to his or her own approach to living life. I wasn’t trying to be express certain problems in a rational or deliberate way, the way a critic would. For the past few years I’ve been painting on an easel, but I’ve grown increasingly dissatisfied with this and so tried to do some live performance works – ones that would allow me to intervene in society through the medium of art. At the time I was actually thinking of a different project, and the title “Waiting for that Day of Reconciliation” came immediately to mind.
I think biggest problem between people is that we hurt one another. Throughout the whole of human history, there has been violence between people of different ethnicities and of different nations – even between governments and their own people. The only way to escape this sort of pain is forgiveness and reconciliation. At first I didn’t think to bring this idea into my work and didn’t pay too much attention to the Yao Jiaxin case. But later on, I saw the two sides fighting endlessly during the lawsuit, and felt that this event was no longer just a problem that remained between these two families, but rather an indication of a deep-seated socio-cultural problem. It was in fact an event of collective violence, because the whole of society came to participate in it. Even to this day they continue to fight. Everyone uses their own moral compass and sense of what is right to judge everyone else and demonize others. I thought, the only way to leave behind the injuries one has suffered is forgiveness. But does this concept of forgiveness exist in our culture? What helps us understand the feeling of being forgiven? In the end, I decided to create this work.

LUO FEI: You first contacted parties on which side of the case?

ZHU JIUYANG: Honestly, I’m not so great at dealing with interpersonal relationships, and at first was a bit nervous. I first contacted Yao Jiaxin’s family’s lawyer over the internet. When I explained why I’d done so, he told me directly: “There’s no chance of being forgiven, no chance of reconciliation.” I thought even so that this response was also part of my work, and considered going to meet personally with Yao Jiaxin’s father. Last fall, I went to Xi’an, and it just so happened that Dr. Shi Hengtan of the Academy of Social Sciences was also there and intended on going with a friend to call on the Yao family. At the time I didn’t over-think the visit, telling myself that visitors who come with good intentions are never turned away. I even forgot to call in advance, thinking that since I didn’t have his phone number, it might be better to simply show up at his door. I had no idea that Yao Jiaxin’s father would kick us out, chasing us away in such a violent manner.

LUO FEI: I noticed that on June 14, Yao Jiaxin’s father wrote this on Weibo: “Am commemorating the second anniversary of the evacuation of the weiwen troops from my humble home! Sending my thanks to the New City Politics and Law Committee, the Changle Road Police Station, the Changle Road Street Office and other maintenance of stability personnel – for your kind “care and concern” that year, I express my sincere gratitude!” Do you think he wrote this thinly veiled sarcastic message because he didn’t want to push himself back into the heart of the storm of public opinion? Their family was also a victim of the power wielded by the media and public opinion.

ZHU JIUYANG: Perhaps. This was quite a big blow for me. I started to have doubts whether I should continue with my work. Later, I started with a different family, and through them followed a trail of inquiries that finally led me to Zhang Miao’s family. Zhang Miao’s father isn’t an educated man – he’s just an ordinary farmer – but he’s extremely friendly. We talked a lot, and he went over the ins and outs of the event. When I explained why I had come to him, he told me very firmly that he was willing to reconcile with the other family, and also to cooperate with my project. He felt that reconciling with people was always a good thing to do.

LUO FEI: He was willing to forgive the other family?

ZHU JIUYANG: He was very willing. Perhaps he didn’t completely understand what it means to merely “forgive,” but he understood the concept of full “reconciliation.” He even said, “Both children are no longer with us – there’s no need for the adults to continue bearing grudges against each other.”

LUO FEI: I know that you yourseLuo Fei are a Christian. In the Christian faith, there are clear teachings on the matter of forgiveness. This kind of forgiveness stems from the idea that though we are all sinners, we’ve already been forgiven by God, who is pure and righteous. Because of this, Jesus’s grace has entered our lives, and through him, we can forgive those who have sinned against us and even love our enemies. In the Christian faith, the foundation for reconciliation between men is the reconciliation between men and God. When you were speaking to him about pardon and forgiveness, did you speak to him about this?

ZHU JIUYANG: I didn’t say much about it. Because this was an art project, I wanted to say these sorts of things in a different way.

LUO FEI: I see that in the first portion of your work, there is a photo of you and Zhang Miao’s father. You’re dressed in a white robe, looking into the distance. Mist rises from the field, as if it were a fairyland and you were waiting for the coming of the Messiah. You use this ritual approach to highlight a different kind of spiritual freedom that can exist in a world full of hatred.

ZHU JIUYANG: Right. I deliberately chose springtime, wheat fields and a sort of ritual-like approach because I think that all that is most positive, most longed for and most full of love in the world is related to that which is holy and to that which is part of the natural world.

LUO FEI: Why did you want to wear a white robe? It’s as if you were a priest directing the gaze of believers to the world beyond. In a past interview, you said that artists should return to their old function as priests. This photograph seems to illustrate this point.

ZHU JIUYANG: Honestly, I didn’t give it too much thought. At the time I thought the white outfit and the mist were necessary for the image. They endow the image with a sort of upward-looking, yearning feeling. Waiting is a certain manifestation of love, and love is innately a very sacred thing.

LUO FEI: The second portion of your work is a live performance in which you sit together with Zhao Ming’s father waiting for Yao Jiaxin’s father to appear. Did you invite him to attend? How long did you wait?

ZHU JIUYANG: I performed this work during the seventh annual “Guyu Action (谷雨行动)” Performance Art Festival in Xi’An. The furniture came from the Zhang family’s house. I sat down with the old gentleman, and we waited. Before, I’d wanted to contact the Yao family through Weibo, but their lawyers kept scolding me. Since we were unable to get in touch with Yao Jiaxin’s father, we could only use this method to solicit his appearance.

LUO FEI: In your performance, you don’t lay out any objects related to the case itself, such as the car that caused the accidents, the fruit knife, or even any photographs of the people involved, relevant dates, license plate numbers, and so on. What I mean is, the scene appears very calm instead of dramatic.

ZHU JIUYANG: The stage was set very simply. There was a table and two chairs. I took the old man’s hand in mine, led him to his seat, and then came down. We sat until the majority of the audience had already left, and then I went back up and took his hand again to lead him back down. It ended up being a few dozens minutes of quiet waiting.

LUO FEI: How did he feel about the project?

ZHU JIUYANG: I really didn’t ask him. He’s an especially straightforward man, and didn’t express much. He was just willing – willing to reconcile, willing to be waiting there together for the other man to appear. I think this is due to his nature.

LUO FEI: This event also reminds me of Beicun’s novel “I Have a Meeting with God.” The first half of the story is about a murderer struggling with whether he should plead guilty. The second half is about the victim’s family and whether they should forgive this admittedly guilty person. The story is fascinating, and also goes into the supposed public reaction to the incident, with most people divided into two camps that fought to the bitter end over whether the good man could go to hell while the repentant villain went to heaven. Really, though, the question of whether the involved parties could possibly forgive each other is one that can only be resolved by the profound struggle within their own hearts. Third parties like the general public and the media are always immersed in mere rhetorical flourishes and moral arguments.
There is in fact an advantage to literature, which is its narrativity. It is able in a single to story to depict all sorts of inner struggle. As a contemporary artist, a visual artist, what mode can one use to fully express this kind of human complexity? To depict not just the assumption that peace will be made, but also the spiritual journey from hatred to reconciliation, from inhibition to liberation? This is a great challenge for an artist.

ZHU JIUYANG: Yes, visual language must extract the essence of a lot of different things, put them together, and use a very simple image to express the sum. Unlike literature, it has no narrative, which is very challenging for artists’ own ability to seize images.

LUO FEI: Consider, for example, a work of Hong Kong artist Pak Sheung Chuen’s called “Waiting for Everyone to Fall Asleep.” During the night, he stood outside an apartment complex and didn’t leave until all the people inside had turned out their lights and gone to bed. There’s also his piece “Waiting for a Friend,” in which he stood in the Kowloon Tong MTR Station until a person he recognized did in fact appear. These are all works associated with the concept of “waiting.” He says, “Time acquires meaning because of waiting.” I’m thinking, if you had taken your work beyond mere “waiting” and tried to attain some form of achievable “reconciliation,” it might have been even stronger. For example, if you had searched the whole country for another man named Yao Qingwei (Yao Jiaxin’s father) and befriended him. Then you would have achieved “reconciliation” within the logic of your own artistic concept.

ZHU JIUYANG: I still don’t totally understand these works. Perhaps there are many other works like them. I think your idea is a good one, but the crux of this piece remains its ability to reflect our societal problems rather than something more conceptual. I think this is a serious point to make: that we must wait until the day they finally reconcile. The focus on this social aspect makes the work purer.

LUO FEI: Now more and more television programs publicly broadcast the breakdown of marriages, of relationships between neighbors, between wives and mother-in-laws, parents and children. It’s sparked debate over whether the media is convincing people to consume the suffering of others. Crises in interpersonal relationships evolve into a form of entertainment, and those who initially intend to accept others end up instead being ridiculed. We all seem to underestimate the media’s influence on public opinion. What do you consider the artist’s role in these sorts of public spectacles to be?

ZHU JIUYANG: When I was creating this work, I also considered whether doing so would bring them further pain. I often would put myself in their shoes to think it over. As an artist, I came up with an abstract concept that generated discussion. When artists use their works as a way to participate in public discourse, our duty is to enter into these works in a responsible manner. For example, I have to consider whether creating this work is in line with the rest of my artistic vision. I’ll say it again, artists should return to their role as priests. The priest is that person who stands between man and his fellow man, and between men and god.
In this work I wanted to express the following questions. 1) In our spiritual lives, we are missing a form of love that goes beyond the carnal. If we each judge others from a position of moral superiority, by what standards do we determine our own righteousness? 2) In our culture, we typically mourn the victim and hate the murderer. We lack the ability to feel sorry for both victim and murderer at once. Yu Hong once wrote, “We lack a conviction that all life is of equal value.” 3) If it’s not possible to popularize such values, then is it even possible to have forgiveness in our lives? Why is our culture and society always trapped in a cycle of violence? We may be able to use hatred to bind the wound, but within there is still decay.
Before making this work, I watched a movie called “Life’s Collisions,” which is about the car accident of a Chinese exchange student in South Africa. The incident ends in a manner beyond any Chinese person’s expectations, with the victim’s family not only deciding not to prosecute the person responsible for the accident but even going so far as to comfort the perpetrator’s family, saying, “This was an accident; you shouldn’t be too upset.” Also there’s the case of the Virginia Tech massacre, in which the killer Seung-Hui Cho and his 32 victims were together all subjects of public mourning. These are all things that we have never encountered in our culture.

LUO FEI: Do you believe that reconciliation is possible between the two families?

ZHU JIUYANG: I believe that they will reconcile. This work is not yet over – it won’t be until they reconcile. I will continue to keep in touch with them. I don’t know how many years it will take. I might have to wait a lifetime until I’m able to hold hands with the elders of both families.

LUO FEI: The completion of your work depends on how determined the two families are to finally put their hearts at ease.

ZHU JIUYANG: Exactly.

—–

[1]. The Yao Jiaxin case, called “10•20” by the Xi’an police, was a homicide case involving a college student of the same name. On October 20, 2010 in the middle of the night on Xuefu Boulvard in the university district of Xi’an, Shaanxi Province, Yao accidentally hit a pedestrian. When he got out of his car and found the victim Zhang Miao noting down his license plate number, he took out a knife, stabbed him eight times and drove away, leaving him for dead. While fleeing the scene, he then hit yet another pedestrian at the entrance to Guodu Nan Village, and was surrounded this time by witnesses who detained him and called the police. After the matter was reported by the media, it was a cause of great concern for the Ministry of Public Security. On January 8, 2011, Yao Jiaxin underwent a public trial for “intentional homicide” at the Xi’an Municipal People’s Procuratorate. At 8am on June 7, he was executed via lethal injection in Xi’an.
[2]. “Harmonious society,” a concept also known by its full title “Harmonious Socialist Society,” was proposed in 2004 by the Chinese Communist Party as a strategic target for China’s social development. It refers to a social state in which all sectors of society are in harmony, on good terms with each other, and working together with one mind. The Chinese Communist Party Central Committee formally proposed this concept of “Building a Harmonious Socialist Society” during its fourth plenary session on September 19, 2004. The abbreviation “harmonious society” has since come to stand for this concept in its entirety.

to start from art 400* Translated by Becky Davis 本文中文原文请点击这里

* This interview has been published in the book of <To Start From Art 从艺术出发>, written by Luo Fei

朱久洋:等到和好的那一天

朱久洋:等到和好的那一天

2013年6月3日第二天清早,我接到朱久洋从北京打来的电话,他跟我介绍他最近正在做的一件作品,跟药家鑫案[1]有关。他说想在作品里融入关于宽恕的思考,问我能否为此写点东西。他计划接下来与苏小和(注:独立书评作家、财经作家)组织一次研讨会,把人们对此的讨论当做作品的一部分。在这一天来讨论这个问题,显得多么不合时宜,又多么地迫切。我意识到久洋的这件作品注定是一个宏大且充满争议的实验,也促使我思考中国当代艺术与社会事件、灵魂事件交错在一起的可能性。这是一次固执但有价值的尝试,我决定和他做一次采访。

 

2013年6月5日晚九点,QQ语音

罗菲:你的这件作品让我想起了王南溟关于《批评性艺术的兴起》(The Rise of Critical Art)一书,副标题是“中国问题情境与自由社会理论”(Chinese Problem Situation and Theories of Liberal Society),他认为当代艺术不再是为图像而图像的艺术,也不是为新技术而新技术的艺术,当代艺术是为舆论的批评性艺术。这种艺术参与到新闻和公众事件中,这种艺术的内核是实现“正义”,即,艺术也为人权而工作。在药家鑫案中,司法层面的正义已经实现。但在更深层面,却引发更尖锐的思考,比如你提到的“宽恕”。这是法律层面无法完成也不可能干预的事情。我认为你的这件作品一方面是为舆论的批评性艺术,借助公共事件批评当下中国社会无以复加的仇恨。另一方面你把公众舆论拉到个人灵魂层面,希望实现彼此饶恕。而这恰恰是“和谐社会”真正的根基。因为没有社会的正义、个人内在的平安与释然,就不会有真正的“和谐社会”。请问你最早是怎么想到药家鑫案的?

朱久洋:我在创作的时候并没有思考那么多,有时只是一种感觉,这也和艺术家本人的生命状态有关。并没有像批评家那样理性或刻意地去表现某些问题。前几年我都是创作架上绘画,但我开始越来越不满足于这种方式,尝试做一些行为现场作品,并试图以艺术的方式介入社会。当时我想的是另一个方案,很快就有一个名字在我的脑海中,“等到和好的那一天”。我想人与人之间最大的问题就是彼此伤害。往大的说,国家对人,民族和民族之间,国与国之间的暴力与伤害伴随着整个人类历史,而能从这种伤害中走出来的唯一办法就是宽恕、和好。一开始我没有想到把这个事件纳入到我的作品中,也没有太多关注这个案件。但后来我看他们没完没了的打(官司),我觉得这个事件已经不是他们两家的问题了,而是一个深层的社会文化问题,是一起群体性暴力事件,因为全社会都参与进去了,直到现在还在打。每个人都用自己的正义去审判对方,妖魔化对方。我想,唯一能走出伤害的就是饶恕。可我们的文化中有没有饶恕的概念?获得饶恕的精神支撑点在哪里?最后我决定做这件作品。

罗菲:你先联系当事双方的哪边?

朱久洋:其实我是一个不太会处理人际关系的人,一开始有些紧张。我最早通过网络联系上了药家鑫家的律师,当我说明来意的时候,他直接就说:“不可能和好,不可能饶恕”。我想这也是我作品的一部分,就考虑亲自去见药家鑫的父亲。那是去年秋天,去西安,正好社科院的石衡谭博士也在西安,和一个姊妹一起去了药家。当时我也没想太多,心想带着善意去拜访总不会被别人拒绝,我也忘记当时为何没事先打电话,好像是没有他的电话号码,也许觉得直接过去更好。但我没想到药家鑫的父亲把我们轰了出来,而且是非常暴力化的驱赶。

罗菲:我注意到药家鑫父亲在6月14日发了一条这样的微博,“纪念维稳大军撤离寒舍两周年!感谢新城区政法委、长乐中路派出所、长乐中路街道办等单位的维稳[2]人员,对你们当年如影随形的“关爱”表示感谢!”我想对方可能是不想再把自己推到舆论的风口浪尖上,他们家在媒体舆论和公权力下,也是受害者。

朱久洋:可能是。这对我打击蛮大,我开始犹豫作品是否要继续做。后来我就从另一个家庭开始,我顺着线索一点一点的打听,终于找到了张妙家。张妙的父亲没有文化,就是一个普通的农民,但非常的友好,我们谈了很多,他也谈了事件的前前后后。当我说明来意的时候,他非常坚定的对我说,愿意和好,也愿意配合我的作品,觉得劝人和好是一件好事。

罗菲:他愿意饶恕对方吗?

朱久洋:他很愿意,可能他也不太懂得什么是“饶恕”,但懂什么是“和好”。他还说:“两个孩子都不在了,大人也没必要再相互记恨下去”。

罗菲:我知道你自己是基督徒,在基督信仰里有明确的关于饶恕的教导,这种饶恕是基于作为罪人的你已经被圣洁公义的上帝饶恕,耶稣的恩典注入到你生命中,因此你可以靠着耶稣饶恕得罪你的人,甚至爱你的仇敌。在基督信仰里,人与人和好的基础是人与上帝和好。你在跟他谈饶恕和好的时候有谈到这个吗?

朱久洋:我没太多的去讲,因为这是一个艺术项目,我希望用另外一种东西来讲。

 

罗菲:我看到你第一阶段的作品,是你与张妙父亲的合影,你身着白袍,仰望远方,田地里营造了烟雾,仿佛仙境,仿佛在等待弥赛亚的再来。你通过这种仪式化的手法来凸显一个与怨恨世界不一样的内心自由。

朱久洋:对,我刻意选择春天,麦田,还有一些仪式化的手法,是因为我觉得积极的、盼望的、具有终极关怀的观念,总是和神圣的、超自然的形式联系在一起。

罗菲:为什么你要穿上白袍?仿佛一个牧师在带领信徒眺望彼岸。你在一次访谈说,艺术家要回到祭司的身份,这幅摄影似乎正说明了这点。

朱久洋:其实我没有考虑太多,当时觉得白衣服、烟雾都是画面的需要。它能使画面呈现一种向上的、盼望的感觉。等待就是爱的一种表现,爱本身就是很神圣化的东西。

罗菲:第二阶段的作品是一个现场,你们坐在一起等药家鑫父亲的出现。你们有邀请他来参加吗?等了多久?

朱久洋:那是在西安“谷雨行动”第七届行为艺术节,我就把这个作品带去了现场。家具是从张家拿的,我和老先生坐下来,等候。之前通过微博想联系药家,都被他的律师骂了回来,联系不上药家鑫家父亲,就只能以这种方式呈现出来。

罗菲:你在现场并没有布置一些关于案件本身的实物,比如肇事车辆、水果刀、或对方的照片、相关日期、车牌之类。我的意思是,现场看上去很平静,没有戏剧性。

朱久洋:场地简单布置,放一张桌子,两把椅子,我牵着老人家的手到座位上,然后下来。我们一直坐着等到差不多观众走完了,我又上去牵着他的手下来,就是一个几十分钟安静的等待。

 

罗菲:他的感受是什么?

朱久洋:我还真没问他,他特别憨厚,也没表达什么。他就是愿意,愿意和好,愿意在这里一起等着对方出现,我觉得这是出于他的本性。

罗菲:这件事让我想起北村的小说《我与上帝有个约》,故事前半截关于凶手挣扎于是否要认罪,后半截关于受害者的家人是否要宽恕那个认罪的人。故事很吸引人,里面也是讲到整个事件作为公共舆论事件,两个阵营打得你死我活。争论一个好人是否该下地狱,认罪悔改的坏人能否上天堂。其实当事人能否彼此宽恕,是当事人内心深处在经历的挣扎与释放,作为第三方的观众和媒体,我们永远沉浸在道德争论和语言狂欢中。然而文学有个优势是它的叙事性,他能在一个故事里把内心的挣扎娓娓道来。那么作为当代艺术,视觉艺术,如何提炼出一个饱满的人性样式?展示的不只是一个和好的假设,也包括从怨恨到和好,从捆绑到释放的灵魂事件,这十分挑战艺术家。

朱久洋:是的,视觉语言是要把很多的东西都提炼出来,放到一起,用一个很简单的图像把它表现出来。它不像文学有叙事性,这就非常挑战艺术家自身对图像的把握能力。

罗菲:比如香港艺术家白双全的一件作品《等所有人都睡着了》,他夜里在一栋楼下面等到所有人都关灯睡着,他才离开。还有他在九龙塘地铁站《等一个朋友》,直等到他认识的一个人出现。这都是关于“等待”的观念作品。他说,“时间因为等待而有了意义”。我在想,如果你这件作品,在“等待”及“和好”上有一个支点就更好了。比如,你们在全国寻找一个同样叫药庆卫(药家鑫父亲)的人,并与他做朋友,这是在艺术的观念逻辑中完成了“和好”。

朱久洋:还不太了解这些作品,可能这样的作品还有很多,我觉得你的主意也很好。但这件作品主要是他的社会性,我觉得还是严肃一点,就是一直等到他们和好的那一天,这样作品更单纯。

罗菲:现在越来越多的电视节目,把破裂的婚姻、婆媳关系、父子关系、邻里关系暴露在公众面前,激起辩论,媒体在引导人们消费当事人的痛苦。人际关系危机演变为一场娱乐,那些期待被别人接纳的初衷最后变成了被别人嘲笑,我们似乎都小看了媒体舆论对人的影响力。你自己怎么看艺术家在这种公共事件中的角色?

朱久洋:我在做这件作品的时候,也在想是否会给他们再次带来伤害,我时常会将自己放在他们中的任何一方去思考。作为一个艺术家,我提出来一个理想化的概念,由此引发讨论。当艺术家用作品的方式参与到公共事件的时候,我的责任就是真实地负责任地进入到作品里。比如,我要看创作这件作品和我整个的艺术理想是不是一致。我曾说,艺术家应回到祭司的位置。那祭司就是站在人和人中间,人和神中间的那个角色。

在这个作品中我想提出的问题是:一、在我们的精神生活中缺少一种超越肉体的爱,可能我们每个人都会站在自己公义的立场上审判别人,那公义的标准在哪里?二、在我们的经验里,通常是为受害者悲伤,憎恨凶手,我们缺少既为受害者悲伤也为凶手悲伤这样的思维方式。余虹写过这样这样一句话:“我们缺少一种信念,一切生命都有同样的价值”。三、如果不能树立这样的价值观,那我们的生活中有没有可能出现饶恕,为什么我们的文化和社会永远都在暴力的循环当中?我们可能拥有的能力是用仇恨将伤口包裹起来,但里面还在腐烂。

在做这件作品之前我看了一个片子,叫“生命的碰撞”,是发生在南非的一起中国留学生车祸事件。事件处理的结果出乎所有中国人的预料,受害者家属不但没有追究责任,还安慰肇事者家属,说:“这是个意外,你们不要太难过”。还有美国弗吉尼亚理工大学的枪击案,凶手赵承熙和三十二名遇难者一起被列为悼念的对象。这都是我们文化中不曾有过的东西。

 

罗菲:你认为他们和好可能吗?

朱久洋:我相信他们会和好。这个作品还没有完,直等到他们和好。我会继续接触他们,不知道要等多少年,可能要等一生才能牵着两家老人的手。

罗菲:你作品的完成,取决于他们两家人想要得到心灵释放的决心。

(完)

注释:

[1]药家鑫案,西安警方称“10•20”大学生药家鑫撞伤人又故意杀人案,检方、法院称药家鑫故意杀人案是指2010年10月20日深夜发生在陕西省西安市大学城学府大道上的一起交通肇事引发的故意杀人案,肇事者药家鑫驾车撞到被害人张妙,下车后发现张妙在记自己的车牌号,药家鑫拿出刀子,连捅张妙8刀,致其死亡,后驾车逃跑,行至郭杜南村村口再次撞伤行人,被周围目击者们发现堵截并报警。此事经媒体报道后,已引起中华人民共和国公安部高度关注。2011年1月8日,药家鑫被西安市人民检察院以“故意杀人罪”提起公诉。6月7日上午8时,药家鑫在西安被以注射方式执行死刑。

迷途的羔羊:朱久洋的艺术现场

迷途的羔羊

——朱久洋的艺术现场

这次展览是一个融合了绘画,声音、行为和装置的大型现场作品,艺术家朱久洋将拿出他这几年的创作,并在现场作品中设计出了各种悲剧性的细节情境,营造出形而上的悲悯气氛及信仰的启示精神和浓郁的现实关怀,作品呈现出精炼、恢宏、明快的语言特征和自由、开放、生动的意义结构。观众将通过对现场作品的感受,其内心的文化体验、情感力量和悲剧精神被高度调动和激发出来。

“迷途的羔羊”这一现场作品的根本价值在于针对当下中国社会信仰缺失、价值混乱的文化现状和“以暴抑暴”的历史传统与斗争文化,提出“迷途知返”的文化命题,提示出“忏悔、爱、宽容”的人类精神,这恰是中国历史与文化现状中高度缺失的一种的人文理性。

迷途的羔羊
——朱久洋的艺术现场

主办:上上国际美术馆
策展人:郭珍明 姜靖
艺术总监:唐文辉
展览总监:李广明 王中文
学术主持:刘悦笛
开幕: 2010年11月13日下午3点
展期:2010年11月13日—2010年11月30日
地点:北京通州区宋庄镇小堡上上国际美术馆

STRAY LAMB
THE LIVING EXHIBITION OF ZHU JIUYANG

Organizer:Sunshine International Art Museum
Curator: Guo Zhenming Jiang Jing
Founder:Tang Wenhui
Exhibition Director:Li Guangming Wang Zhongwen
Academic Chairman:Liu Yuedi
Opening Reception:nov.13th,3:00pm
Duration:nov.13th to nov.30th,2010
Venue:Xiaopu Songzhuang Tongzhou District Beijing,China

[转]朱久洋:在精神的寻索中走进信仰

在精神的寻索中走进信仰
——专访当代基督徒艺术家朱久洋

采访人:予火
整理:罗博学

■能不能介绍一下你的创作经历?

我90年在西安美院时已开始创作。作品有两条线索:第一,表现我个人生命的处境;第二,画一些乡土题材的作品。

那时,我对丁方的作品比较关注。他的作品里有一种东西非常吸引我,是一种难以言喻的永恒意识,或是宗教(基督信仰)情结。

那几年,我经历很多工作,又因生活所累,作品不是很多。2001年来宋庄,那时,政治波普艳俗,卡通比较流行。商业化和娱乐化,使人们的生活空间和思维变得琐碎。我本人反对艺术娱乐化。艺术家需要独立思考的精神,尤其在这个需要精神重建的国家里。在创作中,我力图和艳俗、政治波普娱乐的那种无聊的个人抒情,以及宣扬性和暴力的东西拉开距离。在这个环境里,保持这样的状态很不容易,努力走到现在,脚步才踏实一些。按照我现在的理解,这是上帝的保守。

■你是否一开始就对精神层面感兴趣?

是的,生命终极问题一直困惑着我。那时,在陕北黄土高原,看到妇女老少走在大山之中,感觉人的脆弱和渺小,便常常思考这些问题。这就离不开对生命意义的寻索,直到现在,也一直延续这样的脉络。

现代人不愿思考这些问题,“今朝有酒今朝醉”是当代人生活的写照。这一切还有意义吗?我看不到希望和出路,人除了赤裸裸地面对死亡,还能有什么?

那段时期,我的精神寻索之路步入一个幽暗隧道,绝望的追问弥漫在我的作品中。我忽然发现一个荒诞的现实:追问到一个绝境,我甚至连精神是什么,也无从知晓。

2004年对我来说特别重要,上帝走进了我的生命。与上帝相遇,发生于生命中无知无觉的某一刻。我忽然看到了一个属灵的世界,那个世界虽看不到,却很真实,充满力量,给艺术家提供源源不断的创作灵感。

人与上帝相遇,是通过被挂在十字架上的耶稣,这是宇宙间最大的悲剧,同时也是最大的胜利。我认识到,人文主义知识分子所谓的“精神”,一旦离开生命的本源——上帝,无异于纸上谈兵。灵魂的复活其实比精神的复活更高一级,就是让人接受基督耶稣的救赎,在基督里把人带回上帝,把人指向爱的规律与秩序里。

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■你是艺术家和信仰者,你会用艺术来传教吗?

艺术家在历史上有两条线索:一条是娱乐性的艺术,满足人的情欲和感官;另一种就是精神性的,先知先觉的,如此,在他的生命里就有一种责任。你并不能逃脱这样一个身份。人应该怎样活着?活在怎样的处境中才能体现人的自身价值?我觉得,这是艺术家的使命。

站在这个层面,所有宣扬真、善、美的艺术,都在“布道”。没有认识上帝的艺术家,是在宣扬人间的“道”,如同老子的“道”。按照唐崇荣牧师所说,人们在他们的作品里,同样可以看到卓越和美好,是因为上帝普遍恩惠的效用;而走进上帝的艺术家,其视野可被提升到一个较高的层次,站在上帝的角度审视世界,比如米开朗基罗、丁方等人的艺术。

上帝是最伟大的艺术家。所有接近上帝的艺术,其生命力都是异常旺盛的。

■艺术追求自由,这是否会与你的创作产生冲突?

面对真理的时候,人肯定会有矛盾的两面性冲突,就是以自我为中心和以上帝为中心的冲突。但真正的自由是什么?从文艺复兴到启蒙运动,一直延续到当下,人都在追求以自我为中心,推崇人性解放,人的价值的绝对体现。但你觉得现在自由吗?可能又陷到另一个不自由的环境里。

真正自由的实现,始于对自由本体的真实信仰。这个生命从罪恶与死亡中获救,灵魂被插上自由双翼。耶稣的使命就在于此,他说:“天父的儿子若叫你们自由,你们就真自由了。”(约8:36)所以,我们需要进入信仰的实质中来,首先让自己走进完全的自由里,这样,作品便会获得自由的开释,满怀光与爱。

■你如何看待中国当代艺术现状?

我觉得,中国当代艺术缺少的就是永恒意识,没有主体性精神存在,满大街都是调侃、卡通、波普、暴力、色情、整体娱乐化、资本权利勾结、艺术批评严重失职……

后来,我才觉得最需要的,是解决人自身的问题。如果不解决人的问题,其他就没法谈了。莫特曼是法学家,他说:“如果法律不被信仰,那么就形同虚设。”同样,艺术的精神如果没有被信仰,它只能是人娱乐的工具,甚至会成为罪恶的帮凶。

文化应该放在整个人类文化史去看,不能放在小环境里。在小环境中看是明星,但是放在大的环境就是垃圾。所以我很怀疑那些表现暴力和色情的艺术家,他们是黑暗的传播者,在腐蚀青少年的心。栗宪庭曾说,艺术与宗教同质。他其实还是以蔡元培“以美育代宗教”为出发点。他们共同特点,就是文艺与宗教都是感情的产物,却没有看到信仰的本质,共同忘记了人的永恒意识,也就是说,否定了人的记忆的存在。

总体来说,中国当代艺术仍然徘徊在自然主义和现实主义的方法论,把人和动物压缩在一个平面来思考,没有看到彼岸世界的真相,缺少灵的艺术,缺少超越性。艺术更多地提倡关注现实,缺少对人生意义以及终极意义的探求。

zhujiuyang painting

■你在信仰基督之前和之后变化大吗?

这当然会有很大变化。比如以前,我认为人和动物一样,世界又是进化得来的,但现在知道,世界是由一位有位格的上帝创造并管理的。这是两种迥异的世界观,但对个体生活的影响和价值观的影响,是非常巨大的。

在这之前,生活里有很多绝望和挣扎,但现在心灵上有了一个沟通,无形中找到一个依靠。我知道,这位充满爱和智能的上帝,透过圣经(圣道)、圣子耶稣的救赎、以及他所管理的大自然,向人启示他自己。每当遇到各种困惑,我们可以向天父祷告,他爱我们,就与我们在一起。

看了德国艺术之后,我觉得非常震撼。基弗尔、波依斯等人的作品,让人很感动。他们可能不是基督徒,但他们的文化深受基督信仰的影响,其作品给人一种悲天悯人的感受。正因为我已接受耶稣基督为主,使我看懂了他们作品里属灵的部分。

中国也有很多人去学,如“拿来主义”,但都是学到一些表面形式,未曾深入其实质。中国人其实非常聪明,中国的艺术传承源远流长,中国人悟性高,学习东西也非常快,但中国人学什么都功利主义,物质实用主义。这两大软弱,是艺术创作的天敌。所以,中国诞生不了世界级艺术大师。真正的属灵的部分不是学来的,而是由真信仰而来,信仰给人属灵的启发。最好的生命来自于上帝,他给予艺术、科学、人类一切活动的精神支柱。

■你作品里的人物不美,但他们眼神里充满希望

可能我看到的人就是这么一种状态,大家都画美女,画现实中的人,但我看到的,正好是人的另外一面。我注意我们里面的东西,把表层底下但又真实存在的东西画出来,这样,我便看到了“没有上帝”之人本质的脆弱和绝望,如帕斯卡尔的“脆弱芦苇”的理论。只有当人看到这一点,才会思考上帝,才会看到希望的存在。

你看凡高、高更的画作,人物一点都不美,但特别真诚。你得看到你内心最深层的东西,那才是最美的。

■你如何看基督信仰的现实意义?

这是神学的应用问题。任何个体和群体,在每一个阶段所担负的责任不同,比如今天的西方教会所担负的社会责任,和中国就不同。如果信仰在中国,你要扮演什么样的角色?面对身边的人群和现实环境,你要如何站在上帝的立场来看问题?

信仰并不是单纯地对上帝的仰望,并非闭门造车逃避现实处境,你还必须要勇敢且坚毅地担负起那份神圣的呼召,进入每一个领域,为基督作见证,这就是“道成肉身”。上帝要你如何将他的信实、公义、圣洁、宽广、仁爱……展现在你的生活和工作里。

今天,你作为艺术家,又是一个与上帝相遇的人,怎样借着作品,将公义、仁爱、圣洁、希望……带给这个世界?不仅在作品中有所彰显,上帝其实更看重的,是艺术家本身,是否在日常生活中,与上帝有美好的灵性交往。

也许,绘画只是我生活的一部分。甚至,讲道也是我的作品。你会看到,杰出的艺术家,都是在基督的教会里成长起来的,他们有敬虔的教会生活,与信仰者的互动,无形中带动了创作的激情。所以耶稣说,世人看到基督徒彼此相爱,就认出我们是属神的。

再一个就是,所有的批判都要建立在爱的基础之上,爱从上帝而来。如果没有上帝,如果不信上帝,任何批判都是一种暴力行为。

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■目前有什么新的创作计划,在学术上有什么新的构想?

现在绘画比较容易实现,还有一些雕塑装置的计划。最近想策划一个体现精神信仰的展览,从现实历史记忆的角度,避开娱乐化和波普化的东西,去反思当前自身和现实所面临的问题。这样,也能给自己理出一条线索,希望有更多人参与到这样的讨论中来。

■朱久洋,1969年出生于陕西省吴起县,1992年毕业于西安美术学院。2005年举办个人画展《天堂之路》,其作品中透射出的信仰的力量,引起各界关注。

原文来自罗博学的博客:http://blog.sina.com.cn/s/blog_4eb34b080100keim.html
图片来自朱久洋的博客:http://blog.sina.com.cn/324wodejiayuan

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