形象的漫游

形象的漫游
——有关卡琳·霍尔(Karin Häll)的手稿

穿过一座没有装备的森林
我慢慢走入我自己。
——特朗斯特罗姆(Tomas Tranströmer)

瑞典艺术家卡琳·霍尔在昆明创库工作室的墙上,贴满了不同尺寸和形状的速写小画:一只眼睛、一棵树、一些阴郁的面孔,还有一本由粗粝砂纸做成的艺术家手工书《生活和工作》……我被这些凌乱纸片上的形象(figures)吸引,它们鲜活,略显阴郁,好像在彼此说话,又互不相干。它们来自“生活和工作”的时刻,它们是艺术家在“生活和工作”的间隙邀请出场的形象。

霍尔自小热衷于绘画,曾因为童年在课本上随意涂画遭到老师的严厉苛责,被要求恢复书本原貌。我十分同情她的遭遇,因为我有与她极为相似的经历,作业本、课本、课桌、墙壁都可能成为我们的画布。谁也阻止不了一个想要画画的人,就像你无法阻止一个孩子长高。

我们曾在昆明郊外一起远足,享受自然,眺望城市。她说,画画的状态很像远足,可以缓解精神上的压力,更没有做“正式作品”那种来自“自我判断”的压力。这一点我完全赞同,随性涂画和远足或散步的情形非常相似,不需要具体的理由和目标,只是为了走走,画画,释放了内在的焦虑,然后感到精神饱满。它们也常常给人一种人们正在忙乎、正在专注的错觉。事实上更多时候,只是无所事事的状态,分心的状态。据说,在分心的状态下,心灵运作状况最佳。思绪在无所事事中自然出现,又自动消散,形象成为思绪漫游的延伸,引发联想和观看。于是有了霍尔那些纸片上的形象,如同在山野远足留下的脚印,鲜活,未经雕琢,步伐稳健。

霍尔的这些绘画通常使用概括有力的线条和色块,强调形象的轮廓线,强调体感,这或许与霍尔做雕塑有关,形象从块状物开始。在最近的一个展览上,霍尔用雕塑和现成品在墙面上以分散的黑色块状,构成一种漂浮在空间里的碎片感,仿佛从大海里打捞出来的残骸物。在另一件作品“事物的秩序”(The Order of Things)中,她使用了手套、靴子、书籍、植物、花盆、泥团,放置在人造毛搭建的如小山丘一样的背景上,那样的场景甚至让人想起乔托(Giotto)绘画中的空旷景象,奇异嶙峋的石山。我们也能从她那些雕塑“成品”中看到艺术家日常涂画的状态:运动的线条、概括的块状、拙朴的形态。大致上,霍尔让物与物、形象与形象保持着距离,又内在地彼此关联。那些物体或形象,通常处于一种半完成状态,或者说,艺术家有意识让人们看见这种状态。这使得形象在思绪漫游状态中具有一种游离感,也让观看者的注意力可以在事物之间漫游。保持可塑,保持痕迹,让事物暴露着它自身的一些底色——来自双手的劳作:覆盖、修改、涂抹、强调。这种工作方式在霍尔的绘画手稿上同样存在,保持着对画面涂抹和强调的痕迹,对纸张的裁剪、装订、缝纫、拼贴等等。尽管这些绘画看上去比较随意,似乎信手拈来,却也流露出艺术家对形象和力度的把控,为了让特定的感受被注意到,我想,那就是精神。

在我看来,这些来自不同“生活和工作”间隙的形象拥有某些共同的精神气质——好玩、神秘、阴郁。比如霍尔多次画到自己的左手,那些来自北欧神话里的形象,还有那些笼罩在沉思气氛中的肖像,阴影中的面孔。以及更多的,是一些块状形象,房子、云朵、鞋子、手套等等。这种气质或许来自北欧特有的精神世界,崇尚简约,崇尚黑色,令人想起蒙克画面中那些病房里的人。当然,也有一些可爱和好玩的形象。这些并非刻意塑造的形象具有共同的精神气质,和一个人步行时所具有的步调和体态相似,让人们从远处就可以认出步行者。

艺术家手稿也是最私人的舞台,形象或者文字在其中慢慢出场,艺术家在其中扮演司仪——形象在绘画中寻找画家。正如瑞典诗人特朗斯特罗姆说,不是他在找诗,而是诗在找他,逼他展现诗。这是一个神秘的过程,正因为如此,艺术家或者诗人不是在完成一件必须完成的任务,她无需强迫自己创造杰作。她只是把这个过程与人们分享。

在没有设定任何框架和目标的情况下,自由自在地绘画、涂抹,犹如自然的呼吸,犹如山野漫步,享受寂静时刻,让形象出场。这是卡琳·霍尔那些神秘而精彩的手稿带给我的愉悦与沉思。

罗 菲
2019年9月30日下午
在昆明布拉格咖啡馆

不像画

展览开幕:2018年12月28日晚8点
展览时间:2018年12月28日——2019年1月7日(周日闭馆)
地点:TCG诺地卡文化中心,昆明西坝路101号创库艺术社区
联合主办:TCG诺地卡文化中心、云南艺术学院美术学院油画系

策展人:罗菲
参展艺术家:
弗雷德里克·费慕林 Fredrik Fermelin(瑞典) 和丽斌
刘辉 杨鼎 饶建雄 李思雨 王成龙 张龙 蒋才 何汝婷 蒋启建 董春文 刀继成
刘再明 杨振琦 段宇航 邵琳鉴 王胜凯 李振宇 刘俊妤 张俊鹏 焦勇 刘梦云 梁紫瑞 黄梓恒 李红梅 魏陆婕 刘宇 李涛 陶昱希 晋锐娜 白再阳 汤邵元 和玉菊 张磊 马隽哲 徐国鑫 卞文俊 马煜程 杨琪 周子晋 张晨阳 闻宽 安炤宇 杨杰 李华 傅尔加周
现场音乐:Eilev Stoveland Dekko(挪威),Fredrik Fermelin(瑞典)

《不像画》前言:

文: 罗菲

绘画可能是今天艺术领域最具亲和力也最令人头疼的事情之一,它总是能提供有关自身的故事,那些故事又为后来的画家们设定了诸多无法绕开的路标。它时而预示着某种终结,时而预示着某种回归,更多时候,它只是让人感到尚可继续下去的古老的游戏。对很多画家来说,画画只是属于自己的事情,那种眼界与手艺的持续成长让人着迷,仅此而已。

只是今天的绘画已不再是艺术家们的拓荒之地,今天的艺术家面对的不只是绘画,而是整个艺术世界。人们从绘画的方法、观看和绘画这个行动本身去寻找突破口,去尝试“重新”画“一张画”的可能,去尝试画“画画”这件事情。这不只是让“画画”变得更加复杂,也让“看画”变得更加复杂,它们都变得不再直观。绘画的任务不再是再现或者表现,而是提供“画画”和“看画”的某种可能。这也正是我们今天这个展览的出发点。

2015年从瑞典皇家美院毕业的艺术家弗雷德里克今年9月来到昆明TCG诺地卡驻留,整整三个月他完全专注于绘画,在此之前,他主要从事表演艺术、声音艺术等现场艺术形式。弗雷德里克的绘画观念与gif格式的图像生成有关,两张看上去相似的图像并置在一起,由观众自己去联想它们之间的关联,类似电影蒙太奇的方法。但他只是让两张绘画在空间上并置,而不是时间上关联。在画面的最表层,是一种表现主义倾向的风格,尽管他极力否认自己的绘画与表现主义风格有关,因为那不是他要追求的,他关注的是画面和画面之间潜在的建构关系。

和丽斌近些年的绘画实践融合了行为艺术的方式——盲画,在户外或室内,在深夜里,他在大尺幅的画布上画他对一个场景的印象和感受。在他的盲画实践中,绘画这一拥有悠久历史的艺术实践被逼入临界状态:可知与不可知之间,可见与不可见之间,可画与不可画之间。唯一能确定并不断被确定的,就是在广袤自然环境中的艺术家自身的存在和自我的增长,这种确认在漫长黑暗中通过对话和较量来完成。这让绘画成为摄影一样,在暗中显影,在日光之下观看。

和丽斌的绘画与弗雷德里克的绘画在风格层面十分相似,他们都用表现主义手法去画风景,但又都提供了一种非常规的“看画”经验。和丽斌刻意让自己看不见的时候画自己的看见,画面的最终显现依赖时间。弗雷德里克通过不同画面空间上的并置,让画面和看画产生不确定性和异样感。他们都用最直观的方式去画,但又都制造出多层次的观看逻辑。

这次展览还有四十余位参加和丽斌短期表现性绘画课程的云艺的同学们,他们的画作结合了行动绘画的练习方法,同样探讨的是画面以外的有关绘画如何可能的问题。弗雷德里克、和丽斌还有诸位同学们,为我们呈现这样一个有关“绘画背后的绘画”的交流展,我姑且把它命名为“不像画”。

Outrageous, like a painting.

Outrageous, like a painting.
text: Luo Fei
editor in English: Sanne Raabjerg

Painting is probably one of the most intimate and vexing things in the art world today. It always provides stories about itself. These stories set a lot of road signs for later painters. Sometimes, it heralds some sort of end, and sometimes it heralds a return. More frequently, it is just an ancient game that makes people feel like they can continue on their paths. For many painters, painting is just a matter of their own interest, and the continuing growth of their vision and craftsmanship is fascinating, and nothing more.

But painting today is no longer the wild land of artists. Today’s artists are not only facing painting itself, but also the entire art world. People go from looking for breakthroughs, in the methods of painting, in the way of seeing images and in the performative part of painting, to painting the possibility of “painting a painting” and to painting the matter of “painting”. This does not only make “painting” more complicated, but it also makes “seeing paintings” more complicated, since they are no longer as intuitive. The task of painting is no longer just to represent or express something, but to provide different possibilities in “painting” and “seeing”. Correspondingly, this is the starting point of our exhibition today.

Fredrik Fermelin, an artist who graduated from the Royal Academy of Fine Art in Sweden in 2015, came to TCG Nordica in September as an artist in residence. Here, he spent three full months focusing on painting. Before that, he mainly engaged in performance, installation, video and digital media, etc. Fermelin’s concept of painting is related to image generation in gif format. Two seemingly similar images are juxtaposed, and the audience themselves associate their correlation, similar to the method of making film montage. However, he just makes two paintings juxtaposed in space, not in time. Although he strongly denies that his paintings are related to the expressionist style, on the surface level they might seem to comprise expressionist tendencies, but that is not what he wants to pursue. He is more concerned with the potential constructional relationship between the pictures.

He Libin’s painting practice in recent years combines the way of performance art with blind painting. In the middle of the night, he paints his impressions and feelings on a large-scale canvas, both indoors and outdoors. In his practice of blind painting, painting, an art form with a long history, is forced into a critical state: Between visible and invisible, between known and unknown, between painting and non-painting. The only thing that can be identified and continually confirmed is the artist’s own existence and self-growth in the vast natural environment. This confirmation is accomplished through inner dialogue and contests in the long-lasting darkness. This turns the painting process into photography development: Developing it in the dark, watching it in the daylight.

He Libin’s and Fermelin’s paintings are very similar in style. They both use expressionism to paint landscapes, and they both provide an unconventional “seeing” experience. He Libin deliberately paints what he has seen when he cannot see; therefore, only time will show the final appearance of the painting. Fermelin’s juxtaposition in space of different paintings, creates uncertainty and dissimilarity in the paintings themselves and in the seeing of the paintings. They both paint in the most intuitive way, but at the same time they create paintings that can be seen on multiple levels.

For this exhibition, more than forty students from Yunnan Arts University participated in He Libin’s short-term expressive painting course. They combine their paintings with the practice methods of action painting, in order to discuss how paintings can be. Fredrik Fermelin, He Libin and the students present us with such a communicative exhibition about “Paintings Behind Paintings”. Here, I have just named it “Outrageous, like a painting”.

Curator: Luo Fei
Artists: Fredrik Fermelin, He Libin and his students from the Yunnan Arts University
Live Music on the opening: Eilev Stoveland Dekko, Fredrik Fermelin

Opening: 8pm, Dec 28th, 2018
Exhibition Time: Dec 28th 2018 to Jan 7th 2019 (Sundays Close)
TCG Nordica Culture Center, Chuangku, Xibalu 101, Kunming
Organized by TCG Nordica and Oilpainting Department of Yunnan Arts University