昆明创库着火了(图片+视频)

中午12点半左右和XR开完会,留意到办公室的灯泡一闪一闪的好一阵,我琢磨是开关坏了,又重新开一下,还是一样。出去看看楼下画廊里的射灯,整个空间也是忽明忽暗,像是电压非常不稳定,我第一反应是去把电脑等电器关了,以免烧掉。这时突然看到加里森(诺地卡邀请来的美国进驻艺术家Jonathan Aumen)急匆匆跑进来让我赶紧给唐志冈挂电话,说他楼上胡俊工作室着火了,我冲出去一看,黑烟正从三楼屋顶缝往外串。赶紧通知诺地卡的人关电源,离开画廊,给唐挂电话。好几个人都在拨火警……

胡俊很着急打来电话了解情况,他正在呈贡大学城上课,丢下学生往回赶……

火势很快越发汹涌,浓烟滚滚,很刺鼻的味道,还不停传来爆炸声,石棉瓦四溅,不敢轻易上去。大伙抱着灭火器到处跑,确定各种可能性和应对方案……

消防车赶来,找水源……

加里森是这次发现火灾最早的艺术家,他正在画室画画,在失火的画室对面一栋楼,很近,一个楼道的距离。他闻到刺鼻的味道,听到噼里啪啦的声音,就出去看,然后就跑来告诉我,让路人报火警。他跟我要了一把钉锤,让我告诉老唐,他要砸门救画,那些画可是价值连城啊。后来老唐的好些大幅作品被营救出来,还好,最后没有烧到老唐那儿。但加里森的表现相当优秀,所有人都称他英雄,媒体把他围的团团转。

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加里森(Jonathan Aumen)把老唐的画救到自己工作室摆着

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加里森发现起火的时候正在画画,这张画的乌云似乎是在预言这场屋顶的火光之灾,我们都为此惊叹不已。

大约两点左右大火被扑灭,消防人员进去勘察,具体原因尚无定论。不过这种老房子本来就比较危险,加之油画材料十分易燃,木料、亚麻布、颜料、各种油。当然,很多人都猜测是电线老化引起的,这个中国最早也最懒散的艺术社区。还好,火灾只是吞灭了一层楼。

最后看到其实胡俊的工作室只是烧到了一面墙,大家开始都误以为是他工作室着火,因为在街上只看得到他的屋顶在冒烟。损失惨重的是隔壁苏斌那间画室,连屋顶都没了。不过听毛老师说,他最好的作品都运出去展览了,还好还好。

当时我们做了最坏的打算,如果烧到诺地卡,除了撤离,什么也不能做。在火势越演越凶的时候,有人祈祷说,主啊,若不是你建造房屋,建造的人就枉然劳力,若不是你看守城池,看守的人也枉然警醒。但愿这次火灾成为艺术家们的祝福。

我就在想,我们一群艺术家和文化工作者在这里究竟要做什么呢?价值连城辛苦经营的画作分分钟被烧得不见踪影,十年的耕耘也可以瞬间化为乌有。其实我们一直以为踏实和拥有的事物和意义,原来那么轻易就失去了。那么人活着和工作是为了什么呢?如果没有永恒,这一切难道不是一个玩笑么?

用手机拍摄的现场视频:http://v.youku.com/v_show/id_XMzI3NzY4NTgw.html

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加里森砸开老唐工作室用的钉锤和灭火器

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=========以下图片来自网络=========

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Disease under the Sun

Disease under the Sun
—On Hu Jun’s Series of New Life

Author: Luo Fei
Translator: Xu Yang

Author’s Note: Hu Jun’s atelier was on the upstairs room of my workplace, he often invites me passionately to go to his atelier to drink some tea and chat with him. I’m much moved by his enthusiasm and especially by his special countenance, so we became intimate friends soon. The short distance between us gives me convenience to observe his working state and makes me know more about his art.


Desire Landscape 6, oil painting

Hu Jun’s works can be divided by different topics into three stages: the first stage is the series of Lips from the year 2003 to 2006 which are a group of sexy and showy red lips. The second stage is the series of Desire Landscape from 2007 to 2009, this series are mainly works about the orange-red landscape of the city wrapped and permeated by a kind of liquid (the artist said his inspiration came from the semen), and there is a strong light from the outer space pierced through the mist. Watching these paintings you would got a feeling of eschatological spectacles. There was a small part of this series named Desire—Flow which were abstract paintings about the floating things withdrew from images. The third stage or topic is the series of New Life which started from 2006 and lasted till now. The initial paintings of this series are cartoon-like, depicting the lives of men and women. The figures in these paintings evolved from the artist’s self-portrait, they are of a jocular style and filled with philistine sentiment. The earlier works of Hu Jun were more or less influenced by the methodology of the “Cartoon Generation”, the figures in these earlier works have big heads and funny facial expression. The colors that he used were light, pure and pink. For the spirituality in this period, he was influenced by the Cynic Realism which advocates a joking attitude towards life.

From 2008 on, Hu Jun has experimented and developed a unique way of art not only in the style of the painting, but also in discourse and composition. In other words, the artist began to reflect sincerely on his works in the previous years and try to dig out the originality and express human beings’ appeal for the spiritual existence through his own life experience. He turned from a compassion for broken marriages in the contemporary society to the deep concerns over human’s despairing existence.

新生活9
New Life 9, Oil Painting

New Life

The original title for this series was Human·Nature. From the names of his work series, we can discern the artist’s continuous concern for the living condition of human being and his interest in the effect and expression of desire. There’s no doubt that New Life was a title of irony. As an artist born in the 1960s, although he was still a child in Culture Revolution, the discourse pattern of “New China” and “New Life” in the Revolutionist Idealism Period still imprinted much on his mind. “New” is the renunciation of the “Old” system, pattern or order which had a blind optimism about the future. However, the New Life we talk about here has detached itself from the blueprint of society and history and become the daily incident of men and women’s/husbands and wives’ psychological life.

In this series, men and women are not passionate first lovers; they had married and got their children. They repeatedly appeared in a boat which looks very soft and springy, the texture of the boats seem like sofas or mattress, and they are basically pink, warm grey, flesh-colored or black. The delineation of the boat benefits from the earlier series of the Lips, so there is also a vague feeling of flesh in these boats. The boats are floating on the surface of a boundless sea; the background is always very simple, sometimes sunrise, sometimes sunset, sometimes the vast clear sky. The colors used are light and replete, the sun was shinning brightly—those are the common scenes which appear repeatedly in these paintings. Photographic techniques such as staged photography and snap shot with a strong flashlight are commonly used in this series of works.

布面油画《新生活-11》
New life 11, oil painting

新生活14
New life 14, oil painting

Body and Marriage

In New Life -No.9, three members of a family are sitting on the boat, but they all look like the artist himself. This may be an extension of Hu Jun’s sense of humor in daily life and the exaggerating style derived from his cartoon period. The picture has a subtle dramatic feeling. The man and the women has lost tender and affection for each other, the naked man looks very tired and necks with his wife to seek for some comfort. However, the woman who dressed vulgarly doesn’t care the man’s feeling. Instead she is immersed in the connection with the outside world using her mobile phone and the sunglasses she wears conceal her indifference. The child dressed fashionably, plugged his ears with headphones and is totally steeped in his own world. In Hu Jun’s opinion, this is exactly the portrait of middle-aged man: career and family already been set up but the only found himself totally lost. He should know his fate decreed by Heaven at this age, yet he is still more confused, not knowing what he should seek for. The only thing left is an exhausted body and a much more indifferent and estranged family relationship. In New Life-No.11, the estrangement between the husband and wife appears to be more subtle and perceptible under the peaceful holy light of the setting sun. Both of them are naked and frank with each other, and with such slack bodies and portraits they are enjoying the mild breeze swaying over their faces. The stiff “gulf” between them reveals the irreconcilable feeling of estrangement.

Hu Jun has been continuously practicing realism in body portrait and he also goes out for scenery sketch frequently, these all endue him with strong capabilities in using color to shape body and space to form a delicate and vivacious picture. For him, typical Chinese contemporary art lacks depth and the aesthetic enjoyment which are shortcomings he tries to overcome. He tries to evoke a an aesthetic effect which embraces the wish to extol human bodies in the Renaissance period, so he made microscopic depictions on the bones, tendons, structures and the minor undulation of the skins of the body. In this way we can say that he was also influenced by Michelangelo, but the bodies in Hu Jun’s paintings are not as powerful as Michelangelo’s. Under the appearance of the delicate, strong and near perfect bodies was the broken essence of the despairing contemporary metropolitans. This was especially prominent in New Life-No.14 where Hu Jun used the composition pattern of Michelangelo’s The Mourning of Christ to express his sympathy for the married man. By referring to a masterpiece in art history, Hu Jun wants to intensify the self-consciousness of a sufferer in marriage. He wants to evoke people’s attention to the moments of failure and hurt in marriage by referring to a total failure pattern of selfless love just as Christ’s Crucifixion. However, the women who embrace Christ (men) is not the beautiful, tender mourning St. Maria (women) anymore, but rather a shrew who has just won complete victory and is coating her face with powder and paint. It seems that the artist has turned his pike toward the female sex. Women are neither beautiful vases that can add value to men nor tender, domestic and obedient housewives. On the contrary, they have become offensive and ferocious. In New Life-No.21, the woman was painted as an androgen-increased female chimpanzee with strong body and ferocious face. From this point it’s not hard to understand why some women are so surprised and angry when they look at Hu Jun’s paintings that they want to destroy them, and why some middle-aged man would be moved to cry and sigh that they are exactly the man in the picture.

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New Life 21

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New Life 23

Viewers’ emotions tend to be offended by an artwork’s apparent provocation and then they would form some misunderstanding about the artist and his works. So we need to follow and observe an artist for an enduring period and compare his/her works both transversely and longitudinally with other artists’ works in order to know the true intent of the artist. Sometimes even the artist himself can not be sure about his intents and need other people to sort them out from the numerous works by using their own life experiences, spiritual traits and cultural psychologies.

Just as what we observe in New Life-No.23, there is a body in the foreground of the boat under the glimmering of the early morning (the head does not appear in this painting.) He/She lays elegantly, the upper part of the body (breasts) looks like women’s body while the lower part looks like man. Such kind of cross-gender figure embodies a more neutral and conservative consideration compared with the aforesaid masculine-predisposed women. He/She was displayed and portrayed with a more classic aesthetic perspective. This seems to reveal the artist’s deeper consideration: the mixing gender identity (psychologically/physically) and the dislocated relationship (the individual’s relationship with the self/ the interrelationship between the couple) are fatal problems in marriage, although this kind of dislocation appears to be common and of no novelty.

Dislocation means that there should be some kind of appropriate relationship in which men are men and women are women, and that conjugal relationship should be based on loyalty, humility, restraint, tolerance, sincerity, responsibility, determination and happiness which are the important qualities in setting up a happy marriage. However, a mutual conquering and possessing relationship has subverted the original healthy conjugal relationship which makes people feel exhausted and despair over marriage.

But the artist does not care only for marriage problems (though there are very few artists in Chinese contemporary art who are concerned about marriage), for the artist did not play a role as a marriage consultant but rather as a guardian for people’s spiritual homeland and their patterns of life. As one of the most primeval and important relationships of human being, the symptoms of marriage has revealed the deeper problems of human per se, for the despair of something is not thorough despair, but the despair genuinely unfolded is the despair of human per se.

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New Life 19

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New Life 17

Despair

The little child playing cards to divine the future in New Life-No.22 and the child overlooking the faraway scene in New Life-No.23 all had some anxiety not suiting their age. In New Life-No.17 the man squirts a pile of dolls nervously with water-pistol, in New Life No.18 and No.19 the men are trying painfully to break loose, and in New Life-No.20 the man is licking his knees eagerly…

Apart from broken marriages, we can also see anxious babies, recreational invading behaviors and painful solitudes in this series. All these plain pictures show the artists’ attention to people’s universal perplexity, upset, restraint, despair and the need to be comforted. The dismembered and attacked dolls in the picture seem to imply the character’s broken dreams.


New Life 20

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New Life 16

All these characters are taking pictures in a photographical studio carefully lay out and decorated by Hu Jun. The artist hopes that the background would be aesthetic, the color would be bright and the posture would be comfortable. Under the bright sunlight, the air is so clear, the lake is so peaceful, the skin is so fair and white, the body so strong and healthy, but the human is so anxious! Do you think this was disharmonious? Do you think these people are mawkish and blot on the landscape? Why should the artist display the weakness of man in such an intensive way?

The characters’ pain and despair is set off by the aesthetic and peaceful scenes, just as the smoke from the Auschwitz death-camp’s cremator had been set off by the clear vast sky. The internal sufferings of human being are more hidden and profound than the sufferings in history or society. As the head of a family, the bearer of responsibilities, the guide of belief, man has retreated to a situation of self-entertainment, self-pity, self-abasement and self-lost. And this forebodes that the last defense line of social ethnic and belief is collapsing, which is the major problem of contemporary society.

Existentialism philosopher Kierkegaard once talked about despair in his work The Sickness onto Death and said that despair is a psychological disease of self, a misplaced relationship between man and himself. A misplaced relationship with God is the core mistake which determined that despair is a way of human existence.

But Kierkegaard also held that being able to despair is one of the qualifications that make us human, while existing in despair is the most unfortunate and mischievous thing. The universal situation is that we are not aware of our despair, which is one form of despair but the lowest level of it. Despair is like the sofa boat in New Life, it is a mattress for people to lie down and enjoy, entertain and play and then cut all their possibilities to fight against, it is a battlefield for people’s self-depletion and mutual-devour. Therefore the more one is aware of his despair, the stronger the qualification of people as a spiritual existence he would acquire. In Kierkegaard’s opinion, there is an ascendant gradient from existing in despair and existing within the relationship with despair.

Interestingly, those who admit frankly that he is in despair would be dialectically easier to be cured than those who do not admit or those who are not aware of his situation. This is one possibility for art to become a way of self-redemption though this option still has its limitedness. And the fact that the artist himself appeared as the protagonist in the pictures repeatedly also demonstrated his sincere wish to express his despair and his motivation to cure himself. Not only for middle-aged man but also for women and children, the artist’s expression will become a mirror in the cure activities for people in society to obtain both comfort and warning.

To be sure, as for the creative orientation, we can only discern Hu Jun’s experimentation on and discussion about the interrelationship between man to women (marriage) and man to himself (despair) which determines that this series of works are highly self-concerned and self-conscious. As to the experimentation on human’s perpetual existence and their struggle to get rid of the state of despair—as participant, witness and recipient, we have not got the answer yet. Although he compared the powerful beams of light from the outer space to the necessary capabilities to restraint human’s evil desire by using a grand narrative picture in his Desire Landscape series, how to transform them into the holy daily incidents in New Life and how to experience the moment of cure still needs a “confident leap” in order to enter into a more unfamiliar field in the composition schema.

After all, despair is the normality that we are more familiar with; cure and emancipation appear to be so strange and unfamiliar.

Finished at the forth day after the big earthquake of Japan, in Kunming
March, 13th, 2011

日光下的疾病:评胡俊“新生活”系列

布面油画《欲望风景-6》

日光下的疾病

——评胡俊“新生活”系列

文/罗菲

按:胡俊的工作室在我单位楼上,他常常热情洋溢地邀请我上去喝茶聊天看作品,我被他的热诚所感动,尤其是他那副独特的笑貌。我们很快成了熟悉的朋友,便捷的环境让我可以更真实地观察到他的工作状态,更深地了解他的艺术。

到目前为止,胡俊的油画可以根据不同的主题分作三个阶段,首先是2003年至2006年的《嘴唇》系列,是一组红艳性感的嘴唇。然后是2007年至2009年的《欲望风景》系列,主要是橙红色调的城市景观,被艺术家称作为“欲望”的液体层层渗透包围、四处弥漫(艺术家提到其灵感来源是精液),天外强光穿透迷雾,有种末世景观的焦虑感。这个系列还有一小部分,是从画面中提取出来的流淌物的抽象画,命名为《欲望—流》。第三个主题是《新生活》系列,从2006年开始,一直延续至今。《新生活》系列最初是一些卡通风格的男女生活,形象由艺术家自画像演变而来,画面充满诙谐的爱恋的味道,并小市民的市井味。胡俊早期作品在方法论上多少受“卡通一代”影响,大头样式、诙谐表情、色彩单纯粉嫩、薄薄的平涂法,精神上受玩世现实主义影响,张扬玩笑式的生活态度。

从2008年部分作品开始,胡俊在风格、语言和图式上渐渐实验出独特的样式。或者说,艺术家开始真诚地反省自己前些年的工作,并真诚地透过个人生活经验来深度挖掘图式的原创性,深入表达人作为精神性存在的吁求,从对当代破碎婚姻生活的怜悯之情,进入到对人绝望生存的深度关切。

新生活

《新生活》最初的题目是《人•本性》,从胡俊对几个系列作品的命名可以看出,他对都市人肉身生存状态有着持续的关注,并对人性中欲望的作用和表现形式十分感兴趣。毫无疑问,《新生活》是艺术家基于反讽而给与的一个题目。作为60年代出生的艺术家,他虽然在经历文革时仍旧是孩子,但对革命理想主义时期所允诺的“新中国”、“新生活”的话语模式仍存有深深的烙印。“新”宣告了对“旧”的制度、样式、秩序的全然弃绝,带着未来主义式的盲目乐观。只是这里的《新生活》从社会与历史的蓝图中脱离出来,仅仅是关于男女(夫妻)心理生活的日常事件。

在这个系列中,男人和女人不再是充满激情的初恋情人,他们已经进入婚姻,并且有了孩子。他们反复出现在一只看上去非常柔软有弹性的船上,船的质感很像沙发,也像是床垫,大致有粉红色、暖灰色、肉色和黑色。船的刻画得益于较早的《嘴唇》系列,因此也有隐微的肉感在里面。船只漂浮在一望无际的湖面,背景单纯,有日出,有日落,或晴空万里。色彩轻盈饱满,如同画面中普遍的场景那样,艳阳高照。这个系列的画面普遍采用摄影式的摆拍视角,或部分强力闪光灯下的抓拍视角。

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布面油画《新生活-9》

身体与婚姻

在《新生活-9》中,一家三口坐在船上,三人相貌看上去都是艺术家自己,这似乎延续了现实中胡俊式的幽默感,沿袭着卡通时期的夸张风格。画面富有微妙的戏剧色彩,画中男人和女人失去了之前的温存关系,裸体男人显得十分疲惫,依偎着女人试图想寻求安慰。但打扮得市侩的女人则无所谓男人的心情,墨镜掩饰着她的漠不关心,享受在手机中另一头的联络。孩子的打扮十分时髦,独自塞着耳机完全沉浸在自己的世界里。胡俊认为这就是中年男人的写照,当事业和家庭都建立妥当之时,却发现自己失去了方向,本该知天命之年却更加迷茫,不知道自己需要的是什么,留下的只有疲惫的肉身,而家庭关系日趋冷淡、隔阂。《新生活-11》里,夫妻间的隔阂在平静柔和而神圣的夕阳下显得越加微妙突出,两人不着一缕,此诚相见,身体和肖像都显得那么松弛,享受和风吹拂脸庞,他们之间生硬的“裂缝”流露出难以调和的疏离感。

布面油画《新生活-11》

布面油画《新生活-11》

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布面油画《新生活-14》

胡俊在身体刻画上不断操练写实主义功夫,他同时也常常外出画风景写生,这使得他在用色彩塑造形体和空间的能力上有很大受益,画面色彩微妙活泼。他认为那种典型的中国当代艺术作品缺乏深入画面的素养,缺乏审美的愉悦,而这正是他要努力克服的。他在画面中试图唤起一种唯美效果,其中包括文艺复兴时期对人类身体颂赞的愿望,对身体骨骼、肌腱、结构、皮肤细微的起伏都做了精微的刻画。在这方面也受到米开朗基罗的影响,只是《新生活》里的身体并不像米开朗基罗所塑造的那样充满力量感,在细嫩、壮实、几近完美的身体下,是虚脱而绝望的都市人的破碎本质。这在《新生活-14》里显得尤为突出,胡俊引用了米开朗基罗雕塑《哀悼基督》的图式来表达对婚姻中男人的悲悯。他试图通过对艺术史名作的引用来强化一个婚姻中“受难者”的自我意识,通过基督受难这一基于无私的爱的全然失败的图式,来唤起对婚姻中受伤时刻、失败时刻的关怀。只是怀抱基督(男人)的不再是美丽温柔哀恸的玛丽亚(女人),而是刚刚大获全胜正在擦抹胭脂的悍妇。艺术家似乎将矛头指向了女性。女人不再是为男人增值的花瓶,也非温柔贤惠顺服的才德妇人,反而具备了凶猛的攻击性。在《新生活-21》中女人被描绘得像是雄性激素增多的雌猩猩,身体强壮,面目狰狞。由此不难理解为何一些女性观众在看到胡俊这类作品后所表现出来的惊悚和愤怒,以至于要亲手毁掉画作。而中年男人们看到后竟感动得流泪,叹息画中男人竟是自己。

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布面油画《新生活-21》

新生活23

布面油画《新生活-23》

观众往往会因为艺术表面的挑衅激起情绪化的抗议与误解。因此对艺术家的判断往往需要长期跟进观察,对其人和其他作品做纵向横向比较,如此才能体会艺术家的真实意图。有时,连艺术家本人对其真实意图也并不完全清晰,而需要他者参考其生活经历、精神特质、文化心理,从诸多作品中清理出来。

正如在《新生活-23》所观察到的,清晨微光下,船上前景位置是一个头部在画外的身体。他/她的胸部看上去是女性,下半身却是男性,躺卧得十分优雅。这样一种性别错位的、和之前男性化倾向的女人相比,是更为中立和克制的考虑,以一种古典审美的需要来刻画和呈现他/她。这似乎正表明更深的思考,性别混淆(心理的/身体的)与关系错位(个体内在关系/夫妻关系)是婚姻关系中致命的问题,尽管这种错位看上去习以为常。

错位表明了在此之前应该有某种更适合的关系,那种男人作为男人、女人作为女人的基于忠诚、谦卑、忍耐、宽容、真诚、责任、意志和欢乐的夫妻关系是建立幸福婚姻的重要品格。而彼此征服、彼此占有的关系则颠覆了这种原初设立的夫妻关系,使得人们对婚姻产生厌倦和绝望。

然而艺术家真正关心的不只是婚姻问题(虽然在中国当代艺术关心婚姻的艺术家是极为少见的),因为艺术家在社会中并非扮演婚姻咨询师的角色,艺术家是对人的心灵家园和生命样式保持敏锐警觉的看护者。婚姻关系作为人类最初最重要的关系之一,从其病症的外表已经表露出更深的人自身的问题,因为对某件事情的绝望不是完全的绝望,那种真正表露出来的绝望是人对自身的绝望。

新生活19

布面油画《新生活-19》

新生活17

布面油画《新生活-17》

绝望

《新生活-22》里用扑克牌玩占卜游戏的小孩,《新生活-23》里眺望远方的小孩,显出与其年龄不符的焦虑在他们身上。《新生活-13》里男人朝天上坐在飞机里的玩偶射弹弓,《新生活-17》里男人神经质地向一堆玩偶射水枪,《新生活-18》、《新生活-19》里男人痛苦地挣脱束缚,《新生活-20》里男人忘情地舔舐自己的膝盖……

除了错乱破碎的婚姻,又看在“新生活”中忧虑的婴孩、消遣式的侵略行为、痛苦的独处。这些直白的图画显出艺术家关注到人普遍的迷茫、颓丧、捆绑、绝望和寻求安慰的需要。画中被肢解和被攻击的玩偶,似乎意味着纯真幻想的破灭。

他们在胡俊精心布置的“相馆”里留影,艺术家希望背景是唯美的,色彩是夺目的,造型是舒服的。绚丽的阳光下,空气那么透明,湖水那么平静,肌肤那么美白,身体那么结实,但人却显得万分不安!你觉得不谐调吗?你觉得那些人是在无病呻吟、大煞风景吗?艺术家为何要如此强烈地将男性脆弱的一面如此呈现?

唯美平静的风景将痛苦绝望的人衬托出来,如同晴空万里的蓝天将奥斯维辛集中营焚尸炉的炊烟衬托出来一样。人的内在苦难比社会历史中的苦难更为隐蔽而深刻。男人作为家庭的头,责任的承担者,信念的带领者,退缩到一个自娱自乐、自怜自卑的自我迷失的处境之中。而这,正预示着家庭作为社会伦理与信仰的最后一道防线正在崩溃的现实,当代社会的硬伤所在。

布面油画《新生活-20》

存在主义哲学家克尔凯郭尔在《致死的疾病》里谈到,绝望是一种精神的疾病、自我的疾病,绝望是在自身同自身相关的综合关系中的错误关系。其中最核心的是人与上帝的错误关系,由此决定了绝望是人的一种生存方式。

但同时,克尔凯郭尔也认为,能够去绝望是人之为人的一种的资格,存在于绝望中才是最悲惨和不幸的。意识不到自己绝望是人的普遍状况,也是绝望的表现形式之一,却是绝望中的最低层次。绝望犹如那只《新生活》中的沙发船,是供人躺卧享受、消遣、游戏、毫无奋起反抗之可能的席梦思,是自我消耗与相互吞噬的战场。因此,对自身绝望的意识越高,人作为精神性存在的资格就越强。克尔凯郭尔认为,人在与绝望的关系中而不是在绝望中,存在着一种上升的梯度。

有意思的是,当真诚地承认自己处于绝望中的人比所有不这样认为的人,和不认为自己存在于绝望中的人,还是更接近、辩证地接近被治愈的状态。这也正是艺术作为一种自我救赎的可能性所在,尽管这个方案也有其局限性。而艺术家自己一再出现在画面的主角中,也印证了这种基于真诚表达的绝望,来自艺术家自我治愈的动机。不只是针对中年男人,包括女人和孩子。艺术家的这种表达,将作为社会治愈行动中的一面镜子,供人慰藉与警醒。

诚然,从目前的创作取向看,我们只是看到了胡俊在人作为综合关系中的人与人(婚姻)、自身与自身的关系(绝望)做了实验与探讨,由此决定了这个系列具有高度自我意识的主题关切。至于人作为永恒性存在的实验,作为摆脱绝望生存的参与者、见证者和领受者,尚不可知。尽管他在《欲望风景》系列中以宏大叙事的画面将世界外部降临的强光比作束缚邪恶欲望的必要能力,但如何将其转换为《新生活》中神圣的日常事件,如何经历治愈时刻,仍需迈出“信心的一跃”,并在图式实验上走向更为陌生的领域。

毕竟,绝望是我们更为熟悉的常态,医治与释放显得如此陌生。

完稿于日本大地震后第四日,昆明
2011年3月14日

新生活16

布面油画《新生活-16》

胡俊:艺术家永远都应该在旅途上

胡俊:艺术家永远都应该在旅途上

– 你是2000年最早进驻创库艺术社区的艺术家之一,已经在这里工作了十年,昆明创库从最早33位艺术家到现在每天来这里工作的大约只有三五位艺术家。为何你没有选择去北京或其他城市发展?

我这个人比较恋旧,不仅仅是对人,甚至对环境都比较依恋。这里一草一物,甚至灰尘对我都有情感。除非这里被拆除或者我无承担而被迫离开。这里存在一天,我就工作一天。我并不嫌弃这里的一砖一瓦,就像我的老母亲,可能青春逝去,头发花白,但我不会嫌弃。另一方面,创库也孕育了我的艺术,最早进入的时候我的艺术方向是不明确的,现在比过去对艺术有更清晰的认识。

– 近几年在云南有好些商业画廊悄然出现,他们在艺术家和收藏群上都有各自不同的定位。你如何看待他们对本土所起的作用?

近几年确实比前些年要好,首先是国家经济腾飞,百姓生活富裕,美食、私家车、出国旅游,而画廊兴起说明市民有一种精神的需要。

以前艺术家都只考虑艺术问题,当他们考虑市场问题时,艺术有被吞噬的危险,有时艺术家被迫放弃艺术追求。但收藏群也需要真正的艺术品,这就需要艺术机构来定位消费群,引领和教育消费者,帮助他们的品味提高,对艺术有更纯粹的追求。同时艺术家本人一定要清醒,不能把艺术追求变为经济追求。

– 你作为云南少数被画廊代理的艺术家,被代理后有何体会?

在被代理之前,我想前方一定有路有希望,不停地跋涉,当旅行中突然发现有个驿站,就停下来休息,有美味有热水泡澡,有舒服的床铺。人都有懒惰和享受的一面,当这些都有的时候,旅途的艰辛、寒冷、露宿大地的凄凉,一阵寒风过后,凄风苦雨、饥寒交迫,他也考虑需要一个温暖的地方。我把这个比作艺术家被代理后的心境。但真正的艺术家应该清醒地意识到,艺术家永远都应该在旅途上,吃完喝好之后就应该背起行囊上路,驿站不是终点。

– 你同时也是昆明理工大学的副教授,昆明的大学目前大都搬到了大学城,有人说,以前大学教育面临一个困境就是学生所学的技术知识与社会脱节,尤其是艺术类,那么现在搬到大学城之后连身体也基本被隔离了,你是否赞同这种说法?

我觉得它从一个喧嚣的城市搬到荒郊野外,本质上没什么错误,不能说离开了就错误了,要看老师和学生的理念是什么。到了幽静的地方有助于学生的学习,但不能因为偏远就连眼界也被隔离,应该和这个世界发生关联。或者说,即便他在城市里,如果他没有对普遍人类的关注,那也是行尸走肉。很多老师不愿意去,但我觉得很好,可以很安静思考一些问题,有独处的空间,不需忙于应酬。

– 最早注意到你的作品是色彩艳丽性感的嘴唇,还有一个系列是悬浮的肉,再后来是带有卡通形象和幽默感的小市民男女与城市街景,然后前两年又看到你画一些流淌而焦灼的城市景观,到现在是家庭生活。这些作品在图式上从微观到宏观,大多与都市生活息息相关,在主题上与人的欲望有关。有一种“看上去很美”的感觉,但多看几眼就产生一种消极的情绪。是什么引起你去关注都市和人的欲望问题,并产生这些主题间的更替交错?

以前看到创库艺术家的作品很新奇,我以为那就是当代艺术,于是我就画肉,肉跟其他物质不一样,它代表的东西很丰富,有色泽水分和生命,我也不清楚为何要画肉,一种不自觉吧。但观众不明白我的画是什么意思,我就意识到我的作品有问题。但我相信老先生的话,艺术来源于生活和真情实感,首先要感动自己,才能感动别人。

后来我读到安迪·沃霍尔的一本小册子,其中一个故事对我影响非常大。当时沃霍尔到纽约之后奔忙于各种画廊party之间寻找出路,后来很沮丧,道道门都关闭了。有一天他女友打电话过来要他请她吃饭,并且她说知道沃霍尔的艺术该怎么做,沃霍尔就当真了,用所剩无几的钱请她吃饭,吃完饭女友要走,沃霍尔问,那我的艺术呢?女友说,你就是要钱嘛!那就画美元啊!于是沃霍尔回家就画美元。波谱艺术大师就诞生了。

我并不是说我从此获得了成为大师的法则,但我明白了艺术不能和我的情感、内心、生活相分离,艺术是我的一个部分。这时我的嘴唇系列诞生了(2003—2006)。那时我很想要钱、名、要身体的满足,身强力壮,我意识到身体里有一种欲望,所以开始画嘴唇。观众来看,一下就明白我要说什么,很直白。但后来发现画嘴唇的人也很多,后来发现嘴唇不是我胡俊的。意识到符号性的东西也没有生命力,很短暂,除非你做在别人前面,否则就不是你的。所以后来我就开始突破这个符号。将我画面中的唾液和精 液抽离出来,于是有了第二批作品,就是“欲望风景”(2007—2008),有城市、奖状、纪念碑,把人类文明放在这样的景观中。这批作品更反映了我对欲望的理解,它具有毁坏力,可以冲毁一切文明。在这个基础上又发展了第三批画“欲望——流”(2009),这是把“欲望风景”变成了抽象绘画,有中国水墨的意境,画面更抽象,但观众更能看到欲望的膨胀和侵蚀,这个也许是我今后另一个方向。我觉得艺术不是图解,把理念讲出来,艺术讲究含蓄的意境。

“新生活”系列是我从2006年开始的,那时是卡通造型的市民,尽管那批作品在上海全都卖了,但我认为有问题,回来就停了一年。2007年又开始画,画面人物造型结构回到了写实手法,我发现我以前追求的艺术样式有问题,我需要回到艺术本身的问题,色彩、造型、光影明暗等等。

我觉得艺术应该有它自己的语言,不是说艺术是现实的镜子,最起码艺术应该是哈哈镜,通过艺术家的镜面形成了艺术家自己独特的样式。我觉得艺术永远是创造性的,它需要给人一种新的视觉体验,在这种新的视觉体验下获得对生活和社会的理解,以及艺术家对问题提出的批判性思考。

hujun-work2

hujun-work3

– 留意到“欲望风景”系列中看到天上有很强烈的光束,营造出一种强烈的宗教感,像是末世景观,是有意而为的吗?

是的。我觉得欲望需要控制,要有度。如果人类没有欲望,就没有文明,但如果没有道德底线,就具有非常强的毁坏力。我希望有一种约束,一种外来之光,人类需要有信仰有教育,把欲望的猛兽放在笼子里。

– 现在你画“新生活”系列,画中女性像是一个强硬的独裁者,男性沉醉而柔弱,孩子活在自己的世界里。这个题目明显带有讽刺意味。想起前几年有一部热映的电视剧《中国式离婚》,反映中国现代社会中年知识分子的婚姻状况。“新生活”系列是否也在关注这个群体的婚姻危机?

这个是很明确的。我觉得每个中年人充满了对未来的憧憬,他们认为通过努力就可以获得一切:事业、幸福、名誉。当他样样都获得了,事业成功了,有了幸福美满的家庭,大把的金钱,这时他发现他一样都没有,有的只是疲惫,对生命的虚无之感,钱对他来说都不重要,因为价值评判没在了,因为没有信仰,他真的疲惫了,我觉得这样的人很可怜。三十而立、四十而知天命,他看到生命之光即将熄灭,他到底要什么?

我看五十年代大家追求共 产 主义,他们虽然没有钱和私家车,但他们有对生活的追求,那代人是幸福的,我们这代人可怜,一切都有了,但是贫穷无望。这是一个普遍现象,不仅仅是中国的,而是人类的。人类到底要哪样?我要追问。

– 你觉得今天的中国家庭和婚姻观念与上几代人甚至和传统相比,发生了什么变化?

太多了,诱惑人的因素太多。当人们无望时,就要赶紧抓住青春的尾巴,把一切没有享受的或没享受够的物质、肉欲激情,抓紧时间享受。但知识分子却要有责任把生命的价值看清楚,活出更有价值的激情。

– “新生活”系列中的作品有一种文艺复兴时期的宗教仪式感,如基督受难。

我很怜悯他们,我希望不仅仅提出问题,还希望人们能够畏惧,带给人一丝怜悯和安慰。曾经有朋友进来看了就说“哎呀,这是画我”,我说“没有,这是画我自己”。他肯定地说“就是画我”。我看到他的泪水在眼眶里滚动,这就是我的作品给他的畏惧。能做到这些,我觉得我还算有点价值的人,否则我就是一个懒汉。

– 听说许多女性看了你的作品会很不自在,甚至想毁了你的画,觉得你在丑化她们,你是在对愈加独立强势的女性提出抗议吗?你又如何理解女权主义?

实际有的女性读者没有真正理解我的意图,我并没有丑化她们或反对女权。我认为男女都有共同的尊严和权力。我实际上觉得人类是很可怜的,需要关心和帮助,不管男性还是女性。表面强势的女性其实并不强大,她们也需要男性和社会的理解与关心。我画面中的人其实很中性,很多男的像女的,女的像男的。她们不了解,以为我在丑化。当她们平静下来仔细看的时候,她们也就接受了。

– 你画面中的孩子好像都只有一个,是否与中国家庭独生子女一代有关?如何看待独生子女的文化心理、人格和精神现状?

也并不直接指向独生子女,我也会画两个三个小孩,还有一堆小玩偶。更多的我想指出他们的生活特点,他们只关心他们自己,不关心别人的感受和情感。我觉得这代人很可怕的一点就是自私,或许和独生子女一代有关,不会同情不会怜悯别人。这是社会问题,社会需要作出努力,让大家更具有同情心。所以看到前段时间出现了年轻人虐待小动物事件。

hujun-work

– 你觉得今天中国家庭最需要的价值观是什么?

重新建构起新的生活理想,有共同的信仰。这才能维系他们的生活和婚姻。

– 中国当代艺术从九十年代初的玩世现实主义中建立起了非常普遍的人脸图式方法论,就是从艺术家自画像中延伸出一个属于自己的符号,进而大量复制,产生出一种集体主义的生活场景,并且普遍都具有很强的无聊感和自嘲心理。你画中的人物无论男女看上去都与你自己的样貌相仿,是否也是基于这种考虑?

一开始是主动接受了这种观念,到了后期我发现我的长相很有意思,都说我很像筇竹寺的罗汉,我这个相貌有变形夸张的可能性,颧骨高、嘴唇厚、眼睛尖,可以形成我个人的图式语言。这个图式是从一个活生生的人来的,而不是拿来主义。我曾经接受的时候是我拿来的,现在经过一些年的深入,我从中找到了更个人化的塑造语言。我觉得有本质的区别。

– 从你的作品中看到价值观在中国社会的危机,你是否认为这种危机影响到了中国当代艺术的某些方面?

是的。过去的先锋性探索性批判性,慢慢地被冲蚀了,因为艺术家发现搞当代很容易获得名利,它的独立性就被削弱了。艺术家一定要独立探索,带有批判性。

– 从你的作品中看到大量对现状的批评、对阴暗面的揭露,你认为今天艺术家扮演着什么样的角色?

艺术家可以是形式与色彩的游戏大师,给人提供摇篮和安乐椅,给人心灵以慰藉,视觉的愉悦。但还有另一种艺术家,除了关心视觉,还关注生活,人类的命运,提出对问题的批判。艺术家不能改变社会,但他有责任,看到问题提出问题,供人们去思考和解决。

– 最后一个是关于诺地卡的问题。今年是TCG诺地卡十周年,你认为诺地卡、创库在这十年间扮演的是一个什么样的角色?

我觉得诺地卡和创库最重要的角色就是把文化和文化教育带给了这个地区的人群,让人们明白生活中不能仅仅有美食,还应该有精神的追求,还需要有时间来向自己提问,生活存在什么问题。

当然诺地卡还做了另一个方面的事,就是把中国的文化,无论是过去还是当下的,介绍到其他遥远的地方,也把异域的文化介绍过来,这个工作非常有价值和意义!延伸出来还有另一个意义,告诉我们这里的领导和民众,文化不仅仅是经济产业,还可以是无偿的给予。

本文采访者:罗菲
2010年11月12日上午,昆明创库胡俊工作室

hujun-interview
采访现场

潜行者艺术展现场

space-yangyijiang3-works
杨一江,断臂

space-yangyijiang2-works
杨一江,弗洛伊德与拉图尔

space-yangyijiang-works
杨一江,维纳斯和奔驰

space-hujun-works
胡俊,新生活

space-zhangzhiming-works
张志明

space-xiangweixing-works
向卫星,龛

space-zhangyongning-works
张永宁,像章

space-Adam-works
吕力,失落

space-lixuefeng-works
李雪丰,体制系列(局部)

space-lixuefeng2-works
李雪丰,体制系列(背景那副毛的像素图也是李雪丰作品)
PS. 这组雕塑让我想起勃鲁盖尔的那幅“瞎子引路”
路 6:39 耶稣又用比喻对他们说:“瞎子岂能领瞎子,两个人不是都要掉在坑里吗?