艺术档案 > 当代水墨 > 『界里界外』邹建平、刘鸣的水墨方式

『界里界外』邹建平、刘鸣的水墨方式

2008-11-05 12:19 来源: 中国艺术档案网 作者:artda


 

展览城市: 湖南-长沙
展览时间: 2008-11-08~2008-11-22
展览地点: 美庐美术馆
主办单位: 湖南省文化厅、湖南省文学艺术界联合会

展览前言  

2008年11月8日至2008年11月22日,“界里界外:邹建平、刘鸣水墨艺术展”将在湖南长沙美庐美术馆举行。该展览是文化部艺术市场司“2008年中国现当代艺术推广计划”重点推荐展览。该展览由湖南省文化厅、湖南省文学艺术界联合会主办,湖南长沙美庐美术馆承办。展览期间,将邀请国内众多知名批评家会集长沙参加展览的开幕式酒会和研讨会,国内数十家艺术媒体也将是这次展览的支持单位。文化部文化市场司拟定的“2008年中国现当代艺术推广计划”,在全国范围内开展中国现当代艺术重点推广展览评选活动,主要是对艺术品经营企业在国内外举办的重要现当代艺术展览,给予一定补贴和推广宣传方面的支持。推出代表中国民族传统文化和具有时代精神、中国气派的现当代艺术家。该展览将展出艺术家邹建平、刘鸣近年来水墨艺术创作的最新作品,作品在形态上以水墨为基本元素的跨形态作品(雕塑、装置等),正因为这种鲜明的“水墨基本元素”和“跨形态”特征,艺术家邹建平在这个展览拟名称时把主题定为“界里界外”。展览中邹建平和刘鸣的作品在言说语境中尽管不同,但共同坚持跨学科的实验精神,以视觉聚焦来显现基层人文的精神状态:一个采用微观叙述的田野观察方法,在暧昧的光与影中,隐秘的表达着现实中内心的焦虑和不安;一个则大刀阔斧地解构传统山水画体例,在结构框架中表达对生存空间的紧张,企以重建另一种“山水”(景观)秩序。展览中两人彼此关照,在内容与叙事方面构成艺术文本的互补。展览除了在作品形态结构的考虑外还具有强烈的当下文化的针对性。展览针对当前水墨艺术站在传统与“他者”之间不知所措而成为“游牧的部落”,水墨艺术的演进与发展很难在一个以西方中心主义为裁判原则的体系中参与各项规则性的艺术游戏,以及水墨艺术在表达现场现实力量的缺乏,水墨艺术的问题很容易演变成一个个空洞的能指等问题,艺术家试图做出两个方面的回应:一、(艺术家)凭借一种坚定的信念和精神执守,坚持水墨方式,立足于哺育他们的故乡的母土(长沙),做出文化的呼应;二、在当今庸俗的艺术市场学代替了艺术判断的标准的时期,含弘光大东方文化形态,将已有的风格形态扩展到一个大于中国画的更加宽泛而自由的领域中去。中国画是中国文化的象征,现代中国水墨画能否现代化背后更深邃的是中国文化能否现代化,中国政治经济就会能否现代化的根本原因。

为笔墨解脱
——『界里界外』的产品说明(自序)


“水墨”与“现代水墨”,其通常界定的方式已让我们产生了一种疲劳和质疑,其形式主义的解读方法误导了许多对东方文化充满期待的人。所谓的“缥缈的神韵,优雅的勾勒加上淋漓的泼墨,在水与墨的缠绵中折射出东方式美学的隽永奢华”的语言造境,那种概念化的浅易表达极易和生活现场分离。当艺术停留在对问题关注的表层后,我们发现:艺术创作离我们要解决的问题却越来越远。因此,在媚艳与冷酷的时尚现实对比之下,水墨艺术那种精典豪雅与悠久渊源的品质,精密复杂的系统,便遭受了当代文化不容置疑的冷落与忽略……。水墨艺术站在传统与“他者”(当代)之间不知所措而成为“游牧的部落”。水墨艺术的演进与发展(当代)很难在一个以西方中心主义为裁判原则的体系中参与各项规则性的艺术游戏!加上其在表达中现场现实力量的缺乏,水墨艺术的问题很容易演变成一个个空洞的能指,一个与现场无多大关联的虚弱的文化脉动,一种无法传导或准确表达现代信息的生产方式……。

以东方文化形态而呈现的水墨艺术遭遇了当代殖民文化的“围剿”和“排斥”!中国当代艺术家们在“得意忘形”的集体饕餮时,而我们—凭借一种坚定的信念和精神执守,坚持水墨的生产方式,立足于哺育我们的母土,恪守地承载天,地以厚德化育天道!其“百折不饶”、其“敢为人先”!有母土之支撑,我们是如此的自信!这是一种永远的精神厮守,亦是对集体英雄主义的不屑。今天,面对当代文化中“犬儒主义”的蜂拥蔓延,在一个庸俗的艺术市场学代替了艺术学术判断的时期,我们企以含弘光大东方文化形态,将已有的风格形态扩展到一个大于中国画的更加宽泛而自由的实验领域中去。

我们跨越了那么多的不可能,注定幸福地和东方文化精神缘在一起!

传统经典人物有那么多伟岸的身影:八大山人、四王、扬州八怪、龚贤、沈周、仇英、任颐、吴昌硕……。人活着不能总是笼罩在别人的阴影里,风格样式是一个即将超越的屏障,它神圣而不可侵犯的规则却成为创作冲动前对我们心灵的扼制。要挣脱传统束缚,首先得进入传统,“用最大的功力打进去,用最大的能力打出来”(李可染语)!如是,反叛也是一种继承,虽然形而下的表现形式在怀疑和否定中不断流变,但是生生不息的文化根脉和艺术精神却是恒定久远的,突围的最终目的还是落在发展上。我们杜绝不尊重历史的态度,倡导尊重东方话语权又脱胎于古典语言的创造精神。

长沙,这个城市带给我们平和亲切的感受,处在这个城市中,许多行为都会和这个城市的气场有关,那沉雄悠远的楚汉文化,亦激发了创造的勇气和“野心”。这座城市蕴含的能量激活了我们的创作空间:一种年轻而无限可能的蓬勃的空间,将艺术从陵庙中请回人间!摆脱一切虚华矫饰的概念和形式,在当代生活中找到它所具有的最真实情感。

完美是不符合这个年代的!我们的作品在言说语境中尽管不同,但共同坚持跨学科的实验精神:一个采用微观叙述的田野观察方法,以视觉聚焦来显现基层人文的精神状态,在暧昧的光与影中,隐秘的表达着现实中内心的焦虑和不安;一个则大刀阔斧地解构传统山水画体例,在结构框架中表达对生存空间的思考,企以重建另一种“山水”(景观)秩序。两人彼此关照,在内容与叙事方面构成艺术文本的互补。

选择水墨方式如同一场恋爱,它是一种无法复制或强迫的感觉!因为爱是无条件的,以至让人盲目。但我们坚守的目标永志不渝,我们的立足点在充满智慧的东方,由此,我们感到这种工作在当代充满了意义。

是为序!

邹建平、刘鸣
2008年9月于长沙

Releasing for My Brush and Ink
—the Product Description of “In or Outside the Border”
(Author’s Preface)


We have had a kind of tiredness and dispute to the way of how to get the definition of “Wash painting” and “Contemporary Wash Painting”. The formal way to unscramble it has misguided many persons that have expectation for the oriental culture. The artistic conception that nebulous verve and refined drawing with thorough splashing reflect the meaningful luxury of the oriental style aesthetics and that conceptual simple expression are easily departed from the live life. While the art keeps the attention on the surface of the affair, we notice that the artistic creation has left from what we were going to resolve far away. Therefore, on the contrast of tawdry and cool fashion facts, wash painting’s unconstrained elegance, long-origined quality and precise and complex system has been suffered from the neglect of contemporary culture… The art of water & ink is  forced to be “the horde” while standing between the tradition and “others”, which is so hard to join in various regular artificial “games” to make development in the system of which the judge principal is westcentrism. Besides, it is lack of the realistic power in the expressing live spot so that the art of water & ink would be easy to become vacuous signifiers, a impotent culture fluctuation less related with live spot or one kind of mode of production that cannot correctly express modern information…

The art of water & ink showing as the oriental culture fell in the “Encirclement and Suppression” and “exclusion” from contemporary colonial culture. While Chinese contemporary artists are excitedly enjoying in this, we insist on the water & ink expression as a firm belief and spiritual stand. We stand on out motherland which brings us up. Earth bears the heaven and it can raise the providence by the wisdom. How indomitable! How pioneering! We are so self-confidence for we have the support from our motherland. It will be an eternal watch as well as a disdain of collective heroism. In face of the rush of cynicism, during the period that vulgar artificial marketing replaces artificial judgment standard, bright oriental culture state widens the existing style to a wider and freer area than Chinese painting.

We have crossed so much impossibilities and we are fated to be along with oriental culture spirit.

There are many strapping traditional classic characters, such as Zhu Da(ba da shan ren), Four Wangs, the Eight Eccentric Painters of Yangzhou, Gong Xian, Shen Zhou, Qiu Ying, Ren Yi and Wu Changshuo… People would not live in the others’ shadow. Traditional style is a barrier the will be exceeded soon. Its inviolable principals have been the limit to the soul before the creation. We should come into the tradition when you want to get rid of it. “Beat in with the powerful strength and beat out with the strongest power.” (from Li Keran.) Rebellion is also a kind of inherit. Though the form has changed constantly in the doubt and denial, the living cultural origin and artificial spirit will be eternal. So, the development would be our final purpose. We put an end to the attitude that do not respect history and sponsor to respect oriental rights to speak put of the classic language situation.

The city of Changsha brings us natural and friendly. In this city some behaviors are related with the atmosphere of the city. The ambitious culture of Chu & Han has stimulated the courage and “ambition” of the creation.  The energy in this castle activates our creation space: a young and immensely possible space that leads art back to the society from the “temple”. It would get rid of all the mannered form and concepts and would find its real position in the modern life.

Perfect does not fit for this age. Our works are not the same in this describable context, but the experimental spirit consisting on cross-subject shows the basic humanistic spiritual state by the visual focus. One adopts field observation in micronarration to reconditely express the inner anxiety in the real life in the inexplicit light and shadow. The other drasticly deconstructs the style of the traditional landscape and expresses the intensity of the existing space in the structure which try to reconstruct another “landscape” order. These two look after each other and make complementary in the contexts and narration.

 Choosing water & ink is like falling love with it, which is a feeling that could not copy or force for love is unconditional so as to make people arrogant or blindness. But our purpose and adherence will be immobile and our standing point is in the orient full of wisdom. So, we feel that our career is full of significance in this era!

So is the preface.

                                           Zou Jianping & Liu Ming
                                               In Changsha in September 2008

水墨空间1(刘鸣)

水墨空间2(刘鸣)

水墨空间3(刘鸣)

水墨空间4(刘鸣)

水墨空间5(刘鸣)

水墨空间6(刘鸣)

刘鸣《城市风景》水墨纸本200X600Cm2007刘鸣

刘鸣作品

刘鸣作品

邹建平 长沙寓言.决策  2008年 275x135cm  纸本水墨_p1

邹建平 长沙寓言.青春沐浴  2008年275x180cm 纸本水墨

邹建平 长沙寓言.今夜无眠  2008年 210x105cm纸本水墨_p1

邹建平 长沙寓言.哈利车手2008年  250x125cm 纸本水墨

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