艺术档案 > 老栗书房 > 2008年文字选 > 细拣“弃物”入画来——张鉴墙展览序

细拣“弃物”入画来——张鉴墙展览序

2008-09-05 06:37:56 来源: 中国艺术档案网 作者:artda

细拣“弃物”入画来

张鉴墙的这五个系列的小画和小雕塑,是他近几年尽心创作的作品。这些作品以写实主义的方式,选择了“被丢弃”的人、物、风景入画,表达了他对人生的忧伤感觉。

1980年代以来,中国写实主义的发展,在脱掉革命外衣之后,以陈丹青和四川伤痕写实主义的小、苦、旧情绪,作为反叛革命现实主义的开端,逐渐在艺术界衍化出一种乡土风情的风格,并固定成一种模式沿续至今。1980年代中期,以学院教师为基本创作队伍,产生并固定了一种古典主义风格。1990年代初以来,方力钧、刘小东、刘炜、宋永红等艺术家,以生活中偶然、无聊甚至恶心的片断入画,开创了一种新的写实主义模式,就一种生存感觉的意义上,我曾经以“泼皮”“玩世”命名,从语言上的意义看,我把它看做与中国的传统意象和比、兴模式有一种关联。在近几年的发展中,这类艺术样式已经蔚为大观,多以写实主义方式,一反传统写实主义典型环境、典型人物、美好物品和风景入画的原则,凡是日常生活中触动艺术家的人、物、场景、风景各种“题材”,皆可入画,似乎越是传统写实主义中不能入画的“东西”,越是被艺术家作为选择的对象,如废墟,垃圾场,怪模怪样的人物和表情等等,艺术家心、眼所及,几乎无禁区了。

张鉴墙画的宋伟,是宋伟得了精神病之后尤其是醉酒的样子和表情,看得让人心酸。宋伟曾经是北京的餐饮业大颚,1989年因为赞助《中国现代艺术展》和收藏中国当代艺术的早期作品,闻名于艺术界。九十年代初去了美国,九十年代中期回国时,已经是疯疯癫癫的了,后流落宋庄,时而清醒,时而疯话连篇,唯酗酒是他最日常的生活内容,事实上,宋伟也是这个社会的被遗弃者。丢弃的烟盒用黑白来处理,细看可以联想到烟盒起初金光闪闪的样子,香烟在中国可不是一般消费品,吸什么烟,几乎可以成为身份的标志,所以中国的香烟越造越豪华,越造越昂贵,包装越来越富丽堂皇。当烟盒如今成了弃物时,往日的富丽堂皇已经不再,正可谓“憔悴如今谁领略,飘零已是无颜色(陆游)”。丢弃的烟头做成雕塑,如此放大,有超写实主义的语言意味,可以联想的意象因素也加强了,豪华的香烟和烟头,让人生发花和落花之感慨。那些复制的上访信件,发出地址几乎涉及到所有中国的省份,而信件内容,更是可以让观众细细看,其情可悯。看了这些石沉大海被丢弃的永远不可能有回答的信件,顿生无奈和悲凉。另外以垃圾场作为风景入画,自然也是一种对生存环境的比喻和感触。

张鉴墙有良好的写实功底,同时在做这些作品时,又发展出一些独特的技巧,如用油画模仿出信件的各种笔迹――马克笔,钢笔,乃至血书的笔迹等等。只要应感而画,一定会突破学院写实主义的技法模式,创造出属于自己的独特技巧。绘画只有进入最后一层的语言因素――画面处理的技巧独特性,才算真正的独特。

栗宪庭2008

艺术档案 > 展览档案 > 展讯发布 > 北京︱《葛宇路》葛宇路个展

北京︱《葛宇路》葛宇路个展

2020-06-05 18:12:58.6 来源: 北京公社 作者:Beijing Commune

葛宇路 Ge Yulu
展期︱2020年5月22日—2020年7月4日
地点︱798艺术区北京公社


北京公社正在展出艺术家葛宇路的首次同名个展《葛宇路》。展览呈现了艺术家的新作《备用电源》(2020),将持续至2020年7月4日。

本次展览延续了葛宇路对社会现象的批判性思考和个体视角的工作方式,以展厅为出发点探讨了身体与展览空间的关系。他将一辆自行车改装为发电机,在展览期间通过不断地日常骑行将运动转化为电能,而从他远离市区的京郊住所到位于喧哗的北京798艺术区内的画廊之间的距离,则为他的创作提供了不仅仅是物理意义上的更广阔的空间。介于日常与展览制作之间的骑行行为将艺术家的能量转化为电能,储存到了自行车所携带的蓄电池里并为其展览所使用的电子设备供电。悬挂于展厅内的小型电子显示屏设备里播放的是葛宇路近年来艺术创作中各种片段,碎片化的剪辑使得视频脱离了原有的作品语境,进一步模糊了艺术家的生活和创作。

展厅作为当下艺术呈现的标准配置,具备了某些被默认的属性。葛宇路试图将其还原为一个更为纯粹 、不带任何特指的空间,以揭示这种常态化的供应对艺术展示如何起到潜移默化的影响。展览中,作为创作核心的艺术家的个体的能量将替代展厅原有的供电系统电力来维系作品的运行,将艺术的创作的发生延续到展厅现场及艺术家每天骑车所途经的城市空间里。艺术家身体所能承受的运动极限决定着电量的供应,也决定了影像放映的时长,这种不稳定性挑战着观众对近年习以为常的展览形态的期待。当葛宇路的体能所能负荷的最大能量被展厅的电子设备耗尽,所有的视觉信息都将消失于黑暗之中,观众观展的惯性也随之失效。这时,作品的观念性则将更加清晰:图像仅仅是次要的,即使它能为作品提供一些意想不到的趣味性。

葛宇路的创作兴趣多集中对城市公共空间及公共生活的观察。他试图通过作品调侃生活中隐藏的矛盾,消解固化的权力结构,制造新的动态关系。谈及供电,艺术家认为电能对生活在都市里物质充裕的现代人来说已是常态化供应的基本能源。而实际上任何一个紧急状况时刻都可能轻易地剥夺这种唾手可得的日常便利,改变我们的世界。个展期间,葛宇路将展厅置于这种“紧急状态”之中,以最直截了当的方式重塑现实、介入社会中既定存在的界限,使得生活与艺术在其干预下呈现了荒诞的一面。

▲2020年5月22日开幕当天,葛宇路微博直播他从燕郊骑行到798艺术区全程

Beijing Commune is showing artist Ge Yulu’s eponymous show, in which he presents his new work Emergency Power System. The exhibition will run until July 4, 2020.

This exhibition continues Ge Yulu's critical thinking on social phenomena and the working mode as an individual. Using the gallery as a starting point, he explores the relationship between the body and the exhibition space. He converted a bicycle into a generator, through which his exercise would turn into electrical energy through continuous daily riding during the exhibition.The distance from his residence on the outskirts of Beijing to the gallery in the buzzling Beijing 798 Art Zone provides a wider space for hiscreation than just the physical sense. The cycling acts as something in between daily life and exhibition production, storing the artist's energy in the batteries he carries on his bicycle that will be used to power the electronic equipment in the exhibition. The small digital frames hanging in the exhibition space display various clips of Ge Yulu's artistic creation in recent years. Fragmented editing separates the video from their original context, further blurring the boundary between artist's life and creation.

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As the standard configuration of current art presentation, the exhibition space is bestowed with certain default attributes. Ge Yulu tries to restore it to a non-speficic space, in order to reveal how this normalized supply has a subtle influence on the art display. In the exhibition, the artist’s individual energy as the core of creation will replace the original power supply system of the exhibition space to maintain the operation of the work, extending the artistic creation to the gallery as well as the urban space that the artist rides daily. The limit of motion that the artist can bear determines the supply of electricity and the how long the video can last. This instability challenges the audience's expectations of the exhibition form that they are accustomed to for years. When the maximum energy that Ge Yulu's body can load is depleted by the electronic equipment in the exhibition space, all visual information will succumb to the darkness, while the audience’s accustomed viewing experience will also vanish. The highly conceptuality of the work will then be clear: the image is only secondary, even if it canprovide some unexpected fun along the way.

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Ge Yulu's interests lie in the observations of public space and public life in urban settings. Through his art, Ge Yulu strives to mock up the hidden paradox in life and challenge the immanent power structures while creating new dynamic relationships. Electricity as an accessibleresource in modern urban living can be easily deprived by any emergency. Ge Yulu puts the exhibition space in a "state of emergency", reshaping the reality and intervening the established boundaries of society in the most straightforward way. An absurd side of life and art thus emerges.
 
葛宇路,1990年出生于湖北武汉,2013年毕业于湖北美术学院影像媒体专业,2018年于中央美术学院获得实验艺术硕士学位,现工作、生活于环京地带。他近期参与的部分展览包括“情的时代”爱知三年展,名古屋(2019);无界艺术季,扉美术馆,中国广州(2019);“家的变迁”,金泽21世纪美术馆,金泽(2018);中国当代艺术年鉴展,民生美术馆,中国北京(2018);“应力场”第四届美术文献展,湖北美术馆,中国武汉(2017);CAFAM双年展-空间协商,中央美术学院美术馆,中国北京(2016)等。他曾入围2019艺术8青年奖以及第十三届AAC艺术中国年度青年艺术家(2019)。
Ge Yulu (b. 1990, Wuhan) graduated from the Media Art Department of Hubei Institute of Fine Arts in 2013, and received a M.F.A. from the Experimental Art Department at Central Academy of Fine Arts in 2018. He now lives and works outside of Beijing. His recent group exhibitions include “Aichi Triennale 2019 - Taming Y/Our Passion”, Nagoya, Japan (2019); the 1st Borderless Art Season, Fei Art Museum,Guangzhou, China (2018); “Altering Home”, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2018); “the Exhibition of Annual of Contemporary Art of China”, Beijing Minsheng Art Museum, Beijing, China (2018); “Stress Field: the 4th Documentary Exhibition of Fine Arts”, Hubei Art Museum, Wuhan, China (2017);  “CAFAM Biennial: Negotiating Space”, CAFA Museum, Beijing, China (2017), and etc. He was nominated for “Art 8 Prize Youth Finalist Award” and the “13th AAC Art China Young Artist Finalist Award” in 2019. 

 

  

 

 

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