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后现代的迷情与幻影
80后新锐艺术系列展之三
龙艺榜画廊
策展人：托尼
2007年3月1日至4月30日
怀疑、自我、自相矛盾是80后青年的心理特征，在其艺术创作中表现出带有主观色彩的强烈的非理性力量。龙艺榜80后新锐艺术展之三的艺术家许硕、姜川、张姗姗等共同显示了独特的后现代复杂性，其题材和绘画形式上在历史与当代、现实与潜意识之间恣意冲撞，闪烁出生猛而粗砾的颠覆性。
许硕迷恋于私秘化地对历史的批判性思索和游戏式的后现代主义颠覆。绚丽的粉红色彩云之上出嫁的七仙女半裸酮体、手持象征少女纯洁的百合，面纱后的眼神却是现代女人才有的大胆与暧昧。许硕雄心勃勃的历史寓言蕴涵着神奇的诗意、反讽，在当代语境下迸射出生猛的爆发力。
曾荣获全国美术学院毕业生作品金奖的姜川在宋代山水背景上的悲情戏剧显示出源于中央美院壁画系的艺术家对画面构造、质地肌理等绘画性方面学院派的精致与考究。传统图式中戏子的脂粉红颜和秋波明眸在永恒弥坚的山水之间朦胧动人，紧张、绚丽、刻意的聚焦不清晰、图像化倾向与作品中戏剧化情感的极度张力相结合，贴切、恰当地隐寓古典精神如镜花水月般的憔悴凋零，是经典沦落的伤情挽歌。
清纯的女性艺术家张姗姗画面却是印象派和表现主义的精致与狂野的混合，浪漫的女性生活题材于平静中流露野性，在优雅中暗示荒谬。女人与蜥蜴等作品中对变形的趣味、非理性的热情暗示当代年轻女性心理世界的多样性与复杂性。
“所谓现代既是所有时代与之并存。” 此展览的艺术家具有多元的艺术观念和意识形态，他们以当代映射历史，从潜意识角度逼近现实。个人风格强烈，却难以界定、拒绝诉说、游移不定，他们主观、内省，试图审视内心之井的诡秘微澜，神秘的反光折射出在当代全球化的社会、文化的汹涌变革面前变幻莫测的自我的影子。
Shadow and Illusion of Postmodern Fantasy
Post-80s avant-garde artists series exhibitions Phrase III
Amelie Gallery
Curator: Tony Chang
March 1st -April 30th, 2007
Self-contradiction, subjectivity are mentalities of post-80s young generation. Reflected in their art, they exercise a vigorous, irrational approach with subject matters ranging from history to presence, reality to sub-consciousness. In phrase III of Amelie Gallery’s post-80s artists’ exhibition, participating artists Xu Shuo, Jiang Chuan and Zhang ShanShan etc. demonstrate playful and disruptive postmodern fantasy.
Oil painter Xu Shuo is ambitious in his ironic adventure questioning conventional perception of Chinese tradition. Half-naked fairy lady in Chinese folktales rides on pink clouds, holding lily flowers (symbol of female innocence), hidden behind her veiling, shadiness in her eyes are as confrontational as modern women. In Xu Shuo’s privately-decoded new fairytales, outrageous poetry and absurdity interlace, bursting with raw vigor.
Golden Award Winner of 2006 National Art Academies Graduates exhibition, Jiang Chuan paints Chinese opera actress against classic landscape paintings of Song Dynasty (960-1279 A.D.). With an unfocused visual treatment, artist put actress on semi-transparent, illusional surface just like fading ancient mural paintings; the emotion is intensive, sentimental and fragile.
Female artist Zhang ShanShan demonstrates interlaced balance between impressionism and expressionism, her portrayal of intimate female existence is peaceful but bizarre, pleasant whilst striking, which echo the diversity and complexity of modern feminism.
These artists transform history through presence, distort reality with subconscious mirror, and engage themselves in self-indulgent pleasure gazing at the shadow and illusion that are subtle reflection of ideological fragmentation of modern China.
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