转——扎西德勒
莫毅、明可、Will Corwin、白斌作品联展
Mo Yi、Ming Ke、Will Corwin、Bai Bin: COINCIDENCE
开幕酒会 2008年5月24日 星期六 下午4点
展览时间 2008年5月24日 – 6月22日
许多事情发自偶然，一次与明可在他的工作室喝茶闲聊，聊及我数年前在拉萨和林芝的一些见闻，这位前《西藏旅游》、《西藏人文地理》杂志主编，较之我更加熟悉藏地的高山大川、名寺古刹，一边聊一边随手抱出一卷未经整理的旧作，即是这套藏纸图像转印作品，影像的模糊飘忽、藏纸的特殊质感以及复合的转印技术，让有深深版画情节的我一时间爱不释手，当即建议找机会在“就是SPACE”展出这些作品。关于《印》系列，明可讲得最多的是西藏印象对于他这个过客是模糊和不清楚的，而我的理解是，距离不一定产生美，但肯定产生力量。
“一个女人在50年代从毫不沾边的天津跑向远旷的西藏高原，她竟是我的母亲？！在西藏的边远山谷中，一辆老式的苏联卡车翻滚到坡底的河边，车里一个已经怀孕了几个月的女人尽然不死，而她腹中的孩子也没死，那个孩子尽然就是我。”——莫毅，这为神交已久而未谋面的艺术家，其作品在许多展览上令我印象深刻，在筹备此展的过程中认识，相聊甚欢。多年藏区生活塑造了一个率直敏锐的性情汉子，这组拍摄于20年前、却完成于今年的作品以严肃的记实性和抒情的叙事片段，融会艺术家近年的实验手段，呈现了对诸如“脆弱”、“意外”、“真实”和“理想”的记忆。因此20年后的莫毅仍然“想念西藏”。
对于威廉·克文（Will Corwin）而言，无论从地域还是人文，西藏都意味着无边际的遥远和陌生，但这位年轻而执着的艺术家因身边朋友的西藏经历和自身家庭历史，而对传说中的美丽高原激动不已。基于对形而上意义的崇高敬意，对遗迹、残迹的逆向追溯，威廉·克文（Will Corwin）的作品更多地体现了“缅怀”本身，而非缅怀的对象，因为“对象”不在作品里，而在观众心中。
白斌，又名仁孜·根秋嘉措，一位来自于我的母校四川美术学院的年轻艺术家，我曾在成都探访过他的工作室，藏文化的传统和宗教艺术的渊源一直是他考察和工作的目标。出生于甘孜藏地，求学于重庆，深造于德国卡赛尔，多重经历并未改变他作为藏族艺术家对本民族传统艺术的热衷。我们常常因“变革”和“批判”而欢呼，的确，大多数情况应该如此。不过我从白斌身上看到了另外一种合理的解释——面对伟大的精神力量，虔诚记录和平静观察或许是最接近真实的描述方式。相信每个人都会震撼于《萨迦法舞》，心灵沟通的时候，语言是苍白的，我如是，你如是，艺术如是。
这个展览题名为“转”，其含义非轮回、非涅磐、非因果，我紧紧捏在手中的一个词是——“巧合”。只言片语，不足为道，别无他。
贺思恩
2008年5月10日
“就是space”画廊：
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就是space
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只言片语
A面/Side A
数度进出藏地，相信许多人跟我一样，对那片遥远、神秘地域的热情，并不因频繁靠近而有丝毫减弱。
憧憬西藏，因为西藏太美、太纯粹，于是只能慢慢地品味、悠悠地向往。曾多次试图去读懂她的古老与神秘，结果当然是徒劳，依旧魂牵梦饶……
平均海拔4000米以上的青藏高原，有着“世界屋脊”之称。这里地形复杂，大体可分为三个不同的自然区∶北部是藏北高原，位于昆仑山、唐古拉山和冈底斯山、念青唐古拉山之间；在冈底斯山和喜马拉雅山之间，即雅鲁藏布江及其支流流经的地方，是藏南谷地；藏东是高山峡谷区，为一系列由东西走向逐渐转为南北走向的高山深谷，系著名的横断山脉的一部分。
汉语中的“西藏”（藏文为bod ljong）一词的来历，众说纷纭，在现今提出的一些观点中，除了“西藏”称谓始自清初，相信仍然存在不少疑难之处，以至许多专门研究藏学的学者，也难以清晰圆说，更惶论普通大众。历史上，藏语、汉语、蒙古语、满语对青藏高原各部分的地域名称和对藏族的族称各不相同、且多次变化，而且这些历史上的名称互相交叉和影响，使得至今对西藏和藏民族的称呼及其含义仍然存在较为复杂的情形。
英文“Tibet”一词，可能源于突厥人和蒙古人称藏族为“土伯特”，在元代经阿拉伯人介绍到西方，也即是源于藏族的自称bod。在民族称谓上， Tibet对应于“藏族”；但是在地域称谓上，Tibet有时对应于“西藏”，有时又泛指整个藏族地区，与“西藏”的含义有重大差异。
忘了是从哪儿看到这么一个玩弄文字游戏的解读：
T——Touch 触摸/ Towards 向，朝，将近
I——Inspire 使……产生灵感/ I 我
B——Best 最好的/ Belief 信仰
E——Eastern 东方的/ Echo 共鸣
T——Temple 寺庙，神庙/ Terrific 极好的/ the Holy land 圣地
有意思，且信之，给自己的脑袋放个假。
B面/Side B
许多事情发自偶然，一次与明可在他的工作室喝茶闲聊，聊及我数年前在拉萨和林芝的一些见闻，这位前《西藏旅游》、《西藏人文地理》杂志主编，较之我更加熟悉藏地的高山大川、名寺古刹，一边聊一边随手抱出一卷未经整理的旧作，即是这套藏纸图像转印作品，影像的模糊飘忽、藏纸的特殊质感以及复合的转印技术，让有深深版画情节的我一时间爱不释手，当即建议找机会在“就是SPACE”展出这些作品。关于《印》系列，明可讲得最多的是西藏印象对于他这个过客是模糊和不清楚的，而我的理解是，距离不一定产生美，但肯定产生力量。
“一个女人在50年代从毫不沾边的天津跑向远旷的西藏高原，她竟是我的母亲？！在西藏的边远山谷中，一辆老式的苏联卡车翻滚到坡底的河边，车里一个已经怀孕了几个月的女人尽然不死，而她腹中的孩子也没死，那个孩子尽然就是我。”——莫毅，这为神交已久而未谋面的艺术家，其作品在许多展览上令我印象深刻，在筹备此展的过程中认识，相聊甚欢。多年藏区生活塑造了一个率直敏锐的性情汉子，这组拍摄于20年前、却完成于今年的作品以严肃的记实性和抒情的叙事片段，融会艺术家近年的实验手段，呈现了对诸如“脆弱”、“意外”、“真实”和“理想”的记忆。因此20年后的莫毅仍然“想念西藏”。
对于威廉•克文（Will Corwin）而言，无论从地域还是人文，西藏都意味着无边际的遥远和陌生，但这位年轻而执着的艺术家因身边朋友的西藏经历和自身家庭历史，而对传说中的美丽高原激动不已。基于对形而上意义的崇高敬意，对遗迹、残迹的逆向追溯，威廉•克文（Will Corwin）的作品更多地体现了“缅怀”本身，而非缅怀的对象，因为“对象”不在作品里，而在观众心中。
白斌，又名仁孜•根秋嘉措，一位来自于我的母校四川美术学院的年轻艺术家，我曾在成都探访过他的工作室，藏文化的传统和宗教艺术的渊源一直是他考察和工作的目标。出生于甘孜，求学于重庆，深造于德国卡赛尔，多重经历并未改变他作为藏族艺术家对本民族传统艺术的热衷。我们常常因“变革”和“批判”而欢呼，的确，大多数情况应该如此。不过我从白斌身上看到了另外一种合理的解释——面对伟大的精神力量，虔诚记录和平静观察或许是最接近真实的描述方式。相信每个人都会震撼于《萨迦法舞》，心灵沟通的时候，语言是苍白的，我如是，你如是，艺术如是。
这个展览题名为“转”，其含义非轮回、非涅磐、非因果，我紧紧捏在手中的一个词是——“巧合”。只言片语，不足为道，别无他。
贺思恩
2008年5月10日
A面/Side A
Believe there are many people sharing the same feeling with me ,that though have traveled around Tibet several times but the enthusiasm for this distant and mysterious land could not be assuaged by frequently approaching.
Tibet is so beautiful and so pure,though I am longing for it,but I only can taste it bit by bit and crave it far away.I have been tried many times to spell her ancient and mysterious out, of couse ,the endeavor ends in vain, she is still my dreamland and the desire of my soul .
The Qinghai-Tibet Plateau which with an average altitude of above 4,000 meters is dubbed "the World Ridge" .Tibet has very complex topography and falls into three geographic parts: the northern part of Tibet known as the North-Tibet Plateau, lies between Kunlun Mountain, Tonglha Mountain and Kangdese Mountain, and Nyainqentanglha Mountain;between Kangdese Mountains and Himalayas;the river valleys which the the Yarlung Tsangpo and its anabranch flow by in the southern part of Tibet and lie between the Gangdise and the Himalaya ranges; the eastern part of Tibet belongs to an area of deep gorges where a series of mountain ranges from east to west criss-crossing mountain ranges running from south to north,and is some parts of the Hengduan mountain range.
The origin of Chinese word "Sitsang "(in Tibetan as bod ljong) is an arguable question, except that it was in the beginning of Qing Dynasty that the area started to be called "Tibet" is cetrtain, there are still many unsolvable points among the theories of latest research ,so as to even many scholars who specialized in Tibetan are unable to justify their theories , it goese without saying that the ordinary people's knoweledge of this. In History , there were many different titles to the part of the Qinghai-Tibet Plateau in Tibetan, Chinese, Mongolian, Manchu language, and the titles have been varied from time to time , but also the titles were crossed and have been impacted each other.So, to now the name of Tibet and the Tibetan people and the meaning of these titles are still in more complicated situation.
The English word "Tibet" may derived from "Tubbat" which be used to call Tibetan people by Mongols and the Turks and in the Yuan Dynasty the Arabs introduced it to the West, that is, from the form of Tibetans call their homeland "bod".In terms of nationality, Tibet means Tibetan people ,but in geography ,sometimes Tibet is indicate "The Qinghai-Tibet Plateau" and sometimes it names the whole area of Tibetan people lived ,there are significant differences between these two concepts.
There is a paronomasiatic interpretation which the derivationresource has been forgotten .
T——Touch / Towards
I——Inspire / I
B——Best / Belief
E——Eastern / Echo
T——Temple / Terrific / the Holy land
That's interesting, how about put faith in it and let the thought take a rest ?
B面/Side B
A lot of things just happened by chance,once Ming ke and I drank tea in his studio and chatted, then we related to some experiences of mine during my travel in Lhasa, Nyingchi a few years ago .Mingke, the former editor-in-chief of "Tibet tourism", "Tibet Human Geography" magazine who is doubtless more familiar with the high mountains and the great rivers the famous historical temples of Tibet than me. He talked and brought out a roll of disordered former artworks at will,which is this series: Photograph Transfer Printed in Tibetan Paper. The image is floating and blur and the Tibetan paper own an unique texture ,plus the combined technology of transferred printing, for a long time I fondled these pictures admiringly. As a person who has complex about engraving, I suggested to exhibit these works in "94 space " when there are any opportunity. About "Printed " series ,Mingke always mentioned that he is a passenger and his impression about Tibet is blur and illegibility. Distance may not bring about beauty,but distance surely can produce power ,that is my understanding .
"In 1950s ,there was a woman left Tianjin city where laid far away from the Qinghai-Tibet Plateau ,marched towards the wild, vast highland,and the woman eventually became my mother ?! An old-fashioned Soviet truck overthrew on the road,turned down to the bottom of slope and wrecked by the riverside in the remote valley of Tibet ,whereas a pregant woman who sat in the truck survived ,and her unborn child survived also, sometimes I could not believe that the child is me ."—Mo Yi,the artist I have knew long time ago although have no chance to meet.in many exhibitions, his work left me profound impressions. We finally got chance to get to know each other during the preparation of this show and we have had a very nice talk.Years of living in Tibet shaped him a man with unconstrain temper, always frank and at the sametime sensitive and smart. This group of work are shoot 20 years ago but finished in this year, in them there are serious realistic display and there are emotional narrative chapters,,the artist melted all the experimental means to render us a memory about "fragile" and "accident", "real" and "ideal".So we can tell ,though almost 20yrs past but Moyi is still "missing Tibet".
Whether in location or in the humanities, Tibet means nothing but boundless remote and alien to Will Corwin, but the young and never give up artist just fell in love with this legendary beautiful plateau with excitement , when he was shocked by his friends' family stories and their individual experiences in Tibet.Based on a metaphysical significance of the reverence and a reverse retrospective to the remains of the relic and ruin ,Will Corwin have embodied not the object to recall but the "memory" itself , for there is no "object " in an artwork and all of us have memories at heart.
Bai Bin , also known as Renzi•Genqiujiacuo is a young artist from Sichuan Academy of Fine Arts ,my alma mater. I have visited his studio in Chendu and got to know the traditional Tibetan culture and the source of artwork for Tibetan Buddhism always be his objects for inspecting and working on. Bai Bin was born in Ganzi area in Tibet ,and after grown up enrolled at the academy in Chongqing, then finished his further studies in Kassel,Germany. The multiple life which he experienced have not changed this Tibetan artist's zeal in the tradiational art of his own people.We often cheer for "reform "and "critical " ,certainly, in most cases we should do so . But then ,from Bai Bin's work I got another reasonable explanation—when you are facing the great spiritual strength ,perhaps sincere recording and clam observing is the best way to describe the reality. Just as I believe anyone who have watched the "Sakya Sacrificial Dances" must be shocked, that when hearts communicate mutely ,the language will be pale and powerless , I am in conformity with this truth and you are and so does the art.
The title of this exhibition is "Coincidence",after removed metempsychosis, nirvana and comeuppance,I grasped this word tightly in my hand. This article could not be viewed as integrity description but some scattered words, no more ,let's apperceive the aritists' meditation through their splendid works before us.
He Sien.
May 10th 2008
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