泛亚洲视点 —关于张可欣的新艺术

　　黄 笃

　　张可欣是一位长期在海外活动的中国艺术家，他游牧式的生活修炼了个人的精神意志，既能面对当代变化多端的复杂世界荣辱不惊，又能沉静下来专心自己的艺术，并逐渐完善和确立了鲜明的个人艺术风格。

　　张可欣的艺术表现出一种新波普的语言，没有一个规定性的约束，既接纳了扩张性、凌乱性、混杂性、不确定性的动力，又模糊了高级与低级的区分，还揉杂了商业、流行和广告的语汇，甚至解构了传统的中国文化资源。如果说经典波普艺术具有一种平稳的语言系统，那么新波普则是一种混杂的语言方式，他的作品里就蕴涵着这种新波普的语言，不论是装置，还是绘画，他的艺术都保持其内在的语言逻辑。他的这种新波普除了沿用经典波普之外还融入了庸俗的东西，即把那种越轨的东西或不被正统文化所承认的东西带入艺术范畴。那么，在这个意义上，经典波普艺术并不具他的那种经验——他的作品中一种别样的风格，即充满泛亚洲的图像和语言，构成了“泛亚新波普”的显著特征。他的这种泛亚洲视点是基于个人像一个文化游牧者的经验，因为游牧性的艺术是与正统的、主流的艺术相对立的，它处于一个没有边界的游离状态，是不确定的，是没法被编制的，是难以约束的，它不断摧毁确定的边界。这也就是游牧艺术最具破坏力和最具颠覆力之处，更体现了艺术的张力。

　　正是由于张可欣的游牧经验才使他的艺术不仅在技术美学上大胆使用颜色和图像，而且还在思想上从泛亚洲的视角审视、分析和表现亚洲内部动态的混乱和混杂，并牢牢把握住亚洲处于动荡、不安、焦虑、欲望的文化表征。尽管张可欣从微观方法出发来处理每一件来自不同视觉资源的作品，

　　其骨架则是中国古代的营造法式，但是被艺术家打散或者说被解构的传统，也就是说，它们是艺术

　　家经过过滤、压缩、塑造之后重新整合而成的新的视觉语言。这种独特的视觉语言不仅生动再现了在普世价值观下新旧观念的更替，传统与现代的厮磨，人性与兽性的搏斗，而且深刻解析了亚洲混杂的现代性——杂交、混乱、极权主义、不确定性、现代化、传统、宗教。落后、时尚等社会特征。

　　艺术家的神圣性在于他能站在更高之上表达立场。这种立场则体现在艺术家既能敏锐洞察到复杂现实的变化，又能对此做出理性的分析。我们在张可欣的作品中能感受到他对某些社会文化问题的思考和解析，即通过借用世俗的语言和解构世俗的语言去追问和批判世俗世界。

　　2009年2月2日（星期一）于北京

　　A Pan-Asian Perspective – the New Art of Zhang KeXin

　　Zhang KeXin is a Chinese artist who has lived abroad for many years. His nomadic lifestyle has molded his spirit and his will, making it possible for him to face this ever changing and more complicated world without sacrificing his individual artistic style – all the while maintaining his focus and demeanor thus allowing him to perfect his distinct manner of creation.

　　Zhang KeXin’s art speaks a language of Neo-Pop Art – a language with no fixed grammar – a language that is non-deterministic, both expansive and chaotic – a language that blurs the distinctions between high and low class, mixing the vocabulary of commerce, fashion, and advertising – a language which at times deconstructs traditional Chinese cultural constructs. Were we to say that classical Pop Art possesses a steady system of language, then we would say also that Neo-Pop Art possesses a language which is a mixture – this mixture being displayed in Zhang KeXin’s works. Whether in his installations or his paintings - the inner logic of his artistic language is evident. His Neo-Pop Art mixes the aberrant and vulgar together with the styles of classical Pop Art – bringing the culturally unorthodox into the art world. Thus his art exhibits what classical Pop Art does not – a unique experience and style – a style full of “Pan Asian” images and languages – and constituting the remarkable characters of his “Pan Asian Neo Pop Art”. This unique viewpoint has developed over time as his experience as a cultural nomad has broadened. His nomadic artistic style is diametrically opposed to an orthodox style of mainline art. His style is in a constant state of dissociation – with no borders, no controls, and no limitations. There is nothing fixed and certain in his work – which is precisely the character of nomadic art – at times destructive and subversive – yet displaying the tractability and adaptability of art.

　　It is precisely his nomadic experience that gives Zhang KeXin the ability to audaciously utilize

　　colors and images in his esthetic and technique – an ability to survey, analyze and display the chaos and instability inside the movements of the new Asia - from a “Pan Asian” point of view. He is able then to firmly seize the cultural tokens of Asia, which are simultaneously turbulent, anxious, uneasy and full of desire. Although developing each work from different visual resources in microcosm, Zhang KeXin’s works exhibit a structure rooted in ancient China - Chinese Construction Rules - yet this tradition is deconstructed by the artist. Stated differently, he takes different traditional elements, then filters, compresses, and molds them into an amalgam, creating his own new visual language. This unique visual language not only vividly recreates a general sense of worth - the subrogation of old and new concepts, the friction between tradition and modernity, the grapple between what’s human and brutal, but it also deeply resolves the mixed modernity in the new Asia - hybridization, chaos, totalitarianism, non-determinacy, modernization, tradition, religion, old and new fashion - the social fabric of our time.

　　The sanctity of an artist lies in his ability to air his points of view on a grander stage. This ability is grounded in the artist’s capacity to incisively penetrate the changes in a new complicated reality and then reasonably analyze these changes. We are able to sense in his works the thinking done and analysis made by Zhang KeXin of many modern social and cultural issues. We are able to perceive his manner of questioning and criticizing a profane world with one language – a language both mundane and deconstructing.

　　Huang Du

　　Monday 2nd,February,2009, Beijing