艺术中国
您的位置: 首页

记忆中的园区风景

艺术中国 | 时间: 2009-10-29 16:18:27 | 文章来源: 艺术中国

这么宁静的环境本该享受,铁军却在宁静中画出了《园区风景》、《雾》、《大自然》、《花狗》等具有震撼力的系列作品。他的画均为大尺度的黑白灰单色处理,画面朦胧,似景非景,莫不是铁军在多年的闯荡中混淆了记忆的边界?而在完成的画面上,色浆的肆意挥洒和流淌又在割裂那些模糊的形象,莫不是铁军有意要用暴力来破坏风景的静谧?我无意追问艺术家在这些画中想说什么,但我关注他的言说方式,他对温文尔雅的山水画及书法传统有着一种缅怀式的日常操练,我想他从中汲取的养分也会影响到自身对园区风景的表达。

In such a peaceful environment, people originally should enjoy life, but Tiejun creates series of work which had great impact, such as The Ground Scenery, Fog, Nature, and Colored Dogs. All his paintings are in large size, with black, white or grey color. The vague frame makes the scenery not like scenery. Does he mix up the boundary of memory in his years of adventure? And in his finished works, the indulged use and flow of colours and inks tear up those vague images. Is he deliberately using violence to destroy the peace of the scenery? I do not intensively want to know what the artist want to review in his paintings, what I am more concerned is his way of speaking. Tiejun has a yearning daily practice of gentle landscape paintings and calligraphy, and I believe his benefit from that will affect his expression of ground sceneries.

如同我有着记忆中的宋庄,铁军也有着记忆中的园区风景。记忆是我们生命中最为重要的价值体验,它混淆时间和空间,甚至完全抛开了它们,让形象时而模糊时而清晰。人们大都借助摄影术来保留记忆,而铁军则是把记忆本身直接写在画面上,从造型语言的角度看,形象的不确定性可以有效阻止宏大叙事的编织,因而让艺术家所有想说的只能是暗示,这里没有再现,更没有教谕。

Like me keeping the memory of Song Village, in Tiejun’s memory, there is also unique ground scenery. Memory is the most important value experience in our life. It mixes the time and space, even put aside of them, making the image sometimes vague and sometimes clear. Most people use photographing to keep their memory, while Tiejun put it directly on his paintings. From the view of molding language, the non-determinacy of image could prevent massive narration effectively, thus makes all artist’s saying just a hint. There is no recurrence, no lecture.

一般而言,风景得以进入人的视野,是因为人的在场,因此场域不是宽泛的、抽象的自然空间,而是生命个体得以呈现的具体环境,在铁军这里“场域”被转化为具体的“园区”。可以说当代人的生存“园区”不仅充满着人与人之间的利益冲突或文化冲突,同时也充满着人与物之间,或人与存在之间的矛盾。心理学中所说的“风景失忆”往往是这种矛盾冲突的表现。如铁军作品中出现的公共汽车、铁轨、飞机等现代技术的产物虽让人司空见惯、习以为常,但其背后隐藏着对人的生存挤压和统摄力,一种人们无意识地自甘承受的理性规则。或许,李铁军的绘画只能以一种既朦胧又“暴力”的方式表达出个体生命在当代技术体系中脆弱的存在。

Generally speaking, people could see scenery because people are there, thus the ground is not a general and abstract natural space, but a specific environment where living individuals could express themselves. Tiejun change “space” into specific “ground”. We can say the “ground” where modern people live is not only full of beneficial conflicts and cultural conflicts between people and people, but also full of contradictions between people and thing, or people and being. “Scenery Amnesia” in psychology is usually an expression of such conflict and contradiction. Bus, railway and plane, all those modern technological items in Tiejun’s works are very common to people, but behind them are the living pressure of people, the reasonable rule which people would like to bear unconsciously. Maybe, Tiejun’s painting could only use a vague and “violent” way to express the weak existence of individual life in contemporary technology system.

人在“园区”中观看和画画,那么感悟在继续,记忆也在延续,而且是在巨大的不确定性中延续。从圆明园到宋庄,近二十年来中国城乡的巨大变化让那些记忆中的风景变得支零破碎,公共景观的建造一边在编织宏大叙事,一边在不断掏空我们生命记忆中鲜活的细节,从而也让个体之间的差异变得模糊。是的,我们现在已经习惯于权力镜头中气势恢宏的大风景,园区在一个个兴建,风景在一点点变幻,留给我们的只是观看的彷徨。

Inside the ground district, people see and paint, the understanding is continuing, so is the memory, continues in great non-determinacy. From Yuanmingyuan to Song Village, during 20 years, the great upheaval of the cities and countries in China has shattered the scenery in memory into pieces; the construction of public sight on one hand make up the great narration of the era, on the other hand clean up the fresh details in our living memory step by step, thus it also makes the discrepancy between individuals indistinct. For sure, we are used to those imposing large sights from the lens of power; the ground district is building one by one, the scenery is changing little by little, and what leave to us is only watch in wander.

可以说,从模糊的记忆到当下现实的园区风景,李铁军在画面上一再质疑形象的不确定性,用矛盾的语言表达来拒绝矫饰的写实主义。我以为他是一位既横向拓展自己的实验领域,又进行纵向思考的艺术家。所谓横向和纵向,亦即是对东方与西方,传统与当代的一种立场选择,这种选择决定着艺术家的视野和判断。我们看到与改革开放同步的中国当代艺术已不再提供美容功效,它只是一份在社会情景的剧烈变化中具有人文关怀的现实主义记录,一份预防失忆的档案。

 

   上一页   1   2   3   下一页  


打印文章    收 藏    欢迎访问艺术中国论坛 >>
发表评论
昵 称 匿名

 

相关文章
· 09英国风景摄影大赛获奖作品
· 《猫》到杭州点名要去逛西湖
· 独特的水墨风景艺术——李晨作品“边境·远方”读后
· 海牙的附加值
· “初识德国”展览之中国首站正式开幕