Paitings 2012

“绘画2012”

许晟

极简主义的拥护者曾经断言：绘画已经死亡。文艺复兴时期的鉴赏家看到提香的绘画后也说：绘画已经死亡。古罗马时代的学者小普林尼(Pliny the Younger)则略显涵蓄，他只说绘画已经堕落了。为何绘画会一再被宣布它的终结？因为它一直在延续。

在今天的艺术世界里，媒介代表立场的时代已经过去了，任何媒介都需要经受同样的考验。但仍然有许多人受着欧美八十年代艺术观的影响，将绘画看作是“过时”的。实际上，这种说法也没有错，因为绘画从来就不是赶时髦的艺术；或者说，本身就没有赶时髦的艺术，只有赶时髦的观念。

在艺术的世界里，一直有好的作品和不那么好的作品；而在绘画的世界里，同样有好的绘画和不那么好的绘画。标准一直存在，却很难说清。历史似乎是可靠的标准，但历史本身就是含混不清的；理论似乎是可靠的标准，那只是对理论本身而言；人的感受似乎是可靠的标准，但要将感受传达给更多人，本身又变成了另一门艺术。在今天看来，价格也许是更可靠的标准，如果艺术变成了金钱游戏的话。

只有一点可以确定，好的作品从来不是为了迎合某种标准而生的，因为好的作品一定是骄傲的。好的艺术家也从来不理会任何标准，他们只会在成为标准之后，让迟来的赞美假装早有准备，然后再变得人尽皆知。所以艺术是一个危险的赌局，输掉的人会失去证明自己审美能力的机会，赢了的人会被迫让自己的私人享受社会主义化。

千高原这次展览名为“绘画2012”,它展示了一部分我们能够在2012年看到的新的绘画作品。这也许是我们能看到的，世界毁灭前的最后几批绘画之一了。其实，绘画的核心也与此有关，它无关未来的许诺，无关存在与得失，它只是用纯粹视觉的形式留存的精神。而受邀的艺术家，也正是在为这一点而努力探索着。另外，本次展览还强调了“年轻”，年轻是一种状态，年轻艺术家仍然对艺术抱有原初的好奇心。

本次展览一共邀请了二十三位艺术家，作品面貌十分丰富。陈亮洁在尝试了一段时间关于遮盖和显现的绘画之后，用几个若隐若现的形象，再一次把观众带入了迷雾中。陈献辉用生硬的直线描绘过去的时光；用跳跃的线条描绘现在的生活。他同时创作两种作品，让时光不再是一种纬度，而是一种可以随时调用的固体。冯瀚平描绘了一个颓废的，略带摇滚色彩的世界，但他的用色似乎又在召唤某些更加清新的东西，让作品形成一种向内的张力。何千里用平滑的画布释放自己的灵感，用干涩的画布阻碍这种释放。他画面中的虚构世界像植物般生长着，而画布就像是不同的土壤。吉一玮是一个喜爱图像的艺术家，他大概希望为自己脑海中的形象都绘制不同的肖像，再让这些肖像回到一个图像的时代里。李胤曾经喜爱鲜艳的色彩，但现在，他的画面又开始变得平实；无论鲜艳或平实，他描绘的对象都从不张扬，就像在用诚实的语气讲述一个没有阴谋和魔法的故事。刘传宏则是真的在讲故事，他是一个编故事的高手，角色都是人们熟知的，画面却没人想到过。那些绘画也许是他看似老派却又叛逆的内心的视觉证据。马杰常常从平淡的对象身上发现一些只属于他的玄妙而细腻的感觉，他的画面有一种震颤，让所有的视觉都从一种核心的感受旁边划过，却由此指明了一个类似白洞的地方。马文婷用她特有的描绘方式把正常的场景异化了，但这种异化是不含任何暗示，象征，或叙事成份的，因此那些场景反而摆脱了原有的身份，变成了一种含蓄的内心图景。庞璇引用了一些中国古代绘画的碎片，试图重新寻找某种类似“词汇”的结构，把这些碎片本身的象征性变成一种新的画面关系。秦晴用直觉搭建了画中的空间，在其中刻画关于记忆的对象，他让空间的视觉变成了对时间的感知，里面似乎有无数首可以随时即兴创作的诗。宋永兴的作品似乎有一种固执而敏锐的再现能力，而这种再现在他娴熟的描绘中显得贴切；所有的画面讲述的都不是画面里的故事，而是描绘这幅画面时的故事。唐可最近在重复的题材中寻找一种新的视觉结构，题材对他来说只是一种生活与情感的选择，而这种比文化表征更加深入的情感，是他能够进入一种新结构的前提。田桢真的绘画重现了一种拼贴方式所带来的灵巧感受，但她拼贴的元素不是引用的，而是自己的描绘，于是她把自己的想象世界加工了两次，传达出其中的趣味。王俊一直在力求摆脱样式的束缚，进入某种纯粹的抽象关系中，这是一种纯粹的气质修练，他对色彩的放弃似乎预示着这种挑战的严苛程度。魏言拥有一个自己建造的神话世界，他畅游其中，而那些布面和纸上描绘的幻景，就像是他故意留下的，让人寻找他踪迹的线索。吴江涛的作品中那些线条和色彩就像是她为画中对象描绘的彩妆，而她的对象不仅是人物本身，还一直打破形体的界限，延绵到背景里。吴霜的作品有一种源自时尚，却又不尽相同的生命力，她的作品似乎很亲近一个灯红酒绿的世界，却又凭借一种自觉而与它保持着距离。肖克刚的作品拥有一种因平静而生的杂乱无章，但他的内心似乎对此是不满意的，于是又透露出一种源自改变和破坏的秩序感。谢冰鑫喜欢鲜艳的色彩，于是画面中暗淡的部分也是鲜艳的，他似乎有许多想象力，却又在极力对抗那些让作品显得天真的东西。于艾君在思考一些关于绘画媒介呈现方式的问题，他把这种外部的关注，作为进一步深入绘画的契机，任何有关光影的问题实际上都不太容易回答。翟倞似乎开始在绘画中寻找一些有关哲学的趣味，作品之间形成了一种可以组织的线索，于是，他的作品透露出一种在隐藏和坦白之间的矛盾感。朱兵在描绘树林时，似乎也有类似的矛盾感，他不知道是该把自己隐藏在树林里，还是悬浮在树林之外的空气中。

在一段文字里描写自己对二十几位艺术家作品的感受，这多少显得些草率，如果按照音序倒过来重新写一遍的话，可能又会完全不同。大概，这本身就源自观者对作品感知的多样化。好的作品总是会一再吸引人们的视线，让感受随着不同的时刻而改变；而我们总是期待着被作品感动的一刻。

Preface

Painting 2012

By Xu Sheng

The advocates of Minimalist have asserted: Paintings have died. After seeing Titian’s paintings, the Renaissance connoisseurs have also said: Paintings have died. The more subtle opinion was put forward by Pliny the Younger, the scholar in ancient Roman, who only said: Paintings were degenerated. Why have people been repeatedly announcing the end of paintings? Because that the paintings are there all the time.

Today’s art world is no longer the period that the media represents the position, whatever the medium is, it subjects to the equal test. However, there are still many people suffering from the impact of the art concept in 1980s, as a result, they believe painting is outdated. In fact, it’s true, for the reason that painting has never been fashionable, or there is no fashionable art, but fashionable concept.

In the art world, there are always good works and not-so-good works. While in painting world, there are always good paintings and not-so-good paintings. There are always standards, which are difficult to explain; history seems to be a reliable standard, but history itself is vague; theory seems to be a reliable standard, but it is just for itself; feelings seem to be a reliable standard, but it becomes another art when convey the feelings to others. In today’s perspective, the price seems to be a reliable standard, only when art changes into the money game.

Only one thing can be determined, that good works have never been born to meet a certain standard, because they must be proud. Good artists have never paid attention to any standard, but allowed the belated praise pretend well prepared, and then become well known. So art is a dangerous gamble, in which losers will lose the opportunity to prove there aesthetic ability, while winners will be forced to socialize their private enjoyments.

Painting 2012 shows a part of the new paintings we saw in 2012. Maybe it is one of the last groups of paintings for us before the end of the world. In fact, the core of painting is related to it. It has nothing to do with the promise of the future, is independent of the existence or the pros and cons, but is just a spirit retained by a purely visual form. The invited artists are also making efforts to explore. In addition, we also emphasize Young in this exhibition. Being young is a state. For art, young artists still have original curiosity.

In this exhibition, there are a total of twenty-three artists invited, with their diversified works.

Having attempted paintings about covering and showing for some time, Chen Liangjie uses several looming images to bring the audience into the fog again. Chen Xianhui depicts the past time with blunt straight lines, while depicts the present life with bouncing lines. He creates two kinds of works at one time, to make time no longer latitude, but solid that can be called at any time. Feng Hanping depicts a decadent and slightly rock world, while his use of color seems to call something fresh, which gives his works an inwardly tension. He Qianli releases his own inspiration with smooth canvas, and hinders the release with dry canvas. The fictional world in his images is always growing, just like plants, while the canvases are like different soils. As an artist who likes images, Ji Yiwei probably wants to draw different portraits for every image of his mind, and then let them back to an era of images. Li Yin used to be fond of bright colors, but his images are becoming plain; the objects in his paintings have never assertive, no matter they are bright or plain. It is like telling a story without intrigue or magic, but just in honest words. Liu Chuanhong is really telling a story. As an expert in making up stories, he has well-known characters and unexpected images. Those paintings are perhaps the visual evidence for his heart, which seems old-fashioned and rebellious. From dull objects, Ma Jie can always find some mysterious and delicate personal feelings. There is a kind of tremor in his images, making all sights passing by alongside the core feeling, at the same time pointing out a place similar to white hole. In a unique way of describing, Ma Wenting alienates herself from the normal scene. However, the alienation is free of any hint, symbol or narrative ingredients. As a result, those scenes get rid of the original identity, and change into a subtle inner picture instead. Pang Xuan quotes some fragments of ancient Chinese painting, trying to find some kind of structure similar to Glossary to change the symbolic of the fragments into a new picture relationship. Qin Qing builds the space in the paintings with intuitions, and portrays objects related to memory. He changes the vision of space into the perception of time, there seems to be countless improvise poetry. Song Yongxing’s works seem to have a stubborn and keen ability of reproduction. The reproduction seems appropriate in his skilful depiction. No image is telling the story in it, all of them are telling the stories happening during the period they were portrayed. Recently Tang Ke is searching a new visual structure in the repeat themes. For him, theme is a choice of life and emotion, as an emotion deeper than culture representation, and a premise for him to enter a new structure. Tian Zhenzhen uses painting to represent the feeling of cleverness brought by collage. The elements of collage are not borrowed, but portrayed by her. So she cures the imagination world twice to convey the interest inside. Wang Jun is always trying to enter some kind of pure abstract relationship by getting rid of the bondage of style. It is a kind of pure practice on temperament. We can see how severe the challenge is from the abandoned colors. Wei Yan builds his own myth world, and has a good swim inside. The wonderland portrayed on canvas and paper seems left by him on purpose, as a clue for people to find his traces. Wu Jiangtao seems to make-up for the objects of her images with the lines and colors. She doesn’t only makes-up for the figures, but also breaks the limit of body, to make it stretch to the background. Works of Wu Shuang have a kind of vitality. They stem from fashion but are not the same. Her works seem very close to a flashy world, but they keep their distance by virtue of self-consciousness. Xiao Kegang’s works have a sense of clutter, which comes from peace. However, he seems not satisfied in mind, so the works reveal a sense of order, which comes from alteration and destruction. Xie Bingxin likes bright colors so much that even the bleak parts of her images are bright. He seems very imaginative, but struggling against those things making works naive. Yu Aijun is thinking about the presentation of painting media. He considers the external attention as an opportunity for further painting. In fact, all problems about light and shadow are not easy to answer. Zhai Liang seems to start looking for the fun of philosophy in painting. Among the works, a kind of clues emerges, which can be organized. As a result, his works reveal a sense of contradiction between hide and candor. It seems that Zhu Bing has the same sense of contradiction when he depicts woods. He doesn’t know whether he should conceal himself in the woods or he should suspend in the air outside the woods.

It seems more or less hasty that I describe how I feel the two dozen artists in a paragraph. If putting them upside down in accordance with sequencer to make me re-write, everything will completely change. Probably it itself is because the diverse viewer perceptions of the works. Good works will always attract people’s attention, making feelings change with different moments. Moreover, we are always looking forward to the moment of being touched by works.