孤独的快感

图1

在金鼎工作室,Giang(冉)一抿唇,右手轻推了一下身边的椅子,示意我坐。她左手指夹着从越南带来的骆驼牌香烟,深深的吸了一口,斜着身子眯着眼看桌上那幅有两个猫头鹰脸的木刻……轻轻的把那支在燃烧的烟放在桌边,纤秀的手指操起刻刀,一刀,又一刀……放下刻刀,拿起烟抽一口,身子后仰,一抿嘴,盯着我的眼睛低语,“是你和娜塔莉!”(图1)。那是两个被包裹着依偎在一起的女人,注视着树林之外。

冉安静至极,走路说话很轻。你几乎可以感觉不到她的出现,但无法忽视她散发的气息。如同她作品中享受孤寂的愉悦感,静悄悄地在你心腔肆意,等着吞噬你,而你也会自自然然地去享受这种侵蚀带来的悲壮幻想。那种孤寂,是一个自我臆造的深渊,带着你轻轻的跨进去,徐徐飘落,最后沉侵在个人的平静中。那是我曾熟悉的一种情绪,总是把孤独感放大,臆想我在其中的无助但又深深沉醉感。

记忆中冉不会英语,那天深夜一个人在城市夜游时却给我发了条英文短信:“我感觉好级了,我在散步,非常安静,我爱昆明”,落款强调是冉发的短信,因为一直以来都是她的艺术家好友翰和我联系。语言交流有的时候很重要,但和冉,我们俩不需要,人的每个情绪表达基本上是相同的,无论他/她来自何地。在“说吧”那晚我们伴着巨响的摇滚乐,就着游戏在我的小本子上涂涂画画,轮流杜撰着一个一个的小故事,画面交流更直接有趣。

之后,我们邀请了一些年轻艺术家在我工作室做“绘画工作坊”,即兴创作,嗑瓜子比赛。那天晚上,冉,翰,娜塔莉,和我一直在工作室呆到很晚,只想画,手随心动就好的画了一张又一张画布。我的泪汩汩而下,不是因为喝了酒,而是我从未如此的享受过绘画的欢愉,没有和几个女人如此亲密过。一种爱慕的情绪在我们中间散发着,我们对彼此低喃着“我爱你!” 互相串改对方画的内容,温情的笑着。女人之间的钦慕可以是一点点,也可以是整个世界,我愿意停留着这堆女人中。也真是奇怪,去年以来进驻的艺术家都是女性,当我们在述说男性和女性艺术家的区别时,女性总在说她们没有男性那么多的时间,精力或机会,因为家庭,孩子或性别。而我所认识的这些女性艺术家们,总是以智慧而可爱的方式继续着她们的梦想。

冉的内心如孩子般顽皮,她描绘着这种孤独带来的快感同时,也制造着一个个小玩笑:严肃面孔呼出的一堆空气手,形态各异,纤弱无力的在试图触摸着莫名的思绪,同时一个极小的忧郁面孔诉说着内心的无奈。或是挣扎而出的手瓦解着人外表的严峻;冷峻面孔上可能从嘴里呼之欲出的猫头鹰,没有锐利的眼睛,无助的在看着你;可爱的小蜜蜂密密麻麻的聚在一起时衍生出的手,或被某张嘴吸入,或以数量吞噬着……一切都在冉的眼睛里,就如同我们买单时,一向行动慢悠悠的冉总会超敏捷,蹦蹦跳跳的抢在最前面,有时因为语言的缘故我们胜利买单,她总会很懊恼,下次她就会悄悄的提前买了。

一直有个心愿,自行车载着冉夜游翠湖,但冉在昆明时一直未能成行,总是有这样那样的借口和事情,于是心愿成了个期待,期待着冉再来昆明,再次听到她从自行车上传来孩子般的笑声。

于是,我也开始构想着三十年后的一个画面:我和娜塔莉的再次见面,当我们那皱巴巴的身体再次依偎在冉的那幅猫头鹰女人作品前时……

刘丽芬
2010年6月12日

[lang_zh]2010第五届昆明创库创意集市(943创意市集)摊主征集令[/lang_zh][lang_en]Open Call – “The 5th Kunming Creative Fair (943 Studio)”[/lang_en]

[lang_zh]万众期待的第五届昆明创库创意集市将定于2010年9月11-12日(周六、周日), 每天11:30-22:00在西坝路101号创库内—TCG诺地卡举办!! 前四届创意世界大家一定记忆犹新,各位新老摊主一定在这一段时间积累了丰富的新作打算让大家眼前一亮吧?好的!很快就是我们的“SHOW TIME”到了,除了熬夜看世界杯,记得为自己城市的市集狂欢积极备战吧!

不会改变的市集宗旨:提倡创造力,艺术日常化,原创精神,严肃地对待玩乐,Do it by yourself!!

市集内容:原创设计或手工制作之未知物品,旧物改造,玩具,插画,可穿戴之不明物质,声音,射线, 有趣好玩的东西……不限作品类型,皆可申请。只要你的创意原汁原味!
同样的,和第四届创意市集一样,你的形象和你的作品都需要你的全新创意,风格不限,但你得保证你已经尽力“夺人眼球”(PS:拒绝惊悚暴力,不可露点)

特别招募启事
本届创意市集,另向社会招募街头表演达人,街舞,各类奇术,角色扮演,活体雕塑…..欢迎有表演天赋或绝妙现场表现的玩家,加入创意市集大家庭。

不接纳非原创产品,伪劣产品,抄袭产品慎入!!

组织者: 943工作室

设摊名额: 40摊位

申请方式: 请将作品(实物图片)以及详细联系方式发送至 stonenoon@gmail.com

联系人:石头 4122611(咨询时间:周一至周五早10:00——晚18:00,周六,日休息)

申请截止日期:2010年8月30日。申请结果将在2010年9月5日前以E-mail/电话通知申请者.

通过申请资格审核的摊主须知
★每人只可申请一个摊位。范围不超过1.5平方米,不得将摊位转让、转售或分租其它人。小组方式申请限定2人为一摊位。
★组织方持有最终决定权,摊位的审批及位置一律由组织方决定。
★创库创意集市为自筹资金,通过申请资格审核的摊主作品制作费用自理,每摊位集资人民币150元,为活动场地租用、海报、宣传等相关费用的支出。
★组织方不统一陈列方式,摊主发挥个人创意布置场地,需与组织人提前商议(如有特殊需求请事先告知)。
★摊位布置时间:2010年9月10日14:00—23:00
★活动期间,谢绝摊主自带任何食物入场。
★各摊主负责其摊位所有物品的保管,组织方不承担产品的遗失责任。活动期间摊主必须出席并向顾客介绍产品创意。
★摊主入场时间:创意市集当日11:00–22:00。摊位布置时不得在墙面使用泡沫胶,颜料,马克笔等无法清除的产品,造成空间损伤照价赔偿。
★未尽事宜请与组织者协商解决。[/lang_zh]

[lang_en]Come and join us, artist/designer/handicraftsman, we are getting together here at Loft! come and exhibit your creative products and share them with other people in this bazaar!

Vision of the Fair: Encourage creativity, and let art become part of your daily life…Do It by Yourself!!

Orginser: 943 Studio
Time: September 11th -12th , 2010, everyday 11:30am-22:00pm
Place: TCG Nordica, Loft, Xi Ba Road no.101, Kunming

Bazaar products to sell:
Original designs or handicrafts, you can use old things and materials to make something new and functional! E.g. toys, illustrations, things for wear, sound…..no limits! If your idea is original, you can apply to participate!
Your idea must be original!!

There will be room only for 40 participants!
You can write a free application to: stonenoon@gmail.com
Please include photos of your product and inform us your contact details.
Deadline of the application: August 30th, 2010

You will be informed if your application is accepted before September 5th, 2010.

Information for the Applicant:
1, You can only apply for one booth/space(size: 1.5m2), 150yuan/each booth. If you will be accepted you can’t rent this space to others.
2, The orginsers have the right to refuse your application.
3, You can arrange your booth in your own creative way. If you have any special needs please inform us in advance.
Date and time of preparing your booth: 14:00pm-23:00pm, September 10th .
4, No food is allowed by your booth.
5, The booth owner has the responsibility of his/her own products. He/she has to be available for the customers at all times.
6, If there is anything we haven’t thought about your comments are welcome. [/lang_en]

[lang_zh]讲座:后游牧主义:携带旧金山[/lang_zh][lang_en]Lecture:Post-Nomadism: Take Out San Francisco [/lang_en]

   
[lang_zh]主讲人:Joo Yeon Woo (韩籍美国艺术家,美国博尔德科罗拉多大学助理教授)
主持:和丽斌
翻译:曾婷婷
时间:2010年6月22日星期二下午15:00-17:00
地点:云南艺术学院四号教学楼110室
主办:云南艺术学院美术学院/ Loft 金鼎1919/ 943工作室
关于   Joo Yeon Woo

和丽斌:今天我们邀请讲座的Joo是一位多媒体实验艺术家,从事图片、影像、装置等艺术实践,她讲座的议题《后游牧主义》是近年来颇有意思的一个话题,在今天文化交流日益全球化的背景下,一些艺术家的创作经验不再是从一个母体文化出发,而是漫游于多种文化中,以获取创作的养分和灵感,像游牧民族一样,不断的迁徙,以保持鲜活的体验,Joo亦是这样一位跨文化的艺术家。

关于我(Joo Yeon Woo)的创作:
在我的作品中我使用过很多不同的材料,我认为材料服务于思维。
从保罗•德拉罗士发表了“从今天起艺术死了”后,艺术家们以摄影的形式做出回应,对绘画的传统定义提出了挑战。通过二十世纪初叶大量涌现出的新的技术与现今的数码技术不仅仅是把绘画从传统意义上的表现手法中解放出来,还大大鼓励了艺术家从单一的画笔与颜料的创作中走出来去试验更多的创新。尽管有保罗德•拉罗士从艺术史的声明,但是我们知道绘画已经通过我们自己的生活与梦想活了过来,与此同时它的定义与风格也随之改变了。无论我们怎么享受数码时代的尖端技术,没有人会担心绘画会消失掉。

1,对“数码韩国”议题的介绍——同质社会
在我进行介绍前,我想先展示韩国一个很有趣的研究。我之所以要展示这个研究是因为我的作品都是与影响我身份的文化渊源相关的。韩国人倾向于认为他们是一个相同的民族。在2005年举行的韩国科技节的时候,韩国科学研究所给韩国女性与男性的脸做了一个定义。由电脑断层扫描技术在100具死去的韩国人尸体上将脸部扫描进电脑。这个研究的有趣之处就在于,韩国人们可以了解到自己的脸部特征与标准之间的差距。并且这项研究的结果给相关的产业,例如:医疗器械,外科整形,时尚行业带来了实用性。后来我去到了美国,人们对种族、文化、宗教、语言的差异非常敏感,给我留下了深刻的印象。这种类型的研究只会出现在像韩国这样的同质社会,在像中国或者美国这样对种族、文化、宗教、语言差异包容的国家将难以进行。

2, 通天塔
不知道大家看过《通天塔》这部电影吗?我想你们都了解这个故事,所以我会简短再次描述一下这个故事:很久以前,整个世界上的人都说同一种语言,这些人对建筑技术越来越熟练,于是他们就想建一个能通到天堂的塔。天神因此很愤怒,就让不同地域的人说不同的语言,因为他们不能交流,那就不能沟通完成造塔构想。《通天塔》讲述了人们的交流方式。

3,迭代对应
根据《通天塔》这个故事我和艺术家Michelle Tillander做了个作品:关于文化之间的误读。我们用网络的功能,同时连接十亿人,每73天上传一次数据。实验中设置了五把椅子和五个屏幕。其中4个屏幕里可以看到4个说着不同语言的人。另外一个屏幕与摄像头连接,观众可以通过摄像头在屏幕上看到他们四个人。观众可以参与到这个实验里,但是因为语言的障碍,使得就算是彼此都在周围也不能够交流。

4,文化的移位
我的作品基本上是因为个人经验和韩国与美国的文化交集所带来的心理矛盾而由来。我认为“身份”在时间与空间会受到两种平行文化的巨大影响。同时“身份”也会随着我的感情、文化、教育经历的影响。出于“身份”跟跨文化置换有关的考虑,使我向自己提出疑问,如何能让我更好的了解自己与自己的旅程。
虽然我们一厢情愿的认为我们仍然属于单一的文化,但事实上现今文化的特点已经被打乱了。法国哲学家沃尔夫冈•威尔什曾写过一篇名为“跨文化:现今的文化形式”的议题。他提到了内部分化与复杂的现代文化的结果。(例如:宏观来看,在纽约市的少数民族城镇,或者是美国其他大城市。再或者说美国是有不同种族组成的)。另外,他还强调我们都是文化的混种。(例如:从种族来看,我是一个韩国人,但是同时我也受到美国与日本的文化与教育的巨大影响)

5,《携带旧金山》系列作品
这是我最近基于跨文化的“携带”系列的图片作品。当你想到旧金山时,脑海里出现的第一个图像可能是金门桥。图片上的盒子里是日本建筑图片,你看到时可能觉得我是在日本拍的,但事实上都是在旧金山拍摄的。所以,地域并不是文化的界限,我们可以跨越。

6,游牧主义
就像你们看到的,我的作品来自于我游牧的生活方式。关于游牧主义,是DELEUZE 与GUATTARI提出的。游牧主义就是游牧民族不停的从一个地方般到另一个地方,从不定居的生活方式。很多文化都经历过传统的游牧,在工业发达的国家这种游牧行为渐渐消失了。但是现今很容易就找到后现代游牧生活方式的一些方面。现在的游牧主义并不意味着无限制与没有方向的流浪;相反它是基于我们混杂的文化。DELEUZE说过“游牧不一定是谁的动作。还有很多不用移动的旅游的方法。游牧的人开始游牧一般是为了呆在同一个地方又不想受行为规范的约束才开始游牧的。
下面是两个关于后现代游牧主义的简单例子。首先,如果原始的游牧民族不停的为寻找新草原而流浪,那现代的游牧就是贯穿我们的只能手机在让人晕眩的“楼”林中穿梭。这种生活方式把“家”重新定义为,一个人在精神或心理上只能有一个家。
其次,人们可以随处连接上可用的网络。在这种数码的游牧行为下,我们基本上是属于多文化,不分地域与民族文化的。当我们上网浏览时,我们无止境的通过超链接跨越许多多文化的在线社区,不分地点与时间。

7,数码摄影系列“喝掉你的周围”
“喝掉你的周围”的数码摄影是来自于我游牧生化方式的旅程。这个项目是从2004年开始进行的。在过去的六年中我收集了超过205个杯子,这项作品也就是我旅程的一个艺术记录。我把旅途中记录的一些风景或者是建筑的图片装在杯子里,以一种更视觉和概念的方式消化掉。

8,互动网络动画和“四月日历”
“喝掉你的周围”的数码摄影后我做了一个日历,这个日历展现了我的过去、现在与未来。所以这个“四月日历”是杯子系列的动画版。人们点击每一个日期就可以看到每一个不同的杯子于不同的动画,例如树木生长、气泡突然出现或者是突然出现的满月。

9,韩国的现实生活与虚拟生活
这是我从韩国很著名的网游截取下来的图片。在韩国有很多年轻人和上了年纪的人花很多钱,购买一些虚拟的物品来装饰他们虚拟的小屋。这些东西都是一些不可以触碰的东西,但还是有很多人愿意花钱去购买。很多年前一个有趣的案件在韩国发生了:一个人的虚拟物品被偷了,竟然叫现实中的警察去抓这个虚拟的小偷。我发现很多人把现实与虚拟混在了一起。这样的事情在韩国不断地发生着,致使韩国就此成立了专门的网络犯罪部来处理这类的事情。

据此我用自己的皮肤做了这个实验:皮肤做背景,透明的玻璃制品在前面,你看到罐子里头的东西在动,但是实际上这些东西不会真正进入到罐子里。[/lang_zh]

[lang_en]Speaker:Joo Yeon Woo (Korean-USA, Assistant Professor, University of Colorado)
Emcee: He Libin
Interpreter: Zeng Tingting

Time: 15:00-17:00pm, June 22, 2010
Add: Room 110, No.4 Teaching Building, Yunnan Art Institute
Host by: Yunnan Art Institute of Fine Art College/ Loft Jinding1919/ 943 Studio
about  Joo Yeon Woo

Introduction about Joo Yeon Woo 
Joo Yeon Woo is an assistant professor in the Drawing and Painting area at the University of Colorado at Boulder in U.S.A. She holds an MFA in Drawing/ Painting as well as Media Art as related study from the Pennsylvania State University and an earlier MFA from Hongik University in Korea. Before joining the University of Colorado, she was a visiting assistant professor at the Oklahoma State University.

Introduction about Woo’s research
Woo’s researching consists of painting, digital photography, and experimental video and represents the issues of cultural identity and displacement she has experienced as an immigrant. Her creative works deal with cultural identity, post-nomadism, and cross- cultural studies heavily influenced by immigrant experiences and interaction between people and space. Most her recent works are based on documentary approach and artistic archives that investigate her identity and the identities of thousands of other immigrants-informed by a cross-cultural journey. 

Additional Statement about my interdisciplinary approach in art making 
I have been using many different media in my creativity. I believe there is no boundary between materials in order to express my concept.
After French Painter Paul Delaroche declared, “From today painting is dead,” artists have responded to the advent of photography by challenging the traditional definition of painting. The preponderance of new technology in the early 20th century, and more recently digital technology, not only liberated painting from the task of representational illustration but also encouraged artists to escape from brush and pigment into more experimental expressions of creativity. Despite Delaroche’s statement from art history, we know that the definition and style of painting has changed and been revived through our own lives and dreams. However, although we enjoy the new cutting-edge technologies of the digital age, no one is anxious for painting to disappear.

1. Introduction of research titled Digital Korean based on homogeneous society
Before I talk about my works, I would like to show one of interesting research performed by Korean Institute of Science in Korea. The reason why I show this research is because all my works are related to cultural sources that inform my identity.
You will see Koreans tend to consider themselves as a homogeneous race. One of Korean Institute of Science fixed the standard of Korean male and female faces in Korea Science Festival held in 2005. The faces were leveled by computerized tomography, which captured contours of faces from 100 dead bodies of Koreans.
It is interesting that many Koreans think how much their faces are closer to the standard one and the result of this research applies for related industries such as medical appliances, plastic surgery, and fashion. But after I move to US in 2003, I got impression that people are ethnically sensitive about diversity in races, cultures, religion, and languages. You never find this kind of research in the US where the most diversity exists in many ways.

2. The Tower of Babel
I would like to introduce another interesting movie and story which are related to my idea in artmaking. The left image is the movie; Babel and the right image is oil painting; The Tower of Babel by Lucas Van Valckenborch in 1594.
The story of The Tower of Bable is that the whole world had only one language for all people. The people of the earth became skilled in construction and wanted to build a tower to reach to heaven. God was upset about the people’s challenge and God confused their languages, causing them to speak different languages so they would not understand each other. After that the people cannot build up the tower due to miscommunication. 
The movie, Bable, talks about our form of miscommunication between peoples as well as our prejudgments between peoples. The movie shows how one small event helps to unite other stories all.

3. Collaborative Project titled Iterative Convergence
This is my recent collaborative project titled Iterative Convergence. The work talks about nature of contemporary digital communication and its culture. We link over a billion people in real time through the Internet and volumes of information are updated by doubling every 73days.
Myself and Michelle Tillander set up 5 old traditional chairs with 5 monitors which shows 4 faces talking with different languages and one live camera. Since a live camera captures audiences, they can seat on the chair and participate in the installation.

4. Cultural Displacement
Basically my works incorporate conceptually personal experiences and the psychological conflict that comes from living two different cultures: Korean and American. I believe that identity is largely informed by my juxtaposition between these two cultural environments in space and time. Identity is influenced by the shifting processes of my emotional, cultural, educational experiences. Such a consideration of the identity belonged with the transcultural displacement enables me to question how I can better understand myself and my journey.
Although our wishful thinking is still attached to the concept of single cultures, actually cultures today are in general characterized by hybridization. “My home is yours and your home is mine” came from those ideas.
Since my main concept is “how do I address issue of place in my work?” I would like to introduce related theory.
First, many artists from the history to present talk about an issue of displacement. Critic Miwon Kwon introduced many interesting artists and their site-specific artworks in her book titled One Place After Another. If your works or concepts are site-specific installations, I strongly recommend this book.
Second, one of French philosophers, Wolfgang Welsch, wrote about this issue titled “Transculturality: the form of Cultures today”.
He talks about two different levels. Macro-level is consequence of the inner differentiation and complexity of modern cultures. For example, when you visit in New York City, you see a big China Town, Korea Town, or Mexican Town. So this means that one society has multicultures.
Micro level means “we are all cultural hybrids”. For example, although ethnically I am a Korean, but I am greatly influenced by American educations. So I am cultural hybrid. After I arrived here, Kunming, I heard many Korean songs in the shops. Many young Chinese peoples love Korean fashions, drama, and music. So you have been influenced by Korean culture. So you are also cultural hybrid.

5. Take Out San Francisco
Here’s image of my recent project, “Take-out” series, which are based on Transculturality. I will explain shortly about one of series named “Take-out San Francisco.”  When you think about San Francisco, you will think about Golden Gate Bridge. The images inside a box are all Japanese architectures. Without my explanation, some peoples think these are in Japan. But I took these in the US. When you are in Japanese town, you don’t need to speak English. Physically you are in the US, but at the same time mentally you are in the Japan. There is no strong boundary between two cultures.

6. Post- Nomadism
As you can see my works also come from my nomadic life style. About nomadism, way of life of nomadic people is constantly moving from place to place, rather than settling down in one location. Many cultures have been traditionally nomadic, but nomadic behavior increasingly disappeared in industrialized countries. But nowadays we can easily find some aspects of post-modern nomadic life style in our present world and times. Today’s notion of nomadism does not imply unrestricted and undirected wandering; rather it is based on our hybrid cultures. Gilles Deleuze mentioned that the nomad is not necessarily a person who moves. There are many different ways of “travels” in which one does not move, travels in intensity. Nomads are those who start nomadizing in order to stay in the same place and free themselves from codes.
Here is a two simple example explaining what post-nomadism is.
First, As if our nomadic ancestor kept traveling for new grassland, we are digital nomads who continually move through dizzy building forests with holing our smart phone instead of horse. These our lifestyle enhances to redefine the meaning of “home” as something that one may carry only in one’s mind or in ones own character.
Second, people can access the ubiquitous network which is available almost everywhere. With such digitally nomadic behavior, our experiences are essentially multi-cultural, regardless geographic locations and ethnic characteristics of the living environments. When we move over the Internet, we wonder endlessly anywhere and anytime through hyperlinks across many multi-cultural online communities.

There was an article about “ 10 Things Digital Nomad needs”. The point is technology enables people to go and wander anywhere and everywhere to satisfy their curiosity. There are 10 gadgets or technology we probably need ;
(GSM cell phone and service, netbook, webmail/blog or Twitter, Cloud technology (Google Docs), digital camera, online banking, GPS service, memory cards etc)

7. Digital photography series titled Drinking Your Surroundings
This is my digital photography titled “Drinking your surroundings” which come from my journey as Nomadic life style.  This project is ongoing project since 2004. I have collected over 250 cups for the past 6 years so that this work is my artistic archive of my journey. I collect and position pictures of my surroundings within the glass cups that I use everyday, in order to visually and conceptually absorb their truths.

8. Interactive web animation titled April Calendar
After this digital photography, I made a calendar. Calendar represents past, present, and future of my time. So this April Calendar is an animation version of cup series. People can click each date in order to see each different cup with different animations that represent specific stories such as trees grow down or bubbles come up or full moon show up suddenly.

9. Social network Korean site: Cyworld
This image shows very interesting social issue about cyber space in the Internet. Many Korean young peoples have their one blog called Cyworld, like facebook. They pay real money to buy these virtual items to decorate their online blog. There is no boundary between real life and virtual life. There was one of very interesting thing happened in Korea last couple of years. One guy stole one of virtual items in the Internet. And a guy who lost his item claimed to real police. The claim happened in the virtual space but nowadays the people called to real police to solve this problem. Korean government now.

10. Jar series and myscape series
From this boundary issue, I created this jar series. I captured my skin images and projected to clear glass jars. And then I changed a speed of video inside of jars. I wanted to create blurred boundary between human’s body and environment such as clothes.[/lang_en]

[lang_zh]“找钱的鸟”- 丽江工作室“新农村实验室之壁画项目”[/lang_zh][lang_en]”Money Bird” – Mural painting at Lashihai[/lang_en]

[lang_zh]时间:2010年5月19日-27日
参与艺术家:刘丽芬,Nathalie Bissig (瑞士),Alyshia Boddenberg(澳大利亚)
地点:丽江拉市海吉祥村

5月底,工作室的进驻艺术家们,以及两个艺术院校的学生一起到访云南丽江拉市海吉祥村的“丽江工作室”,参与他们的“新农村实验室之壁画项目”。

白天昆明开往丽江的火车途经每个小站都要停驻,也正好给我足够的时间来感受云南的干涸。时值夏初,沿途本应绿意黯然的山丘一色焦灼,仅只星星点点的绿意在闪烁。暮色时分到达丽江火车站,大朵大朵的流云在青色远山前浮游,似乎伸手可及。

转乘大巴到达吉祥村时已是漆黑一片,隐约的狗吠引导着我们前行。正杰,嘉岷,二哥打着手电筒来接我们,夜宿丽江工作室,打地铺,睡睡袋。几天以来的感冒,咳嗽,加上近12个小时的火车程,我已疲惫不堪,却不愿错失星空下的这份安静。

早晨随嘉岷走访村子里壁画项目前两年实施的结果和了解这次需要参与的民宅情况,嘟嘟和卷毛(丽江工作室的大狗狗)和我们同行,可能占着随行的人多,他们肆意去追咬村子里的狗狗,甚至最后也要惹一惹拉市海边的马儿。拉市海周边农田已挂满了青果的杏树,苹果树让人特别眼馋,幻想着秋末站在树下张口就能咬得果汁满嘴四溢的美事,乐坏了。还有那满田埂绽放的野花儿,我几乎感觉不到干涸在拉市海的痕迹。

拜访了山头雕塑家“老兔子”的“作品”——一块用了十多年时间挖掘出的地下小石林。“老兔子”精通黄历,知晓世间世态,他的预言一一应验,很令人折服。夜晚坐着木强大哥的拖拉机,我们在“拉纳乡村美术馆”里见到了阿木,一个一直以朴素的钢笔和木刻方式描述着他所生活的丽江的艺术家。也是在这里,我和我的壁画项目对接主人木强开始聊天,搜集他们家的信息。

五年的时间,丽江工作室在拉市海的艺术家进驻项目做得特别有意思和有成效,它为来自都市的艺术家们提供了一个正在发展中的乡村艺术试验场。工作室的邻居是二哥家,他家接待了在吉祥村来来往往的艺术家们,现在也成了艺术家和村民沟通的专家。周末从学校回家的大儿子和吉星刚好过15岁生日,嘉岷悄悄的告诉我如果我需要合作伙伴,和吉星会是很棒的搭档。于是我和他约了第二天早上一起去画壁画。

和吉星戴着专业马术师的头盔,骑着披挂了棕色马鞍的心爱马儿,和我一起出发了。马鞍,头盔是正杰从美国寄来的生日礼物,使得他兴奋不已。我也得以分享,高兴死了。

整理了几天以来和木强大哥的对话,开始构思小稿:
木:我们家房子的位置最好,可以看到拉市海。
我:你和老婆是怎么认识的?她做什么呢?
木:遇着就这种认识了,碰出了火花。现在她开大拖(拖拉机),我开小拖,每天赚几百吧。
我:将来有打算吗?
木:现在都在赚钱,变成钱的奴隶了,没有时间休息。你们一天就在闲,是吧?我们就没有这样的时间。老了,带了老婆孩子去旅游。
我:想去哪旅游呢?
木:还没想去哪.
我:你希望你们家新房画些什么呢?
木:有没有找钱的鸟?金丝鸟吧!
我:赚了钱怎么花呢?
木:开车很辛苦,想起钱就不停的苦,但有了钱不知道怎么花。买个十多个轮子的车吧。我们不像你们来这闲,我们基本上去城里闲,喝茶,泡脚,洗澡。
我:呵呵,泡脚,洗澡……那得花很多钱啊。
木:很正常的地方啊。找钱找得多,但花得也多,几千块也赚,但七八个人一下子就用掉了。不心疼,花得开心。我老婆也是这样,(洗脚)是很正规的东西嘛。我老婆有一点男人气质。
我:那你喜欢这种气质吗?
木:说不上非常喜欢,但有一点。每一个男人都是心很花的。
我:那给你家画很多花,好不好?
木:让我掉在花丛中啊!哈哈!

木强大哥希望画的是院子里厨房对面的墙,将来坐在厨房吃饭可以看到远山。于是想把山和拉市海连进壁画里,绘一只“找钱的鸟”和由一辆行驶在拉市海边的很多轮子的大货车带来的一个花园。

第二天,木强用自己的拖拉机搭起了零时架子,我和和吉星开始准备。和吉星的号召力不同凡响,他的出现吸引了村子里的孩子们陆陆续续到来,那花园就容易实现了。简单的从他们喜欢的花儿画起,我在本子上示范,他们在墙上现学现卖。没有准备那么多人用的画笔,于是揪了大把田埂上的艾蒿草,做成简易画笔。大家画得高兴了,越来越随意,越来越快,一会的功夫全都换新玩法去了,只剩和吉星和我。一会又回来涂涂抹抹……

远远的一声吆喝,我还没听明白,孩子们已四散开,躲草堆里的,跳墙的,一眨眼全没了影子。是木强大哥的爹来了!背着手从田埂上走来,“不画了!不画了!画得不好!”
“爷爷别急,只是小孩们玩一玩,一会就重涂了”……
爷爷一走,孩子们又出现了,顽皮死了,我们笑做一团。他们就这样第二天也来和我们画,偷偷和我们调皮。

第三天,下雨了,拖拉机也不见了,没有办法继续。大家猜测真可能木强大哥家不喜欢我们画的,又不好意思说,悄悄撤了架子。傍晚给他电话才知道今天拉货去了,他早上七点去时我们不在,以为我们不画了,七点我们还在梦乡呵。

周末结束了,孩子们得去上学,朋友们都来帮忙接着上色。和吉星画的马儿,帮他上色时后腿没上好,最后完工后木强的爹一眼就看到了,“你们城里的人没见过马,画不好马的。”但他一直笑呵呵的,算验收了。

27号一大早得返回昆明,还有很多细节需要调整,只有留待拉市海果香四溢之时,不生病,不忌口的可以享用嘉岷做的专业咖啡的时候了。

刘丽芬
2010年6月3日[/lang_zh]

[lang_en]May 19-27, artists from 943 Studio with students from two art schools in Kunming came to Lijiang Studio to participate in “New Countryside Laboratory Mural Painting Project” .
Artists: Liu Lifen, Nathalie Bissig(Switzerland),Alyshia Boddenberg(Australia)[/lang_en]