[lang_zh]非 流[/lang_zh][lang_en]Non-stream[/lang_en]

[lang_zh]策展人:薛滔
艺术家:李凡、陶锦、杨晶、赵磊明、张华
作品类型:油画,雕塑
开幕酒会:2012年7月27日 20:00
展期:2012年7月27日-8月19日
地址:昆明金鼎山北路15号,金鼎1919艺术园,A区,苔画廊

 

前 言
薛滔

“非流”表述的是一种既不在主流也不在非主流的状态,这种在流之外的状态,是云南艺术家的突出特征。

 

通常在艺术这个行当里,存在着主流与非主流的关系。具体呈现出来的现象有时是体制与江湖的关系,有时又是学术与市场的关系。艺术家们无论身处何处,无论在主流中还是非主流中,总需要找一种艺术上的正确性作为存在的依据。当然有时也会是政治上的正确性,或者学术上的正确性,即便在江湖中也要找到江湖上的正确性。依此正确性才能消除其生存的顾虑。艺术家通常会让自己归于某流,否则就会有被遗弃的危险,平常我们也会把“归流”称之为拜码头。

 

这样一种“归流”的作风,在中国的不同地区有不同的呈现。打个不准确的比方,如北京以艺术史为流,上海以学术为流,四川以市场为流。平常大家会以“某某派 ”或“某某帮”来称呼。在一个地区,会出现某种相同或相似的批量艺术家,这是一种艺术现象。
在中国古代有三教九流之说,它清楚定位艺术与主流的距离,似乎这才是艺术的合法地位。然而,时下的中国艺术界则不安分于这个非主流的身份,往往有想要“改造历史”的雄心,或者有要想成为市场宠儿的遐想,艺术在不知不觉中被“艺术政治”、“艺术经济”、“艺术科技”所取代。艺术常常是为了进入艺术市场而做,为了进入艺术史而做,或者是为了开幕酒会而做等等。艺术家谈论的往往也不是艺术本身,更多的则是“艺术资讯”和“艺术成功学”。这是一个无趣的现实。
此次展览的五位艺术家,都很不入流。既不符合历史,也不符合市场,更不符合学术。既不入流,那么“非流”便浮现出来。当然,这只是我个人的想法,他们也许并不这样认为。虽然他们被我称为“非流”,但作品却不失有趣。
杨晶是比较少见的艺术家,他的思维和我们常知的艺术家思维不同。大约十年前我们在上海展览,他的作品被德国藏家收藏。那时,卖作品被大家普遍认为是不会发生的,然而却发生了。几年后当大家都如火如荼的卖作品时,他开始隐居,从此少见他的踪迹。再次看到他时,他不再做雕塑开始画画,画的就是今天大家看到的“福山寿海”类型。哦!他的画,该怎么说呢,看不到我们惯常看到的图像,看到的其实是一些思维的波动,也就是说他画的不是物质图像而是意识图像。我们对绘画的惯性思维,努力学习并构建起来的理解绘画的知识和技巧,在他这里失效。看似简单木讷的杨晶,实则暗藏着不同的智慧。
张华是一个很有意思的人,他的作品清楚的说明了他真的很有意思。一个被砖头砸扁的脑袋,哈哈!这太有意思了,谁是那个张华创造出来的,被砖头击中脑袋的背时鬼。每个人只要走到他的作品旁边,就会立即获得他带给大家的好心情。对于张华的作品,不需要很多解释,看到张华的雕塑,只需要“啊!”或者“咦!”,这样就足够了。我们可以在快乐中,体会张华的优雅与乐趣。
李凡把历史事件剧场化,台面化,那些发生在自然中的宏大的甚至是残酷的历史瞬间,被李凡放到台面上后,我们突然从这些历史场景中得到一种对人类自身命运的“异样”感触,这种异样通过李凡的一个简单的二次转换的动作得以实现。是的,当很多事物被台面化后,总是会出现一些想象之外的效果。李凡在这里并不仅仅只想调侃历史的戏剧化,其中更有他对于历史的强烈批判态度。这种对于历史事件的强烈批判并没有用强烈的形式来表达,而是被轻松幽默的呈现出来。
陶锦的画面呈现出与现实的“疏离感”,这样的疏离或许来自于记忆,或许来自于对真实生活的无法把握以及对过去未来的不确定。他对现实的观看不是身处其中,而是有距离的遥看,被观看的对象是他自己的生活。这种对自身的陌生感,对生活和现实的疏离感,正是对中国社会三十多年来不断变革的深切体验。70后这一代人伴随着幼稚的中国社会一起成长,这种共同成长的体验在他们身上较为突出,于这个群体中普遍存在,陶锦把它准确的捕捉到画面上。
赵磊明的作品关注个体在现实生活中的“存在感”,这种存在感超越物质层面独立存在,与社会制度及成长环境无关,实际上与现实世界的关系也不大,这是一种人类共同的本能。自有生命以来,这种关于生命的存在感就一直存在,既超越时空种族,也超越物质基础,是对生命本体的自我认知。这样的认知并不会得到结果,也找不到标准答案,是一种悬浮的精神状态,磊明画面所纠结的正是这种难以言说的精神状态。
艺术需要“有趣”或“有意思”,这个展览中的几位艺术家,每个都不是那么乏味的人,虽然性格各异,有的脾气丑陋,但都有其“好玩”之处,至少不是被现代社会打磨出来的标准生物,他们都足够真实。作品即为他们做了证明。
艺术还需要“自由”,自由是艺术的根本,犹如鱼与水一样,离开自由,艺术无法存活。所以,艺术可以自由的使用任何形式作为表达方式,可以“通过”政治来实现有趣,也可以“通过”经济来实现有趣,还可以“通过”科学、社会学等学科来实现有趣。然而,中国的艺术似乎是“为了”政治而实现有趣,“为了”经济而实现有趣,“为了”科学、社会学等学科而实现有趣。一旦变成“为了”,这样的艺术道路就不太能让人从中看到光明了。很多新中国的伟大作品及拍卖行中的天价作品,实在是让人觉得“没意思”。
“非流”尽管从艺术成功学的角度上讲是愚钝的,至少缺乏有效性。但作为个体生命的生存体验来讲,有其可取之处。他们至少坚持了自由创作的艺术规律,这在今天这个犀利的年代里已经变成凤毛麟角,在大多艺术家都迫于艺术成功学的压力而取道“艺术生产”的时候,在“艺术社交”大于艺术创作的时候,他们的坚持尤显可贵。
70年代以后出生的云南艺术家,大多都呈现出这种非流状态。他们就像生存在云南的26个少数民族一样,虽然同住一块土地,却彼此各自独立。他们虽然生活交往密切,但于创作时却各不相关,恪守个体独立,以缺乏主见为耻,羞于投机倒把媚俗跟风,在生活中还原艺术。

2012年6月20日
参展艺术家作品图片

[/lang_zh]

[lang_en]Curator: Xue Tao
Artists: Li Fan, Tao Jin, Yang Jing, Zhao Leiming, Zhang Hua
Opening: 2012.07.27  20:00
Duration: 2012.07.27 – 2012.08.19
Venue: Contemporary Yunnan, A zone, Jin Ding 1919, North Jindingshan Lu No.15, Kunming

Preface
by Xue Tao
“Non-steam” is neither the mainstream nor the status of the non-mainstream, which in the state of outside, is the prominent feature of the Yunnan artists.

Usually in the filed of art, there is a relationship between mainstream and non-mainstream. Specific presentation of the phenomenon is sometimes the relationship between the system and Jianghu, sometimes it is the relationship between the academic and the market. No matter which the artist stick with, whether in mainstream or non-mainstream, always need to find the correctness of art as a basis for existence. Of course sometimes it can be political correctness or academic correctness, even in Jianghu there is the Jianghu correctness. And so the correctness can eliminate the concerns of artist’s existence. Artists usually let themselves attributed to a certain stream, otherwise take the risk of being abandoned. Usually we call this attribution to a stream “bai ma tou”.Such a “return flow” style of different regions in China has different presentations. Like this inaccurate saying for art scene, Beijing has art history stream, Shanghai follows academic stream, and Sichuan focus on market stream. Usually people call them a certain “gang” or “group”. Therefore, in same area there will be a bunch of similar artists, which is an art phenomenon.

In ancient China, there is “the three religions and the nine systems of philosophy”, it clearly positions the distance between art and mainstream, seems like the legal status of art. However, nowadays the Chinese art scene is not content with this non-mainstream identity, with the ambition of “Reshaping History”, to become market’s darling. Art, in the process was unknowingly replaced by the “art politics”, “art economy” or “art technology”. The art is often done in order to enter the art market, art history or even opening reception. The artists don’t talk about art itself, but more “art News” and “theory of art success”. This is a boring reality.

The five artists of this exhibition are irrelevant to stream. They don’t meet the requirement of history, academic or market. If they were not in the stream, then “non-stream” would emerge. Of course, this is only my personal thought. They probably do not think so.

Although they are what I call “non-stream” works but yet interesting.

Yang Jing, is a relatively rare artist, he’s thinking is different from what our familiar artists’. About a decade ago at the Shanghai Exhibition his works have been sold to German collector. At that time, to sell works was generally agreed not going to happen, but it has occurred. When we are in full swing selling works a few years later, he began to retreat, we rarely find trace of him. Again we meet, he no longer makes sculpture and starts painting, this series “Fu Lu Shou Hai(Happiness, Luck, Longevity, Sea)” we see today is what he is doing now. Oh! His paintings, how should I say, is hard to find our usually seen images, but only some thinking fluctuations, which means that his painting is not material image but the sense of image. The inertia of thinking of the painting, we strive to learn and build up understanding of the knowledge and skills of painting, in his failure. Yang Jing seems to be simple and stiff, but in fact hidden a different wisdom.

Zhang Hua is a very interesting person, and his work has clearly stated he is really very interesting. A brick flatten the head, ha ha! This is so interesting. Who is that unlucky guy created by Zhang Hua? Everyone receives a good mood when he gets to see his work. Zhang’s works do not need more explanation, when you see it, you just let out your “ah!” Or “Hey!” and is enough. We can happily experience the elegance and joy he brings.

Li Fan dramatized historical events, those ambitious and even cruel historical moments occur in nature is put on the table. We suddenly get a “strange” feeling toward human fate from these historical scenes. This strange feeling come from a simple quadratic conversion action of Li Fan. Yes, many things we put on table, always show some effect beyond our imagination. Li Fan is not simply ridicule the dramatic history, but more strongly critical of his attitude towards history. This criticism of the historical events is not expressed by strong form, but in humorous way.

Tao Jin’s work shows “alienation” to the reality, perhaps this alienation is from memory, perhaps from the uncertainty of reality. His perspective to reality is not standing inside, but with distance. The object is his life. This strangeness of oneself, alienation from life and reality, is from the deep experience of fast change Chinese society in more than three decades. The 70’s generation grow along with the naive Chinese society. This growth experience is more prominent in them, prevalent in this generation. Tao Jin accurately captured these on the cancas.

Zhao Leiming’s work often focuses on individuals “sense of existence” in real life, which is beyond the material aspects, has nothing to do with the social system and environment for the growth, in fact, the relationship with the real world is not large, this is a human common instinct. Since there’s life, this sense of the existence of life has always existed, not only beyond time and space race, beyond the material basis, which is a self-perception of the ontology of life. This knowledge does not get results, with no standard answer. It is a suspended state of mind. Zhao’s painting tangled with this state of minds, which is difficult to describe.

Art needs to be “interesting” or “fun”, artists in this exhibition, none of which is boring people. With very different characters, maybe bad temper, but it is also the “fun” part of them, at least not the standard bio-honed of modern society, are true enough. Their work speaks.

Art also needs to be “free”. Freedom is the fundamental of art, like fish and water, without freedom art will die. So, art is free to use any form as the expression, “through” politic or economy to become “interesting”, “through” science, sociology and other disciplines to realize “fun”. However, Chinese contemporary art seems to be “for” politics to become interesting, “for” economy to become interesting. Once they come to the “for”, this art road is no longer leading to the brightness. Many new great works or the auction price works, makes people “boring”.
“Non-stream”, from art success theory perspective is dull, at least lack of efficacy. But for individual life experience is meaningful. They at least adhere to the law of the art of creative freedom, which has become rare in today’s sharp era, when most of the artists are forced by the pressure of artistic success and turn into artistic production, when art socialization is greater than artistic creation, their insistence adhere is the utmost valuable.

Most Yunnan artists born in the 1970s are emerged to be in such a non-stream state. Like the 26 ethnic minorities in Yunnan, while they sharing a piece of land together, they still independently lived. Their life exchange closely, but with great independence in creation, ashamed to be lack of assertive, ashamed to become kitsch, restore the art in life.

June 20, 2012
Art works[/lang_en]

[lang_zh]李凡作品[/lang_zh][lang_en]Li Fan works[/lang_en]

     

[lang_zh]陶锦作品[/lang_zh][lang_en]Tao Jin works[/lang_en]

      

      

[lang_zh]张华作品[/lang_zh][lang_en]Zhang Hua works[/lang_en]

     

[lang_zh]赵磊明作品[/lang_zh][lang_en]Zhao Leiming works[/lang_en]

     

[lang_zh]杨晶作品[/lang_zh][lang_en]Yang Jing works[/lang_en]

     

     

[lang_zh]金龍喆(韩国) [/lang_zh][lang_en]Kim Yongchul (Korea)[/lang_en]

[lang_zh]

舞蹈家/编导

进驻时间:2012年6月18日-7月13日

进驻期间工作坊
韩国舞蹈工作坊是融合韩国传统舞蹈和现代舞蹈的课程,如剑舞的即兴创作和民间音乐相结合,面具舞,巫舞,以及意气风发的舞蹈再创作。从基本的韩国传统舞蹈动作开始,工作坊将带来有意思的舞蹈编排和肢体律动的体验。
时间:6月22日—7月12日 每逢周三
地址:昆明金鼎山北路15号金鼎1919创意园A区苔画廊/石榴

工作坊图片[/lang_zh]

[lang_en]
Dancer/Choreographer
Residency duration: 2012/6/18—7/13

Workshop in Kunming:
The Korean Dance in this course fuses traditional Korean dance genres with contemporary dance, such as improvised dances of the sword dance performed with folk melodies, mask dance, shaman dance, as well as the high-spirited recreation dance. The class will start with basic traditional Korean dance movements and then incorporate them into interesting dance compositions.
Choreographer: Kim Yongchul (KIM, Yongchul SEOP Dance Company)
Time: every Wed from Jun 22nd to Jul 12th
Add: Contemporary Yunnan / Livstone house, A zone, Jin Ding 1919, North Jindingshan Road No.15, Kunming (650031) Yunnan, China

picture of workshop[/lang_en]