[lang_zh]隐语-杨剑波个展[/lang_zh][lang_en]Brushing Words by Yang Jianbo[/lang_en]

poster-海报

[lang_zh]开幕酒会:2013年3月1日 周五 20:00

展期:2013年3月1—31日

策展人:薛滔

学术主持:和丽斌

地址:中国昆明金鼎山北路24号,金鼎1919艺术园,A区,苔画廊

特别感谢:李建波,张雪梅,王浩,罗元园,胡美林

+86 871 65385159
www.943studio.cn
@weibo.com/943gallery[/lang_ch]

[lang_en]

Curator: Xue Tao

Academic Host: He Libin

Reception:2013.03.01, 20:00

Duration:2013.03.01—31

Venue: Contemporary Yunnan, A zone, North Jindingshan Lu No.24, Kunming, China

+86 871 65385159   www.943studio.cn

@weibo.com/943gallery[/lang_en]

 

[lang_zh]部分展出作品和手稿[/lang_ch][lang_en]Works  and Draft from the exhibition[/lang_en]

Yang Jianbo《隐去的2011-7》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-11》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-12》-纸面、碳笔、树脂-直径70cm-2011年Yang Jianbo《隐去的2011-16》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-17》-纸面、碳笔、树脂-直径70cm-2011年      Yang Jianbo《隐去的2011-18》-纸面、碳笔、树脂-直径70cm-2011年Yang Jianbo 手稿19-1      Yang Jianbo 手稿20-1      Yang Jianbo手稿21-1

 

 

[lang_zh]转制之痛

薛滔

“体制”在中国这几十年来是一个特别的词语,在一段特别的历史时期有人因此锦衣玉食,有人因此家破人亡。特别的历史时期酿造出“体制”在中国无以伦比的强大威慑力和影响力,从民国末年到现在,“体制”影响着几代中国人的灵魂并控制着中国人在现实生活中的成长。这段历史形成的原因及其复杂,其根源可追溯到五四运动、辛亥革命、洋务运动、太平天国,或者天地会、满清入关等等。数百年的新仇旧恨最终凝结成如今的“体制之痛”,这是众业所感而成。

艺术上的“体制”指的是美协、画院、艺术院校等拿国家工资的文化事业单位。在相当一段时期内,艺术体制同样具备强大威慑力和影响力,它同样影响着几代中国人的灵魂并控制其成长,它不但能让艺术家获得精神上的支撑同时还能获得幸福生活的物质保障,并引领着社会前进的方向,这是无比光明和荣耀的事业。

体制的这种现象,从“改革开放”以后发生变化,中国社会各行各业在那个著名的“春天的故事”以后发生巨变。艺术上则是从“85”到“圆明园”再到“798”经历了三次革命性的变革。85带来现代主义启蒙,圆明园开启了艺术家真正独立的创作和自由生活的方式,随着798的诞生,中国则进入了狂飙突进的艺术市场化时代。艺术市场的到来让艺术家不但能独立的创作生活,还能靠艺术发家致富名利双收。在经历了这三次艺术变革之后,中国的艺术体制已失去往日的辉煌,伴随着中央文化事业机构改革的各种文件,“体制”不再能带给艺术家安全和荣耀,更不能让艺术家获得生命的价值和意义。这时很多体制内艺术家开始进行反思,开始寻找新的方向。什么才是艺术的使命?什么样的艺术才能带来内心的真正满足?如何做艺术才能真正体现出生命存在的意义?当然,提出这样的问题,进行这样的思考需要具备独立思维的能力。

对艺术和生活的反思,让众多的艺术家开始做出新的选择,并在创作中出现新的变化,这种现象在进入21世纪以后尤其明显。从首都到地方,从八大美院到各地艺术学院都已经形成不争的事实。此时,在云南,从杨剑波的画面上,同样让我看到了这种现象,看到了这种对体制的反思。

无论什么人,身处何处,何种行业,如果缺乏反思的能力,那么将失去进步的力量,我是这样认为的。所以,我认为能进行反思的艺术家是幸运的,这意味着他将获得进步的力量。而墨守成规,依然在体制惯性内昏沉度日,则是一件非常危险的事情。纵观历史不难发现,从来没有一劳永逸之事,规则一直在变。不断反思,不断学习,才比较有可能实现一段饱满和精彩的人生。

从杨剑波的作品中,我们可以看到他在绘画上所作出的努力,犹如史诗般的《隐去的2011——33》表现出他优秀的绘画能力与气势。同时也能看到在中国,在体制之下变革之中艺术家个体对待艺术的普遍状态,面对不断变化的社会规则所产生的焦灼和无所适从。对于他的反思和改变,我认为非常明智。这样说并非怂恿剑波去摆脱体制,恰恰相反,我认为剑波的反思结果既可以是对过去艺术方式的放弃也可以是继续坚持。无论方向如何,反思后的决定终是可以信赖的。而通常情况下,中国的艺术界常常把体制的对立面称为江湖,江湖中的艺术往往立足于对体制的批判和反思,批判和反思的结果便是否定体制肯定江湖。如果反思和批判的结果是只出现一种声音的话,那么这样的反思是非常遗憾和无效的。只有多种声音并存,才能更加彰显出彼此的精彩,也才能实现更加文明和进步的生态。只是无论各自坚持什么,必然要经过反思找出其坚持的理由和依据,而不是随波逐流的惯性使然才好。

对于坚持多年的创作方式的反思和改变,必然不是一件轻易的事情。超越惯性,突破成规是非常痛苦的经历,这需要强大的勇气与智慧。杨剑波在近年来的创作中一直试图超越自身十多年来形成的思维模式,力图发现一些新的能够更加激发起创作动力的方式。不论材料试验还是画面图像的更新,都在努力寻找新的创作状态,通过状态的调整来重新认识艺术认识创作,从而获得一种更好的与艺术相处的能力。尽管他还在调整的过程之中,但对于一个已过不惑之年的人来说,做出改变的决定已经是非常不容易了。

剑波是中国众多出生于文革后期艺术家中的一个缩影,尽管从他过去的经历上看,他简直就是让人嫉妒的时代宠儿,但从中仍然难免这一代人在社会剧烈变革中所经历的阵痛和隐忧,这是整整一代人都必须面对的结果,而这种隐忧也许才刚刚开始,也许由来已久……

2013.1.31

旷野里的挽歌 ——杨剑波的绘画

和丽斌

旷野、枯树、断崖、残缺的躯干、飘零的落叶、倾斜的路标、静默的面孔……这些梦一般的场景反复在杨剑波的绘画《隐语》(系列)中出现,似乎在诉说相同的故事,却又欲说还休,隐没在背景茫茫戈壁中。

或许画面中不断出现的法文短句是解开画面谜题的钥匙之一,这些短句来自不同的文学家和诗人,内容涉及自然、社会、情感等各个方面,它们组成了《隐语》中不可或缺的内容,并赋予作品文学和叙事的广联。在艺术史上,文学和绘画的关系渊源已久,欧洲文艺复兴时期的许多写实绘画的巅峰之作,无一不是绘画与文学故事、宗教故事融合的结果,并造就了米开朗琪罗、伦勃朗、包西、格列柯、戈雅、普桑、大卫等艺术大师,近现代的巴比松画派、现实主义、浪漫主义、象征主义、超现实主义、表现主义等艺术流派的代表画家米勒、库尔贝、德拉克罗瓦、高更、蒙克、莫罗、契里柯、梵高等,他们的创作更是受到现代文学、诗歌的影响和启发。在中国的水墨绘画中,诗画结合的传统从古至今从未改变过,文以载道,文人画家们借用绘画和诗歌的结合来抒发自己的人生理想与政治抱负。与上述现象不同,剑波是生活在当代中国的艺术家,他的作品中文学与绘画的结合既不像西方绘画那样直观,也不像以往的中国文人画家那样文以载道,而是更接近个人内心世界的呢喃低语,这既与他隐忍含蓄的性格有关,也与他创作《隐语》这个系列的初衷有关,如他自己所言,个人的隐秘经历,更适合隐秘的方式表达,这也构成了剑波作品的一大特点,不断出现的诗句既是画面的题眼,又与画面保持着距离,文字与画面互为广联又彼此独立,画面中古树、枯藤、断壁、残垣、旷野、戈壁的意象如同不同时间的记忆的碎片,被突兀地镶嵌在同一个时空里,组合成哀婉动人、欲说还休的挽歌。

不惑之年的剑波,并未随着年龄的增长而不惑,相反,他的迷惑更多了,这并非个案,而是这一代人的普遍境遇。作为时代的亲历者,艺术家最大程度地感知着时代的变革与阵痛带来的种种结果,并通过艺术作品真实地反映出来。同为70年代生人,我和剑波都经历和见证了中国社会的许多重大变化,文革、改革开放、85思潮、学潮、民运、市场经济、城市化、乡村的消失、城市人口剧增、生态污染……目睹了传统价值观在今天的分崩离析,新的价值观的错乱与信仰的缺位,众声喧哗,纷乱无序。生活在其中,没有人能逃离影响,艺术家则比普通人更为敏感,一如剑波的绘画,他的哀伤无法诉说,只能以绘画的方式表达,他的绘画也并非要故弄玄虚设置谜题,而实在是不能说、不可说,就如同画中反复出现的枯树,交错的枝桠,延伸向不同的方向,似乎暗示着各种不同的路径与可能,却又未有明晰的答案。而旷野中星星点点的绿洲,明丽动人却又如梦似幻,它是过去时代的远景,终究要离我们而去。

在此以剑波作品中引用的法国作家古斯塔夫•福楼拜的诗《寂静》作为本文的结尾,以此告别曾经的诗意的时代:

天空如洗

万里无云

海面

田野

万籁俱寂

一片悲凉!

没有了

小鸟的歌唱

乌鸦的啼鸣

铁犁耕地的声响……

2013.2.16

 

杨剑波  

1972 生于云南昆明

毕业于西南师范大学美术系油画专业,现任教于云南大学艺术与设计学院

 

展览 (部分)

2013  “与此同时”,云南省博物馆,昆明

2012  “携手2011”,云南油画学会第二届作品展,伍集成会堂,昆明

           第三届昆明油画风景双年展,昆明

2011   云南水彩画名家作品展,宁波

2010  “合订本-2009”,昆明

2009  “情感圭山”油画作品展,昆明

            “毛旭辉、唐志冈提名云南青年艺术家作品展”,昆明

2008  “再度圭山”庆祝联合国成立63周年油画作品展,北京

2006   中国美协第十八届新人新作展,无锡

2005   首届昆明油画风景双年展,昆明

2004   第十届全国美展,广州

2003   第三届中国油画展,北京

            重庆市首届油画展,重庆

1998   首届云南风景油画展,昆明

1997   九七云南油画作品展,昆明

[/lang_zh]

 

 

[lang_en]The anguish of system transformation

By Xue Tao

“System” has been a very special term during the past decades in China. Within such a special period, someone preferentially benefited from this system and achieved a wealthy and decent life, while the others had their family and life ruined because of the “system”. The special historical period gave “system” an overriding power and influence in China. From the Republic of China up to now, the “system” has been impacting the soul of Chinese people and controlling their growth experience generation by generation. The cause of forming this historical period is quite complicated. We can trace back its root reason to the May 4th Movement, the 1911 Revolution, the Westernization Movement in later Qing Dynasty, the Taiping Rebellion, or even Tiandihui Rebellion and Manchu troop invading into Shanhaiguan pass. Old and new factors from several centuries finally developed and strengthened this system, and people from different industries have been suffering from it.

In China, the “system” in art territory implies to these government-supported cultural institutions such as Artists Association, Painting Academy and art academies for which people work can get salary from the government. During a considerable long period, this art system also had a mighty power and influence. It played a very important role in Chinese art development. It provided not only spiritual sport but also a well-off and decent material life, and even guided the direction of social development. It was really a bright and honorable undertaking in China.

However, the magnificence of system started to be changed since the implementation of China’s “reforming and opening” policy. All professions and trades in Chinese society underwent tremendous change after that notable “Spring Story” took place in 1993. The Chinese art territory experienced three revolutionary change, they are: the 85 Trend of Thought, Yuanmingyuan Artist Camps, and “Beijing 798 Artist Center”. The 85 Trends of Thought was an enlightenment of modernism for Chinese art, Yuanmingyuan Artist Camps enabled the Chinese artist an independent art creation and a lifestyle at liberty; the establishment of Beijing 798 Art Center initiated and accelerated the marketization of Chinese Art works. The art market provided the possibility that the artists can not only live and work on their art creation independently but also become well-known and prosperous through their art work. After these three transformations, the Chinese art system has no longer been glorious as before. With the institutional reform in the cultural departments from the central government down to grass-root level, this sort of “system” could no longer bring artists any security and glory, let alone any other value or achievement. It made some “in the system” artists start to rethink their position and mission, and then to seek a new direction for themselves. They thought about the questions like: what is the mission of art and artist? What kind of art can bring an inner satisfaction? How to engage in the art creation to demonstrate the significance of human being’s existence? But to be able to reflect with these questions, one needs to be equipped with ability of independent thinking.

A number of artists made their new choices after rethinking about the art and the life, and reflected new thinking in their art creation. This phenomenon became so obvious particularly when it came into the 21st century. It’s already been an unquestioned fact within both the up-top national art academies and low level art schools. Here in Yunnan, Yang Jianbo’s painting illustrates the fact of reflection on the “system” once again.

Anyone who lacks of ability of reflection will not be able to move forward no matter who, where or what profession. This has been my understanding all the time. I believe those artists who can reflect are lucky, for they can be motivated with a self-driven progressive force. On the contrary, it is very dangerous to be conservative and just spend the day in a muddle. We can easily find in history that there is no solution that hold good for all time. Rules keep changing all the time. Only through continuous reflection and constant learning, can one have a full and wonderful life.

Yang Jianbo’s art works show us his effort put on the painting. The epic the Fading Year of 2011-33 demonstrates his excellent painting skill and great vigor. It also illustrates a universal situation of the individual artist and their art creation in the process of Chinese system transformation, and their anxiety and the confusion of having nothing to follow when they encounter never-ending changing rules. I personally appreciate his wisdom about his reflection and changing. It doesn’t mean that I instigate him to get rid of the system. Quite the opposite, I agree that the result of Jianbo’s reflection can be either a giving up or perseverance in his previous art style. No matter what the new direction is, the deliberated determination is reliable. Usually, in Chinese art territory, the opposite of the “system” is known as Jianghu. The art in Jianghu tends to criticize and examine the system. And the result of criticizing and examining is to decry the system and to support Jianghu. But if there is only one voice for this result of reflection and criticizing, it would be a pity and very ineffective. Only when different voices are all heard, can a better and more prosperous art kingdom be achieved. The point is, whatever we persevere in, we have to source out its reason after serious consideration, instead of just following with the stream.

Of course, it is not easy at all to reflect and even change an art style developed through many years. It might be a very difficult and painful experience to exceed old habit and break through convention. It requires big wisdom and courage. Yang Jianbo has been attempting to exceed his own thinking pattern finalized during past decade, and to explore some new methods that are more inspired for art creation motivation. Either in experimental materials or in refreshing the picture image, he keeps seeking the best condition for his art creation, keeps renewing his cognition about art and art creation through proactive adjustment his own state and achieve a sophisticated dealing with art. Although he is still in the process of self-adjustment, it is already a big step for a person in the age of 40s to make a decision of changing.

Jianbo is an example of those artists born in the later years of the Cultural Revolution. Throughout his growth experience, we can find he is an age-beloved of which the people will be envious; we can also discover some anguish and secret worry. It is the consequence that the entire generation has to undergo. This secret worries maybe just starts, maybe has been long-standing……

January 31, 2013

 The elegy in the wild field       

                              –For Yang Jianbo’s painting                                      

By He Libin

The wild field, dried trees, precipice, fragmentary torso, falling leaves, declining road sign, silent face… these dream-like scenes continuously appear in Yang Jianbo’s painting works—Brushing Words (series). It seems to tell the same story, but would not have it told. They somehow immerge in the background of the vast desert.

The French phrases in the frame of pictures play a key role of explaining the meaning of the picture. These French phrases come from different literatures and poets, involving the topic of the nature, society, and sentiment. They are indispensable for the painting series, and offering the literary and narrative connection to the painting works. Literature and painting have been incorporating with each other for such a long time throughout the art history. Almost all master pieces of realistic painting created in the renaissance Europe are the fruits of compromise between painting and literature narration, between painting and religious stories. This sort of incorporation also brought up so many maestros such as Michelangelo, Rembrandt van Rijn, Bosch Hieronymus, El Greco, Francisco Goya, Nicolas Poussin and David, and those great artists such as Francois Millet, Gustave Courbet, Eugène Delacroix, Paul Gauguin, Edvard Munch, Gustave Moreau, Chirico, Vincent Willem van Gogh from different modern and contemporary art schools who represent Barbizon School, realism, romanticism, symbolism, surrealism and expressionism. Their art creation were all influenced and inspired by modern literature and poetry. In the Chinese water-ink painting, the tradition of combination between painting and poetry has never been changed. It is commonly believed that literature is used to convey and express ideas and proposals. The Chinese scholars used to express their ideal and political ambitions via the combination of painting and poetry. Nevertheless, Jianbo is a contemporary artist who lives in modern China and his case is different from above phenomenon. The connection of literature and painting in his art works is neither as same direct as that of the western artists, nor like the ancient Chinese scholars did, but much more about personal interior monologue. It partially derived from his tolerant and veiled personality, and also related to the original intention of creating this series of Brushing Words. Like what he said, his own secret experience is more suitable for revealing through a covert method. This is a distinctive point of Jianbo’s works. These constantly appearing French phrases are the key points of the pictures, but keep a distance from the pictures. Word characters and the pictures are independent from one another, but relevant with one another. The old trees, dried vines, broken cliffs, the ruins, wild land, and desert in the pictures, symbolizing the fragments of different time and memories, are incongruously set up in one space to compose a pathetical and shyly spoken-out elegy.

Jianbo now is in his 40s. In Chinese culture, this is an age when one begins to understand the world. However, Jianbo seems to be not so clear about the world, on the contrary, he has many more confusions about the world. In fact, this is not special. It is a common state for one generation. As a witness of this dramatically changing age, artists have to be affected by the changing and transforming times and reflect different fruits and consequences of the times through their art works. Jianbo and I are a same group born in 1970s, we all experienced and saw major event and transformation took place in China, such as the Cultural Revolution, Reforming and Opening policy, the 85 Trend of Thought, Student Agitation, Democracy Movement, the Market Economy, urbanization, disappearing of the village, urban population explosion, ecological crisis… etc. We saw our traditional value was collapsed, and new value is being established but disordered, and the lack of common belief. This is a noisy, chaotic and disorganized world. Nobody can get away from it. Usually, the artists is more sensitive than ordinary people, Jianbo can be a representative of them. He has no way to pour out his grief but present through his painting. His paintings is not deliberately mystifying or intentionally setting up puzzle. It is because he can’t and is not allowed to say directly. Like those interlaced branches of the old trees appearing in the pictures, which extending to different direction, there are many different paths and possibilities, but without a definite answer. The tiny spots of Greenland in the wild land, they are so bright and attractive, but somewhat dream-like and illusion. They are some sights of the past time and will leave from us in the end.

To farewell to the poetry era in the past, I would like to cite a poem-Silence, by Gustave Flaubert, a French writer, to end up this essay.

So clean the sky Cloud disappear All is silent The sea, The field, Comes melancholy! There isn’t any more The bird’s singing The raven’s crow And the sound of plough…

February 16, 2013

 

Yang Jianbo

1972 Born in Kunming, Yunnan.

Graduated from the Oil Painting of Fine Art Department of Southwest Normal University, professor of Art and Design collage of Yunnan University

 

Exhibition (Selection)

2013   Meantime, Yunnan Provincial Museum, Kunming

2012   Hand in Hand 2011: The 2nd Yunnan Oil Painting Association Exhibition, Kunming

The 3rd Kunming Oil  Biennial, Kunming

2011   Yunnan Watercolor Exhibition, Ningbo

2010   Collaborated Art Book Project, Kunming

2009   Guishan Sentiments, Kunming Mao Xuhui,Tan Zhigang – Nomination Exhibition of Young Artists in Yunnan, Kunming

2008   Back to Guishan – The 63 Anniversary of United Nation Found, Beijing

2006   The 18th China Artists’ Association Exhibition, Wuxi

2005   The First Kunming Oil Landscape Painting Biennial, Kunming

2004   The 10th National Art Exhibition, Guangzhou

2003   The 3rd China Oil Painting Exhibition, Beijing

The First Chongqing Oil Painting Exhibition, Chongqing

1998   The First Kunming Oil Landscape Painting Biennial, Kunming

1997  1997 Yunnan Oil Painting Exhibition, Kunming

 

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