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【上苑艺评之马赛克】刘赟-忽略表象

[2015-9-23 8:14:14]

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【上苑艺评之马赛克】刘赟-忽略表象

Christopher Pelley ：Liu Yun Ignore Appearance

看着刘赟的画会不由得想到毕加索，马蒂斯和巴洛克的艺术在他的作品中的影响。这些巨人20世纪的艺术留下深刻的影响,但现在代表西方的前卫艺术不仅进军到历史书也渗透至拍卖行了。但这些反叛对于东方代表什么呢?马蒂斯,毕加索和布拉克代表中国艺术的景象，是实质的社会心理的景象，这会溶入未来乌托邦般的未来的梦吗?出现在中国的情况是，普遍的有控制力有影响力的形象已经坍塌，这些残留的元素正在被重组。这个过程与科斯塔马蒂兄弟Cosmati作为不无相似之处，他们在13世纪罗马收集毁坏了的罗马帝国时代的建筑的彩色大理石的碎片并重新以新的设计配置这些碎片铺教会的地板。这是很自然地的会使用这些材料并具有观念。

Looking at the paintings of Liu Yun onecannot help but notice elements of Matisse, Picasso and Braque in hiswork. These towering giants of 20^thcentury art have cast a long shadow of influence, but now represent for theWest a quaint avant garde that has marched on into the safety of the historybooks and auction houses. But what dothese former rebels represent to the East? Do Matisse, Picasso and Braque represent tradition and solidity as thephysical, social and psychological landscape of China dissolves into a dreamyfuture of yet another utopia? Thereappears in China to be a general collapse of meaning that potent images onceheld, and from the wreckage, elements are re-purposed. This process is not unlike the Cosmati brotherswho in 13^th century Rome collected fragments of colored marble fromruined imperial era buildings and reconfigured these fragments to pave theflooring of churches with exuberant new designs. It is the inevitable use and re-use ofmaterials, a spolia of ideas and imagery.

本文作者马赛克在与画家刘赟交流

刘赟目前的展览告诫观众“应该忽略表面的形象”。如果一个人去拿早期绘画传统作参考，他会发现强烈的心理反应，就好像眼前上演一出强烈戏剧。大多数作品都是以男性的目光画女性。在《女人花》这幅作品中, 女人跪着, 她的脚盘在臀部之下, 她的背部拱形是经典的“被钉住”的姿势。她的脸是毕卡索式的，毕加索认为要同时多视点多视角观看, 刘云则诠释为单个角度的视点，画中女性的脸既感觉朝这边又感觉朝那边, 但只会让观众通过一个空虚的眼睛来感受。《跳舞》这幅画向我们展示了一个跳脱衣舞的酒吧。在女人胸罩和内裤转动前流口水的色迷迷的男人伸出手拖住女人的胸罩带子。她有2个脸。但是哪一个是更真实？云提出了这个问题，我们的眼睛投在悲伤的面具还是更现实的头往后仰、嘴唇微张、假装快乐的那一个?。《渴望爱》令人不安的坐着,她的身体轮廓得到的形状完全是一把软垫椅子。有多重面孔吸引注意力, 焦虑、隔离、异化和物化的女性被刘云处理成既模糊又明亮快乐。

In introducing the work in his currentexhibition, Liu Yun admonished the viewers to “ignore the superficialimage”. If one moves past the referencesto an earlier painting tradition, one discovers intense psychological dramas beingplayed out in front of one’s eyes. The women, most of the paintings are aboutwomen, appear to be painted for the male gaze. In “Woman Like a Flower”, a woman kneels, her feet tucked beneath herbuttocks, her back arched in a classic “pin up” pose. Her face is picassoid, but where Picassosuggested the simultaneity of multiple viewpoints from the viewer’sperspective, Liu suggests a mask from the point of view of the viewed. Her faceshifts here and there, and only makes contact with the viewer via a blankgeneric eye. “Dancing” shows us a barroom strip tease. The woman in her braand panties gyrates in front of drooling ogling men as a hand reaches out togive a tug on her bra strap. She has 2faces. But which one is more real Yunasks – the mask with eye cast down in sadness, or the more realistic one withhead thrown back and lips slightly parted feigning pleasure?. “Yearning for Love” sits uncomfortably, herbody contours echoed by the shape of the fully upholstered chair. Again the multiple face casts its attentionelsewhere, the anxiety unmistakable. Theisolation, alienation and objectification of these women is obscure by Liu’suse of patterning and bright happy colors.

画家刘赟

作品中有着马蒂斯的花纹图像伴随着刘赟自己的文化偏爱。用纺织图案描绘了典型的中国人。一组作品中的物象来自流行的中国纺织品，有李花、鸟类等景观元素, 所有这些都被处理成了明亮和快乐的调子。在《鸟的天堂》中可以看到卡通般的鸟并几乎可以听到鸟叫。相比上述绘画,另一组作品乍看起来又有了一个略有不同的含义，“童年的梦想” 这一系列体现了童年梦想的实现——童年时他想要一辆自行车, 愿喂养一只鸟。刘赟用绘画实现了想象，他的生活多么令人高兴和与众不同,这些绘画中的实现是赋予的礼物。

The nod to Matisse’s love of patternedimagery comes with Liu’s own cultural bias. Some of the fabrics that are portrayed are distinctly Chinese. Images from popular Chinese textiles spillover to a group of paintings that incorporate plum blossoms, elements oflandscape and birds, all again bright and happy. One can almost hear the chirping of thecartoon like birds in “Birds of Paradise”. In context with a nearby painting, these works take on a slightlydifferent meaning than first appears. “Childhood Dreams” embodies unfulfilled childhood dreams – the wish fora bicycle, the wish for a bird. Yunimagines how happy and different his life would have been, had he been grantedthese gifts.

历来母亲们都告诉他们的孩子不要从封面判断一本书, 刘赟的绘画呼应了古老的谚语。有很多初看起来五彩缤纷,看似有趣的作品有一个难以掩盖的真相。

For generations mothers have told theirchildren not to “judge a book by its cover”, and with these tightly constructedpaintings, Liu Yun echoes that proverb. There is a lot more than first meets the eye in his colorful andseemingly playful works. One can mask, but the truth cannot be hidden.

马赛克（Christopher Pelley）

2015年于北京 Beijing2015

作者简介：

马赛克（Christopher Pelley）美国纽约人，亚利桑那州州立大学Bachelor of Fine Arts 美术学士，上苑艺术馆2014-2015驻馆艺术家。现为上苑艺术馆驻馆画家、跨界艺术批评专员。