收藏本站
本站网络实名:上苑艺术
English
首页 | 简介 | 艺术家专栏 | 艺术品市场 | 上苑人物 | 国际创作计划 | 文学 | 书讯 | 艺术批评 | 新闻 | 驻馆艺术家 | 陶瓷艺术与摄影 | 建筑艺术
文章搜索:
标题 作者 内容
只能搜索中文、英文、数字,不得搜索符号!
新闻 > 艺术活动
《时光切片》张懿个展在上苑艺术馆

[2016-8-1 9:17:36]


时光切片》张懿个展在上苑艺术馆



主    题:《时光切片》——张懿个人作品展

展览城市:北京
策 展 人:苏丰雷
学术支持:王鹏杰
展览时间:2016-08-08---2016-08-13
开幕时间:2016年8月8日(周一)下午15点30分
展览地点:上苑艺术馆一号展厅(桥梓艺术公社)
地    址:北京、怀柔、桥梓、沙峪口
参展人员:张  懿

主办单位:上苑艺术馆




The message of 2016 the solo exhibition of Zhang Yi
Title: \"The slices of time \" - The solo exhibition of Zhang Yi
Exhibition city: Beijing
Curator: Su Feng Lei
Academic support: Wang Peng Jie
The exhibition time: 2016-08-08------2016-08-13
The opening time: in August 8, 2016 (Monday) at 15:30
Exhibition venue: 1st hall \ Shang Yuan museum of art
Address: Sha Yukou village \ QiaoZi town \ Huai Rou district \Bei Jing

The Organizer: Shang Yuan museum of art


张懿作品     无用禅师野大图     100x45cm   布上综合    2016


一串中国视觉切片:中州丛林、花边志怪和北京现象学
                  ——谈张懿近几年来的绘画实践

                                                        王鹏杰

   张懿这个人,仅从他的眼睛里就能看到一股复杂而醒目的讯息,里面有幽默谐谑,有聪敏狡黠,有洒脱玩世,有锐利率直,也有隐忍的痛感。在我看来,这种感性质地与他在这个世界上的经历有着根本性的关系,其创作没有走向方法论化、学究化的象牙塔方向,却朝着某种混杂的状态演进。从他近几年来的作品中,我似乎看到了一个明确的迹象:无论他如何动用叙事、图像、符号的表意和象征力量,真正凸显的还是他的感觉,这是一种基于世界观和肉身体验的感觉,而不是基于艺术本体论的感觉。有趣的是,虽然他画画非常强调图像的叙事性和形式的自律性,但这些元素的使用都处于比较“夹生”的状态,反而是里面压抑不住的感性特质从形式和图像的背后野蛮地跳跃出来,不肯低调地沉默。从这种视觉状态中,我们似乎可以发现这个画家的性情和精神底色,那是一种混杂着野性的底色,伴随着他在中国这片土地上的生活经历,糅合成了一串视觉切片。“切”的针对对象在这里并不清晰,是一种情感先行的“运刀”状态,因而“切”出来的片段具有实诚的不确实性。


张懿作品     知道你的秘密2   纸上综合     50X60cm     2016


张懿是河南人,按照古时候的说法是中州人,我喜欢用“中州人”这个身份来形容张懿,因为他身上总有某些与今天标准化现代人所迥异的质地,这些质地可能真的来自“中州”的地域性和传统。河南作为中国人口最密集、传统文化最深重的地区之一,在地理上位于中国的中心区域,自古以来代表着民族主义意义上的“中国”的核心区域,享有昨日黄花般的荣光;而在近现代的战争、政治运动、饥荒、体制改革等一系列以社会动荡为形式的转型中,河南经历着激烈的冲撞,不断走向自身的破败与衰落。在很多社会学研究和文学写作中,现当代的河南一直与“苦难”相关联,这种现象一方面是对历史境况的回应,另一方面也是对许多河南人精神和肉体经验的曲折反映。现代性的进程不可逆转,永远不可能回到古代文化的温柔乡,但却要背负着极为沉重的传统伦理、观念的文化包袱。作为“中州”的河南,在一个已经面目全非了的中国之内与远去的那个古典中国在精神习惯上可能最接近,同时在经历现代性转型中步伐也最为迟缓、滞重。张懿作为一个“中州人”,他对于传统、历史、现代之间关系的体验一定是充满悖论性和复杂性的,这决定了他面对“艺术”这种现当代文化形态的心理状态与价值态度。从他的绘画中,我看到了来自世俗经历的苦楚和自相矛盾、不彻底的审美现代性。


张懿作品    边界效应   50X60cm     纸上水彩铅笔   2016


    他 2014年的绘画题材复杂,画面上的意象涉及基督教、中国古代陵墓雕塑、都市景观、日常事件等,有时像意识流的随笔,有时像某种精神恍惚的自言自语,有时像生活的情感记录,笔法恣意松弛,然而活跃自由之中仍缺少完善的形式框架,可谓“肉多骨软”。其中两张画着十字架上的基督,题目却叫做“大雪碧”、“大橙汁”。其他一些画的题目也颇有意味,如“北溟有鱼”、“垃圾篇”、“小小欲望”、“多啦骷髅”、“前世梦”。这些画的题目昭示着画家错乱、迷狂的意识状态,古今、佛道、天人、生死、美丑、爱恨、等情绪和念头与这些题目和画面相尾随,这种绘画状态出于宏观而虚幻的感觉,闪现着寓言和文学的异彩,但无论在绘画性还是表达性方面都是一锅粥,尚未明晰、自觉。


张懿作品    度量及物    100X80CM    布上油彩    2016


2015年,他画了更多作品,将力量集中在画面完整性的建设上,同时也针对性地打磨更加完善的造型、构图、色彩、笔触的系统化技术。这批油画在叙事上更具体、完整,同时也更加封闭、精致,文学性和某种魔幻诗意延续下来。这时期的画,题材趋于稳定,主题总是围绕着动物之间的互相殴斗和残杀展开,色彩妖艳瑰丽,洋溢着一种残酷、末世而活跃的氛围,这或许是作者对人类历史、日常生活的一种强烈隐喻。这种画面让我想到人与人之间一种普遍的竞争对抗关系,在社会资源长期严重不平等的形势下,人与人共在的世界似乎依循着丛林法则,而人口密集、资源缺乏、矛盾激化的中州大地,似乎就是一片让人悲伤的丛林。尽管他这一时期的画已经很完整利落了,但绘画性的自觉仍没有到来,比如色彩关系仍在补色系统中打转,形体关系在学院化的具象体系中穿梭。尽管很多画面都被营造在复杂的光影关系之中,但原色化的色彩、剪影般的轮廓线、肯定直接的笔触,使绘画在纵深化的空间感中透露出明确的装饰性,由于这种装饰性对画面叙事的修饰和改造,使志怪色彩浓重的图像有了一种“花边”感,冷峻、阴晦、诡异的气味被削弱了,却搅拌出一种不易察觉的幽默感。有意无意的装饰性大约与他内在的绘画感性相关,并在他后面的绘画中不断走上前台。就一般而言,装饰性是绘画的某种边界,绘画与工艺图像的界限就是装饰性的程度。装饰曾经是现代绘画取得突破的利器,通过平面化、反空间化使语言获得了解放。然而装饰性与平面性之间也有微妙的区别,装饰性更倾向于一种绚丽、愉悦、规制化的形态,用“花边”来比喻装饰性非常准确,其背后隐含着一种世俗化的冲动。从与张懿的交流中,我可以确定他在观念上能够领悟现代艺术的原则,但他绘画感性中的装饰性却说明他的审美系统并不是彻底现代性的,更不是语言自主性的,而是与传统、学院、世俗之间有千丝万缕的关系,这让我将他的画当成一种个体化的社会心理学文献来看。


张懿作品    寂灭前刻    100X80CM    布上丙烯   2016


    2016年,张懿的画有了比较大的变化,具象因素几乎被瓦解了,虽然偶尔有一些断手、骨骼、器官的形象出现,但笔触、色彩、形状、线条越来越挣脱出形象的束缚,画面的自由气息是显而易见的。更有价值的一点是,画家对绘画的自觉,不仅停留在绘画语言的纯化阶段,也逐渐认识到画家与画面之间、主体与客体之间在绘画行为中有着整一的关系,在知觉和感性的先导下,画家在与画面的博弈和对话中慢慢调整着绘画的每一个具体行为,画与人是互相成全的。这是把绘画作为“现象”来看待,画家把绘画本体“悬置”起来,从行为的角度来试探着廓清绘画的形式,这种互动式的、不确定的实践是一种类似“现象学”的方法,是他来到北京以后出现的一种决然的转变,北京作为中国政治和文化、艺术中心,丰富而具有冲击力的观念与信息(也包括文艺思想)给予他新的认识契机,因此我不太正经地称之为“北京现象学”。尽管他的绘画自觉有了进一步推进,但“花边”式的装饰性并没有消退,反而得到了进一步强化,笔触、形状、色层的复杂性与变化性似乎仍不够饱满,这使其新作缺乏更有体验深度的内在结构,容易出现“图案化”的倾向,我想这是他应该警惕的。


张懿作品    乱语胡语  50X60cm    纸上铅笔水彩      2016


    张懿的生命经验与其处境之间总是呈现出密切的关系,画面的流变随着他肉身体验和地域体认的转变而自然发生,在语境变换中激发出来的个体延展性以图像、彩影的方式被创制出,让观者通过对画家不充分而颇复杂的审美现代性的体验,从另一个角度去感知某种层面上的中国。中国并不仅仅是地理和政治概念,更是一个复合性的、变化中的概念,对中国的理解和确认是需要不间断地从各个方面去触及的。我觉得张懿的画,缺少绘画本体上的充分性和深刻性,但其运动感与在地性确比很多技术精湛的画家更强烈,作为一种文本,或许他的画与鲜活、具体、切己的中国当下情境有更及物的关联性,因而能提供给观者一些画面以外的别样感受、为我们感受当下提供某种参照。


     2017年7月26日

张懿作品    入侵1     25X35  cm     砂布上丙烯   2016



个人艺术简历
Personal art resume
张懿 男 1982年出生 2004年毕业于广西师范大学美术学院, 获美术学硕士学位,
Zhang Yi male, born in 1982, graduated in 2004, Guangxi normal university academy of fine arts, with a master’s degree in fine arts,
现任教于河南财政金融学院(原河南教育学院)艺术学院。河南省美术家协会会员。
Lecturer, Henan institute of finance (the former Henan statute of education), college of art. Member of Henan province artist association
2016北京上苑艺术馆国际创作计划驻留艺术家。
Shang Yuan museum of art in 2016 Beijing international young artists creation plan.
2007年 郑州 石佛艺术公社 这屋那院展
In 2007 Zhengzhou Rock Buddha art commune this house and that room
2008年 开封 河南省高校美术教师作品展
In 2008, Kaifeng Henan university teachers of fine arts exhibition
2009年 郑州 河南省新人新作展
In 2009  Zhengzhou Henan green man in art show
2015年 全 国 起 艺 绘画类
In 2015  the national painting  art class
2016年5月 北京 2016上苑艺术馆国际创作计划开幕展
In May 2016, Beijing art gallery opening exhibition international writing program
2016年7月 北京 记忆-后视镜中的戏剧 群展
In July 2016, Beijing memory - drama group exhibitions in the rear-view mirror

张懿作品    入侵4   25X35cm     砂布上丙烯     2016
 
A string of Chinese visual slices: Jungle of Zhong Zhou, lace mystery and Beijing phenomenology
——talk about the painting practice of Zhang Yi in the recent years

                                                             Pong Joe Wang
                                                                原文:王鹏杰
                                                              (王永杰  翻译)


   As for Zhang Yi, we can see a stream of complicated and striking message only through his eyes, including humor, brightness, freedom, sharpness as well as the pain of endurance. To my point of view, this kind of sensibility is fundamentally connected with what he has experienced in the world, his creation not going towards the methodological and pedant direction of ivory tower, but towards some kind of sophisticated state. From his works in recent years, I seemingly observe a definite indication: No matter how he uses the superficial meaning and symbolic power of narration, image, and icons, what actually matters most is still his feelings. This is one kind of feeling based on the world value and flesh experience, not on the artistic ontology. Interestingly, although he emphasizes most the narration of image and self-discipline of format when drawing, the applying of these components are still in a relatively raw state. Instead, it is the uncontrollable perpetual quality that jumps wildly from the behind the format and image, never keeping silent lowly. From this visual state, we can seemingly find the disposition and spiritual bottom color of this drawer, that is the bottom color mixed with wildness, accompanying his life experiences in the land of China, forming a bunch of visual slices. The object of slicing here is not so clear, it is a state of “trying knives” with sentiment first, therefore, the fragments it slices out is not definite.


张懿作品    圣母玛利亚   50X60cm      纸上水彩铅笔    2016


    Zhang Yi is a man born in Henan province, as the traditional saying goes, he is a Zhong Zhou man. I would like to use “Zhong Zhou man” to describe Zhang Yi. That is because there are always some qualities on him which differ from standard modern people, these qualities may really come from the territoriality and tradition of Zhong Zhou. As a “Zhong Zhou man”, his experience to the relationship among tradition, history and modernism must be full of paradox and complexity. This will determine his psychological state and value attitude to art. From his drawings, we can see the pain, contradiction from the common world.
 

张懿作品    失重的自我    100X80CM    布上油彩    2016


    The theme of his drawings in 2014 is complicated, with the colorful characteristics of allegory and literature. It is like a pot of porridge no matter in drawing or expressiveness, not so clear and self-conscious.

    He drew more paintings in 2015, concentrating on the integrity of pictures. At the same time, he specially developed the more improved systematical skills of modeling, designing, color and stroke. The oil paintings are more specific, complete as well as more closed and dedicate in narration, so its literariness and magical meaning has been passed down. From the talk with Zhang Yi, I can confirm that he can understand the rules of modern art in his own heart. But the decorations of his paintings illustrate that his aesthetic system is not thoroughly modern, but closely connected with tradition, college and common customs.


张懿作品    戏剧很荒诞    100X80CM    布上油彩    2016


    There is a great change after his coming to Beijing in 2016. As the politics, culture and art center of China, its plentiful and impulsive idea as well as information provides him the new opportunity to understand something deeply. Therefore, I call it “Beijing phenomenology” not so seriously. Although his paintings have already been improved to some degree, his lace-like decoration still exists, even has been strengthened. The complexity and variety of stroke, shape and layers of color still seems to be not so full, causing his new paintings lack of a deeper inner structure, easily tending to appear pattern-like paintings. This is what he should be warned of.


张懿作品    一切有为法  50X60cm    纸上铅笔水彩      2016


    Zhang Yi’s life experience and situation always interacts with each other closely. The changes of painting naturally happen with the alternation of his flesh experience and territory variety. The individual extension motivated in context changes is created in the style of image and color shade, making the audience sense China in another angle through the not full but complicated aesthetic modern experience to the drawers. China is not only a concept of geography and politics, but also a compounding and changeable concept. The understanding and confirmation of China needs the touch of different kinds of aspects continuously. I think Zhang Yi’s painting is lack of the sufficiency and profundity of illustrated books, but its sense of movement is actually more intense than many skillful drawers. As a text, maybe his painting is more closely connected with situation in China nowadays, therefore it can provide watchers with something beyond pictures.

张懿作品   极乐图   130X130CM   布上综合   2016


张懿作品   你还年轻    50X60cm    纸上水彩铅笔    2016


张懿作品   真理屁    100X80CM   布上油彩   2016


张懿作品   自我边界   100X80 CM     布上综合  2016


张懿作品   经验沉浸    100X100CM   布上油彩   2016


张懿作品  渴望的悖论1 130X240cm 布上综合  2016


查看1107次

上一篇
冼朝干、王雅慧双个展
[现场]记忆:后视镜中的戏剧——上苑艺术馆主题项目展
上苑艺术馆2015年驻馆艺术家-朱鲲 专题片
[上苑艺评之苏丰雷]“一切皆山水” 读张志刚的作品
上苑2012驻馆艺术家-凌惠华个展《从无到“有”的内在观看》
下一篇
[现场]冼朝干、王雅慧双个展(上苑艺术馆2016驻馆艺术家)
[现场]“剩余价值”曲盈&王戎双个展-在上苑艺术馆
[现场]《在可说的这一切》毋蓬勃个展
[现场] Klega(捷克) 、 姜燕依、代炼 作品展-上苑艺术馆
Klega(捷克)上苑驻馆创作作品展
版权©上苑艺术馆
技术支持:九翱网络