刘和森水墨艺术的双核效应 文/艺术评论家：武少宁
中国水墨艺术的前辈们给后人留下了一个错觉,即水墨的神性高于绘画语言的传递性,因而水墨的渗化特性被赋予了广大无边的意义。而随着一代又一代艺术家的成长和不断试验,人们发现水墨艺术的核心除了媒介材料的神奇外,还有另一个核心存在,那就是表现的意义。
从艺术家刘和森的水墨绘画中人们发现了这种表现的意义。因为，他并不认为水墨的含义仅仅适用于人们习惯了的传统水墨绘画的审美原则，所以他在试图突破这些规则的时候，需要创造一种新的绘画语境来证明水墨艺术在表现方面的各种可能性。
实际上，刘和森早已自觉地辨别清楚了一个观点的对与错，那就是谁为谁服务的问题。水墨的技法为表现服务是一种艺术结果，而一切为了展示技法而服务的结果又是另一回事，殊途不可同归。
自从杜尚将小便池摆放进了艺术殿堂开始，世界上就结束了艺术只靠技法而存在的现实，自从波洛克的滴色法风格的兴起，架上绘画只靠笔绘画的历史就结束了。水墨也是一样，无论它多么神奇或多么无所不能，只要它一旦失去了表现性，就失去了一切意义。所以，刘和森水墨绘画的主体内涵有时候是表现有规律的抽象，有时候是对物理现实的关照和表现，但无论是主观表现或理性现实风格，实际上都是在延展和加深水墨艺术的表现力。他把水墨的意义去神奇化后让它回归了材料的属性范畴，就与当代艺术注重观念和一切材料的使用都屈从于表现主观这个原则实现了完全对应。
所以，刘和森有一系列由水墨的点染或积墨而表现的构成主义作品，而这些作品没有因为他颠覆了水墨只画山水、只画画花鸟所约定俗成的规律而显得失去了水墨的魅力。所以，通过刘和森实验水墨表现力不断增强的现实告诉人们一个朴素的道理，艺术，只有在不断的实验和迭代中才能够延续其生命力。
通过入选日本福冈2022第五届亚洲艺术双年展这个事实可以证明,中国的水墨艺术给世界的认知应该改变,而刘和森这样年轻且具有现代知识支撑的艺术家,应该更多地向世界传递一种信息,即中国的水墨艺术,既是一种独一无二的艺术,又是与世界所有文化可以相容且具备差异化审美的艺术。
The double core effect of Liu Hesen’s ink painting art Literary / art critic: Wu Shaoning
The predecessors of Chinese ink painting left an illusion to future generations, that is, the divinity of ink painting is higher than the transmissibility of painting language, so water The permeability of ink is endowed with boundless significance. As generations of artists grow and experiment, people It is found that besides the magic of media materials, there is another core of ink art, that is, the meaning of expression.People have found the significance of this kind of expression in the ink painting of artist Liu Hesen. Because he doesn’t think that the meaning of ink painting is only It only applies to the aesthetic principles of traditional ink painting that people are used to, so when he tries to break through these rules, he needs to Create a new painting context to prove the various possibilities of ink painting art in expression. In fact, Liu Hesen has already consciously distinguished the right and wrong of a point of view, that is, who serves whom. Ink wash It is a kind of artistic result to serve the performance of skills, and the result of all services for the display of skills is another matter, a different way It cannot be returned together. Since Duchamp put the urinal into the palace of art, the world has ended the reality that art exists only by techniques, since From the rise of Pollock’s drop color style, the history of easel painting relying only on pen painting ended. Ink painting is the same, no matter How magical or omnipotent it is, once it loses its expressiveness, it loses all its meaning. So, Liu Hesen Sometimes the main connotation of ink painting is the regular abstraction, Sometimes it is the care and performance of physical reality, but there is no The subjective expression or rational realistic style is actually extending and deepening the expressiveness of ink painting art. He put the meaning of ink and wash After the demystification of meaning, it returns to the attribute category of materials, which is subordinate to contemporary art’s emphasis on ideas and the use of all materials The principle of expressing subjectivity has achieved complete correspondence. Therefore, Liu Hesen has a series of constructivist works expressed by the touch or accumulation of ink, and these works are not because of him It subverts the conventional rule that ink only paints landscapes and flowers and birds, and seems to lose the charm of ink. So, through The fact that Liu Hesen’s experimental ink painting is constantly enhancing its expressiveness tells people a simple truth that art is only in constant experiments And iteration can continue its vitality. The fact that China’s ink painting art was selected for the Fifth Asian Art Biennale 2022 in Fukuoka, Japan, can prove that China’s ink painting art has given the world Cognition should be changed, and artists such as Liu Hesen, who is young and supported by modern knowledge, should more convey a sense of Information, that is, Chinese ink painting art, is not only a unique art, but also compatible with all cultures in the world The art of alienating aesthetics.
展览现场/Exhibition site
作品选登/Selected Works
《新实验水墨画地为牢系列11》 纸本水墨 60 x80cm 2019
《新实验水墨画地为牢系列12》 纸本水墨 50x50cm 2019
《新实验水墨画地为牢系列15》 纸本水墨 50x50 cm 2019
《新实验水墨画地为牢系列16》 纸本水墨 50x50cm 2019
《新实验水墨画地为牢系列17》 纸本水墨 50x50cm 2020
《新实验水墨日常史诗系列物语1》 纸本水墨 150x200cm 2018
《新实验水墨日常史诗系列物语2》 纸本水墨 150x250cm 2018
《新实验水墨日常史诗系列物语3》 纸本水墨 150x150cm 2018
《新实验水墨日常史诗系列物语4》 纸本水墨 150x250cm 2018
艺术家 |Artist
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