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墨迹与内心,无边的分离

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墨迹与内心,无边的分离

Notes on Boundless Boundless is a kind of lookout, a kind of survey, and endless description of space and time in the future, confirms a sense of void from personal point in the interleaving of time and space. The inner value of Boundless is not to protrude a pleasant sensation of arrogating the border, and to correct misunderstandings of individuals stood in grand narrative and highly poetic vacuum. Boundless is not an aggressive expansion, but an inward self-reflection: the sense of void caused by fear and pressure of personal life. Therefore, as the title of Wang Huangshengs exhibition, is full of irony: this exhibition stands on the opposite of infinite and eternal heroism emotion and elite complex, as well as the antithesis of lyrics. Boundless exhibition presents Wang Huangshengs own reality, about talent, education, common sense, experience, and personal understanding of time, dominant or recessive control or abetting of time on individuals. From the concrete to the abstract, Wang Huangsheng brings a person to a maze of contradictions, seeking for a kind of collateral evidence needed to be confirmed in classical and present spiritual circumstances: works and those works had been retold by the third party, a staged projection of personal ideology, a kind of representation of spirit under real oppression.

Boundless Detachment Wang Huangshengs experimental art creation involves with endless conflict between personal poetry and real situation, while in such attached dependency, he was seeking for a visual transformation and defamiliarization effect by means of multi-media experiment. Encircling, crossing and entangling of lines are boundless; intervened obscure on newspapers results to reciprocal images which are subversion and deconstruction of ideology carried by media; among fragmental structures between the tangible and the intangible, virtual and real, as well as light and shadow, it becomes personal feelings on property of survival reality, like moved and floated as accompanying shadow in the critical point between these works. This exhibition thus constitutes Boundless as the theme, juxtaposes three spaces of black, white and grey, and therefore holds three thematic exhibitions respectively of Spacing, Intervention and Intermediate. This is Wang Huangshengs another major solo exhibition following Post Refined Joyin Beijing, 2012 and Roaming-Apparition in Germany, 2013. It is an epitome of his artistic creation at this stage, and means that his creation lies in the experimental process of exploration, as well as his attitudes towards art is always in endless detachment and extension.

As I understand it, the Post Refined Joy means after refined joy. Today, is this refined joy of ancient scholars still able to continue? The works of Wang Huangsheng actually do not raise a question, but express his attitude towards todays society, life and art. In my opinion, this attitude is walking out of the scholars poetic quality in traditional ink paintings, directly facing the real image of visual art and seeking the spiritual home for contemporaries in the image structure and form with more visual extension.

In the essay Boundless Detachment, Feng Boyi pointed out, Wang Huangshengs experimental art creation involves with endless conflict between personal poetry and real situation, while in such attached dependency; he was seeking for a visual transformation and defamiliarization effect by means of multi-media experiment. In this argument, we can split two corresponding relationship: personal poetry and real situation via visual transformation and defamiliarization effect. Personal poetry and reality constitute a contradictory relationship of mutual penetration and growing up together. Personal poetry comes from Wang Huangsheng inner heart, is a kind of enlightenment, recognition of his own literati blood, and self-awareness of cultural root, ensures that his own art creation will not deviate from its position, and keeps a real pain of real life as well rebound and response under survival pressures. Continuing confirmed and strengthened consciousness of identity of literati (the intellectual), and deep aspiration to change the reality and to deconstruct the contradictions, results to a participation into real situation and devises a utopian fantasy after following a theory logic: reality can be changed, and reality must be changed; with what kinds of weapons; critique, re-critique; sense of literati (the intelligent) enlarges ones own sense of mission, and sense of undertaking to save the world. Events and facts had happened in real situation become source and imaginary enemy of literati poetry, meanwhile the biggest obstacle to release literati poetry, and the future stumbling block needed to be removed for utopian ideals, therefore, inadequacy of real situation (self-injustice, inequality, anxiety, etc) sublimates the meaning of personal poetry on individual life, and achieves a height of self-aesthetic and hypnosis of history writing hallucinations. When real situation deconstructs personal poetry again and again, personal poetry has to confront with heavy task to reconstruct, integrate and transform the rhetoric.

Actually, the so-called true and objective newspapers carried with cultural identities and ideologies of that stage, so words and images are only symbolic. Therefore, Wang Huangsheng is not so much in dealing with the media, as it is his intended experimental destruction, also an effort to tile and construct to make these familiar contents become a strangeness, to control the viewers expectation, to make viewers to appreciate the resulting surprise at processed new works, as well as freedom gained after get rid of original transmission. This attitude is not only individual; it is actually almost common for all of us. Age and society, of course, are major themes, thus one could escape and refuse to such imposes, then we had to grow up followed the times and social determinants. Maybe one just grasps of interventional treatment, he will be able to understand better the intentions behind, thus enables us to understand more clearly the nature of things.

Post Refined Joy: Traces of Hand and Heart Wang Huangsheng named his first comprehensive solo exhibition as Post Refined Joy and asked for my opinion. My first response was that it was quite innovative but was very difficult to interpret, just the same as the Super-Organism exhibition curated by him at CAFA Art Museum. However, after viewing the majority of his works, I gave high recognition to the exhibition theme because his works, different from the works of Super-Organism, were not so esoteric.

Boundless means destruction and negotiation, that is, present reconciliation and bridge between personal poetry and real situation, and personalized balance of antagonistic contradictions.

实际上,所谓新闻报纸的真实与客观都带有那个阶段文化特征及意识形态,文字与图像只不过是其中的符号象征罢了。所以,与其说王璜生是在处理这些媒体,不如说这是他有意带有一种实验性的破坏,也是拼贴与建构性的尝试,使这些熟悉的内容陌生化,以控制观者的期待,让观者体味到经过处理的新作品所产生的惊奇,以及摆脱原有传播之后的自由。这种态度不仅是个人的,其实也是差不多是我们大家共同的。时代和社会当然是大手笔,几乎没有谁能够躲避和拒绝这种强加,我们只好按照时代和社会的规定性成长。或许只要把握住了介入性处理,便能够更好地认清背后的意图,从而使我们能更加清楚地认知事物的本质。

王璜生的近期作品,让我想到著名画家尚扬最近在清华大学美术馆举办的重要个展,其主题是日志与手迹,这一主题标示了当代艺术中艺术家对于个体心性的自我品味与不断反思的重要性。在某种意义上,艺术作品中的线条与色彩,都是一种绘画过程中的痕迹,它们也是画家内心世界的外在表达。手迹即心迹,王璜生作品中的线条组织看似杂乱无序,其实反映了画家内心对于画面视觉构成的敏感,也映现出画家当下的心绪流淌。这种反映主体精神能量的画面形态,其实与传统文人画的诗意和雅兴无关,它们更多的不是来自绘画中的文学传统,而是来自于当下的社会现实与视觉文化环境,具有丰富的象征意象。

视觉转换与间离效果构成了一种递进式的因果关系,视觉转换作为手段,而间离效果则是作为结果,即视觉转换所要的效果。视觉转换显然是来自教育与经验的,它是一种处于时空所在地的应对性策略,是抵达结果最有效,最直接的手段。多媒体的选择显然是技巧性的,作为一名资深的美术馆从业者和策展人,他很明确一个展览应该怎样做才能成为最佳效果,这是一种专业的敏感。当王璜生回到艺术家立场的时候,努力地寻求思想定势的对抗力量,通过对媒介的借用来改变绘画行动限定的身份,同时也标明了一种明确的去绘画性的立场。视觉转换一方面拓展了关于作品的阅读方式,一方面也强化了作品在进入记忆库中时的冲击力度,对主题的形式转换实现了展览的丰富性和多维度的主体感的同时也阐明了创作中的不确定性和未来的可能性,即是说,一种开放的未知值的期待。被提示的不确定性和开放性使间离效果获得了最大限度的呈现,从而为个人诗意和现实处境的矛盾寻找到回旋余地和弹性空间,附加性地把各人最需要的答案推向各个个体,当答案可以从不同的出入口获得的时候,展览回到自身的呈现,提供了一种仅供参考的意见,摆脱了教唆的嫌疑之后使作品前的阅读行为变成充满参与感,从而打通了艺术家,作品,观众之间的边界,在行动上实现了无边的事实。

除了这种内心的叙述话语,以及多声部共鸣的复调式结构之外,王璜生的艺术还在于他图像处理上进行的一系列视觉张力的设置。这种张力并非只是体现在墨荷、缠枝、向日葵等某个自然物象、景致之中,而是使整个画面处在一种饱和的视域中,也是他在由水墨艺术向多媒介方式演绎的居间的过程。他有意打乱了结构的次序,把它切割成无数的碎片,然后在斑驳背景上痕迹的连接,在真实中引进梦幻,并随着它们伫立、摇曳和魅惑的姿态,无疑为他艺术表现的内心上,提供了广阔而又深邃的背景,提供了一种沉郁、惆怅的神秘。而这种神秘的震颤,铺垫了视觉主干的质地,达到了真实和表现产生的间隔与交杂。而现成品的铁丝网构成的影像,使锐利、防卫、伤害的清晰实体变成似幻的如影随形,这种重影与真实形态的叠加,拓展了冲突的容量,产生了一种隔空变幻。这是一种相互关系的吸附,或许还是日常工作的繁杂琐碎,抑或烦闷的情绪导致了守望星辰时,灵魂出窍般地游走过程的心理踪迹。

第三个阶段,王璜生于2009年调入中央美术学院,任职中央美院美术馆馆长。这一时期,由于对中西现当代艺术的广泛接触,视野开阔,他的水墨画艺术进入一个广泛的探索时期,既有前两个时期风格的深入与延续,也开始向更加纯粹性的现代水墨艺术过渡。最引人注目的,是王璜生开始超越前期作品中那种对笔、墨、色、线综合性的均衡表现,转向对水墨艺术基本元素的深入研究,这一探索的结果,是王璜生笔下一批以线条为特色的作品的诞生。这批作品的线索可以追溯到2008年-2009年王璜生画过的树木枝条。这批作品虽然保持了中国水墨画的笔韵,但具有很强的现代视觉形式。我个人是非常喜欢这批作品的,它们具有美国画家波洛克作品中的那种行动性,从作品的观看过程中,观众可以感受到艺术家的激情以及绘画时的速度感。

冯博一在《无边的抽离》一文中指出:王璜生的实验艺术创作,针对的是个人诗意与现实处境的无限冲突,而他在这一扣连的依存关系里,通过多媒介的方式寻求着一种视觉转化和间离效果。这一论调中,不妨拆分其中的两种对应关系个人艺术诗意与现实处境以及视觉转化和间离效果。其中个人诗意和现实处境构成的是一种相互渗透与共同生长的矛盾关系。个人诗意来自王璜生的内心,是一种启蒙,同时也是一种对自身文人血液的确认,是一种文化根性的自我认识,同时也保证自己的创作不至于偏离立场,保持对现世生活的真实痛感,以及对生存压力的反弹和反应。不断确认和强化的文人身份的自觉及对改变现实、解构矛盾的深层诉求,得了对于现实处境的参与并构想出一种理论逻辑之后的乌托邦幻想现实是可以改变的,现实必须改变用什么武器批判,再批判文人性放大了自我的使命感、匡时济世的担当感,现实处境经已发生的事件和事实成为文人诗意的源生地和假想敌,同时成为释放文人诗意的最大障碍,成为实现乌托邦理想所要搬走的最未来的绊脚石,因此现实处境的缺陷感升华了个人诗意对于个人生存的意义并达致一种自我审美的高度和历史书写幻觉的催眠之中。当现实处境一而再、再而三地解构个人诗意的时候,个人诗意必然面临着重组,整合及转换修辞的重重任务。

王璜生在报纸系列作品所选择的方式,是将现成品《南方周末》、《参考消息》等报纸媒体进行处理。这些报纸都是伴随着我们关注社会,了解现实信息资源,并与我们日常生活密切相关。从看与被看位置的位移,自然对具有影响的焦虑图像有所凭附。旋转的线条、笔触、色斑覆盖在原有的图文之上。这种对原文本的介入,意味着主动的改变,观者必须绕过他的笔道儿,才能窥见原本的真相。但吊诡的是报纸媒体的内容未必是客观的,那么如何选择原图和笔道儿就是他主观、人为把握的介入结果,使这些被介入的作品,将两种图像予以纠缠与掩盖,从而产生出一种新的遣词空间,是在互为图像的关系上对原有创作意识和表述方式的再处理,抑或也是一种新叙事或反叙事尝试。也许当今的社会变化太快,科技发达的已超乎我们的想象,电脑的普及和对真实文字、图像无所不能的处理,使我们离本原愈来愈远,真实的本质被各种各样的处理所扭曲。

第一个阶段,是90年代早中期他在广东画院时期的创作。这一时期王璜生的创作,主体是画行云、流水、草屋、星座、屏风等,概言之,画天地万物及其相互关系。以天地为代表的系列作品,表现了气势礴大的中国文化,着重于画面小空间与大千世界的沟通。通过对假山石、园林、花木的描绘,进而触及画家的心灵,使人在精神世界中拥有万物,与宇宙相通。这一时期,他的作品具有杯中乾坤,俯仰天地的宏大胸怀。

无边是一种翘首,是一种眺望,是对于未来时空的无限描述,同时,也印证了个人处于时空交织的点上的一种虚空感。无边内在的价值,并非为了凸出一种僭越边界的快感,纠正了把个人置于宏大叙事及高度诗化的真空的错误看法。无边不是一种侵掠式的扩张,而是一种向内的自省因渺小、恐惧及当下挤压于个人生活的压迫造成的虚空感。因此,无边作为王璜生展览的命名是充满反讽性的展览站在了无限与永恒的英雄主义情绪与精英情结的对立面,站在抒情的对立面。无边展所呈现的是王璜生的现实,关于天赋的、关于教育、关于常识、关于经验、关于个人所理解的时代以及时代对于个人的显性或隐性的控制和怂恿。从具象至抽象,王璜生把个人带向矛盾的迷宫,在古典和当下重复的精神显影中寻求一种需要被确认的存在感的旁证作品以及被第三者所转述的作品个人的意识形态的阶段性投射,是一种处于现实压迫中的精神的再现。

Feng Boyi Critics, Curator2013

As an ink painter, Wang Huangsheng was born into a paining family. As early as 1980s, he showed his enthusiasm and talent on freehand brushwork. Certainly, his early works did not free themselves from the popular freehand brushwork of that time. Moreover, they have strong sketching characters with the descriptive real life images as subject of expression. But the time for the real sublimation of his art is after he entered Guangdong Painting Academy, a professional institution for art creation. Throughout Wang Huangshengs art creation since that time, it can be divided into three phases.

孙晓枫 批评家

2013年

The lines in Wang Huangshengs recent works are very free and a lot of things are filtered out. But he insists that the lines have brushstrokes of Chinese painting which makes his works maintain the unique brushstroke meaning of Chinese painting. Certainly, in the early stage of transformation exploration, the qualities of this group of works are not even. The good works give a feeling of unrestrained freedom and some lesser works look insubstantial. Similar to the American abstract expressionism, Wang Huangshengs works move towards large-scale paintings from small ones. He painted a lot of large paintings, but the picture structure and form are purer. Wang Huangsheng thinks that drawing large paintings could bring him a sense of liberation and make him very pleasant. When he wields the brush on the paper, there is full freedom of lines in the picture, and with the fortuity, the process of painting has cut loose from the pattern of traditional freehand brushwork which enriches the acts and traces of painting. This is in line with the consistent style of Wang Huangsheng, what he wants from painting is fun and happiness. Although he is a professional painter, he always has the mind of an amateur, namely the non-utility attitude. The painting ideal of Wang Huangsheng is to get rid of what seems to be Chinese painting at the first sight and seek more modern language form and spiritual image in picture. He likes to convey a kind of divine breath in the free walking of the lines during the process of creation which gives the flowing feeling to the space in the picture.

2013年5月15日

而支撑王璜生实验的观念,除了不愿将已固定化了的风格样式一直延续下去之外,其实是与他的对现实、对艺术本身的思考是一脉相承的。对当代文化境遇的思考和敏锐,将导致对旧有艺术形式在方法论上的改造,而艺术家需要用一种规定为艺术的方法来体现这种思想和观念。从而也提供了我解读他艺术创作的另一条线索。

The first phase is his creation at Guangdong Painting Academy in the early and middle 1990s. The subjects of Wang Huangshengs creation in this period were floating clouds, flowing water, thatched cottages, constellations and screens. In short, he painted all the things between heaven and earth and their mutual relations. The Heaven and Earth series expresses the majestic Chinese culture and focuses on the communication between the small space of picture and the big world. Through the portrayal of rockery stones, gardens and plants, his paintings touch the painters soul and make people possess everything in the spiritual world and connect with the universe. During this period, his works have great mind which contains the heaven and the earth.

Sun Xiaofeng Critic

王璜生从2009年开始创作的线索系列到2011年的游象系列作品,好像不能简单地从他以往作品的具象到抽象变化来进行评介,而是要以他面对复杂的生存境遇方面给予阐释。在我看来,尽管王璜生始终对水墨艺术有着难以割舍的情结,但这次展览的一些作品,并非仅仅专注于水墨的艺术语言

Yin Shuangxi Professor of China Central Academy of Fine ArtsMay 1, 2012

线条成为王璜生作品的主体形象,线条恰恰是边界的象征,那些疾走飞旋的线条,像是一种剧烈运动着错乱的边界线,当这种边界线失去规范与契约的意义,即是线条其中的权力意志被消解的时候,线条只能回归线条,只能回返至一种零度意义的线条之中,王璜生卸去了线条的造型与边界划定的能力之后,一方面解构了线条在水墨画中的历史性地位,进而废弃了具象中的抒情性,再则赋予线条自身的虚无感,打乱了审美规范与阅读步骤,实现了用线条解构线条的目的,从而使作品的观念性得以被确认下来,从具象的形到最后的线,王璜生自身的创作中确立了一个属于个人的参照系统。个人诗意与个人现实被不露痕迹地缝合进具有当下针对性与意义的观念立场之中。近期的边界问题在日本和中国各执己见的论调中,从各自的立场出发展开历史的现实的边界解读,使边界线成为一种动态的弹力运动,形成了一种虚实线的交集,深层地触及到对于国际关系的新解读及国际势力重新整合的未来趋势的前期想象,这是一根线条的论争,同时也是历史佐证与现实势力的角力,所以,王璜生的线条因当下事件的反向介入而生成了新的解读可能。

王璜生的实验性艺术创作,针对的是个人艺术诗意与现实处境的无限冲突,而他在这一扣连的依存关系里,通过多媒介的方式寻求着一种视觉转化和间离效果。线与线的环绕、交叉、纠缠,没有边际;对新闻报纸的介入式遮蔽,形成的互为图像是对媒体承载的意识形态的颠覆与消解;在有形与无形、虚与实,以及光与影的碎片化结构中,成为个人对现实生存实在属性的感触,如同在他这些作品之间的临界点上,游移与如影随形的漂浮一般。由此构成了这次以无边为主题,黑、白、灰三个展示空间并置,和以隔空、介入、居间三个单元的主题性展览。这是王璜生继2012年在北京后雅兴和2013年在德国游象展览之后的又一次大型个展。这既是他在这一阶段创作的集中呈现,也意味着其创作处于实验的探索过程,以及对艺术态度始终处于无边的抽离与延伸之中。

In fact, this pursuit of modernity value already began in the times of Shi Tao. In comparison with the requirement of traditional painting to carry with it the values of politics, ethics and literature (poetic quality), Shi Tao put the visual sense of painting in the central position of this creation. He highlighted individuals self-understanding, spoke on behalf of the mountains and rivers and fulfilled the God-given responsibility. The process of searching all the wonderful peaks for sketching actually transcends the traditional and stylized authority structure and establishes the epistemological framework on personal empirical experience. Based on such a subjective principle, Shi Tao established a new ink structure and language form which is consistent with personal trace of heart.

无边即是消解与商洽,即是个人诗意与现实处境的当下和解和弥合,即是对抗衡性矛盾的个人化平衡。

In his Newspaper Series, Wang Huangsheng chose another way to process ready-made Southern Weekend and Reference News. These newspapers are information resources accompanied us to concern about society and learn about the reality, and closely related to our daily lives. And displacement of seeing and be seen had attached naturally to images of influent anxiety. Rotating lines, strokes, spot covered on top of the original image and text. This intervention into original text means a proactive change, so viewers must bypass around his stroke to see the truth of the original. But it is paradoxical that the contents of newspapers are not unnecessarily objective, so the selection of original images and stroke is his subjective and artificial intervention, makes these works had been intervened to entangle and cover two kinds of images, thus to produce a new wording space, which is a re-processing of original intentions and expressions based on the relationship of reciprocal images, or efforts for new narrative or anti-narrative. Maybe todays society is changing so fast, advanced technology has been beyond our imagination, popularity of computer and omnipotent process of real texts and images make us far away from the primitive, and true essence is distorted by a variety of handling.

The third phase began with Wang Huangshengs transfer to China Central Academy of Fine Arts as the curator of CAFA Art Museum in 2009. During this period, because of extensive contacts with modern and contemporary art of both Chinese and Western, his art vision was wider and his ink painting entered a period of extensive exploration which not only has the deepening and continuing of styles of the first two periods, but also begins the transition to more purely modern ink painting. The most impressive is that Wang Huangsheng began to transcend the comprehensive balanced expression of brush, ink, color and line in his early works and turned to the in-depth study of the basic elements of ink art which led to the creation of a group of works with lines as unique features. This group of works could trace back to the tree branches painted by Wang Huangsheng in 2008 and 2009. Although this group of works maintained the rhyme of Chinese ink painting, they have strong modern visual form. Personally, I am very fond of this group of works. They possess the motion sense expressed in the works of American painter Pollock. In the process of work viewing, viewers are able to feel artists passion and the sense of speed in the painting.

May 15, 2013

冯博一

Throughout Wang Huangshengs ink paintings, the painting features in three different phases are quite different. It seems that they pursue different goals and directions, but I think there are some things in common. Whether it is landscape sketch or freehand flower, we can temporarily give up the viewing of the overall image of his paintings in different phases. Observing from details, we can see that in the creations of different phases, Wang Huangsheng always keeps attention on the organizational juxtaposition of pure ink symbols and the quality of pure component elements such as lines and ink mark. This constitutes the modernity value in his works. In his works of three periods, we can see that while expressing physical image and form such as branches, flowers and leaves, some traces of ink gradually separate from the image of subject, follow the mind of the painter and freely combine in the picture, forming a new relationship of visual structure. Similar to the development of abstractness in Mondrians works, the interweaving of lines in Wang Huangshengs recent works actually comes from the entanglement of branches in his early works.

The lines become the main image of Wang Huangshengs works; it is a symbol of the boundary lines, and those swirling lines seem like disordered boundary lines with strenuous exercise, and when the boundary line lost the meaning of the specification and contract, that is, when power will of lines has been cleared up, lines can only return to the lines, to lines with zero degree of meaning. After Wang Huangsheng takes away the power of lines to shape, on the one hand, he reconstructs the historical position of lines in ink and wash paintings, thus abandons the figurative lyricism, and moreover, gives lines a sense of emptiness, disrupts aesthetic norms and read steps to achieve the purpose of deconstruction of the lines with lines, so that the concept of the work to be confirmed; from figurative lines to the last line, Wang Huangshengs own creation establishes a personal reference system. Personal poetic and personal reality is stitched seamlessly into concept and position dealt with current relevance and significance. Among the different opinions between Japan and China about the issue of boundary, interpretation of boundary from respective own positions makes the boundary line become a dynamic elastic movement, become the intersection of broken and solid lines, deeply effect new interpretation of international relations and pre-imagination for future trends of international forces integration. It is a line of the controversy, but also wrestling between historical evidences and reality. So Wang Huangshengs lines generate a new possibility of reading due to reversed intervention.

Yet from his Clue Series started in 2009 to the Moving Visions Series created in 2011, I dont think they could be commented in the way of the so called from figurative to abstract which was for his earlier works, but rather, they need to be interpreted from the complicated life circumstances he faced. In my mind, although Wang Huangsheng has a special feeling for Chinese ink and wash painting, some works of this exhibition is not merely focusing on the aspects of art language of Chinese ink and wash painting, as well as revealing an internal outpouring through the twining lines, thus he could make the integral structure of the picture form a kind of ensemble-style tone with multi-voice, or in another word, a kind of multi-voice sonata around the same mood, because his experimental ink and wash painting creation is determined by his living situation and attitude, and reinforces the helpless and infinite paradox of reality. As if we are all wrapped into it, and merged into a position in reality which are unable to grasp, even embarrassing. Except for the narration discourse from the inner heart, and the multi-tone structure with multi-voice resonance, Wang Huangshengs art is also special in his image processing which sets a kind of visual tension. This tension is not only reflected in some natural objects and sceneries like lotus, twinning branches and sunflowers, but rather, he put the whole picture into a kind of saturated vision, that is a intermediate process of this ink and wash paintings developed for a way of multimedia. He disordered the structure intentionally and cut it into countless fragments, then he connects their traces on the mottled background, and introduced dream into reality; moreover, along with their charming postures of standing, dancing and others, undoubtedly, broad and profound survival background, and a kind of gloomy and melancholic mystery are also provided for his inner artistic representation. This kind of mysterious tremble has bedded the essence of main visual body and achieved the spaces between dream and reality as well as their merging. Images consisted of ready-made wire gauze changed clear substance of sharpness, defense and harm into illusory images and then this kind of images are overlapped with realistic shapes to explore the capacity of the collision, and resulted a spacing phantasmagoric play. It is an attachment of correlation; maybe also the busy and trivial daily work or the depressed and bored mood has led to Wang Huangshengs Motion/Imagination inner traces in his Watching the Star like an astral trip.

王璜生近期作品中的线条非常自由,过滤掉了许多东西。但他坚持线条中有中国画的笔墨,使自己的作品保持着中国画特有的笔墨意味。当然,处在转型探索的初期,这批作品的质量并不均衡,好的作品给人以潇洒自由的感觉,个别不好的作品看上去就比较单薄。与美国抽象表现主义相似,王璜生的作品在体量上也由小品走向巨幅,他画过不少丈二的大画,但画面结构与形式却更加单纯。王璜生认为,画大画给他带来了解放感,非常愉快。当他挥笔向纸时,在画面上具有充分的线条自由,而画画的过程也由于偶然性的加入,摆脱了传统写意画的程式,使得画画的行为与痕迹都特别丰富。这符合王璜生一贯的作风,他画画要的是好玩和痛快,虽然是专业画家出身,但他一直有一种业余的心态即无功利的态度。而王璜生的绘画理想就是想摆脱一看就是中国画的东西,在画面上寻找更现代的语言形式和精神意象。他喜欢在线条的自由行走中传递出一种创造过程中的灵气,使画面中的空间获得流动的感觉。

Visual transformation and defamiliarization effect constitute a progressive cause-effect relationship, that is, visual transformation as a means, and defamiliarization effect a result, a result desired by visual transformation. Obviously, visual transformation comes from education and experience, is a strategy in location of space and time, a most effective and direct means to result. Choice of multimedia is obviously skillful; as an experienced director and curator, he is very clear that what should be done in an exhibition in order to get the best result, which is a professional sensitivity. When Wang Huangsheng returns to the artists position, he struggles to find forces of thoughts, to change identity limited by painting actions with borrowing of medium, to mark an obvious position of de-painting. On the one hand, visual transformation expands the way of reading about artworks, on the other hand, it strengthens impact when works come into memory; while formal conversion of subject results to richness of a show and three-dimension effect, it also illustrates the uncertainty and future possibilities of creation, that is, an open expectation of unknown values. Suggestive uncertainty and openness is to maximize the presentation, thus finds room and flexible space for defamiliarization effect, additionally pushes the most desired answers back to individuals; when answers can be obtained from different entrances and exits, the exhibition returns back to its own presentation, provides just a view of reference, gets rid of suspicion of abetting, and makes the reading action in the front of works a sense of participation, so opens up the boundary between the artist, the artworks and viewers, realizes a boundless fact in action.

Concepts which support Wang Huangshengs experiments actually can be traced into the same origin with his reflection on reality and art itself, besides reluctant to keep the immobilized styles. Meditation and sensitivity upon contemporary cultural context will lead to methodological changes to old art forms and what our artists need is to reflect this thought and concept in a way defined to be art. Thus it provides me another clue to interpret his artistic creation.

这种现代性的价值追求其实在石涛的时代就已经开始。相对于传统绘画要求负载政治、道德与文学的价值,石涛将绘画的视觉性置于创作的中心地位,他突出个人基于对自我的了解,代山川而言,履行天赋的责任。搜尽奇峰打草稿的过程其实超越了传统的程式化权威结构,建立起在个人实证经验上的认识论框架。石涛正是在这样一种主体性原则上,建立起一种与个人心迹相符合的新的笔墨结构和语言形式。

方式,而是通过缠绕的线体表露一种内心隐秘性的倾诉,从而使画面的整体结构是一种多声部的合奏式基调,或者说是围绕着同一种心绪的多声共鸣曲。因为,他的实验水墨创作,正是由他生存处境和态度所决定的,并强化了对现实的无奈和无限矛盾。仿佛被裹狭在其中的我们,都融入一个现实所处无法把握,甚至尴尬的境地。

纵观王璜生的水墨画,三个时期的绘画面貌有很大不同,似乎追求的旨趣方向各异。但我认为,其间有一些共同的东西。无论是写生风景或是写意花卉,我们可以暂时放弃对于王璜生不同时期绘画的整体形象的观看。专从局部观察,王璜生在不同时期的创作中,始终保持着对于单纯性的笔墨符号的组织并置的关注,对于线条、墨迹等单纯性的构成要素质量的关注。这构成了他作品中的现代性的价值。在他的三个时期的作品中,我们都可以看到,某些笔墨的痕迹,在表现物象和形体的同时,如树枝、花叶等,逐渐脱离主体形象,追随画家心绪,在画面上自由组合,形成新的视觉结构关系。与蒙德里安作品中的抽象性发展相似,王璜生近期作品中的线条的交织,其实来源于他早期作品中树枝的相互缠绕。

作为一个水墨画家,王璜生出于绘画世家,早在1980年代就已经显示出他对于写意水墨的爱好与才能,当然他的早期作品并未出脱于当时流行的写意水墨,并且也有较强的写生意味,描绘性的现实生活物象成为其表现主体。但是真正使王璜生的艺术得以升华,还是他进入专业创作机构广东画院以后,纵观那时以来王璜生的艺术创作,大体可以分为三个阶段。

The second phase is from the late 1990s to the early new century; Wang Huangsheng took charge of Guangdong Museum of Art. During this period, he devoted much of his energy and time to the development of Guangdong Museum of Art and had no much time to focus on the creation of large-scale works. Instead, he created a group of small works of flowers which was named as Leisure series later. This series of works are mostly small colorful works which reveal his efforts to approach abstractness, his more unrestraint using of ink and that his focus is the abstract relations of expression subject. The vases under Wang Huangshengs brush are related to the modern life. The unrestrained expression focuses on the exploration of Chinese painting elements such as brush, water and paper. The picture under Wang Huangshengs brush is scattered with dots and lines like falling flowers which advocate a free spirit.

第二个阶段,1990年代后期至新世纪初,王璜生主事广东美术馆。这一时期,他为广东美术馆的事业发展呕心沥血,投入很多时间,没有更多的时间专注于大幅创作,转而创作了一批小幅的花卉作品。这个后来被定名为悠然的系列作品多为彩色的小作品,其中透露出他努力走向抽象、运用笔墨更加不拘一格,关注的重点是表现对象的抽象性关系。王璜生笔下的花瓶,和现代生活有关系,其潇洒自由的表现、着重于笔、水、纸诸中国画元素的探索。王璜生笔下的画面点划披离,落英缤纷,高扬一种自由无拘的精神。

殷双喜 中央美术学院教授

Speaking of refined joy, the debate of the refined and the popular must be carefully studied. The refined means standards and norms in the ancient literature, so-called Refinement is Correctness in Prelude of Mao Poem. Its the reason for the rise and decline of emperors reign. Chapter of Honor and Disgrace of Xunzi said that Gentlemen are satisfied with the correct path. The so called gentlemen are the men who are correct and virtuous are called the refined. The ancients believed that refined men have profound joy which means only the refined men have profound joy and charm. And the refined gathering which were favored by the ancient Chinese scholars means the gathering in which scholars recite poetry and discuss knowledge. The word refined gathering originates from the famous Refined Gathering at West Garden in the history of Chinese culture. In the Northern Song Dynasty, Su Shi, Su Zhe, Huang Tingjian, Qin Guan, Li Gongli, Monk Yuantong and Taoist priest Chen Bixu gathered to write poems and articles, drink tea and seek rhymes at the West Garden in the mansion of Commandant Wang Shen who was the son-in-law of the emperor. Another well-known scholarly gathering is the refined gathering at Orchid Gathering recorded by Wang Xizhi of the Jin Dynasty in his Preface of Orchid Pavilion. At the beginning of late spring, a large number of talented people arrived. They played the drinking game, viewing the distant landscape and broadened their minds. The refinement of their words, deeds, poems and articles reached the peak of that time.

王璜生将自己的第一个综合性的个展称之为后雅兴,并且征求我的意见。我最初的反应是,这与他在中央美术学院美术馆做的超有机展一样,新颖倒是新颖,但阐释起来可是相当费劲。不过看了他的大部分作品之后,我对这个展览主题倒是十分认可的,因为他的作品与超有机展的作品不一样,并没有那么深奥难懂。

按照我的理解,后雅兴也就是雅兴之后。在今天,古代文人的这种雅兴是否还能继续?王璜生的作品,其实不是提出问题,而是表达出他对于今日社会、人生、艺术的态度。在我看来,这种态度,就是走出传统水墨画中那种文人的诗意,直观视觉艺术的真实图像,在更具视觉要素张力的图像结构形式中,寻找今人的精神家园。

Wang Huangshengs recent works remind me of famous painter Shang Yangs important solo exhibition held in Tsinghua University Art Museum. Its theme is Diaries and Scripts which marks the importance of artists personal taste and constant reflection on individual disposition in contemporary art. In a sense, lines and colors in art works are a kind of trace in the process of painting. They are also the external expression of painters inner world. Trace of hand is trace of heart. The lines in Wang Huangshengs works seem to be organized in a disorderly way. They actually reflect not only the sensitivity of the painters heart on visual composition of picture, but also his current flowing of mood. This picture form which reflects the spiritual energy of subject actually has nothing to do with the poetic sense and refined joy of traditional scholars painting. The majority of them does not come from the literary tradition in paintings but from the current social reality and visual culture environment and possesses rich symbolic images.

说到雅兴,雅俗之辩不可不察。雅在古代文献中的意思是标准和规范,《毛诗序》谓,雅者,正也。言王政之所由废兴也。《荀子荣辱》篇谓,君子安雅,所谓正人君子,即正而有美德者谓之雅。雅兴即高雅的兴趣,古人认为雅人深致,即风雅的人才有深远的意趣。而中国古代文人最喜欢的雅集,是指文人雅士吟咏诗文,议论学问的聚会。雅集一词源于中国文化史上著名的西园雅集。北宋年间,苏轼、苏辙、黄庭坚、秦观、李公麟以及僧人圆通、道士陈碧虚等人会于驸马都尉王诜府邸西园,写诗作文,品茶寻韵。另一个著名的文人雅集则是晋代王羲之在《兰亭序》里所记载的兰亭雅集,暮春之初,群贤毕至,流觞曲水,游目骋怀,其言行诗文之雅为一时之盛。

2012年5月1日

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