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消耗生命的自由表达

孟小为

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11天前
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消耗生命的自由表达

文章内容新文章                                     消耗生命的自由表达                                  ——孟小为绘画的“意象”解释 文/陈辉     用现代英美诗歌的一个重要流派——意象派——解释孟小为近几年的绘画,是我好长时间的认识。然作品中自我情绪与世界的不对应,是对太多叙述的拒绝,注解的拒绝,剩下的大约就只有作品中的个人主观情绪,这也是真正意义上后现代主义艺术家的公用标签。其共同特点,就是用直觉把自己的主观情绪、内心感受隐藏在绘画具体呈现的意象之后,消解了知识精英分子的社会批判意识,达到意识开放的自觉状态,而非局限于绘画所指的事物本质与社会现实意义。   《零点之后》能简单解释为只是几个人的翻越吗? 没有人这样肤浅。 二十世紀的知識系統是不能觸及當代藝術的發生發展的,肤浅的人也不看当代艺术。   “我曾夢到我一個人站在一個類似於火車但絕對不是火車的快速移動的物體上,我旁邊也站有人,不過都表情麻木,有廣播說:我們人類得到神靈的庇佑,自由自在,豐衣足食,而且,隨時可以從這裡走出去,然後我試圖跳下去,推開了旁邊類似於布帘的東西才發現,這根本就是一個無法逃離的所在,並且,我站的位置好像能看到我的企圖,居然我被卡住了,我內心很恐慌,然後,然後我發現了孟小为,終於我不那麼忐忑了,然後,有大屏幕出現,有一個看著很高深的學者在講一個看似很嚴肅的問題,頭頭是道……接著,孟小为說了不同於他的觀點,我也作死的做了補充,並且說著說著就說多了,然後,悲催就從這裡開始了。”   孟小为的绘画历程,就像你看着一个人从低地谨慎的起步,经过旷日持久的行走、经历了形形色色、眼花缭乱的风景细节之后,不但步幅、速度、动静、声响都减缓慢了下来,人与思想也变得沉稳、厚重、内敛至缄默,甚至到滞留、停顿,作品的日常性,离散性,也既碎片性就成为新的冥想和新的对抗。   从甘肃到北京到上海再回到甘肃青山绿水大石头的陇南,孟小为完成了需要追赶式行走得到的见闻与体悟,创作出一批看似漫不经心、信手随意但却意象极为复杂甚至是符号学的内涵。 孟小为把艺术创作作为自我救赎的途径,艺术作品就成了孟小为个人宗教的外化物,或者说也是他的一种生活方式,现今,这个意识多元、权利分化的时代,他想要保持精神的独立,不被同质化,也就只能偏安一隅,才能达到相对的纯洁。   孟小为这批作品不再是表现主义风格明显的——80年代成名作品——《小爱的肖像》《穿睡袍的新娘》那一类;构图更是颠覆了有过被同行称作:“他们都不知道怎么画的”《灰层系列》;画幅也更大或更小……没有明确主体或者有主题但不明确,表现是模糊的、多义的,更似是潜意识中的任何一时一刹的隐喻,他有意回避事物的熟知度,他似乎对用毛笔像抹涂皮肤一样轻柔的画油画情有独尊,孟小为有时甚至游戏绘画语言,但这都不是他绘画的终极目的。艺术语言的游戏对一个独立的艺术家往往是一个陷阱,如果这游戏背后不能传达通常难以表达的情感,即使玩得再聪明、再漂亮,也只能是某种空洞的形式。孟小为之所以变换新的表述方式,因为常规的语言限制了他,他说:若言畫在筆峰上,何以筆峰不自行。若言畫在墨色中,何不墨池做畫屏。想象现实的荒诞,一頭大象會慢慢中毒死去,他笔下的云朵能不接近宗教壁画的云朵吗?一个女性身体和一个花斑纹的动物是肉感的、美丽的,但她们都被时光的枪声惊吓过,因此,她们对生活是胆怯的、行动是小心翼翼的,像是被俘后的尊严丧失,唯有普通日常物品,诸如石头眼镜、烟斗、条凳、一箱子弹、一个木箱等静物是具像的,但仍不具世俗审美特点与具象写实唯美的绘画形式,这些晦涩、表意含糊的作品很难用语词给予准确的艺术归类和界定,孟小为以當代藝術理論為前提,拆析、重组、解构當下現實并形成自省内敛的风格图式,確立著自己的藝術意趣,选择意象绘画大概也只是权宜之用。   这些特点使孟小为的作品具备了独特的个性,他凭直觉又有着大精神理念支撑的绘画,使一般人难以和他齐行,他简洁、繁琐,抽象、精细,虚幻、现实等交织画成的作品,是属于他自己和少数精神世界富裕人的。   “为什么不画所有人都喜欢的油画?”   “住相即众生,见性便是佛。画人人喜欢的画,我早年画过,现在不画了。”   “为什么?”   “我对生活与生命不是过去那种认识了。”   “能说的明确、具体些吗?”   “我试试说吧。你比较一下我的《灰层》系列,那一张画有多少笔触线条,现在给减的很少了,过去我是为生活幸福在竭尽全力的辛苦,忘记了精神层面,有房有车有一定名声后,我说名声是指对要我画、收藏我画的人而言,我并没有感到愉悦和满足,反倒怀疑和空虚,我问我为啥会这样?我想表达这种思考,于是我的作品不能是被获取的知识包裹起来,那样只是对前人绘画技能的一种浅层次的实践,也不是能够完成一幅好的绘画、一件好的作品,而要成为艺术家,首先你是独立自由的人。有自己思想的人。”   “和你十年前北京个展的《灰层系列》比较,十年后你覺得你超越了那些?”,   “我什麼都沒有超越,甚至我不知道至今沒有超越灰層系列作品,但問題不是超越的問題,我目前的關注點變了,我關注的問題不是停留在原來灰層系列上的問題,這樣 我不知道超越了沒有。我想藝術作品本身不重要,它只是藝術家本人訴求的媒介通道,所以,沒有藝術作品,只有藝術家。”   “你认为这是进步吗?”   “是。要用比进步更夸张的词来说明,我认为我是走到前面了,只是还不是最前面,但我还会更前一些的,会的,你看着。”   “你的作品不完全是观念性的,不是符号性的,也不是叙事性的,而是一种日常的情绪化表达,我会从诗歌的角度理解你的艺术有欧美诗歌重要流派——意象派的鲜明特征,你认为呢?”     “批评家的评论更象钟声,随时有唤醒我沉睡的能力,但我想说,我什么流派都不关心,我不想属于任何主义、任何流派,我只画,仅此而已。我有我不成熟的生活见解和对生命的理解,现今这个时代,个人想要保持精神上的独立,确立态度立场,我一直心存怀疑,也正因为如此,我认为艺术是无奈下的蛋,下蛋就要宁静,宁静宛若冬眠,这与其说是雕刻时光,不如说是消耗生命,反正生命就是一个消耗到干净的过程,我只想消耗中产生光亮或光芒。”   孟小为1982年用朝圣的心情去北京看过哈默藏画展,赞赏、模仿过俄罗斯巡回画派、崇拜过夏加尔、蒙克、德·孔宁、莫迪里安尼等等,能背诵《渴望生活》里梵高朝自己开枪后倒下“一种急速还原泥土的感觉”和描述加歇医生在梵高坟地种植向日葵的文字,但现在他只是他自己。   把同一种感情都说成是:我很伤心。他毫无兴趣。   把同一种文字写成:一夜之间,花就开了。他厌恶太老套。   他就想把这种普世、朴实的情感画成给心上扔颗炸弹;树肩膀一抖,花就绝世灿烂。 这是他的野心。   互联网颠覆了传统世界,交通工具缩短了距离,孟小为现在常住甘肃南部,在他的大门艺术空间里,像那些美术史上的画家一样,寓居一地,沉浸在自己的精神园地、绘画,思考、探索绘画表达的可能与边界,在这种背景下的画作,它能不是个性自由表达、情感恣意倾泻、审美别具一格的吗?这些作品能没有意象派诗歌那样长久的生命力被人乐道研究吗? 这就是孟小为   我相信他和他的绘画。     Life-consuming free expressions transmitted from my iPhone                  ——The interpretation of imagery in Meng Xiaowei's paintings     Meng Xiaowei's paintings can be interpreted by imagism , one of the important schools of modern British and American poetry, is my own cognition for a long time. In his works, the self- emotion does not correspond to the world, just a rejection for too many narratives and comments, only left the individual subjective emotions in his works. It's also the public label of the postmodern artist in genuine sense. Their common characteristics, are the use of intuition to hide the subjective feelings and inner perception behind the images that are presented in the painting, dispelling the social critical consciousness of intellectual elites, reaching the state of conscious opening. It is not limited to the essence of painting and the social practical significance.  Can we simply explain his painting After zero only a few people climb over the wall? No one is so superficial. The knowledge system of twentieth century can not touch the occurrence and development of contemporary art, even shallow people do not look at it. “I have dreamed that I was standing on a fast-moving object like a train, but never a train, someone stood beside me, but their expressions were numb. The radio said: we had the blessing of the gods, and had ample food and clothing, but you could jump down from here at any time. And then I tried to, when I opened the curtain-like thing in front of me I found It's essentially a place you can't escape. And the position I stood as if could see what I was trying to do, I got stuck unexpectedly, scared, and then I found Meng Xiaowei. Finally, I'm not so upset, and then a big screen appeared. There's a very sophisticated scholar talking about a seemingly serious problem ,clear and logical… then Meng Xiaowei expressed his different point of view, I also added more and more, and then the sad urge started here.” Meng ‘s progress in painting, Just as you look at a person who starts cautiously from lowland, through a long walk, after experiencing all kinds of dazzling landscapes, not only the pace, the speed, the movement, the sound slowed down but also his thought become calm, heavy, introverted to silence, even to a pause. The daily nature, discreteness and fragmentation of his works become a new meditation and new confrontation. From Gansu to Beijing to Shanghai and then back to Longnan ,a place with green hills and blue waters and huge rocks in Gansu , he accomplished what he needed to follow and then created a number of seemingly casual works, but the image is very complex and even the connotation of semiotics. Meng regards art creation as a way of self salvation, and his art works became the externalization of his personal religion, or one of his way of life. Now, in an age of pluralism and diversity of rights, if he wants to keep the spirit of independence, not to be homogeneous, he can only live in a remote place and to achieve a relatively pure state. These works are no longer obvious in expressionism style ----as his masterpiece in 1980’s---- Portrait of Xiao ai, Bride in nightgown and so on. The composition is more subversive to his Grey layer series , which has been called by the colleagues: " don't know how to draw". The size of his works is diverse, more large or more smaller than before….There is no clear subject or theme, the performance is fuzzy and polysemy, more like a metaphor in the subconscious of the moment at any time. He deliberately avoids the familiarity of things. He seems to have a liking for oil paintings, sometimes even play games with painting language. But this is not the ultimate goal of his painting. The game of artistic language is often a trap for an independent artist. If the game can't convey the emotions that are usually hard to express, it can only be an hollow form whether it's smart and beautiful or not. Meng changed the ways of expression because the conventional language restricted him. His saying goes like this:   “If you say that the scenery exists in the tip of your writing brush, Why it doesn’t work automatically? If you say that scenery comes from the ink, Why don’t you use the inkwell as your painting?   Imagining the absurdity of reality. An poisoned elephant will die slowly , can the clouds in his works be closed to the clouds of religious murals? A female body and a dapple animal are sensual and beautiful, but they both are frightened by the shots of time. Therefore, they are timid towards life and act cautiously, as the loss of dignity after capture. Just those ordinary everyday things, such as stone glasses, pipe, bench, a box of bullets, a wooden box, these still life are figurative images, but still don’t possess the secular aesthetic characteristics and figurative realism aesthetic form. These obscure and ambiguous works are difficult to give accurate artistic classification and definition. Based on the theory of contemporary art, Meng  formed his introspective and introverted style by deconstructing, reorganizing the present reality, established his own artistic charm. So, his choice of the image painting is probably only temporary use.    These characteristics make Meng's works have a unique personality. His works, supported by the great spiritual idea and his intuition, are hard for the average person to walk with. His works ,composed by simple, complicated, abstract, fine, illusory and realistic only belongs to himself and a few persons rich in the spiritual world.    “Why don't you draw the paintings that everyone loves?”    “I did it in my early years, and now I don't.”    “why?”    “My cognition on life and human beings are changed.”    “Can you make it clear and specific?”    “let me have a try. You can compare my Gray layer series, many lines and strokes in it, but now it reduced less. In the past, I was working hard for a good life, forgot the spiritual level. After I got a house, a car and certain fame, I mean that within those who want me to draw and collect my paintings, I didn't feel happy and satisfied, just doubt and hollow on the contrary. I asked myself why should be so? I want to express this kind of thinking, so my works can't be wrapped up in the acquired knowledge. That is only a superficial practice of the painting skills of the predecessors, It's not a good painting, a masterpiece. To be an artist, first of all, you must be an independent and free man. Of course, you have your own thought.”    “Compared with the Gray Layer series of your Beijing solo exhibition ten years ago, what do you think you have surpassed now?”    “I surpassed nothing. My focus has changed currently. I don't think the artwork itself is important, it’s only the media channel for artists to pursue it. So, there's no work of art, only artists.”    “Do you think this is progress?”    “yeah. In exaggeration, I think I'm ahead of the others, It's not the top, but I'm going to be a little more. Yes, let’s go and see.”    “Your work is not entirely conceptual, not symbolic, nor is it narrative, it's a daily emotional expression. I'll understand your art from in a poetic point of view that your works possessed a distinctive features of imagism. What's your opinion?”    “Critics' comments are more like bells, having the ability to wake me up at any moment. But I want to say, I don't care about any genre, I don't want to belong to any doctrine, any schools, I just paint, that's all. I have my immature view and my understanding of life. nowadays, I've always been skeptical about individuals remain mentally independent and establish an attitude. Just because of this, I think art is the egg laid by profound resignation. Laying eggs need to be quiet, like hibernation. It's more a time consuming than sculpting it. Anyway, life is a process of consuming till the end, so I just want to produce light or illumination.”    His pilgrimage to Beijing to see the exhibition of Armand Hammer Collection happened in 1982. He had admired and imitated Russian itinerant School of paintings, worshiped Marc Chagall, Edvard Munch, Willem de Kooning , Amedeo Modigliani and so on…But now he's just himself.    Express the same feeling as: I'm sad. He's not interested.    Write the same kind of text as: overnight, young flowers burst open. He hates it. It's too corny.   He wanted to paint this universal, simple emotion into a bomb on his heart; When the tree shoulders shaking, the flowers are splendid.   This is his ambition.    The Internet has subverted the traditional world, vehicles shorten the distance. Meng Xiaowei  now dwells in southern Gansu. In his Gate Art Space, like those artists in the history of art, dwelling in one place, immersed in his spiritual field, painting, thinking, exploring the possibilities and boundaries of painting expressions. In such context, could his paintings not be free expression of personality,emotional Pouring freely and aesthetic unique? could not be researched as the long-vitality Imagist poetry?   This is Mengxiaowei .   I have confidence in him and his works.                                      By  Chen hui     2017-10-18    

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