邀请展:方力钧《色素》


                                       策展人:徐钢


       这个小型的回顾展展现中国最有代表性的当代艺术家之一方力钧先生过去
20年来的部分作品,有木刻版画、油画、和水墨。通过这些作品,希望观众可以一瞥大师的笔触。这些笔触,是方力钧的“色素”,不仅为他的作品增添各种震撼的色彩,而且也是他用来反观作品形式感的重要工具。
       
力钧最近作品和展览的实验性在于,艺术家不再仅仅关注于局限在画框中的物体的视觉效果,而是尝试一种“系列”风格,以一系列相近的画面来“研究”事物的起源、发展和细微变化。这种事物是“任选物”,任何日常生活里、和艺术家有关无关的事物,都可以变成表现的对象。 方力钧已经能够非常熟练地任选一项事物,一滴水,一个水泡,一个蛋,一堆屎,一样珠宝,一个小昆虫,都可以是他的视觉研究的对象,将其分门归类,准备放入大型作品中去,或者自成一个作品。这样的视觉研究可以称之为“视觉人类学”。

著名的社会文化人类学者克利福德-季而慈提倡一种“厚度叙述”,尽可能地注意到各种关系网络中最细微的细节,同时不忘调查者自身的身份取向。方力钧的“视觉人类学”,用各种事物之间的类别差别来凸现厚度叙述中内含的视觉性,将当代中国社会当成是一个完整的有机、有自己生命的一个肌体,来显示这个肌体自然进展中的各种能量和目的。      

       在不止一个场合,方力钧都谈到他的作品中数不尽的昆虫、孩童、和其它细小事物的象征意义。在伊利诺大学2010年10月的一次演讲中,他提到:“中国当代社会充满各种欲望和焦虑,而这些生物便是这些欲望和焦虑的具体表现,永远不停息地奔忙,以期达到欲望的满足。”他的所有作品实际上都是对这种物质欲望的反映。而他的“色素”,将原本应该是可怖的现实图景加上了一层美学的色彩。


Fang Lijun: Pigment
                                                              
                                                                                  
Curated by Gary G. Xu

 

         This exhibition is a mini retrospective, featuring Fang Lijun (1963- ), the multitalented artist internationally known for his “cynical realism.” Through woodcut prints, oil paintings, and brush-and-inks, we get a glimpse of the master artist’s signature touches. These touches are Fang Lijun’s “pigments,” which are not only used to add colors and styles to his work, but also relied upon to call attention to the forms themselves.

         Clifford Geertz, a prominent anthropologist, suggests that we engage in a so-called “thick description” that respects the organic nature of the sociocultural phenomena that we study, a description that pays as much attention as possible to the minute details of the variety of networks without losing self-reflection on the anthropologist’s positioning.  What Fang Lijun does is a kind of visual anthropology: foregrounding the embedded visuality in “thick description” for revealing the forces behind the organic entity that we call contemporary Chinese society.

        Fang Lijun at multiple occasions has talked about the symbolic meaning of the myriad of human figures, insects, babies, and children in his work. “Contemporary Chinese society is full of desires and anxieties,” he said in his October 2010 lecture at the University of Illinois, “and all these creatures are toiling around the clock to fulfill their materialistic desires.” Every work of his, in fact, is a reflection of these materialistic desires. His pigments, however, add strong aesthetic appeals to the otherwise grim pictures of reality.