小黑屋当代艺术交流合作社征集进驻艺术家

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发起人：束河小黑屋　　回复数：1 　　浏览数：3424 　　最后更新：2011/08/02 12:10:11 by guoli

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[楼主] 修理匠 2010-03-05 18:24:24

杨楷《触极》个展将于下月在广州朱子画廊举办
策展人：了了
特约批评：朱其王春辰阎安夏可君胡斌陈国辉蔡俊曾伟峰魏祥琪
诗人：江非李轻松潘洗尘蔡俊李之平阿翔东荡子湖北青蛙伤水钟硕兰雪老剑
时间：4月10日－5月1日

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[沙发:1楼] 修理匠 2010-03-18 07:13:10

你知道我有多想你
题杨楷的画

伤水/诗
不，你不知道。暗
已经被抽走了黑色
漫天的蓝星也贬值成红草莓
抚摸你的琴声
和我手指一起消失

等待无望可为什么还要等待
你不会响应一个没有来由的乞求者
一抹无色的影子
一片散光的眼神

可我没有根基的思念，无法排遣！
肌肉开始无声地腐蚀，肋骨
无济于事地发白
我坚持不了多久了，亲爱的

你在姹紫嫣红，你在良辰美景，你在赏心乐事
只有我知道
我滴血的心脏其实是被你剜走的
永远不会责怪你，亲爱的
死亡对我是多么幸福
就因为曾经无望地希望。风呀

只一口气就删除了我
而我的思念，混沌星辰中，仍不散架

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[板凳:2楼] 修理匠 2010-03-18 22:13:41

杨锴画题

老剑

A
她呼吸的波浪比房子要高，比任何一种毛发，
要错综复杂。她从室内到遥远的户外，哭泣
与真实的距离，只有一张纸的厚度。
在燃烧的背景下，她的呼吸一滴一滴，
把房子染红，染黄，染黑，染及其他各种色彩。

B
她把嘴张开，默认成黑夜的样子。
周遭与二月相关的事情，像骨头一样，
排成有秩序的明天，后天，及更多的未来。
这些骨头像气泡一样，每天相信一个谎言，
每天，把柔软的时光送上天堂或地狱，然后吃饭。

C
她分泌的物质，她的调料，
可以用青铜去记载，用石头去记载，用眼睛去看。
到处都充满了她的生命，那些螺旋式的水
在白天和夜里奴役彼此。所有的物质，
包括女人，随后就消失在记忆之中，画面之外。

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[地板:3楼] 修理匠 2010-03-19 11:29:45

海报在中山大学

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[4楼] 修理匠 2010-03-20 08:54:06

陈述一种：无名之物

李轻松

我确信，我所不认识的世界
以及我所不爱的人，已经呈现
任何一个场景或任何一个自我
都有了陈述的可能。
我丧失掉了杜撰的能力和想像的能力
无非是要以梦中人的身份说话或沉默
仿佛我自己已置身其中。

作为你画布上的陌生人，我叫不出名字
语言已回到反面。我被迫在侧影中垂首
好像一个遗世者

一大片混沌凝集起来
一些无名之物。只剩下悬崖与洞穴
有孕的喘息。挣扎。诱惑。
仿佛我一直在场，反复迷失
荆棘丛尖锐起来，我已鲜血淋漓
找不到伤口与出口
我左冲右突，却终是无法规避危险。

黑暗与猛禽之眼。时光与枯骨之死
都是斑斓的。我试图把水乳分开
用悲剧的神色浮现出来……

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[5楼] 修理匠 2010-03-20 12:28:38

不要在我的脖子上安放你的颅骨
伤水/诗

不要在我的脖子上安放你的颅骨
祈祷声洗脏了毛发。雪
吞吞吐吐，没有了盐的味道
黑抱紧了我，却把你捂成了薏米、铁屑、断简残章
数个陶罐。几味中药。嘘着灰烬的气息
我看不见你的脸，你摸到的嘴唇
其实是很远地方的肠胃
乳河。唾沫之岸。深夜打更时分，轮渡凹陷。
没有购买却要支付，魂灵在赊账
寒冷打散七颗星星
骰子被随意丢出
不要在我的脖子上安放你的颅骨。雾
噤声。

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[6楼] 修理匠 2010-03-22 07:51:56

Free to pursue
- Thoughts about Yang Kai’s painting
by Zeng Weifeng
（李宁博译）

What is the essence and the truth of life? This is one of the issues philosophers have been continuously thinking about for thousands of years, artists are not exceptional. In my opinion, young artist Yang Kai expresses individual feelings of life and philosophical thinking by his paintings. His work is in search of traces of life’s flowing, while he shows the inner expression by individual experience, reflecting the unique artistic language he has explored. His form of expression, lies between abstract and representation, making the picture create a sense of strangeness and distance, the audiences are difficult to interpret the picture language quickly.
Kai Yang's works often show the clouds of human and animal forms, or with a pile of nameless objects. A pile of dancing skeletons are attached . These "zombies" constantly meet and separate like clouds, they seems to be traces of life’s flowing. Perhaps when one life's surface is stripped, the remaining is this air mass of life. The inner breath of life is just what Yang Kai is to be explore. He used thick paint to show the inner essence of air mass: a pile of still breathing skeletons. The combinations of these flowing air mass and breathing skeletons are like dynamic lives constantly rolling, constantly changing, and constantly stripping themselves, in which all of life’s generation and disappearance lie. The painter attempts to explore the true essence of life and truth by describing these shapes.
In the author's view, the life forms of skeletons and air mass are changing and flowing in swim, dance and carnival, they are either close to each other or ambiguous with each other. These patterns either come from the imitation of Western classical paintings, or from the author's observations and feelings of physical image. For example, Yang Kai has learnt from the Sistine ceiling frescoes of Michelangelo work "The Creation", depicting two hands that can not touch each other trying to reach, with the body engulfed in darkness, it seems to be covered by air of ambiguity and can not break the shackles. In "The origin of WO" " Doll of Gods " and other works, isolated individual is like the doll in hands, constantly struggling; or shapes of men and animals are talking without purposes, all have been restrained by an invisible force. Nevertheless, the flowing gas masses are still breathing and changing freely., as if they are pursuing the liberation of freedom. This actually is also the author’s liberation in the exploration of painting language.
The flowing air mass, is not only the breath eager to pursue the freedom of life, but also the cradle of Yang Kai’s artistic life. The painter shows his thinking about the state of life ‘s essence, as well as the passion for artistic creation. His drawing is not to express something by describing. It was driving forces to explore life and artistic freedom that caused his bold attempts. The painter does not create in a purely abstract or representational means, but gives the picture a kind of free passion, making painting language and subject matter be an organic combination. Continually flipping air mass reflects strong and changing vitality, while the formation of skeleton composed of the color paint directly squeezed out of tubes seems to show the process of his life’s formation and change. It is precisely because his work is not from depicting and portraying, not by using paint to draw the shape, but directly squeeze above the canvas, this allows the painter to be benefited from the freedom of painting. These movements seem to use no skills, but reflect the original state of life.
In short, the way of Yang kai’s painting expression has a "anti-technology" trend, which seems to have become a kind of contemporary art painting means and attitude, as in painting over-reliance on technology will affect the painter's awareness and content expression. This way of expression does not mean mastering no skills, but is the free conversion founded on skilled hands, so that the rich thought can be expressed by his works.
Therefore, how to achieve an inner freedom of painting to and keep balance is a subject Yang Kai constantly exploring. His creative process is actually a continuous experiment, a process of constant destruction and creation, thus displaying a way of expression between abstract and figurative forms. It is useful for the appropriate use of painting ‘s abstract language and can return to the essence of painting to a certain extent. Dealing with paintings in an abstract way, is actually touching the wonderful and hidden emotional and aesthetic pleasure of creation in arts, and creating a sense of distance. This exploration reflects the artist’s research and thinking of life and art.
To sum up, the clumps poured freely and the lines drawn in Yang kai’s paintings, show the traces of flowing life in a free way. From his own direct experience of inner heart, he makes a large area of blank space or a black background means a boundless lost state. The creator intends to create an open and blurred atmosphere, reflecting the author's insight and anxiety about contemporary social life, thus stimulating the unlimited imagination of the viewer. This state has shown that life is a constantly changing, adjusting, disappearing process, it is actually an illusory and empty inner world like a cloud behind the enchanting dance of the shapes. Yang Kai’s paintings are like the microcosm of the complex and weak spiritual world of our times. He is exploring the truth of life and the essence of painting by a series of vivid works, which is the artist’s pursuit for freedom, as well as self-denial and transcendence, embodying the bold exploration, and experimental spirit of young artists. I think this is precisely the valuable quality in Yang kai’s paintings .

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[7楼] 修理匠 2010-03-23 02:35:13

> ●9种坏孩子之盎然诗意
>
> ——印象青年画家杨锴
>
>
> 之一
>
>
> “何惧未知者至高无上，
>
> 命名者已其乐无穷。”光阴里的影子，
>
> 要在造物的大爱中得到还原。
>
>
> 所以他一次次破坏仪轨
>
> 口衔后退的阳光，成为那阴影里不停弯曲的风。
>
>
> 之二
>
>
> 马槽里的那个小生命，
>
> 承许过谁都有事可做。那旅途集体主义
>
> 他们组团坐包机。惟有他穿过镜子，雕刻海水。
>
>
> 之三
>
>
> 大脑里生长的一切才是真正的排泄物。
>
> 他不会信仰骏马，把蝼蚁的小脚趾放大了三千倍
>
> 调色板一次次腐烂
>
>
> 从不用力的，也不动心，他只是堆溶化物
>
> 被任何线条、色块和肌里重复使用。
>
>
> 之四
>
>
> 一条走不完的城市到乡野的路
>
> 他承许这些，骨节，一团多毛的花粉
>
> 乌有之乡，许多流状的伤口。热爱面包的囚徒说
>
> 八瓣的格桑花并不遥远，就在我嘴里。
>
>
>
> 之五
>
>
> 那影子锁骨精瘦
>
> 他的新娘必带静电
>
>
> 她热爱蛇，蓝色的，沿直立的脊柱
>
> 摇摇欲坠。寻找隐喻的人
>
> 跌倒在第一次的惊艳
>
> 那么容易就渗出了身体里的盐。
>
>
> 之六
>
>
> 黑色反弹成白色，物极必反的事
>
> 大多下落不明
>
> 他所忍受的美多么残忍
>
> 清风练习的妖术，八面，铃珑，那光明，粉尘一样细微又精确
>
>
> 透明的身姿不停打着哈欠。几粒尘土敲窗
>
> 他忽然与下水道无比接近
>
> 怀着分割成530克拉的野心
>
> 以一切可能，他让废料发出了声响。
>
>
>
> 之七
>
>
> 一只倦鸟被石子击中，忽地落下来。
>
> 他快速耷下眼帘，双眼盯在某处
>
> 那鼻尖下凝固的一寸空间
>
>
> 影子纷纷掉进水里
>
> 不再受力不均匀。这唯一的抒情时分。
>
>
> 之八
>
>
> 那些影子在死亡的日记中被解救
>
> 坏孩子已彻底抛出体温，重量。
>
>
> 之九
>
>
> 四轮的马车开走后，他掠过日轮
>
> 肉身的事当在别处，自有安排。
>
>
> 哦，哒哒的声响终于自上而下
>
> 他在碾迹上漫无目的地走
>
> 划过许多柔软的城市
>
>
> 每个柔软的城市，其实都不曾有过他
>
> 但每个柔软的城市都在传播他的圣名。
>
>
>
> 网易邮箱，没有垃圾邮件的免费电子邮箱！
>

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[8楼] 修理匠 2010-03-25 20:27:28

带我到冰块里沉睡百年
伤水/诗

总有大雪及时盖住我的尸体，我这河流的残骸，盐和米的骷髅
挽歌在我身上洗了一遍
摸出一根根骨头
“我们生来就是为了回家* ”。没有家。没有一扇门在等你叩响
穿过那些喧哗，那些楼市、股票、震灾，还有梅毒、诱奸、摇头丸……
你仔细剔净我的骨头，然后按序排列，好像事物的本质
——带我到冰块里沉睡百年

谢谢你啦！你这人间的茶点，阴间的瓷罐，通向未来的收尸工
汇拢每夜四处散落的灯光，装订成册，累叠成捆
那是你上路的行李和干粮。谢谢你啦——
我张开上颚，却又打开了尘世
火焰滞重，浓烟沉闷

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[9楼] guest 2010-07-01 09:56:05