展览一向以简洁风格著称的北京公社,昨日迎来了艺术家刘建华的个展《地平线》。明亮干净的展厅地面上放置着无数个造型大小不同的青瓷容器,实心的,瓶口被抹上一层猩红的郎紅釉,像是盛满鲜血的器皿,准备献祭。
墙上,挂着一张张薄如蝉翼的白纸,纸角微微上翘,好奇的人们凑到它的跟前来,仔细检查这个用瓷烧出来的白纸,是怎么挂上去的?怎么能够烧得如此薄细?展厅的两角还摆放了另外两件青瓷系列的作品,一根骨头和一片叶子,它们和白纸、器皿一样,均制造于景德镇。
据刘建华介绍,整个展览从想法到制作到展出,共耗时一年。制作过程更是不用说有多复杂,现场每件作品都是经过多次实验及精心挑选才合格入场的。“我觉得这个展览还是有针对性的,”艺术家解释道,“现在有很多东西都很满,我觉得应该要少一点。”,对事物的内容进行抽离,回避叙事以及符号,这就是刘建华在做的减法。
苏飞/文
北京公社
2009年11月19日-2010年2月25日
前言
在充满对现实的介入性和符号化语言的中国当代艺术语境中,刘建华正沿着一条相反的道路渐行渐远。这个转变从去年他在北京公社的个展“无题”中已经露出端倪。那些扁平的陶瓷雕塑仅保留了器皿和人的面孔的基本轮廓,让任何想要在其中寻找现实关联的企图都变得枉然。事实上,刘建华正是通过这些非叙事、去符号化的作品,从种种流行的“当代”趣味中撤身而出,转而回到中国文化传统的距离里实践一种新的当代可能。北京公社本次举办的《刘建华 地平线》展览,是艺术家在这种探索中产生的最新成果。
“地平线”是一条在人们的观念中无限延伸的分界线,它并不真实存在于世界上的任何地点,或者说,它是一条以具象方式存在的抽象的线。将展览命名为《地平线》,正是因为刘建华在作品中呈现出的具象与抽象的统一应和了“地平线”的这种特质。与《无题》系列不同,这次展出的《骨头》、《一叶苇舟》、《容器》、《一张白纸》极为具象。如果说《无题》系列中,艺术家在以一种易于辨识的方式抵制观念与符号,那么本次展览的作品则让这种姿态变得隐蔽与超然起来。比如,凝视着空白墙面上的那一片青瓷“苇舟”时,我们无法获取任何现实性或者观念性信息:它似乎只是一片的苇叶;《一张白纸》系列或许会让我们在一瞬间想起极简主义艺术,但仔细观察后却会发现,“白纸”的各个边角有不同的卷翘,白瓷本身的特质让这些卷翘看上去更有一种难以言传的微妙,这种细节将它们与强调使用基本点线面块的西方式抽象或极简区别开来。我们无法将这些作品与各种熟稔的当代语言联系起来,反而却会回想起传统中国传统文化中对“气韵”和“意在言外”的追求,就像古人在画具体的梅兰竹菊时,细微的气韵区别可以引发无限的精神遐想,而这种具体性与抽象性的关联却完全不同于西方的观念艺术。
在日趋同质化的世界当代艺术风景中,中国当代艺术一直在寻找着自己的身份。这种寻找曾经以简单、直白的符号开始。当符号泛滥为空洞的口号时,一些艺术家正在从作品的精神内核中寻找其与自身文化传统的相关性。这种方式往往是不动声色的,正如刘建华的那些微微翘起的“白纸”,轻轻拨弄着来自西方的观念艺术传统。
作品《容器》,2009
抹上朗紅釉的瓷器,郎紅釉是一种非常不好控制的材料,要烧出这个效果的红色,巨难。
作品《骨头》,2009
作品《一叶苇舟》,2009
作品《一张白纸》,2009
白纸的局部。
艺术家刘建华
展览不错作品不错。
也算国内玩儿材料的高手了。
补发几个场景:
在中国呈现出来不多的有力的个人化语言
[quote]引用第32楼guest于2009-11-24 12:29:00发表的:
到了该向传统寻找可持续养料的时候了,刘建华是个不错的样本!...[/quote]
还在搞计划XX
一苇渡江的才华
[quote]引用第29楼guest于2009-11-23 23:02:53发表的:
苍白无力的东西。...[/quote]
顶29楼,感觉是那种没有什么激情的艺术家,江郎才尽使劲憋出来的小情调调.....
PS:楼上他的粉丝不要攻击我,网络上网友留言唯一的乐趣就是可以说真话。
但到哪个分量,还是见仁见智
可见,baba上,被骂可能不好,不骂不可能好
[quote]引用第52楼guest于2009-12-4 22:18:44发表的:
哈哈,这么差的作品还一个个说好
可见,baba上,被骂可能不好,不骂不可能好...[/quote
可见,你的水平挺差,还是让刘老师给你上课,补习一下吧!
天凉了 心凉了
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