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泥洹第二回 ── 陶与瓷八人展

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泥土的涅槃 ── 寫於「泥洹」第二回展前

 

文 / 沛公

 

陶瓷：以土制胎，入火烧而成器。如今，烧制技术早已不成问题，陶瓷器这「三分天注定，七分靠打拼」的独特魅力颇有些要被气势如虹的当代语境消解殆尽的意味。在艺术领域论及陶瓷，不是讲到工艺就是落入媒材的语言讨论之范畴。想想就让人捉急……

 

「泥洹」系列展始于去年的高振宇陶艺个展。序中，尹吉男老师写到“火自天成，泥自地生，接连天地的是人”，“发挥人性以和天地”。眼前这些作品，从一捧泥土开始，无不历经塑、摔、刻、绘等万千磨难，更有些在过火之后还觉不爽，于是又辅以声音影像或干脆以动画短片形式示人。泥土幻做承载艺术家生命体验的绝好容器，个体之灵性借火之神力唤起了泥土的生命，其形式便即内容，二而一传递出的是每位艺术家自身的独特气息。陶瓷创作中，材料的魅力与局限时时共生，违逆其性便得不到那「三分天定」，过分顺从却又失了创造性的价值，做与不做也就不吃劲了。艺术家们凭借自身的敏感、热情以及不刻意而为的“冷静”来定位这个平衡点，此为泥土立心之本。放眼当下形态种种的艺术作品，当真闹心上火，不类大师便似导师，如此次展览中这般真切可感者已然不多。

 

「泥洹」本即「涅槃」之意，于此亦可认作「泥土之涅槃」。若视本次展览的作品为艺术家个人生命体验的痕迹，去体会一场场重生的神奇，想来各位看官定能有些「雨过天青」似的惊喜吧。

 

 

2015年初秋写于北京
THE NIRVANA OF THE CLAY

─ Introductory section before the exhibition of CLAY NIRVANA II

 

By Pei Gong

 

With their bodies made of clay, ceramics achieve immortality through the test of fire. Nowadays, burning techniques have been rather mature, nevertheless, the unique charm of ceramics featured by “thirty percent of the life is doomed and the left depends on the struggling” is somewhat cleared up by the all mighty modern context. When people in the field of art talk about ceramics, they are either discussing just the techniques or referring to them solely as a kind of material, which is quiet disturbing.

 

CLAY NIRVANA series is initiated with Gao Zhenyu’s solo exhibition of ceramic art last year. In the preface of that exhibition, Yin Jinan remarked ” Fire is a natural element, while the clay comes from the earth. Human beings are the ones who connect the sky and the earth”, so “the artists should develop humanity to harmonize the sky and the earth”. The works in front of us have all gone through the torturing procedures of kneading, modeling, carving and painting. Some even go beyond the burning of fire, and are finally displayed in the form of videos or short films. The clay is made into vessels, which contain the artists’ perceptions of life, while the intelligence of individuals give life to the clay by virtue of the magic power of fire. Its form and its content are integrated into one that delivering the uniqueness of each individual artist. In the production of ceramics, the enchantments and limitations of materials co-exist through the whole process. If the nature of the materials is defied, their essential properties will not be retained; while if their nature is too much preserved, they will lack originality and all the labor seems not necessary anymore. Artists manage to strike a balance in this dilemma with their sensitivity, passion and inner peace. This is the base for their work with clay. Contemporary art works in different forms, which are usually claimed to be pieces made by masters or instructors, are truly agitating and annoying. Works that are perceptible and intelligible like these in this exhibition are rare now.

 

“Ni Huan” actually means nirvana, and here we can understand it as “the nirvana of the clay”. If viewers treat the works in this exhibition as traces of artists’ life experience and try to perceive the miracle of rebirth, they will surely gain some unexpected pleasure, the kind of pleasure that arise when one see the sunshine after a terrible storm.

 

Early fall, 2015, Beijing

 

 

泥洹第二回 ── 陶与瓷八人展

 

艺术家：边霄萌  耿雪  柳溪  沈厉  杨松  张军  赵梦  朱国东

展览时间：二〇一五年九月二十六日至十月二十六日

开幕时间:  二〇一五年九月二十六日下午四时

展览地点:  伍拾伍号院子艺术空间

展览地址:  北京市朝阳区崔各庄乡何各庄村五十五号

电话:  + 86 10 64314676

 

 

CLAY NIRVANA

─ Group Exhibition of Ceramic Art by Eight Artists

 

Artists: Bian Xiaomeng, Geng Xue, Liu Xi, Shen Li, Yang Song, Zhang Jun, Zhao Meng, Zhu Guodong

Exhibition Dates: September 26 ─ October 26, 2015

Opening Ceremony: 4:00pm, September 26, 2015

Exhibition Venue: No.55 Art Space

Address: No.55, Hegezhuang, Chaoyang District, 100102 Beijing, China

Tel. : + 86 10 64314676