黄琦
武中奇
测试用艺术
尼玛泽仁
- 资质：
- 评分：
1分 2分 3分 4分 5分 6分 7分 8分 9分 10分 7分
- 印象：
- 经营时间：10年
- 展厅面积：70平米
- 地 区：上海-徐汇
第三绘画
- 展览时间：2014-11-08 - 2015-01-07
- 展览城市：上海-徐汇
- 展览地点：五原路212弄7号
- 策 展 人：
- 参展人员：
展览介绍
素描何以当代：于艾君近年的纸上绘画
2006年，因为策划《从“极地”到“铁西区”：东北当代艺术展（1985—2006）》，认识了于艾君。印象比较深的是那些具有破坏性的粗砺的大幅纸上炭笔画，惊奇于这些两米开外尺幅的画作是在大约7、8平米的空间里完成的。他将此时的创作命名为“新纸介绘画”，“从《影画》到《黑画》，是我2006年以来一直在推进的一个线索。我一般选用1.6米宽幅的纸基进行绘画……我有意不在这些绘画中表达存在物的现实物质感，这使得所描绘的形象之间产生并重新建立了一种奇妙的关系。” 可以说，这些作品与当时印象中中规中矩的东北油画或绘画有很大不同。也许他在辨析，艺术是否是在在对差异化的思考中展开。于艾君也一直从事诗歌写作，他以诗歌创作的体验也提出，用“从素描中来，到绘画中去”的方式对创作中的主流经验—共同的历史、经验或记忆——提出质疑：究竟是什么样的问题和语言机制，以及在什么契机条件中，这样的“素描”式视觉叙述成为了一种艺术逻辑关系中独特性的一环？素描何以当代？
如果说“艺术”是某些艺术史叙事的产物或结论，那么，素描则几乎处于这个系统之外，或者说，它提供了另外一种系统。因为无论作为一种视觉艺术的训练方式或表达途径也好，一个画种也好，素描都是居功至伟，但极少有人将素描本身引入或思考中作为具有当代性的艺术语言。于艾君钟情于素描研究，将其中富有活力的部分转换为具有个人性的绘画，求索的轨迹与他的职业相关，更是他不从众的、执拗的性格的一个结果。在近期个展《大色素》的画册中，他与青年评论家盛崴对谈到：“我不大倾向于预谋一个作品，甚至预谋一种什么什么样的（艺术）人生，艺术可能随机而生，随遇而安，它不一定大成于智力比拼之中。……我一直愿意使用一些身边触手可及的简单媒介，借用普通的形象外壳表达朴素的概念和认知。我画素描很多年，自然而然地就从里面生发出一种东西，这种东西慢慢长成我自己模样，而不是离开这种‘基础’，去外在寻找一种可以或容易被规范、解读、定论或更大程度上从表象或符号上被认知的‘视觉外物’。” 也许他认为用这种普通的、正常的、去形式和阐释化的创作，是一个具有迫切性的问题和工作。素描所天然具有的开放品性与非正式感很符合他的质疑气质－－不讨巧、不媚目，显得有点紧张，但无关商业或市场反应。
素描何以当代？于艾君有一个概念或主张：“自由素描”，认为很多这类作品都有着特殊的表现力。显然，我们需要一种更开放的、结构性的视野去看待今天的艺术构想和实践；素描的形式和语言于当代（绘画）艺术，对于艺术家而言是一种自信与选择。同时，此种源自传统技艺修为而不是社会学支撑的创作实践，也给处于走向哲学思辨和泛化的现象艺术批评一个反方向的，甚至需要研习形而下的时机。
没有任何一种具有个人性的“艺术文体”不是冒险的，于艾君喜欢这种冒险。这需要一些勇气，在某种层面上说，它不求助于当下某些批评和资本的意见和认知；在那些对新的创作鲜有发现的评价体系中，此类实践很可能是“被”缺席，被忽视的。这也是于艾君思考的“素描何以当代”的动因和基于艺术工作的特殊性的追问。也希望于艾君能继续以自己的方式，填土暗地，卓有建树。
郭晓彦
2014.10
How should sketch has contemporaneity: recent works on paper of Yu Aijun
Guo Xiaoyan
First time I met Yu Aijun by curating From “Extreme Territory” to “The Iron East”: contemporary art exhibition of northeast of China (1985-2006) in 2006. I was impressed on that destructive and rough charcoal drawings which are over 2 meters were painted in just about 7-8 square meters space. He names the works in that period “New Paper Paintings”, from “Shadow Paintings” to “ Black Paintings”, this is the clue that I have been researching for his works since 2006. “I’m used to painting on paper that is 1.6 meters, and I go out of my way not to express the realistic material sense in these works, and in this way, there was a fantastic relations be built and established within the figure s that I paint.” These works are different from methodical paintings which painted by northeast artists, so to speak. He may discriminates whether art could be carried out within the thinking of differentiation. He has also been engaged in writing poetry, in this process, he has been using the experience that “coming from sketch, come to paintings” to question the mainstream experience of creation like common history, experiences and memories: what language mechanism and opportunity makes the “sketch” visual narrative becomes to an important link? How should sketch has contemporaneity?
If art is the outcome or conclusion of some art history narrative, we can say that sketch is nearly out of this system, or to say, it provides another system. Sketch is the most valuable expressing way whether as a training mode of visual arts or just a kind of painting, but few people would take it as a contemporary artistic language. Yu Aijun is fond of researching sketch, and he transforms the energetic section to the individual paintings, the track roots in his career, and his incompliant personality more. In the painting album of his latest solo exhibition Large Pigment, he says to young critic Sheng Wei “ I’m not inclined to premeditate a work or even a (art) life, art can form by accident, and it can be able to adapt itself to different circumstances, may not only exist in a competitive condition. I have been sketching for many years, and there is something occur during this period naturally, and these things will conform to my style gradually, rather than leaving this 'base' to find a kind of “visual thing” which is more normative, cognitive, and scrutable.” He may consider the creation which is ordinary, normal, informal and elucidatory is real a pressing problem and work. The open and informal character of sketch is in keeping with his unbelieving temperament-simple, unflattering, a little bit nervous but nothing to do with the market.
How should sketch has contemporaneity? Yu Aijun has a concept or view: “Free Sketch”, he thinks many this kind of works have a special expression. Obviously, we need a more open and structural view on hypotheses and practice of art in nowadays; The shape and language of sketch is a kind of confidence and choice for artists in contemporary art. Meanwhile, this kind of practice of production which stems from traditional skills instead of sociology gives a reversed or even a physical chance to art criticism which moves towards philosophy thoughts and generalization.
Each kind of individual “art style” is adventurous, and he loves this adventure. It needs some courage, in some sense, it’s not rely on some opinions and cognition of criticism as well as capital in nowadays; This kind of practice may be ignored in the system that is not pay attention to innovation.That is also the reason why he always thinking about “How should sketch has contemporaneity” and the question based on the distinctiveness of artistic work. I hope he can be down-to-earth, and stick to his own styles in artistic creation.
October, 2014