楊國(guó)辛 傳說(shuō) 600x150cm 2008年
當(dāng)我體察了解楊國(guó)辛近二十年來(lái)的作品，可以看到，他的作品表達(dá)經(jīng)過(guò)了一場(chǎng)逐步的自我蛻變最后走向一種徹底平面化、器具化、局部化與復(fù)制的呈現(xiàn)姿態(tài)。但在這一過(guò)程的后期同時(shí)有另一條線索在不斷生發(fā)，讓我看到了他的另一種思考和表述方式。
在第四第五屆“深圳國(guó)際水墨雙年展”上，他將攝影與數(shù)碼合成作品轉(zhuǎn)換為用水墨的方式做出來(lái)，而后又在2006初“亞洲交通-當(dāng)代藝術(shù)展”上，有意識(shí)地將水墨的方式與當(dāng)代藝術(shù)的視覺方式結(jié)合創(chuàng)作了巨幅的手工紙上作品《巨濟(jì)橋》。其后的系列布面油彩作品《傳說(shuō)》，無(wú)論是構(gòu)圖還是畫面所呈現(xiàn)的中國(guó)畫式的留空以及翻卷綿長(zhǎng)的線條，都有著明顯的對(duì)傳統(tǒng)資源的吸取與借鑒。這一吸取與借鑒與他慣用的當(dāng)代圖像方式有機(jī)的結(jié)合在一起，使得傳統(tǒng)有了強(qiáng)烈的當(dāng)代性。
我知道他一直考慮的一個(gè)問題便是如何在全球化的格局中，突出自己作品的文化身份。眾所周知，中國(guó)當(dāng)代藝術(shù)無(wú)論在視覺上，還是觀念上，更多借鑒的是西方當(dāng)代藝術(shù)。當(dāng)然，這幾年情況正在發(fā)生變化。水墨在中國(guó)已有一千多年的歷史，在很大程度上，也具有了中國(guó)的身份，它決不能等同于一般的畫種。楊國(guó)辛近期的一些探索是一種對(duì)傳統(tǒng)的重新認(rèn)識(shí)。作品中也保持了他堅(jiān)持的文化批判精神和所具備的社會(huì)學(xué)層面的豐富內(nèi)涵。在一個(gè)所謂由時(shí)髦的政治、文化沖突“宏大”的題材和日益浮躁和表面固定符號(hào)化的當(dāng)代藝術(shù)現(xiàn)實(shí)的時(shí)期，他卻探索并用一種個(gè)人化的語(yǔ)言方式表達(dá)個(gè)體對(duì)于歷史文化的個(gè)體生命化的體驗(yàn)。這樣的語(yǔ)言方式也許更有利于形成一種新的個(gè)人化風(fēng)格，并給語(yǔ)言和題材日益枯竭的當(dāng)代藝術(shù)提供了另一種精神氣質(zhì)、文化邏輯和語(yǔ)言方式。
Recommendation
By Lu Hong
The recent works of Yang Guoxin show more planar, partial character, but if we view his works for 20 years, it is not difficulty to find for him the recent work is a metamorphosis along with the transfer of his thinking mode and express mode.
In the 4th Shenzhen International Ink-painting Biennial, he showed the work made by digital camera and ink-painting, and another work Juji Bridge, shown in 2006 Asian Traffic Contemporary Art Exhibition is a large-sized piece that combined contemporary visual arts and traditional ink-painting. Later, he brought us the piece the Legend, oil painting, which obviously adsorbed the skills of Chinese painting in the tradition.
I know that he has been considering the question of how to stand out self style in the globalized cultural context. Sure most of us may agree Chinese contemporary art has learned much from the western art, whatever the form or concept, but Chinese ink-painting rooted in Chinese culture for over a thousand years and already become the cultural symbol of Chinese nation, and we can not regard it merely a common painting of a sort. Yang’s recent exploration is reconsidering the tradition, how to stand out cultural critique to people, politic, and society, and how to find out and express individual experiences for history that is often distorted by a magnificent narrative way. This is his cultural logics and discourse on what it the way of ink-painting, a good approach with spiritual force.
【編輯：姚丹】
