圖像,媒體,信息,消費(fèi),廣告……是避世者的地獄,他們?cè){咒著逃亡,致力于消逝或行將消逝的壞舊情節(jié)的表達(dá),營造自己藝術(shù)的象牙塔;卻是入世者的天堂,他們開懷的接受,敏銳的體會(huì),以獨(dú)特的切入點(diǎn),做出了一些作品,不是很成熟,絕對(duì)很都市.藝術(shù)就在身邊!
我選擇公共圖像的原因是,作為最大眾化的符號(hào),一但與隱私結(jié)合在一起,它會(huì)出現(xiàn)什么樣的效果?
陳海創(chuàng)作手記
當(dāng)今“開放”時(shí)代的架上藝術(shù)，“反叛”已不是什么新鮮玩意，風(fēng)險(xiǎn)越來越小。無怪乎反叛程度上的“比兇斗狠”成了嘩眾取寵的法門，越來越多在往日上不得臺(tái)面的元素開始沖擊著的大眾視線，越來越多的藝術(shù)作品開始不斷挑戰(zhàn)著人們的心理承受力和道德倫理底線。而在這些裹挾著污穢的摧枯拉朽般的蹂虐之下，整個(gè)社會(huì)似乎越來越“抗擊打”，各種底線也在不斷下潛，有些在從前能因此動(dòng)了刀子的咒罵在如今已經(jīng)成了語氣助詞……架上藝術(shù)行走于開放的江湖，不可能再以封閉的姿態(tài)獨(dú)善其身，必然需要用開放的胸懷接納那些理論上不宜于顯現(xiàn)“架上”的當(dāng)下亞元素。從何角度審視，如何取其精華，理應(yīng)成為藝術(shù)家和批評(píng)家共同關(guān)注藝術(shù)當(dāng)下性的一個(gè)重要的切入點(diǎn)。
初次看到畫家陳海的作品是在我第二次踏入深圳22藝術(shù)區(qū)時(shí)，他的畫著實(shí)吸引了我的注意力。在他的畫中可以明顯看到來自于影像、ＡＶ文化的影響，許多用CCTV的話說就是“很那個(gè)”的元素符號(hào)暗藏在畫面之中，包括充滿性暗示的“繩縛藝術(shù)”、施虐與受虐、擠壓與反擠壓等等，甚至還包括有些不可理喻的內(nèi)容。如何理解陳海的作品其實(shí)是一個(gè)仁者見仁，淫者見淫的過程，在看似純粹追求視覺刺激的畫面之下其實(shí)還存在著畫家對(duì)社會(huì)深層次的反思與批判。
在《甘霖》、《升旗》和《崛起》幾幅作品中有著比較明顯的政治符號(hào)，例如飄揚(yáng)的旗幟和破浪的潛水艇。代表著被動(dòng)與柔弱的女性形象在假、大、空的承諾、鼓吹和欺騙之下的白日飛升、無藥自high。在顏面被灑下不是甘霖的“液體”之后仍癡心追隨，一種禁錮與枷鎖中的形象被以荒淫的戲謔描繪而出。
在陳海的很多幅作品中都出現(xiàn)了防毒面具這個(gè)符號(hào)，畫中女主角采取的這種防御措施與其慵懶放縱的神情姿態(tài)構(gòu)成了強(qiáng)烈的反差，不禁讓人疑惑究竟哪一面才是真實(shí)，或許，連畫中人自己也不明白。在如今這個(gè)傾向于“物化”女性，“商品化”美色的社會(huì)，套在社會(huì)價(jià)值標(biāo)準(zhǔn)的枷鎖中的女性，面對(duì)這些漂浮在空氣中的物欲誘惑時(shí)，恐怕連防毒面具也抵擋不了。
然而陳海對(duì)現(xiàn)實(shí)的批判并沒有停留在此，而是更深一層挖掘這種枷鎖是從何時(shí)套在了人們身上。在畫家《青春》系列作品中，充滿活力的學(xué)生少女，帶著稚氣未脫的笑容，穿著學(xué)生裝，卻配上了絲襪和高跟鞋?；蛞詮埧竦淖藨B(tài)踩在代表著傳統(tǒng)文化的青花大魚缸上，或跳著自得其樂的舞蹈，或一臉不屑地按首挺胸。“這些”是為什么呢？伴隨著消費(fèi)文化的大舉入侵，享樂至上已經(jīng)成為了小小孩們認(rèn)為無可厚非的價(jià)值標(biāo)準(zhǔn)。但相對(duì)于掌握著社會(huì)絕大多數(shù)財(cái)富和權(quán)力并且心智成熟、老謀深算的大人們，他們?cè)谑聦?shí)上是處于弱勢(shì)地位的。這樣的前提導(dǎo)致的結(jié)果必然是可悲的——青春成了消費(fèi)文化的犧牲品，天真無邪的美麗過早的被齷齪的成人趣味加工銷售。同時(shí)這種結(jié)果也是可怕的，當(dāng)這些正當(dāng)青春年少的孩子們已經(jīng)效果逆來順受，而將套在身上腳上的枷鎖鐐銬當(dāng)作美麗的項(xiàng)鏈吊墜時(shí)，前文提到的意識(shí)形態(tài)與社會(huì)價(jià)值標(biāo)準(zhǔn)枷鎖注定將無法打破。受到隱性虐待的少年必將在自己能力范圍內(nèi)發(fā)泄自己的施虐欲，《初試威力》中的少女面無表情地?fù)Q上了一只高跟鞋，狠狠地踏入了一只不堪一擊且無力反抗的香蕉……
青澀的少女，血紅的女鞋，張狂的四肢，戴枷的舞者，這一切畫家著力表現(xiàn)的鮮活生命的扭曲形象，拷問社會(huì)，同時(shí)又以放大“錯(cuò)位”而釋放的張力擊打著人們的視覺神經(jīng)，
令人以各自差異的視角，關(guān)注那青春變異的血色之花。
The Opening Easel Art, Dancers With Shackles
Comments on Chen Hai’s Series of Oil Painting the Youth
Yang Weimin
The Easel Art in the open times, “rebellion” isn’t something new, and its risk is getting lower and lower. There is no wonder that the competition on the degree of betraying becomes the most effective way to attract the eye balls. More and more elements which cannot be open in old times are rushing into the sight of the public; more and more art works begin to challenge the bottom line of people’s psychological endurance and moral. However, under the rush with dirty stuff the society becomes more tolerant. All kinds of bottom lines are getting lower. The curses which used to be the cause of a fighting have become modal particles. Easel Art is more and more popular, and then it can not be separate from others and begins to accept those sub-elements which can not be shown in the Easel Art publicly. The thoughts on how to judge it and how to take advantage of it become an important point for the artist and critics.
The first time that I saw Chen Hai’s work is when I came to the 22 Art District in Shenzhen for the second time. His works do attract me which reflect the impact from the video and AV culture. In CCTV’s words, there are some elements which can not talk publicly in the picture, including “rope art”, sadomasochism, Extrusion and anti-extrusion, which are full of sex indication, even something beyond understanding. Different people have different opinions on his works. There are his thoughts and critics about the society in the deeper level behind the pictures which seem to pursuit visual stimulation.
In some works such as the timely rain, raising the flag and grow up, apparently, there are political symbols. For example, the aflutter flag and submarine represent the passive and weak female images are lost in the false, big and empty promises. When the face is watered by the liquid which is not the timely rain, they still will to follow. Then an image of durance and shackles is shown jokingly.
In many of Chen Hai’s works, the gas mask is used as a symbol. There is sharp contrast between the way of actress to defend and her lazy gesture .The audiences can not tell which aspect is the truth, so can the actress either. In a society which tend to merchandise woman and merchandise the beauty, when the woman who are trapped by the social values and facing the lure, it is impossible to resist even with the gas mask.
However, Chen Hai’s critics do not stop here, but to explore deeper that when people ware trapped. In the youth series, the girl with smile dressed in the student uniform, but stockings and high-heel shoes. She stands on the fish tank which represents the traditional culture with exaggerated gesture, enjoying herself by dancing, and her face is full of contempt. Why? Along with the invasion of consuming culture, enjoyment first has become the undebatable value of children. But compared with the tricky adults who posses the majority of fortune and power, they are in the weak side. The result is pathetic—youth becomes the scarification of consuming culture. The innocent beauty is processed and sold by disgusting adult fun too early. At the same time, the effects are terrible; the blooming children have get use to suffer. When shackles on their feet are worn as a beautiful necklace, the ideology and social value will not be able to break out. The abused youth will vent in their capacity. In the works Try Prowess, the girl steps on a fragile banana severely by a high heel without expression…….
The painter paints innocent girls, red shoes, insolent limbs, and dancers with shackles, which show a distorted image of life to society. The malposition in his works impacts people’s vision, so that people can focus on the youthful blooded flower with their own view.
【編輯：海英】
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