守望什么，追求什么，遺失了什么
——關(guān)于彭博的《自制玩具》系列
耿紀(jì)鵬
彭博作品并不同于他所在時(shí)代的其他青年藝術(shù)家的作品，他守望著靈魂更深處的記憶。泡泡式的繪畫元素在川美某個時(shí)期的畢業(yè)生中頗為流行，作為一種表現(xiàn)形式這并沒有什么，就像至今許多人仍然在用油畫材料或筆墨紙硯作畫一樣是平淡無奇的?？ㄍL(fēng)的蔓延致使泡泡和平面化都成為卡通化的標(biāo)志特點(diǎn)，也許卡通風(fēng)的作品就是有某某特點(diǎn)，但是有某某特點(diǎn)的就一定是卡通風(fēng)作品嗎？充分條件、必要條件或充要條件這些數(shù)學(xué)定理所需要的概念在這里卻成了必須的知識前提。
生活在某個時(shí)期的個體總是被社會主流介定為某個群體的部分，這樣有利于權(quán)威們的管理。出生在二十世紀(jì)八十年代以后的人們被稱為`80后，并且進(jìn)行了一系列的定位，這種強(qiáng)加的定位不過是當(dāng)權(quán)者和在野者爭取新的接班人的一場鬧劇。藝術(shù)界同樣是不能免俗的一個名利場，卡通主義作為一種藝術(shù)流派存在有既定作品的現(xiàn)實(shí)，但是從事卡通主義創(chuàng)作的不僅僅是`80后出生的藝術(shù)家們。彭博有幸也不幸的出生于`80后成為`80后中一員，其作品也存在這個時(shí)代共同具備的某些東西，繪畫的風(fēng)格和畫面的元素符合我們所生活的年代。不是每一個二十歲左右的藝術(shù)家都喜歡打游戲，喜歡沉迷于無休止的網(wǎng)絡(luò)游戲和虛幻的動畫場景中，筆者認(rèn)為彭博的畫面中無論是小鼓、風(fēng)車、鐵環(huán)、陀螺，還是其它的玩具形象，才是真正出生于`80年代以后人們普遍記憶中的游戲。也許我們被當(dāng)下仍然在運(yùn)用的休閑方式所左右，而并未回歸到自己的記憶中去尋求真正影響自己成長的游戲，但是并不是所有人都遺忘了真實(shí)。更多的人關(guān)注了今天生活的當(dāng)下，這其中也不乏精神的守望者，彭博便是其中之一。
流行文化給人的感覺總是輕薄和沒有份量感，而記憶則因其時(shí)間的沉重而有蒙塵的距離逐漸沉淀在人們的心中。當(dāng)我們追尋今日耀眼的明星的時(shí)候總是遺忘了追尋路上的荊棘，在距離上的守望在另外一個層面上便成了追求。彭博的作品放置在滿是卡通主義風(fēng)格的作品中，給我的卻是真正的親切感。他在守望這些兒時(shí)的記憶，不僅僅是精神上的守舊，而是以退為進(jìn)，以無言的形象來喚醒他者的真正情感所系?？ㄍL(fēng)格的作品如果說代表了一部分`80后出生的藝術(shù)家們對表現(xiàn)對象的選擇，那么彭博所代表的純樸記憶的藝術(shù)家們的作品才真正是`80后出生人的精神根祗所在。
今日的自制系列和往日的真正玩具之間是并不相同的，彭博既非盲目的追尋也非孤獨(dú)的守望，而是在喚醒同時(shí)代人遺失的精神家園的同時(shí)也砸碎鎖鏈和標(biāo)簽。盡管`80后出生的藝術(shù)家和批評家已經(jīng)開始自己的人生之旅，但是他們不象以前的某個時(shí)期一樣是自己沖出來，過程中有著沖突和戰(zhàn)爭，現(xiàn)在卻是在進(jìn)行著藝術(shù)圈里的“世襲”和“和平演變”。彭博的作品似乎很平淡，《自制系列》中的作品尺寸都不大，淡淡的色調(diào)看起來并不能承擔(dān)生命之重。但是，彭博的作品既沒有承襲某些大牌藝術(shù)家的高價(jià)風(fēng)格，也沒有針對誰的作品進(jìn)行近似的“和平演變”和反抗式的悲劇表演，他的作品只是他對于當(dāng)下生存環(huán)境的思考。現(xiàn)實(shí)的異化在藝術(shù)家精神中留下的是對于兒時(shí)記憶的深深眷戀和對于下一代人生存可能性的幻滅思考。
Watching for What, Pursuing What, and Having Lost What
About Peng Bo’s Toys Made by Oneself (a series)
Geng Jipeng
Peng Bo’s works differ much from his cotemporary young artists’ because of the memory he keeps deeply in his soul. The bubble-like painting elements were at one time very popular with the graduates of Sichuan Fine Arts Institute. As a form of representation, they have nothing particular, as plain as those still painting with oil or ink and brush. The overspread of cartoon takes the bubble-like elements and ichnography as its symbolic characteristic. Perhaps the cartoons carry a certain characteristics, but must those with some characteristics be cartoons? So these mathematical concepts: sufficient conditions, necessary conditions and necessary and sufficient conditions become a necessary premise of knowledge.
An individual at a certain time is always defined by the main stream of society, for their convenience of management, as a part of a certain group. Those born after the 1980s are called the Eightiers, and are also given a series of identity, but such imposed identity is only a farce of the competition in getting new successors between the reigning office and the out-of-office. The art field is also a secular vanity fair. The cartoon, as an artistic school, has its own reality, but the Eightiers are not the only artists engaging in cartoon creation. Peng Bo, fortunately or unfortunately, is also one of the Eightiers, and his works, too, share some characteristics of the time, and the style and elements of his works answer for the time. Not all artists about the age of twenties enjoy playing games, or indulging in endless computer games and dummy scene. In the author’s opinion, the drum, windmill, hoop, peg-top or other toy images in Peng Bo’s works are the very plays in the Eightiers’ memory. Maybe we are controlled by the present entertainments, and haven’t come back to our memory to recall those games which had once left great influence on our growth, but this is not to say that all people have forgotten the truth. Most people are turning eyes to the present life, no lack of watchers of soul, and Peng Bo is such one.
The popular culture has always left us an impression of weightless and unsubstantial, while the memory becomes profound in the heaviness of time and then gradually takes root in our heart. In our tracking of the shining stars, the thorns on the road are usually ignored. The yearning at a distant, in another sense, is pursuing. Displayed among the cartoon-style works, Peng Bo’s works touch my heart gently. He’s watching closely his childhood memories. It’s not only a spiritual nostalgia, but a retreat in order to advance, and to awaken our true inner emotion by wordless images. If the cartoon-style works reveal some Eightiers’ choice in expressing objects, the artists’ works of pure memory, taking Peng Bo as their representative, are the core of the Eightiers’ spirit.
The present self-making works differ from the former real toys. Peng Bo is not pursuing blindly, nor watching his memory alone, but endeavors to awaken his contemporaries to regain their lost spiritual homeland, and at the same time, to break the chain and label. Though these Eightiers have taken on their journey of life, unlike those in the past who dashed out and caused conflicts and wars, they are now performing a “hereditary policy” and “peaceful evolution” in the artistic field. Peng Bo’s works seem to be rather plain. All the works in the Self-making (a series) are in a small scale, with a faint hue seeming unable to bear the heaviness of life. However, his works do not follow the masters’ high-price character, nor making a “peaceful evolution” or a tragic imitation of other’s works. They are just a reflection on the present survival dilemmas. What the actual transformation leave in the artist’s heart is a deep yearning for the childhood and a disillusion reflection on the possibility of survival of next generation.
【編輯：賈嫻靜】
