沒(méi)有對(duì)某種堅(jiān)不可摧的東西的持久信靠，
人就不能有尊嚴(yán)地生活下去，一切藝術(shù)亦然。
——題記
以藝術(shù)世代來(lái)說(shuō)，黃鋼屬于60后藝術(shù)家，然而其藝術(shù)旨趣、藝術(shù)意志乃至生活經(jīng)歷多半不同于這一代藝術(shù)家，反而更接近現(xiàn)代主義高峰期向后現(xiàn)代轉(zhuǎn)化的先鋒藝術(shù)精神。這同時(shí)表明，多元化時(shí)代潮流中的60后藝術(shù)家，大都有著豐富的個(gè)體主體性面目。黃鋼近十年創(chuàng)作的繪畫(huà)、雕塑作品，涉及宗教、文化、身體等嚴(yán)肅的題旨，而其觀念和方法，又完全是異質(zhì)的疏離式破題。不難看到，黃鋼的創(chuàng)作始終與各種主流保持著審慎的距離，猶如一股潛流的激進(jìn)運(yùn)行，從同一性模式的裂隙迸發(fā)、奔涌而來(lái)，匯聚在當(dāng)下，自一個(gè)貧乏而繁雜的時(shí)代文化容器中溢出。
藝術(shù)創(chuàng)造自由的有限性和無(wú)限性的媒介，都在于語(yǔ)言。而視覺(jué)語(yǔ)言更是極其有限的，因此語(yǔ)言的創(chuàng)造力考驗(yàn)著每個(gè)藝術(shù)家?！府?huà)其所想，而不畫(huà)其所見(jiàn)」的創(chuàng)造觀念，達(dá)成了當(dāng)代藝術(shù)的價(jià)值認(rèn)同。黃鋼的繪畫(huà)藝術(shù)語(yǔ)言創(chuàng)新性，概括而言有三種相互辯證、相互融合的意向，其一是后極簡(jiǎn)主義的簡(jiǎn)約和內(nèi)斂；其二是抽象表現(xiàn)主義的氣韻、線(xiàn)條運(yùn)動(dòng)速度、情感化的涂繪和靈動(dòng)多變；其三是西藏雪域歷史文化符號(hào)的神秘與厚重。這三種視覺(jué)語(yǔ)言的融合，經(jīng)由佛教性靈之凈化，進(jìn)而得以有機(jī)強(qiáng)化，博得有意義的形式。
黃鋼的畫(huà)面使用大量了佛經(jīng)刻板，這不只是材料性質(zhì)的實(shí)驗(yàn)或外觀裝飾，佛經(jīng)刻板蘊(yùn)涵著刻經(jīng)僧侶的靈修，也傳達(dá)出菩提的信念而自行涌現(xiàn)佛性或空觀。另一項(xiàng)材料是高原牦牛的皮革，由古舊的皮箱拆解熨平之后，拼接鑲嵌皮箱為藏民或僧侶的生活用具，蘊(yùn)含著藏人的生活及其文化傳承的秘密，是雪域文化索引性的符號(hào)。這種用具性在未經(jīng)藝術(shù)家上手打開(kāi)之前，還只是歲月打擊下日益破舊的器物，如同佛經(jīng)刻板使用的木料一樣，當(dāng)它們被結(jié)合進(jìn)畫(huà)面語(yǔ)言，就變成性靈的載體，承載著大地的事物本身。
在《我的箱子》這件大尺幅的代表性作品中，除了佛經(jīng)刻板、拆解的皮箱，畫(huà)家還拼接少量仿造的虎皮和紅五星，構(gòu)成了祭壇畫(huà)的視覺(jué)意味，黑褐色把上述四種材料統(tǒng)一、平衡在無(wú)景深的對(duì)稱(chēng)構(gòu)圖中，盡量使對(duì)象性的影響單純，讓雄渾的主調(diào)沉下來(lái)，營(yíng)造一種宏大、悲劇性的肅穆。而在畫(huà)面的上端，白色的背景有著紅與黃的融滲、漫漶，深度的隱喻因此被顯現(xiàn)出來(lái)，老虎的王氣、紅星的霸氣、佛光的蒼茫，是以?xún)?nèi)斂的張力混成的；其平面鋪展并不容納形式主義教條，不是用平面的物質(zhì)真實(shí)克服視幻覺(jué)，也不是回到物象或具象本身，而是迂回到被隱喻的所指腹地，達(dá)到現(xiàn)象學(xué)的還原，讓材料是其所是。
《我的箱子》可以看作是黃鋼的材料性繪畫(huà)藝術(shù)之綱領(lǐng)性表現(xiàn)，他向觀者敞開(kāi)了性靈之門(mén)，「箱體」空間帶領(lǐng)觀者邁入超驗(yàn)的門(mén)檻。這一系列作品使用的媒材具有不可復(fù)制性，諸如經(jīng)版、皮箱等有著先于繪畫(huà)本質(zhì)的生命存在，而其精心制作的難度和時(shí)間的消耗之長(zhǎng)，都是當(dāng)代架上藝術(shù)少有的，其工藝性的精煉基礎(chǔ)，奠定在黃鋼青年時(shí)期在中央工藝美術(shù)學(xué)院嚴(yán)格的專(zhuān)業(yè)訓(xùn)練，以及后來(lái)作為教師的研究型積累。離開(kāi)體制后的十多年來(lái)，黃鋼把雪域文物的收藏行為當(dāng)作文化資源的積累方法，同時(shí)，雪域文化特殊的啟示精神，也使一個(gè)有精神渴求的收藏者受到內(nèi)在的「剃度」，因此，對(duì)其繪畫(huà)本體的正當(dāng)理解，相應(yīng)地定位于性靈闡釋?zhuān)筒皇橇饔谕庠诘目辗焊綍?huì)。
從《我的箱子》闡釋可知，黃鋼的極簡(jiǎn)主義語(yǔ)言運(yùn)用上并不完全贊同極簡(jiǎn)的藝術(shù)形式。他的繪畫(huà)語(yǔ)義結(jié)構(gòu)中的「少」，包涵簡(jiǎn)約、克制、內(nèi)斂、限定的意向，力圖將世俗繁雜事物拋開(kāi)，克制物欲的貪求，當(dāng)物欲和貪念被靈性?xún)艋粝铝藦V袤的空曠、內(nèi)心的空靈。在有規(guī)律的幾何形式構(gòu)成畫(huà)面之中，除了傾心展現(xiàn)經(jīng)版的刀筆之美、經(jīng)文的神秘意味，經(jīng)版始終是菩提靈性的表征符號(hào)，而不僅僅是一種簡(jiǎn)潔的物件，例如《夢(mèng)之舟》、《佛經(jīng)》、《朝經(jīng)之路》、《轉(zhuǎn)經(jīng)》、《行云流水》、《菩提樹(shù)》、《大轉(zhuǎn)經(jīng)》、《金色的曼陀羅》等，進(jìn)一步地，在空間表現(xiàn)上，在經(jīng)版或皮革構(gòu)成的實(shí)體空間之外，其非實(shí)體空間恰當(dāng)?shù)剡\(yùn)用了書(shū)寫(xiě)性和涂繪性的表現(xiàn)主義語(yǔ)言風(fēng)格，在經(jīng)版的金黃色域背景上涂繪、滴瀝黑褐色，有的則間以大漆涂刷那些紅星。尤其當(dāng)結(jié)合并抽象了紅色敘事語(yǔ)義后的「紅星」系列，畫(huà)家毅然把「極簡(jiǎn)」的原教旨消解了，進(jìn)而借鑒了唐卡佛教圣像圖式，用來(lái)諷喻極權(quán)人物的自我神化，藉此疏離于大量泛濫的毛圖像。極簡(jiǎn)主義風(fēng)格上的中性、非個(gè)性化、機(jī)械式被有效改變，朝向隱喻或是象征意義轉(zhuǎn)換。這也是黃鋼的材料性繪畫(huà)最有趣的地方，因此稱(chēng)之為「后極簡(jiǎn)」更為合適。
當(dāng)我們說(shuō)黃鋼的「后極簡(jiǎn)」表現(xiàn)在繪畫(huà)極少主義歷史語(yǔ)境中有現(xiàn)實(shí)意義，就在于風(fēng)格論的「極簡(jiǎn)」已經(jīng)終結(jié)了，而社會(huì)反映論、權(quán)利消費(fèi)主義以及后殖民意識(shí)遮蔽了當(dāng)代藝術(shù)的精神渴求，人們期待藝術(shù)領(lǐng)域提供新的批評(píng)性預(yù)言，而不是流行的欲望化視覺(jué)圖像貪婪。雖然繪畫(huà)極少主義在北美出現(xiàn)之后，一度與繁雜的生存現(xiàn)實(shí)沖撞達(dá)成相應(yīng)的和諧，但繼而人們發(fā)現(xiàn)，把握客觀世界凈化秩序的樣式實(shí)驗(yàn)結(jié)果難以?xún)冬F(xiàn)。實(shí)驗(yàn)走到了極限。
據(jù)此，我們一般會(huì)認(rèn)為后現(xiàn)代藝術(shù)家洞察到物質(zhì)屬性的藝術(shù)作品的限制，再擴(kuò)展到人類(lèi)社會(huì)生活的維度。當(dāng)代中國(guó)出現(xiàn)了一種稱(chēng)之為「都市禪」的「極繁主義」，據(jù)說(shuō)就是上述生活形式的擴(kuò)展。然而，何謂人類(lèi)社會(huì)生活的維度？藝術(shù)如何擴(kuò)展這種維度？人類(lèi)社會(huì)生活不容納精神渴望和純正信仰嗎？「都市禪」與寺廟休閑旅游消費(fèi)有本質(zhì)的區(qū)別嗎？純正的信仰僅僅只「對(duì)心理有安慰作用」嗎？這些追問(wèn)必然顯現(xiàn)著當(dāng)代藝術(shù)最為根本的問(wèn)題。
實(shí)際上，后極少主義的啟示性與禪的方法有共通性，禪及傳統(tǒng)藝術(shù)乃是“間離”（interval）的藝術(shù)，西方傳統(tǒng)藝術(shù)則是「連接」（connection）的藝術(shù)，所以東方藝術(shù)要把觀眾融合到它的「間離」之中，或者觀眾自身融入「間離」之中，然后將一切連接起來(lái)，所以觀眾參與創(chuàng)作。禪的方法是整體地聯(lián)結(jié)天地人神，去靜觀萬(wàn)事萬(wàn)物，當(dāng)代藝術(shù)的媒介解放也是以「齊物」的觀念，將卑微的事與物全看作藝術(shù)。
黃鋼的綜合媒介藝術(shù)，顯現(xiàn)出性靈化的后極簡(jiǎn)美學(xué)追求，回到內(nèi)心的空無(wú)視像體悟禪味禪機(jī)，發(fā)現(xiàn)了純粹抽象的貧乏和晦暗，靈性化的后極少藝術(shù)諳熟自己的秉性，在物的構(gòu)成中拓出時(shí)空通達(dá)之道，以靈性拯救物化的世界。靜觀自得，是在藝術(shù)、個(gè)體生命與精神世界之間所生成的信靠能力，有了這種能力，其畫(huà)面對(duì)形與色才會(huì)產(chǎn)生最純粹的抵抗和刪除，才會(huì)以最簡(jiǎn)約的形式形成自己獨(dú)特的畫(huà)風(fēng)。靈性的空間并無(wú)時(shí)間限定，或者說(shuō)，時(shí)間只是空間完全敞開(kāi)后純粹的面目，空間由此贏得尊重。
由黃鋼的藝術(shù)個(gè)案引申出一個(gè)相關(guān)話(huà)語(yǔ)，不妨提示出來(lái)聊以探討：當(dāng)代藝術(shù)如果存在著一個(gè)「整一現(xiàn)代性」的話(huà)，或許在一定程度上可以概括85新潮時(shí)期的藝術(shù)狀態(tài)，反映出那一時(shí)期的思想解放訴求和現(xiàn)代主義審美水準(zhǔn)，而對(duì)于60后來(lái)說(shuō)，整一性的宏大理想并沒(méi)有認(rèn)同感。60后的創(chuàng)作實(shí)踐意味著「整一現(xiàn)代性」所假設(shè)的范式在這一代人的藝術(shù)意志中出現(xiàn)了實(shí)質(zhì)性的分化、逆轉(zhuǎn)，70后乃至80后都是這種分化、逆轉(zhuǎn)的復(fù)雜現(xiàn)象的進(jìn)行——從根本上朝向多元化、異質(zhì)性不斷演繹和變異。從1990年代以來(lái)，觀念攝影的出現(xiàn)、行為藝術(shù)介入公共空間、女性主義藝術(shù)的實(shí)踐、身體藝術(shù)的自覺(jué)、后抽象的興起、后殖民意識(shí)的疏離、新歷史主義的關(guān)照等，多是由60后驅(qū)動(dòng)并使之高潮迭起，60后表明了后現(xiàn)代性精神所賦予中國(guó)先鋒藝術(shù)的新生命力。如果說(shuō)當(dāng)代藝術(shù)的文化邏輯是否思性的位移，當(dāng)代藝術(shù)的當(dāng)代性則是后現(xiàn)代精神的表征。藝術(shù)批評(píng)和研究，應(yīng)該更多地考察60后現(xiàn)象的歷史因素和現(xiàn)實(shí)狀況。黃鋼在主流之外取得的異質(zhì)性藝術(shù)成就，再次有力印證了60后藝術(shù)家在當(dāng)代藝術(shù)歷史上不可混淆和抹煞的地位。
島 子
2008年初春，清華園
（本文作者為清華大學(xué)美術(shù)史教授）
英文版
If it were not the strong belief toward the unbreakable, it is barely possible for human to live with dignity. And so is art.
As far as artistic generation is concerned, Huang Gang belongs to the post-60s. However, his art concept and life experience are closer to the avant-garde spirit of post-modernism. This explains the fact that artists of the post-60s, growing from a diversified background, all possess their own individualities. As for Huang Gang’s creation in recent ten years, it involves in serious topics like religion, culture, and human’s body. But his concept and method are bravely straight-forward and different from other artists. It is easy to find out that Huang Gang’s art, though prudently keeping distance with mainstream, develops latent but aggressively, and then bursts out from an impoverished, roaring culture.
To begin with, artistic language is the key factor to decide whether art has created limited or infinite freedom. And it is because visual language serves a restricted extent to deliver so that creativity of language becomes a test to every art. Thus, “paint what we think, but paint not what we see” becomes an approved value of contemporary art. To briefly conclude Huang Gang’s artistic innovation, there are threefold: a. succinct inner meaning of post-minimalism. b. the momentum of abstract expressionism, speed, and sentimental limning. c. the mystery and buildup of Tibetan cultural signs. Through Buddhist spiritual cleansing, the three features are strengthened to become a meaningful performance.
Huang Gang adopts plenty of Buddhist scriptures into his creation. The scripture not only expresses a new trial of material and a new form of adornment, displaying the monk’s hardship training, but also gives out Buddhist belief and its concept. On the other hand, the yak’s leather is torn down from old cases, and then ironed, re-collaged into his painting. The leather signifies such a culture-orientation that it leads to the nature of human being. The old case, which possesses rich Tibetan cultural meaning, is an everyday use for Tibetans and the monk. And if it were not through the artist’s magical usage, it is only a piece of utility that will decay along time goes by. But just like the Buddhist scripture, when it is combined into art, both of the scripture and the yak’s leather become spiritual media that carry our mother nature.
In one of the large-scale works – “My Box,” Huang Gang uses not only Buddhist scripture and the yak’s leather, but also some tiger-skin-like leather and a red star, which compose a somewhat alter painting’s look. The brown and black colors merge the four materials together, making them balanced but still individual so that the painting naturally condenses and presents a grand, severe atmosphere. On the top of the painting, the white background is infused with a few red and yellow brushworks, and thus presents its inner meaning, awe, and strength. In addition, the artist’s placement of materials is never like what comprises formalism. It does not explain whether the painting is abstract or concrete. Rather, it refers to its metaphor, making the materials speak for themselves.
In short, we may regard “My Box” as a representative work of Huang Gang’s material art for he opens a spiritual window that leads audience to a super-experienced world. First of all, the scripture and leather he uses are non-reproducible and have their original meaning. Secondly, the difficulties he went through and the huge time he spent on his artwork are incredibly rare among contemporary artists. Moreover, the strict training he had in the Central Academy of Art and Design prepares him to make exquisite fine arts and to become a professor. For more than ten years of leaving the academic environment, Huang Gang has always considered his Tibetan possession as something to collect cultural resources. In the meanwhile, the enlightenment of snow terrain culture evokes a spiritual cleansing to a collector who yearns for it. Therefore, a proper understanding to Huang Gang’s painting is taking it as spiritual demonstration, rather than merely external usage of these materials.
Another thing about “My Box” is that Huang Gang adopts minimalism into his artistic language, but it is evident that he does not totally approve the form. His minimalism includes simplicity, restraint, inwardness, and a certain intention. Moreover, his painting tries to abandon worldly tediousness, and to repress human being’s greediness toward material. And after purification, it leaves the world a broad, wide spirit. In those well-formed geometric structures, not only does the scripture express its mystery and the beauty of cutting, but it stands for the symbol of Buddhism. There are numerous works demonstrate this statement, such as “Ark of Dream,” “Scriptures,” “Pilgrimage of Buddhist Scriptures,” “Spiral Scriptures,” “Floating,” “Pipal,” “Big Spiral Scriptures,” “Golden Mandala.” Besides from placing scripture andleather into fine spatial arrangement, Huang Gang fills the golden background with dark brown dripping technique or paints a large red star. The red star series, which is combined and abstracted from China’s interpretation for red, has a particular meaning. The artist removed the original concept of minimalism, and further adopts sacred images of Tangka to make irony on the supreme figure’s self-deification and to differentiate his artwork from those overly abundant portraits of Chairman Mao. Features of minimalism – neutralization, non-characteristic, mechanization – are fundamentally transformed into metaphor or symbol-oriented phase. This is indeed the most interesting part about Huang Gang’s material art, and it is thus better to categorize his work as “post-minimalism.”
The reason that we interpret Huang Gang’s post-minimalism as having realistic status in the language of minimalism is that the form of classic minimalism is over, and that social reflection, consumerism, and post-colonialism have covered up our spiritual need for contemporary art. What people expect for the art world is a fresh but critical point of view, rather than sheer visual images of art trend. Despite the fact that artistic minimalism is intrinsically contradicted to the real world and has once reached to a certain level of harmony to survive in the reality, people then found it hardly possible to keep visualizing the world as fair and unsophisticated as it was not. So the road of minimalism finally came to its end.
Therefore, we consider that post-contemporary artists have perceived the limit of material-phase artworks so that they extend their works onto human’s life. It is heard that “Urban Zen,” a kind of maximalism now appears in China, is developed according to this modern thinking. However, what is the dimension of human’s social life? How does art reach to that dimension? Is modern society unable to accept spiritual longing and pure belief? Is there any intrinsic difference between Urban Zen and a casual visit to temples? Or, does pure belief only work for psychological consolation? These questions will undoubtedly become the basic asks for contemporary art.
In fact, there is something in common between post-minimalism and Zen. Zen and Eastern traditional art belong to those interval types of art, while Western classical art belongs to connection art. Eastern art tries to welcome audiences walking into its “interval,” or audiences have to make themselves involve in that interval so as to connect every element together and that audiences are regarded as participating art. The concept of Zen is to connect gods and human beings, and to observe everything on earth. This is exactly the same idea of later contemporary art which takes every little detail as art.
Huang Gang’s mix media artwork presents an aesthetic pursuit for spiritualized post-minimalism, making human beings return to a void mind to experience Zen, and discover emptiness and shadowy sides of pure abstractionism. The spiritualized post-minimalism has crossed time and space and carved out a spiritual pavement in order to salvage this overly materialized world. But it is only when an artist holds a common attitude will his work be building upon a reliable strength of art, individuals, and spirits. And it is the kind of strength that enables the painting to stand the trial of time, presenting its uniqueness in the simplest way. Between time and spiritual space, the ladder will never be affected by the former, and thus obtains honor.
Last but not least, if there is a unified trait for contemporary art, it may broadly describe the period of new wave 85, reflecting the ideological liberation and changes of modern aesthetics. However, post-60s will have a problem fitting in this grand “unified modernization.” The practice of post-60s is derived from the idea that the standard form of unified modernization encounters a radical change and reverse, and so are post-70s and post-80s. The later series of changes then lead to diversification of art and on-going development of differentiation. Since 1990s, countless new art movements such as the rising of conceptual photography, performance art involving into public space, the realization of feminist art, self-awareness of body art, and many others alike are driven by post-60s, which manifests the new energy bestowed by post-modernism to Chinese avant-garde. Thus, it is crucial for people working on art criticism and research about post-60s should consider more of its historic factors and real situation. Finally, the accomplishment that Huang Gang gains out of the mainstream once again proves the exclusive status of post-60s artists in contemporary art.
Daozi
Early spring of 2008 at Tsinghua University
(Daozi: Professor of Academy of Art and Design, Tsinghua University
【編輯：霍春常】
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