“一個(gè)人的演出”姜勇2008個(gè)展

展覽時(shí)間：2008年11月20日-2008年12月21日
開幕式：11月20日周四下午4點(diǎn)-7點(diǎn)
展覽地點(diǎn)：上海市徐匯區(qū)復(fù)興西路55號(hào)菲籽畫廊

2008年11月20日，由上海菲籽畫廊策劃的《一個(gè)人的演出——姜勇作品展》即將開幕，展覽將展出目前在中國(guó)當(dāng)代藝術(shù)領(lǐng)域相當(dāng)活躍的年輕藝術(shù)家姜勇先生的近期新作。

姜勇，1965年出生于四川樂山，多年來生活和創(chuàng)作于有著“天府之國(guó)”美譽(yù)的成都。成都安逸、閑適的生活節(jié)奏和環(huán)境顯然為他提供了充足的時(shí)間和空間來觀察和審視自己的內(nèi)心，讓他在關(guān)注外部世界的同時(shí)也傾聽內(nèi)心的聲音。作為藝術(shù)家的姜勇細(xì)膩、敏感而內(nèi)斂，這種性情不僅在他的畫中有鮮明的體現(xiàn)，也反映在他自己的一些片段文字之中。他寫到：“生活中的很多情境和復(fù)雜多變的感情是很難表達(dá)的，生活的周圍有一種氣氛，一種看不見、嗅不著、觸不到、只是徘徊在心中的陰影，就很難用文字語(yǔ)言和真實(shí)圖像來表達(dá)，這時(shí)抽象的圖形就顯得更真實(shí)了”。這里他所謂的“抽象的圖形”并不是無(wú)具象的抽象，而是一種有形象的“抽象”，這種抽象其實(shí)更多是指涉于精神上的。他畫中的那一個(gè)個(gè)人物，有人的身形，卻更像是特定的軀殼或符號(hào)。對(duì)于他來說，這種帶有抽象性精神訴求的圖形表達(dá)似乎更為快慰和準(zhǔn)確。

中國(guó)傳統(tǒng)哲學(xué)中講求清凈虛淡素樸的老莊思想，對(duì)姜勇的藝術(shù)創(chuàng)作也產(chǎn)生了深深的影響。姜勇曾經(jīng)引用過莊子《天道》中的一句話“樸素而天之莫能與之爭(zhēng)美”來表明自己的美學(xué)態(tài)度：“樸素這種本源性的精神力量是至高無(wú)上的，也就是說我們應(yīng)該露出本來面目來”。這種影響形成姜勇個(gè)性中既隨性又執(zhí)拗的特點(diǎn)，進(jìn)而形成了他今天的藝術(shù)形式和風(fēng)格。在姜勇的作品中可以看到某種沖突的力量所形成的畫面張力，看到畫面深處所含有的某種類似于“靜水深流”般的情感在緩緩流淌。

和今天的個(gè)人風(fēng)格鮮明、“低溫”（指畫面色彩和感覺）氣質(zhì)的作品相比較，姜勇的早期作品，無(wú)論人物或風(fēng)景，都顯得那么平和而愜意，畫中自然而然流淌著一種脈脈的溫情，清新如三月的微風(fēng)，微醺但不撩人。而近期作品則全然不同，畫面上不再有紛繁的結(jié)構(gòu)和層次，及令人眼花繚亂的豐富色彩，也不再有甜美的溫情，然而新的作品變得更有分量且更醒目，它們讓你的視覺無(wú)法忽視，更讓你的心靈無(wú)法逃脫，畫中那些面目不清、身份模糊的人會(huì)不斷地觸動(dòng)你，讓你深思而感慨。

有評(píng)論家曾這樣解讀姜勇的作品：“藝術(shù)家作品中那些一律灰綠色調(diào)的模糊的五官下，掙扎著凸現(xiàn)出來的尖角既是想要破繭而出的‘本我’又是因?yàn)樵谶@日益浮躁喧囂世界中被抹平的棱角的傷口的呻吟吧？”道出姜勇繪畫中現(xiàn)實(shí)批判性的一面。

作為一位具有獨(dú)立精神的中國(guó)當(dāng)代藝術(shù)家，傳統(tǒng)的老莊思想和西方追求個(gè)人自由的人文精神都對(duì)姜勇有著深刻的影響。從屈原的《天問》到當(dāng)代悲劇詩(shī)人海子詩(shī)中所寫：“我在天空深處高聲詢問/誰(shuí)在/我/從天空站起來呼喊/又有誰(shuí)在？”，人類總是反復(fù)拷問自己的內(nèi)心：我們是誰(shuí)？我們從哪里來？我們又往哪里去？不同于西方先輩們的激進(jìn)與極端，也揚(yáng)棄了老莊思想中消極與神秘論，為了將其“真實(shí)”表達(dá)于自我和世人面前，姜勇以中國(guó)人特有的機(jī)敏與智慧拿捏分寸，于云淡風(fēng)輕處顯露錚錚鐵骨。姜勇的創(chuàng)作告訴我們：當(dāng)人類對(duì)于自身生命的存在有著諸多困惑，也許唯一的方法就是安靜下來，回到自己的內(nèi)心，認(rèn)真而仔細(xì)的傾聽內(nèi)心深處的聲音。
（菲籽畫廊提供）

<> planned by Shanghai Feizi Gallery will open on November 20, 2008, which is a display of new artworks of the young artist Mr. Jiang Yong who has been quite active in the field of Chinese contemporary art recently.

Jiang Yong was born in Leshan of Sichuan in 1965. Honored as “the Land of Abundance”, Chengdu, where he is resident at, provides enough time and space for him to care about his inner feelings besides the outside world by an easy life against the comfortable social environment. He is a delicate, sensitive and quiet artist, which has been reflected clearly both in his paintings and words. He said: “It’s very difficult to express many complicated circumstances and variable feelings in the life. There’s a kind of atmosphere in the surroundings, as an imperceptible shadow remains in the heart and hard to describe through words or compare to the concrete. Instead, the abstract is much closer.” In “the abstract” he mentioned, image still plays a more important part, especially in mental world, than in others which are totally without concrete things. Those figures in his paintings have shapes of human body, but they are more like specific shells or symbols. To him, appeal for abstract spiritual expression seems more enjoyable and accurate.

Traditional Chinese philosophy of Lao Tse and Zhuang Tse who stressed on lustration also has been impressive to Jiang Yong’s art. He has quoted from <> by Zhuang Tse to indicate his attitude to aesthetics that simplicity is the loftiest as the essential power of spirit and we should expose our original faces. His haphazard but stubborn form and style of art, as same as his personality, are all from it. His art has been tensioned by a certain kind of conflict with full of tender affection hidden in the deep.

Compared with his new sharp style in low temperature on color, his former works, no matter the figures or the landscapes, were all much gentler and flowing out tender emotions naturally as drunk slightly by the soft wind in March. However, his new series have been totally different. Giving up all the complex structures and colors, they turned to carry more weight to catch the eyes and souls without mercy. Those people in his paintings, with no faces and identities, continued to push us to think or sigh with emotion.

One critic has pointed out the realistic part of Jiang Yong’s art: “In the works, covering by those unclear faces in tune of gray, there are the struggling horns, which should be the id who wants to get out of there, or the moans of the wound of the flatted pointedness in this impetuous and noisy world.”

To be an artist in the modern China with individual spirit, the traditional thought of Lao Tse and Zhuang Tse, with the western humanism in pursuit of personal freedom also, all deeply influenced him. From <> by Qu Yuan to tragedy poet Hai Zi’s “I’m asking loudly in the sky/Who’s there/I/Standing up for asking again/Who’s there too?”, human always asked their heart again and again: Who are we? Where did we come from? Where are we going to? Unlike extreme western pioneers or the negative part of Daoism, he controlled himself by Chinese own wisdom and showed us his solid spirit at ease in order to bring the “reality” to the face of world and himself. His art told us that when human was puzzled by the life, perhaps, the only way should be to calm down, back to the heart, and listen to it.

(By Feizi Gallery)

【編輯：霍春?！?