從歷史意識(shí)和個(gè)人經(jīng)驗(yàn)出發(fā)
——黃鋼個(gè)展開(kāi)幕前言
高 嶺
這個(gè)展覽的主角黃鋼，是一個(gè)有著深厚家學(xué)熏陶和多年收藏經(jīng)歷并且勇于實(shí)驗(yàn)的藝術(shù)家。灰褐和土紅色調(diào)籠罩下的畫(huà)面，透露出一種難以阻擋的儀式力量，它們彼此獨(dú)立又相互呼應(yīng)，營(yíng)造出整個(gè)展廳恢弘大氣的氛圍。佛經(jīng)印版、喇嘛僧服、鎏金佛手這些宗教法物，老舊皮箱、織布梭子這些古老器物，還有火車(chē)頭徽和旗桿標(biāo)槍這些政治象征﹒﹒﹒所有這一切，都被他大膽并且自信地使用為藝術(shù)創(chuàng)作的基本材料。它們或作為宗教精神力量的象征，或作為人類(lèi)生存活動(dòng)的遺跡，或作為特定歷史政治的隱喻，在畫(huà)面上或者空間里與丙稀和植物透明大漆等材料一起，復(fù)合、幻化出穿越歷史和政治的厚重與沉郁，迎接藝術(shù)自由的一種新的形象。
黃鋼作品的形象，克服了近年來(lái)抽象藝術(shù)創(chuàng)作領(lǐng)域概念化、觀念化的空洞和虛玄，將抽象的意念和精神與作為物質(zhì)性的器、形、色和空間關(guān)系結(jié)合起來(lái)，達(dá)到了精神與物質(zhì)反復(fù)回還、涵詠的境地，是一種內(nèi)在的意象。他的作品的形象，雖多起步于久遠(yuǎn)的文化或宗教遺存物甚至包括特定時(shí)期的政治象征物這樣的現(xiàn)成品材料，但卻回避了當(dāng)下流行的社會(huì)內(nèi)容符號(hào)化和說(shuō)明性的視覺(jué)圖像描畫(huà)。毫無(wú)疑問(wèn)，黃鋼對(duì)待材料的方法是回溯性的，但他的視野卻絕非泥古不化，也不是隔絕于當(dāng)下的現(xiàn)實(shí)，他的個(gè)人成長(zhǎng)和藝術(shù)實(shí)踐經(jīng)驗(yàn)告訴自己，真正的藝術(shù)形象應(yīng)該是一種新的內(nèi)在于人心靈的大象，它是在保持歷史和現(xiàn)實(shí)的某些物質(zhì)性圖像元素基礎(chǔ)上獲得的。形象有形有色，但大象無(wú)形無(wú)色，無(wú)形無(wú)色不等于空白無(wú)物，而是依托于形色。
于是，這些承載著無(wú)數(shù)僧人工匠情感技藝的經(jīng)版，這些記錄下游牧民族歷史變遷的皮箱，這些充滿了幾代人革命熱情的徽標(biāo)，重新啟動(dòng)了它們?cè)械恼Z(yǔ)意，在畫(huà)面上和空間里既彼此對(duì)話，也與現(xiàn)在的作者黃鋼相互推手，更與展廳中觀眾形成互動(dòng)。黃鋼作品的價(jià)值在于，他從個(gè)人的經(jīng)驗(yàn)出發(fā)，找到了一種視覺(jué)化的建立歷史與現(xiàn)在、現(xiàn)在與未來(lái)之間聯(lián)系的方式，令人信服地看到了中國(guó)氣派的當(dāng)代藝術(shù)一種新的可能；黃鋼的貢獻(xiàn)在于，他喚起了觀眾塵封的記憶，打開(kāi)了觀眾想象之門(mén)，歷史、政治、宗教和文化傳統(tǒng)，不斷地與現(xiàn)實(shí)進(jìn)行對(duì)位和比較，此消彼長(zhǎng)，難以釋?xiě)选?
2008年10月19日
From Historical Consciousness and Personal Experience
---Prologue to the Opening of Huang Gang’s Solo Exhibition
Huang Gang, the leading role of this exhibition, is an artist born in a literary family. He has many years’ experience of collecting, and is very daring to practice. Enveloped in gray, brown and terracotta, these paintings give out a somewhat irresistible ritualistic power. They are independent while interactive, and together create the grand atmosphere of the exhibition hall. Old artifacts like Buddhist scriptures on printing forme, old cassocks, old leather suitcases and shuttles, and political symbols such as the badge of locomotives, masts and javelins…all of these elements are adopted by him, and become the basic material of his art creation. Either representing some religious power, or acting as the trace of human life or specific historical and political metaphor, they are combined with acryl and zapon lacquer on the paintings or in the space, and magically changed into new images that traverse the melancholy of history and politics and embrace the freedom in art world.
The images of Huang Gang’s works get rid of the barrenness and mystification of conceptualization and ideologism in the abstract art creation in recent years. He combines the abstract idea and spirit with material devices, shapes, colors and space, so that his artworks have reached a highness that spirit and material interacts thoroughly with each other. Although most of the images of his works are existed materials that generate from cultural or religious relics in ancient time or even political symbols in some specific period, they avoid depicting the symbolized social content and illustrative visual content. Undoubtedly, the way Huang Gang treats his objects is retrospective, but his vision is by no means rigid or isolated. His own life experience and art practice tells himself that true art should be the grand images existing in people’s inner world. It’s generated from some historical and realistic material imagery elements. An image has its shape and color while the grand image doesn’t. However, it doesn’t mean void when we talk about shapelessness and colorlessness. The grand image exists on the basis of shape and color.
Therefore, the scripture bearing the affection and skill of countless monks and craftsmen, the leather suitcases that recording the historical changes of nomadic people, and the badges that filled with the revolutionary enthusiasm of several generations, regenerate their original meaning. They talk to each other on the paintings and in the space, counterplay with their creator Huang Gang, and even involve the viewers. The value of Huang Gang's artwork lies in his way of representation. Based on his personal experience, he found a visualized way to link history and present, and present and future, making us see a new possibility of Chinese contemporary art. The contribution Huang Gang made to the art world is that he aroused the sealed memory of the viewers, and opened the door of the viewers' imagination. History, politics, religion and culture tradition ceaselessly encountered and compared with reality, waxed and waned reciprocally, and made the viewers hard to forget.
Gao Ling
October 19, 2008
【編輯：霍春常】
