放逐于“新都市寓言”
陳 默
郭燕的藝術，有一種新都市寓言的狡猾意味。其出發(fā)點，是基于對城市化進程中發(fā)生的種種問題的思考。在一個經(jīng)濟高歌猛進，資訊網(wǎng)路橫行肆虐，社會空間妖霧迷漫的當下，有財?shù)陌l(fā)財，無財?shù)南胴?，急猴了竊財。貪官一波波倒又一波波長，百姓一批批向好又一批批學刁。財富向少數(shù)人匯集，貧窮為多數(shù)人占有。倫理道德逐漸停留在書本層面，誠實信用更多地是作為前人的美德供人瞻仰?？梢哉f，從未有過的空虛和零亂，在人們的毫無防備中，悄然入侵。天天發(fā)生在眼前的故事，在不能漠視也不能回避的情形下，從社會學角度，挪來為創(chuàng)作所用是可能的。郭燕的作品，大致為兩個階段：前期的《紫色印象》和近期的《飄》系列。兩個系列中的基本框架，是城市與男女。所謂“城市”概念，既清晰又模糊。這是因為在利益的驅使下，城鄉(xiāng)一體，農(nóng)非一體。既然“一體”，邊界自會模糊。其代價是，滿足了一時虛榮，消解了各自的魅力。而“男女”，既是構成社會階層實體的基礎單元，也是諸多問題的源頭。同時，這也是古往今來文學藝術樂此不疲的表現(xiàn)內容。用作者的話說，“我們生活在城市化的矛盾困惑中，對大自然存有原始的渴望。”當這種困惑日益加深時，對原始自然的渴望也越強。難怪人們要懷舊，因為“舊”中有田園牧歌，有享樂親情。阡陌相聞縱歡，鶯歌燕舞天倫。當這一切差不多如海市蜃樓，離我們漸行漸遠時，當人類不再擁有童年，當大家“窮”的只剩下錢，我們能做的，不過是充當在城市的暮藹中游弋的生靈。那些乘“飛毯” 飄蕩的男女，有紫色的溫潤與誘惑，有灰色掩隱的病灶與危機，有寓言化的荒誕與浪漫。所有這些，都在藝術家精準的語言把握中，在個性化的觀念圖式中，有了必然因果。
2007年4月于成都龍王廟
Marooned on “The New City Fable”
Chen Mo
Guo Yan’s art carries with it a kind of elusive aura of the new city fable. It starts on the basis of the consideration of issues emanated from the process of urbanization. The monstrous fog of boisterous economic growth and abusive expansion of information network enshroud the entire society. The rich continue to be rich, the destitute aspire to get rich, and the impatient steal. Bunches of corrupt officials grow in the wake of the fall of bunches of corrupt officials. Lots of citizens learn to be good and lots of them learn to be bad. Wealth tends to be concentrated in the hands of a privileged minority and the majority is poor. Ethics and morality have gradually got stuck at the level of books. Honesty and faith are more often than not merely virtues of forefathers to be adored. It can be said that unprecedented vacuum and disorder has silently invaded the world, without the slightest premonition. In circumstances which cannot be ignored or avoided, daily occurrences right under people’s nose are likely to be borrowed, from the angle of sociology, for the use of creative work. Guo Yan’s works of art can generally be divided into two stages: namely, the earlier stage of “The Purple Impression” series and the recent “Float” series. The basic framework of these two series was the city, and man and woman. The so called “city” concept is at the same time both clear and blurred. This is due to the fact that in the pursuit of profit, city and village are unified. The boundary will naturally become unclear because of that. The price for this is the dissolution of their respective charm for the sake of satisfying the vanity of the moment. On the other hand, man and woman are the basic component units of the body in various social strata, and the source of various issues. This is at the same time the ever popular theme of literature and art, past and contemporary. To quote the writer’s words: “As we live in the midst of conflicting confusion of urbanization, we hold a primitive desire for Nature.” The primitive desire for Nature will intensify the ever deepening of this kind of confusion. No wonder people are nostalgic because in the nostalgia, there are pastoral lyrics, family love, countryside partying and singing and dancing and simple family relations. All these are almost like a mirage. When we gradually travel farther away, or when mankind no longer lives childhood, or when we are so “destitute” as to have lost everything except money, all we can do is play the roles of spirits floating in the twilight of the city. Those men and women traveling on “flying carpets” are adorned with the moist warmth and seduction of purple. There are hidden sickness and risks of grey. There are fabulous weirdness and romance. All these, managed by the precise language of the artist, and presented and characterized pictorially, have consummated the definite outcome of causation.
April 2007 at The Temple of Dragon King, Chengdu
【編輯：霍春?！?/p>
