|
标签：杂谈 |
从电脑荧光屏拍摄任达华作品（一）
从电脑荧光屏拍摄任达华作品（二）
任达华在北京798摄影棚拍摄自己的艺术作品，期间与艾敬交流对艺术的看法。
华哥为人谦虚帅气，近距离更有魅力
与达哥相识十多年前在凤凰卫视的一个颁奖晚会，从未有机会很深的交往，但是后来很多次在各种活动上匆匆擦肩而过，达哥总是彬彬有理，绅士的风度和谦虚的态度，配上他健美的身材和帅气的五官，尤其达哥的礼貌待人给我留下美好的印象。早就听说达哥默默喜欢摄影艺术已经二十余年，今天他来到北京参加一个活动，间隙期间安排了一次他在北京的艺术创作拍摄，我去探班，目睹了他陶醉在色彩里的快乐。相信他终究会有一天用自己眼里的视觉和内心绚丽赢得欣赏他外在美的那些人群的内心。
达哥 ，祝好！
|
标签：杂谈 |
新周刊300期以及 纪念刊《爱是生产力》
《新周刊》1997大盘点
新周刊300期答谢酒会（一）
新周刊300期答谢酒会（二）
新周刊300期答谢酒会（三）
新周刊300期答谢酒会（四）
新周刊300期答谢酒会（五）
新周刊300期答谢酒会（六）
新周刊300期答谢酒会（七）
新周刊300期答谢酒会（八）
新周刊300期答谢酒会（九）
6月6日在北京参加《新周刊》300期答谢酒会，见到很多老朋友，孙冕、封新城、窦文涛、刘小东和喻红夫妇以及他们的女儿红孩儿，很开心，很温馨，就像这次活动的该杂志所表述的一句话：“一本杂志，一个时代的体温”。是的，这本杂志是有体温的，就算我不是每期都看得到，但是只要是我看过的那一期，总会有一些话或者一个主题在我心里萦绕，久久不会散去，那种温度是从文字里渗透出来。
去年的11月底，封新城急切地邀请我去广州，他在《广州日报》和《南方都市报》看到了有关我的个展<all about love>的介绍，因为我所说的一句话：“爱是生产力”而触动了他。他邀请我为“总编访谈录”拍摄照片和访谈，到了广州的当天下午拍照，访谈在一个餐厅里进行，那个晚上我对这个来自北方的男人有了更多的了解，他是一个有温度的父亲。我们聊了些什么，我都不记得，也不想回放，因为我们的谈话是那么的随意，绝对不像我曾经做过的任何一次访问，但是我居然没有什么警惕，因为我知道，他绝对不会把我往沟儿里带。他仿佛在驾驭那场聊天，带我天马行空地聊。他说过，他的总编访谈录里几乎没有邀请什么女性，那么我是该高兴还是生气？！高兴的是我的父母一直期待我是一个男孩儿，一直把我当儿子看待，不高兴的是，我难道很爷们儿？！
孙冕，《新周刊》的创始人，我的老大哥，喜欢他每次饮酒之后总为女孩子们吟诗一首，以及他有那种把餐厅的酒全喝光的气派，但是以前的孙冕总是在欢闹聚会的酒后孤单地离场，一次在我的生日PARTY，留在餐厅的朋友们还在陪孙冕喝酒，我说，我买单，你们随便喝，接着我就回家睡觉去了。据说第二天凌晨孙冕被锁在车子里还在呼喊我的名字：“敬敬去哪了？！还有一次，孙冕带着一名美女来我父亲的生日晚宴，他和我的父亲把一家日本餐厅的清酒全部喝光，最后孙冕酒醉，被单独送回酒店。
刘小东和喻红，他们的女儿“红孩儿”已经亭亭玉立，她像是父母的综合体，既有母亲的女神般的摸样，眼神里也有父亲的顽皮。小东总是那么奔放顽皮，我把他拉到舞台上，因为我知道他是那么地渴望成为“歌星”，前年在詹建俊老先生的生日PARTY 上，我从刘小东一曲张学友的《吻别》中，我已经看到他具备“歌星”的潜质。这次小东被我拉上舞台后的反应是：“哎呀，灯光那么强，我一句歌词都想不起来了，但是舞台的感觉好好啊！”。哈哈，小东真的可爱，他可爱在于，他和喻红是我在十多年前认识的朋友，他们身上还有和当年一样的本质，没有因为名和利而改变。
《新周刊》300期，祝愿温度持续不变，新锐一直犀利，这块土地，我们一起见证这个国家的成长。一本杂志，我和你，爱是我们的生产力！
|
标签：杂谈 |
赵力
爱，不是一种心智的活动，不是一种思想。爱，是人类最深奥的一种东西，生命的奥秘只能透过爱来发现。缺少了爱，人生将毫无意义。
但是，爱是无法被知晓的，只有当爱被了解和转化的时候，你才会知道什么是爱。
艾敬，对爱有着某种虔诚般的信念。作为歌手的她，对于如何以音乐和歌唱的方式来了解和转化爱有着与生俱来的天赋，而现在这种天赋也被用于她的视觉创作。
由此我可以很确定地说，艾敬已经将对爱的信念逐渐提升为一种有能力去爱的热情。
艾敬的视觉创作，具有鲜明的自我特征，而这些特征无疑即基于这种有能力去爱的热情。因此她的视觉创作无法以过往的俗套陈词加以评述。
她的作品往往是针对着朴素的情感而出发的，或者是针对着解除痛苦而出发的。而这些都是活于当下的人们所最需要的。正因为当代生活变得如此得空洞、肤浅和缺乏意义，所以艾敬的作品才会变得如此得弥足珍贵；也正因为如此，艾敬的作品提供了当下的人们所普遍希冀的某种心境——一种真实的存在状态，一种核心的存在状态。
即便如此，在艾敬的作品中既没有谴责也没有说教，而是直白的表露和朴素的呈现。LOVE，一个简单到不能再简单的英文单词，既成为了她手中的“利器”，也成为了她百变不离其中的“魔术盒”，幻化出一个系列又一个系列的创作。也正因为如此，艾敬的直白表露和朴素呈现没有丝毫的乏味，而是更强烈和更敏锐。
一些稍早的作品无疑带有了更多的随意性，不完整性和有意识的自我破坏随处可见。稍后的创作更强调边线，有着“硬边”的冷峻和“凸起”的层次，对应着的则是“当代都市中的棱角”，以及对于“爱这个温柔而热烈的字眼，逐渐被结构化之后的‘冰冷’属性”的深刻反省。
对LOVE字样的描绘，也显现出艾敬在思考上不断深化的机智。起初关于LOVE的反向刻画有着明显的“视觉性提醒”的意味，而最终则发展成为了“一个事物具有正反面”的哲理命题。
更强烈和更敏锐，意味着艾敬必须随时去感受身边的一切变化。既要去感受城市的乌烟瘴气、喧嚣、贫困，也要感受潺潺的流水、深沉的大海、湛蓝的天空，还有那些因变化所带来的人生沉浮、太息感喟。
她的一本书的名字《艾在旅途》，似乎很好地点明了艾敬的真实心绪与创作语境。“在旅途”，本无所谓起点，也本无所谓终点，而是跳开时间与地点的所有束缚，以寂然独立的姿态保持着高度的感受性、理解力和同情心。于是乎2008年的汶川地震和北京奥运会也进入了她的视野，这些都让艾敬的创作有了更多的生活痕迹以及对当下社会的适度介入。
在艾敬看来，正如她对LOVE的正反刻画，音乐创作和视觉创作的关系既存在着某种同一性又存在着迥异差别。
对于音乐创作和视觉创作同样痴迷的她，目前已经在自己的音乐创作中添加了越来越多的视觉色彩，而在视觉创作中那些微妙变化的色调无疑也对应着人们的真切感受，传递出各种细致入微的情绪，犹如音乐般的混响和节奏。
然而针对流行音乐越来越多的商业化诟病，从事视觉创作已经成为了艾敬“让自己找到一个出口”的释然方式，在她看来视觉创作令她“更自由、更个人、更自信”，令她超越时间、经验和已知的境界，沉浸并为爱所包围。
2009-4-26
赵力，1967年出生，江苏无锡人。1989年毕业于中央美术学院美术史系，并留校任教。1998年获文学博士学衔。现为中央美术学院副教授，中央美术学院人文学院副院长，硕士生导师，首届中国国际画廊博览会艺术总监，《艺术财经》艺术总监。主要研究方向为美术史、文化遗产保护与发展、艺术管理与艺术推广等。
So-called Love
Zhao Li
Love, is not a mental activity, not an idea. Love, the most abstract treasure of human beings, is the only way for us to find the meaning of life. Without love, life is insignificant.
However, love is unperceivable. You can only know what love is when it’s understood and translated.
Ai Jing has
certain religious faith in love. As a singer, she is gifted in
appreciating and translating love through music and songs. And now
this gift of her is used in her visual
production.
Therefore, I am sure that Ai Jing has converted her faith for love into enthusiasm and capability for love.
Ai Jing’s visual
works have distinct character which is certainly rooted from the
enthusiasm and capability for love, and that why her works have
nothing to do with clichés and conventional patterns of the
past.
She paints out of simple sensibility or a wish to release people from agonies, which is necessary for people of nowadays. Modern life has become empty, superficial and meaningless, and that’s what makes Ai Jing’s works so precious, and that’s why Ai Jing’s works can lead people to the where they wish for---a feeling of real and essential existence.
Even though, there
is no condemnation and lecture but frank expression and plain
presentation in Ai Jing’s paintings. LOVE, the simplest English
word is her edge tool and magic box with which she accomplishes one
series of works after another, and that’s why Ai Jing’s paintings
come intense and astute but not dull and boring.
Earlier works of
Ai Jing are obviously more casual with imperfections and conscious self-destruction everywhere.
Her latish works look more grave and frosty with hard curves and
convex levels which reflect on edges and corners of modern cities
as well as on how “love”, a gentle and soft word, becomes metallike
coldness after being structurized.
Ai Jing’s way to illustrate “love” also shows her deepening wit and reflection. At first, her reverse portraying of love shows an obvious “visual awaking”. Ultimately it becomes a philosophic proposition that “anything has two sides”.
More intensity and acuity require Ai Jing to be aware of everything around of her. She has to feel the city’s dirtiness, hurly and poverty, as well as the gurgling water，dark ocean and blue sky. More importantly, she has to feel the world’s transformation and people’s suspiration because of any change.
The title of her
book, “Ai Jing on the Journey”, perfectly explains her true frame
of mind and language environment for creating. “On the Journey”
indicates it doesn’t matter if there’s starting point and ending
point or not. She’s out of the frame of time and space, standing
lonely with consciousness, intelligence and compassion. Thereupon
we can see Wenchuan earthquake and Beijing Olympics in her
pictures, which makes her works have more flavor of life and
moderate interposition into modern
society.
Fascinated with
both musical and visual creating, Ai Jing has been putting more and
more visual elements into music composition.
Meanwhile，the subtly varying colors in her visual
production seems also delivering people’s delicate feelings and
emotions like a reverberation of rhythm.
However，since the commercialization of popular music, visual creating has become an exit for Ai Jing to get away. For her, visual creating is more liberal, more personal and more confident. It makes her go beyond time, experience and any known place, approaching a new world encircled by love.
2009-4-26
1967, Zhaoli was
born in Wuxi in the province of Jiangsu, 1989 he graduated from
China Central Academy Of Fine Arts in Art History, and he worked as
a teacher in the Academy. In 1998 he received a doctor degree
majoring in literature. Now he was appointed as associate
professor, master student supervisor and vice president of the
College of Liberal Arts at the Central Academy of Fine Arts. He was
also the art director of the first CIGE, and the magazine《Art
value》。His main research contents art history, protection and
development of the world cultural heritage, art management and art
promotion.
|
标签：杂谈 |
艾式艺术
周大为
艾敬，这个熟悉的名字，近来以一种新的角色和身份重新回到我们的视线中。曾经在音乐的世界里尽情游走，而今她又执起画笔，在浸润着自我情感与人文关爱的绘画艺术中诗意地生活，怡然自得地穿梭在多种艺术形式中。这不禁使人联想到同为民谣歌手的琼尼·米歇尔（Joni Mitchell），她不仅在音乐领域上频频受到格莱美的嘉奖，同时也是一位颇有成就的视觉艺术家和词曲作家，她通过摄影和绘画，创作了自己每张专辑的图像。无独有偶，而今的艾敬也成为这样一位身兼音乐人、画家、作家等跨界艺术家。从曾经的音乐到现在的绘画，再到今后可能的任何其他形式，艾敬正试图用不同的艺术媒介来表达自己的情感和艺术理念。她用作品向我们传达这样一个讯息：她是一位真正的艺术家，一位在当今现实社会中仍不遗余力地去探索未知、表达情感、传递关爱的多元艺术家。
艾敬作为音乐人，画家，作家，诗人，这种多元艺术家的身份，即在多种不同的艺术形式中都有所成就，在国外艺术家中是相当普遍的。如鲍勃·迪伦(Bob Dylan)、安迪·沃霍尔（Andy Warhol）、约翰·列侬(John Lennon)、大野洋子等等，他们在音乐、绘画、写作、摄影等艺术领域中都颇有研究，对后来的艺术发展和艺术家成长也起到了至关重要的作用。艺术家身份的多元化不仅是西方美术史呈现出的一种趋势，同时也是后现代艺术所坚持的一种信仰。而在中国，长久以来对艺人的偏见依然固执的存在着，还有许多人认为艺术就是“阳春白雪，和者盖寡”。但我深信，这些陈旧鄙陋的观念将会被不断前进的时代所抛弃，而像艾敬这样站在时代和艺术界前沿的真正的艺术家会逐渐受到国人、甚至全世界的更多关注，我们将走向一个艺术家被重新定义和审视的时代。
爱，是生活和艺术永恒的主题。艾敬的作品以“Love”为主题无疑是个明智的选择。也许正是由于“爱”对大众和艺术家们的深远影响，许多艺术家的创造都围绕着这一主题展开，其中就包括在全世界不少城市都能见到波普艺术大师罗伯特·印第安那（Robert Indiana）的Love系列雕塑作品，“爱”的魅力由此可见一斑。
然而，艾敬的“Love”系列作品却拥有其独特之处，这不仅表现在她使音乐与绘画两种艺术形式相互渗透，运用艺术的精神本质来创作，同时作品本身所表达的情感和对社会的高度关注，也是当代艺术中极其可贵的人文视角。她凭借对音乐的深刻理解逐渐参悟出绘画艺术的精髓，在她的作品中，“爱”不仅仅局限于狭义的男女之爱，而是放宽眼界，看到了更丰富的意义，借此也透过作品让观者也能静心思考“爱”对于生命和生活的意义。
也许有些观众会对她的作品提出反驳，认为无法理解抑或是过于简单。然而艾敬艺术作品的精妙不在于构图，而是在于强烈的色彩以及所传达内容。她大胆采用自己调配的色彩，加之机械排列、重复和强调，制造出一种强大的视觉冲击力。这种勇于对色彩进行大胆突破和尝试的，在我国当代艺术家中确实不多，而艾敬却做到了。更重要的是，艾敬的作品中寄托着她最真挚的情感，传递着她对亲人、对社会、对生态的关爱，她把自己的“爱”通过艺术的形式表现出来，从而去创造更多“爱”，让观众感受到作品背后所蕴藏的艺术震慑人心的力量，引发人们去真切地思考生命中的“爱”和价值。
在后现代艺术中，绘画的过程以及其所承载的意义已经超越了绘画本身。看上去简单的画作，其实笔笔都是画者的心意，字字皆是画者的深情。诚然，艺术家最终需要做得正是对人类社会有所贡献的作品，而艾敬的作品和成长也正朝着这一方向发展。
周大為出生于中国上海,他毕业于英属哥伦比亚大学，主修艺术史与国际关系并获得学士学位。2006年，周大為与华雨舟合作，成为上海华氏画廊的艺术总监。周大為推出了一系列展览如：2007年中国抽象主义运动，2008年草间弥生版画展。使华氏画廊被国内权威艺术杂志《HI艺术》评为国内顶级20家画廊和上海三大画廊之一。
Ai”s Atrs
David Chau
Ai Jing，a name we were familiar with, lately came back into our eyesight with her new role and identity. She used to roaming around the world of music，and now she is picking up the painting brush, living the poetic life full of sentiment and loving humanism, wondering through various forms of art . This reminds me of the other balladeer Joni Mitchell who is a Grammy winner as well as a prominent visual artist and successful composer. Mitchell has done all the photo shooting and painting for every cover of her albums. It’s not a unique instance. Ai Jing now has become such a versatile artist of music, painting and writing. From music to painting, to any other possible art form she would try in the future, Ai Jing is trying to present her feelings and art believes. She is conveying a message with her works to us: she is a real artist, an artist with many levels who does not quit exploring unknown, unveiling emotion and expressing love in such a realistic world of nowadays.
With multi-roles of musician, painter and poet, Ai Jing has been accomplished in varieties of art forms, though this is a quite usual occurrence among foreign artists, for instance, Bob Dylan, Andy Warhol, John Lennon, Yoko Ono and the like who without exception have achieved success in many fields of music, painting, writing and photography and significantly contributed to the shape of art history and young artists. Diversification is not just a tendency of western art history, but also a religion of post-modern art. However, in China, people’s prejudice for entertainers still persistently exists, while most of the people still think art is highbrow and caviar to the general. Nevertheless, I truly believe that these old shallow opinion will sooner pr later tossed away by ongoing times, and true artist like Ai Jing who always stands at front of times and art will become the future star in China and the world. We are walking up to a time when artists will be redefined.
However, Ai Jing’s Love series of works
get their own special features. She indites with the spiritual
essence of art; she makes music and painting infiltrate into each
other; meanwhile, seeing from her attention for society and the
sensibility of her works, she has admirable humanism angles of view
for modern art.
Maybe some of the viewers will consider her work hard to understand or too simple. Nevertheless, the excellence of Ai Jing is not about the composition, but the strong colors and the message they express. She uses the color she prepares her own and put them together as mechanic arrangement, repetition or highlight which produces powerful visual wallop. There are not so many artists in contemporary China who dare to try boldly in colors. Ai Jing made it. More importantly, she expresses her most sincerely love and caring through her works to her family, to the society and the environment. She conveys “love” through art in order to inspire more love from the viewers by impress them with the overwhelming power of art and make them reflect on the love and values in their own lives.
In post-modern art, the process of
painting and the meaning it carries have become more important than
the painting itself. A picture may look simple, but every brush of
it is the painter’s soul and love. Indeed, the final destination of
artist is to contribute to human society, and that is what Ai
Jing’s doing presently.
David Chau was born in
Shanghai,he graduated with a B.A degree from University of British
Columbia in Art History and International Relations.In 2006, David
Chau partnered with Hua Yuzhou and becoming the CEO and Director of
Hwas Gallery in Shanghai. Chau launched several major exhibitions,
among which included The Chinese Abstract Movement in 2007,
|
标签：杂谈 |
当爱成为信仰
——艾敬
我与艺术的结缘是在1994年的巴黎之旅，我游览了法国罗浮宫，看到达芬奇的《蒙娜丽莎》以及桑德罗·波提切利的维纳斯，走入罗浮宫绚丽的艺术世界，那些作品里的人物和风景以及背后的故事都深深吸引着我想要去了解。在蓬比杜当代艺术中心，当代艺术的表现形式也让我怦然心动。徘徊在塞纳河边，我感觉到艺术给我带来的一种难以描述的不安和涌动，我渴望着那种与之交汇碰撞的时刻，就像要恋爱的感觉，对未知充满期待。
从此，我走到任何一个国家都会关注艺术展览，我游历了英国大英帝国博物馆，以及欧洲的建筑和教堂里的雕塑以及壁画艺术杰作。后来在纽约的生活中，美术馆和各大艺术拍卖预展都是我常去的地方。这十几年里，我看过无数重要的艺术展览，毕加索、马蒂斯、路西安·弗洛伊德、蒙克、梵高、吉斯·哈林、安迪·沃霍等等艺术大师的作品回顾展，我与他们一生中最重要的作品，人类的艺术结晶零距离地接触。艺术的魅力在于，即便艺术家已经离开人世，他们的艺术作品仍然在说话，如果能够读懂艺术的语言，就如同打开了一扇绚丽多彩的大门。
纽约是具有多样和包容性都市，街头艺术挑战着人们眼里正常的思维和价值观，他们的作品无拘无束地散发着生命力。纽约，使我的眼界开阔，使我汇集了力量和信心。我相信：艺术以无形的状态早就存在，艺术开启了所有的所有，乃至一切。
以前我写音乐的时候，脑海里有很多的画面，我的音乐形态是流动的，有色彩和线条，我不想做一个普通流行音乐的标准，这是一种直觉，我找到了自己的音乐风格。“我用做艺术的方式做音乐，用做音乐的方式做艺术”。现在，我的每一幅作品对我来说都是音乐，是有旋律的，它们传达着情感的博大，多变和复杂性，我迷恋色彩，并且大胆地使用它们。
“爱”的符号，它在我的画布上刻板地排列，一遍又一遍地涂抹堆积，它们不是一个传统的绘画形态，因为能把形态画得出神入化的艺术家已经在几个世纪前出现，而今天艺术家应该使用这个时代或者下一个时代需要的语言，而并不是追随前人的脚印照猫画虎。那些时代的艺术家告诉我，他们之所以被流传，因为他们完成了超越那个时代的使命。
我常常说自己是在过着“艺术家的生活”，并非是我没有信心接受一个艺术家的称谓，在我看来，一个艺术家如果没有“艺术家的生活”，那么他根本就是“伪艺术家”。我不想被界定在叫做“艺术家的群体”，这是我内心的清高和狂妄。实际上，我不仅有能力做一名艺术家，我想做一个能够传达出美好，对人们有所贡献的艺术家。
我曾经说过：“我的音乐是给那些精神上先富裕起来的人听的”！同样的，喜欢我的艺术作品的人一定是有一个境界，那就是对爱的追求和肯定，内心的美感和富有。
我的艺术作品不仅仅限于架上绘画，在2000年我用观念的手法跨越四个国家和城市，拍摄了有关关注大熊猫，保护大自然的影像作品《I LOVE PANDA》。我也在纽约发生不幸的911事件之后，创作了《纽约纽约》这首歌。
我关注社会，我用一个国际的视野和角度去观察，一个全球的世界观，用一种对社会责任感和良知去体恤人类的苦难，一切有关现在和未来人类生存的课题都是我创作的素材。我还准备投入到公共艺术作品的创作，希望把自己的作品带到大众当中去，让人们在每天的生活环境中感受到艺术作品带来的精神上的愉悦。艺术家必须是勤劳的，有行动力的，不能把想法只停留在脑子里，要具有坚定的信念，把作品实现。
现阶段，我借用“爱”的符号，用色彩和构图发挥这个符号的能量，我相信，“情感强壮，则艺术强大”。我不断重复这个“爱”的符号，因为“爱”是这个社会最缺乏的，人们为了达到自己生存和获利的目的，在谎言中生活，不惜去践踏别人的健康生命和尊严。
在中国艺术历史的长河中，很多名画家能够留下来的艺术作品都在使用自己的符号来传达他们的艺术境界，符号是中华艺术给我的传承，而我在色彩上的运用则是因为我的世界观已经被打开，那些异域文化色彩自然地进来。
当爱成为信仰，艺术是主宰“爱”能到达的地方。
写于2009-4月北京
When Love Becomes Faith
Ai Jing
I first fell in love with art in 1994 during a trip to Paris. I
strolled through France’s Louvre, where I admired Davinci’s
After that, whenever I traveled to any country, I would visit art galleries. I visited the British Royal Museum in the United Kingdom and I observed classic sculptures and frescos in buildings and churches in Europe. Later on while living in New York, I frequently went to see art exhibitions and art auction previews. Over the past decade, I’ve seen countless major art exhibitions, including the retrospective works of Picasso, Matisse, Lucian Freud, Edvard Munch, Van Gogh, Kith Haring, Andy Warhol, as well as the exhibitions of other master artists. I feel these important works of those artists are the property of humanity, and while looking at them, I felt that there was no distance between myself and the art. The charm of art lies in the fact that even after these artists have left the world, their art continues to speak to us. If you can understand the language of art, it’s as if you’ve opened up a wonderful door of colors and lights.
New York is a diverse and inclusive city. Street art challenges our normal thoughts and value systems. The art of street artists is full of unrestrained vitality. New York expanded my field of vision, helped me to gather my strength and confidence. I believe that the intangible nature of art has long existed, and that art is everything, and existed before everything.
In the past when I wrote music, I had a lot of images in my mind. The nature of my music was flowing, with colors and lines. I didn’t want to create ordinary music. I had an intuition to find my own style of music. I wanted to use the method used to create art to also create music, and use the way of creating music to create art. I feel that each piece of art that I create is a piece of music with its own melody. My art communicates the broadness of emotion; it is changeable and complicated. I’m enamored with colors and moreover, I use them boldly.
The symbol for love is dabbled repeatedly across my canvas, piling up line after line. This is not a traditional form of art. Because artists who could paint perfect forms have been around for centuries, artists today should use the language that will be needed today or tomorrow; they should not follow in the footsteps of those who came before and copy randomly without capturing the real spirit of that art. The artists of these past ages told me that their art has lasted until today because they succeeded in surpassing the mission of the era they lived in.
I often tell myself that “I’m living the life of an artist.” It’s not that I don’t have the confidence to accept the title of artist, but in my opinion, if an artist does not live the life of an artist, he is basically a pseudo artist. I don’t want to be defined as a member of what is called “the art community.” Maybe this is because inside I feel aloof and proud. Actually, I’m not just capable of being an artist, I also want to be an artist who is able to transmit beauty, and one who can make a contribution to the world.
I once said: “My music is for the enjoyment of those who became spiritually rich first. Those people who enjoy my art have reached a certain level, they believe in love and have beautiful minds.
My artwork is not limited to just paintings that you hang on the
wall; I also use other different media to express myself. In 2000,
I traveled to four cities and across four countries using
conceptual art to make a video related to pandas and the protection
of nature titled
I use an international vision and perspective to observe the world. Feeling a sense of social responsibility and having a conscience, I feel an empathy for the troubles faced by people. Everything concerning the survival of people now and in the future is a source of my art. I am preparing to throw myself into the creation of public art, hoping to bring my art to the masses, in order to enable them to enjoy the delightfulness of art each day in their own environment. An artist must be hardworking and have power. He or she cannot let his or her thoughts remain in the brain, but should have a resolute determination to create works of art.
In my current stage, I am making use of the symbol for love, using colors and composition to give free rein to the energy of this symbol. I believe that emotions are powerful and that art is formidable. I will continue to duplicate this symbol for love because love is what society lacks the most these days. In order to survive and prosper today, there are people who are living in lies, who trample on the lives and dignity of other people.
In the long history of art in China, many famous artists were able to pass down their art because they used their own symbols to express the level of art they had attained. Symbols are my inheritance from Chinese art. I also learned to use colors because my world view has been opened, and those colors from a different world have naturally come in to my mind.
When love becomes faith, art dictates how far love can reach.
|
标签：杂谈 |
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（一）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（二）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（三）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（四）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（五）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（六）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（七）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（八）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（九）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（十）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（十一）
艾敬上海个展 《LOVE IN SHANGHAI 2009》展览现场图片（十二）
