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《隐蔽的秩序》——张远个展解读

(2008-01-11 17:07:45)
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隐蔽的秩序

张远

站台中国

文化

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/罗先梅(Ross)
 《隐蔽的秩序》——张远个展解读
No.14-看看2-25x25cm
 

    站台中国这次推出的张远个展,主题是《隐蔽的秩序》,这命题饶有兴味,我们可以把它理解为 “潜规则”、“隐身份”。张远自己认为,隐蔽的秩序,其实是在无逻辑的表象之下所隐藏的“故事”,但他并没有刻意去设计某个故事,因为如果指向明确,自己就成了剧作家,就丧失了宏大广阔叙事的可能性。秩序本是个比较生硬的词,生活中时时处处都有它的存在,但确切的概念其实是缺失的,现在把它作为主题,有两种可能:一是放到传统的话语体系中,旧瓶装新酒;二是重新造出一个体系,量身定做。这里很显然是取用了后者。 

 《隐蔽的秩序》——张远个展解读

No.12-迷踪-180x240cm

 

    初看张远的作品,貌似迷糊混沌,实则包含着大视野和大智慧。他的作品题材来源广泛,五色杂陈的面孔,人所共知的事件,这些不同背景的繁复细节经过重新组合,最终被统一到低调的底色下。然而通过这些素色的画面,你会看到社会的各个层面和角落。我们所共享的城市,被众多图像困扰着,它极其浮躁,需要表达。但原始的都市图像只是对生活的记录,必须经过艺术家的过滤、精选和再创造,才能衍生出更大的空间和可能性。

 《隐蔽的秩序》——张远个展解读

No.18-世界呵-180x240cm

 

    张远对于色彩的选择,更多地受到中国传统绘画的影响。庄子言:五色乱目,使目不明。也许张远就是这样,即使利用简洁单一的素色,依然可以尽情地诠释美;富丽堂皇的彩色,很多时候只是奢华的假面,用来掩盖事物自身的不完美。他大量使用青灰色,也许是由于灰比黑隐蔽一些,内敛一些,朦胧一些,低调一些,不像黑色那么硬朗和鲜明刺眼。从人生的格调来讲,灰色更有弹性,它代表退一步海阔天空,也是一种古老的智慧。 

 《隐蔽的秩序》——张远个展解读

No.19-都忘了-180x240cm

 

    张远进行创作,构图并不是他关注的主要元素,画面看起来像是一些不相干的图像的排列,实际上图像之间存在着各种外在的、内在的、清晰的、模糊的联系。他将最能激发情感的片断精心设计形成新的序列,产生新的作用。他专注地描绘,专注地发掘,既不贪恋夸张的角色,也不附会狭隘的观念。一幅作品的最后完工,经过了太多情感积淀和筛选的过程。观众根据自己的审美习惯和个人经验去对作品进行挖掘,得出不同的结论,这就是“秩序”所谓“隐蔽”的最终含义。

 

    现实就是发生着的历史,它多元而且复杂,就象一张京剧脸谱,总是按各自的需要描上不同的油彩,因此历史也是永远看不到其真实面貌的。我们所有探询的努力只能是不断的擦去油彩接近本真,要想洗尽铅华却是不可能。张远的绘画,至少给了我们一个审视的新视角,也是具有开拓性的尝试。每个人心里都有一个过滤器,想法决定活法,眼界决定境界。这个社会,混乱是不可避免的,但正是这种混乱成就了无数个“隐蔽的自我”,促发“隐蔽的群体”,形成“隐蔽的秩序”。

 

Interpretation of The Concealed Structure

 

Zhang Yuan’s solo exhibition currently at Platform China, has a really interesting name; we can understand it as "unspoken rules", "hidden identity" while Zhang Yuan thinks that the “stories” are hidden under the logical superficiality. In fact through his paintings, he never tells a particular story on purpose, otherwise he will become a dramatist, losing the possibility of an open narration. The word “structure” exists in every context in life. However, the exact concept is actually missing. We have now two possibilities to set it as the main theme, one is to put it in a traditional discourse system; the other one is to create a tailor-made system and we apparently chose here the second one.

After a first look, Zhang Yuan’s works seem to be confused; they actually contain a large perspective and a great wisdom. His subjects derived from extensive sources including various faces and well-known events. The different background’s details gather to eventually be unified under the low-key background. Through these images, you can see all levels and corners of the society. The city we share together is disturbed by a large number of images, expressing its complexity. However, the original images of the city are just daily life record, they must be filtered, selected and re-created by the artist to lead us to a wider space and endless possibilities of interpretation.

 

In the most of his color choices, Zhang Yuan has been influence by Chinese traditional paintings. Zhuangzi (a Taoist philosopher from the ancient China) said: “people’s eyes are disturbed and blinded by multi-colors”. Zhang Yuan is in line with Zhuangzi’s statement, he is in fact using plain and simple color to create fine paintings. The sumptuous colors are sometimes only a mask that covers up thing’s imperfectness. The reason why Zhang Yuan’s is working with numerous of grey may be because grey gives more space for the eyes and the feeling than black, which is too bright and sharp. For common people, grey seems to be more flexible, and according to an ancient wisdom it represents broader space.

 

The image’s composition is never the focus in Zhang Yuan’s work, it seems like some unconnected images lying on the painting, in fact there are some external, internal, clear and confused relations between the images. He sets up a new scene that produces a new effect to finally create really emotional pieces. Keeping focused on the paintings, he is partial to neither exaggerated roles nor narrow concepts. The audience understands the works according to their own perspective and personal experiences, and then comes to different conclusions; this is the ultimate meaning of the “structure” being “concealed”.

 

The reality is the history happening right now, it is so multiple and complex, just like a Beijing Opera, people have to draw different greasepaints in accordance with their own needs. So we can say the history never shows up at the surface. All the efforts we paid can only scrape off the oil to be adjacent to the truth, but it is impossible to wash all the attachments. Zhang Yuan's paintings are at least an attempt to provide us with a new perspective. Each person has a filter in the heart, the ideas decide the way of life, and vision decides the boundaries. Confusion is inevitable in the society, but it is exactly this which caused “concealed individuals”, made up “concealed group” and produced “concealed structure”.

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