展讯 | 磁场——韩建宇.张弛双个展 / 开普饭

展讯

磁场

展览名称：磁场——韩建宇.张驰双个展

主办单位：深圳市罗湖区文化广电旅游体育局

承办单位：罗湖美术馆

广州薇薇文化传播有限责任公司

学术主持：郭赟

策展人：蒋薇

展览时间：2021.7.28－2021.8.08

展览地点：深圳南极路6号罗湖美术馆

前言

孔子《论语》云：四十而不惑！“80后”作为21世纪成长起来的第一代人，曾在相当长一段时间里被当做“异类”大加批判，及至今日，最早的一批“80后”已然迈入“不惑之年”，“80后”一词及其指代的对新青年的争议则似乎慢慢消散在文化史的烟尘之中。

韩建宇抽象NO.13 布面木板油画金属件 170x140cm 2021

然而，80后一代艺术家或许需要被重新严肃地审视。事实上，即便迈入四十大关，80后依然被当做青年，80后艺术家的作品往往不同于六零后、七零后艺术家们难以磨灭的厚重的历史遗痕或者沉重的个人记忆，也有别于九零后新人类艺术家群体普遍倾向于个体的微观情感世界表达。甚至“八五”也被视作一个断代，“八五前”与“八五后”时常被严肃地加以分论。其实并不奇怪，“八五前”在新世纪前成长并完成了对世界的认知，而“八五后”的价值观生成在千禧年之后。

张弛凤凰木板景泰蓝综合材料 61x61cm 2021

世纪更迭之际实际上是一个巨变的时代，2000年左右正是网络时代走向中兴的时代，也是“信息时代”、“消费时代”和“广告时代”以摧枯拉朽之势刷新所有人价值观的时代。这是“八五前”艺术家在灵魂深处有别于更年轻一代艺术家的时代基因。

韩建宇抽象NO.12 布面木板油画金属挂件 170x140cm 2021

韩建宇早期作品中带有英雄主义色彩的表达暗示了艺术家对于宏大叙事的迷恋，但作品中肆意泼洒溃散的颜料以及猩红的色调可以视作对某种意义上崇高的消解。《同志》系列作品既是对英雄主义的向往，也是对某种明星的解构。今天的某种明星很多时候事实上也成为了被消费的对象，基于媒体传播的变异，以及意识形态的交互作用，在新的文化形态中往往表现为一种碎片化的历史形态，这其实很大程度上也是新一代艺术家的历史意识，他们对历史的认知不再局限于某种单向度的逻辑。这势必导向历史与文化的怀疑论，因之不难理解韩建宇之后作品走向带有浪漫主义色彩表达，所以作品既带有对历史视野的留恋与解构，又带有荒诞且现实的想象。

韩建宇场景NO.4 50X60CM 布面综合材料 2019 (4)

韩建宇在后来的作品《法海》与《禁区》中，这种历史叙事进一步隐退，以更隐晦的方式暗示着某些不可言说的若隐若现的历史碎片或者是营造某种带有隐喻性的现实时代图景。在韩建宇新近的作品《林中路》系列以及《场景》系列中，对语言的探讨与尝试、对个人情感世界与群体现象的分析，以及对环境与现实景观的反思成为了艺术家试图去探讨的问题。相对而言，艺术家开始更多地关注人之存在、社会的异化以及周遭环境的变化。

张弛食物链顶端的男人布面油画 200x170cm 2013

作为生活在南海岸多年的东北人，张弛的作品色彩艳丽而热烈，既有东北的艳俗文化痕迹，又杂糅了南方炽热而绚丽的海岸风情，画面充满了富于想象力的奇幻图景，其间充斥着大量性与欲的描绘，既直白又隐晦。张弛作品中饱满的情感及纷繁的叙事与艺术家平日中略显沉默的性格大相径庭，可以见出艺术家丰富的内心世界。作品中的造景容易让人联想到原始主义朴素而天真的语言，但这种朴素的语言更反衬了隐匿期间欲望的炽烈。

张弛爱的反射布面油画 200X170CM 2012

张弛巨幅作品《鸟人的欢乐世界》从图式上而言让人联想到宗教天顶画的幻境，充满肉欲的女人体像诸神或者飞天般或隐匿或穿梭在巨大的充满象征性的繁花之间，女人体皆为鸟头人身的鸟人，鸟头表情僵直如若面具，而肉身则充满情欲，花、胡蝶和鸟人们充斥着性与欲的欢愉。这是一幅充满大量现实隐喻的巨作，巨大的尺幅传递着某种宗教式的威严。《百鸟朝凤》背景中的圆明园背景暗示着破败与颓丧，这其实也是张弛作品的核心表达：恣意欢愉背后的虚幻，繁华盛景之下的糜烂！张弛的作品多数以隐喻和象征的方式折射现实，兽首人身、狗头鸟身或者是长着人体躯干的鸟虫畜兽，均在性与欲的驱动下飘然入幻。艺术家对欲的描绘与想象基于真实世界的反思，所谓“色即是空”，社会百态承载的是一个欲念四射的时代！

韩建宇抽象NO.11 布面木板油画，金属钉金属门把 170x140cm 2021

韩建宇与张弛皆为1981年生人，今年已步入“不惑之年”，从艺二十余载， “八五前”的老青年历经时代变幻，早已从容面对所有“诱惑”或者“疑惑”，但当代艺术始终在提出、思考以及探讨新的问题，并没有所谓的“乌托邦”或者“美丽新世界”，有问题的世界才是一个真实、良性且充满生机的世界，不惑而问惑，此亦当代艺术应有之义！

文／郭赟

张弛鸟人的欢乐世界，布面油画，200x510cm 2008

Confucius says in the Analects: “At 40, I no longer had doubts.” As the first generation to grow up in the 21st century, the Post-’80s generation used to be criticized as “oddballs” for a long time. Today, the earliest batch of Post-’80ers has reached “the age of having no doubts”. The term “Post-’80s” seems to be slowly disappearing into history. In fact, the Post-’80ers—now in their forties—are still regarded as young people. The works of artists born in the ’80s are often different from the indelibly heavy historical relics or grave personal memories of the artists born in the ’60s and ’70s, and they are also different from the Post-’90s / millennial artists’ highly-personal expression of the micro-emotional world.

韩建宇场景NO.5 50X60CM 布面综合材料 2019

Even the year of 1985 is regarded as a turning point, and the terms of “Pre-’85” and “Post-’85” are often under strict categorization. In fact, this is no surprise: the Pre-’85 generations grew up and formed a full view of the world before the new century, while the values of the Post-’85 generations were formed after the new millennium. The turn of centuries was actually an era of great changes. Around the year of 2000 was the era when the Internet was thriving, and it was also an era in which the “information age”, “consumer age” and “advertising age” drastically changed every individual’s values. This is the historical element that distinguishes the mentality of Pre-’85 artists from that of younger generations.

张弛鸡神布面丙烯 80X100CM 2021

The heroism in Han Jianyu's early works suggested that artists were infatuated with grand narration, but the scattered pigments and scarlet hues could be regarded as a resolution of sublimity in a sense.Comrade series works are not only the yearning for heroism, but also the deconstruction of political stars. Today's political stars have become the objects of consumption many times. Based on the variation of media communication and the interaction of ideology, they often show a fragmented historical form in the new cultural form. This is actually the historical consciousness of the new generation of artists. Their cognition of history is no longer limited to a certain one-way logic.

韩建宇林中路NO.6 220x200cm 亚克力木水彩纸丙烯 2019

This is bound to guide the skepticism of history and culture. Because it is not difficult to understand Han Jianyu's works are in romantic expression, so the work "Lugouqiao Incident" has not only the nostalgia and Deconstruction of historical vision, but also the absurd and realistic imagination. In later works Fahai and forbidden area, this historical narrative retreats further, suggesting some unspeakable historical fragments or creating some metaphorical realistic era picture in a more obscure way. In han Jianyu's recent works "Lin Zhong Lu" and "Scene", the discussion and attempt of language, the analysis of personal emotional world and group phenomenon, and the reflection on environment and realistic landscape have become the problems artists try to explore. In contrast, artists began to pay more attention to the existence of human beings, social alienation and the changes of surrounding environment.

张弛绝情谷布面油画 200cm直径圆形 2013

As a Northeastern man who has lived on the Southern coast for many years, Zhang Chi produces works that are colorful and passionate, with both traces of the gaudy culture of the Northeast and touches of the hot and splendid coastal style of the South. His paintings are imaginative fantasies with depictions of sex and desire—both straightforward and obscure. The full emotions and complicated narratives of Zhang Chi's works indicate a personality that is quite different from the artist’s: Zhang is quiet in real life; this contrast shows how rich the artist's inner world is. The landscaping in his works is reminiscent of the simple and innocent language of primitivism, but the simple language further divulges the fierce desires behind it.

韩建宇抽象NO.8 布面木板油画，金属钉金属盒 200x180cm 2021

The huge work “The Happy World of Birdman” reminds people of religious murals: sensual female bodies are hidden or weaving in huge and voluptuous flowers; the female bodies are bird-headed human bodies with stiff mask-like faces, while the human torsos are all erotic, immersed in the pleasures of sex and desire. This is a masterpiece full of metaphors, and the huge size conveys a certain religious majesty. The Old Summer Palace in the background of “A Hundred Birds Worshipping the Phoenix” implies dilapidation and depression, which is actually the core of Zhang Chi's work: illusion behind pleasure, erosion under prosperity. His work reflects reality via metaphor and symbol—it is the artist's reflection on the real world. The Heart Sutra says: “Form is precisely emptiness.” What society carries is an era of lusts and desires, and everything will eventually fall into vanity.

张弛来自非洲的的礼物布面丙烯120X200CM 2021

Born in 1981, Zhang Chi has reached his forties, with a career in art of more than 20 years. The Pre-’85 artist at the age of having no doubts has experienced the changes of times and has faced everything calmly. However, contemporary art is always presenting, contemplating and discussing new issues, maybe a world with issues is the real, healthy and lively world. Only by asking questions while having no doubts can you feel the existence of body and soul. This is also what contemporary art should be about!