展览 | 肖克刚个展：匿名

匿名 ANONYMOUS

展览日期：2019/12/28 — 2020/02/29

开幕酒会：2019/12/28 15:00-18:00（星期六）

艺术家：肖克刚

出品：千高原艺术空间

作品媒介：绘画、装置

展览地点：四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间

电话：+ 86 - (0) 28 8512 6358

邮箱：[e-mail]

千高原艺术空间将于2019年12月28日推出肖克刚个展《匿名》，呈现艺术家近两年来最新创作的绘画、木雕装置。以“匿名”为引，通过不同媒介和手法的运用，艺术家隐晦又肆意地展现了他近期的视觉实践与精神体验。该展览将持续至2020年2月29日。

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匿名——关于肖克刚近作

两年多来，肖克刚不知道废掉了多少张画，目前剩下的也只有这二十几张。不是他对自己的创作有什么严苛的要求和标准，相反，他恰恰不知“终点”在何处。大多时候，他其实是在一种将信将疑的状态下工作的。其目的与其说是为了完成一张画，不如说是通过绘画，将自己从现实中抽离出来，并由此敞开一个个未知的物理空间和精神世界。所以，当突然有一天或某一刻，这些画面满足不了他的目光或观看经验的时候，他便立即将之废弃或尽数抹掉，宁可回到空白（画布）的状态。

▲肖克刚，匿名2019 No.8，布面丙烯，300 x 200 cm，2019

Xiao Kegang, Anonymous 2019 No.8, Acrylic on canvas, 300 x 200 cm，2019

多年前，肖克刚曾尝试塑造一个相对完整和写实的叙事场景，也曾得到诸多同行友朋的认可，但很快他便放弃了这条道路，重归对形式、空间及绘画媒介本身的实验。这亦让他更加坚信，最靠近他身体和精神的不是图像，而是触碰画布的过程。图像也许是一个重要的诱因和起点，但他的用意不是描绘某个对象，恰恰是在“祛除”对象、“拆解”和“重组”图像的过程中，诉诸切己的感受、体验和思考。

即便如此，其画面中依然不难发现巴萨利兹、奥尔巴赫、培根以及中世纪绘画的痕迹，不过在很大程度上，肖克刚的绘画靠的还是本能。他真正的用意不是为了让媒介变得自足，更看重的恰恰是身体在画布上的“肆意”激荡。在这个过程中，他希望通过与知识经验的碰撞和搏击，撕开一个个精神的出口。尽管有时候也会做一些局部的调整，但他并不刻意去“经营”一张画面，每张画都仿佛是一次没有目的的航行。他保留着笔触流动的痕迹和质感，但又常常通过硬边处理，警惕自己陷入简单粗暴的情绪宣泄，流为一种诗意化的平面构成。因此，画面看似没有一个可辨识的空间和形象，但同时，我们又觉得空间和形象无处不在。这期间，他尝试掺杂了一些拼贴的手法，画面中偶尔可以看到一些零星的涂有色彩的纸片。拼贴破坏了画面原本的“完整性”，它看似是一种遮挡和切割的游戏，但制造了缝隙和新的空间，对他而言，那些缝隙无异于黑暗的深渊。后来他放弃了直接的拼贴，还是觉得这样的方式过于刻意，何况单凭绘画媒介本身便可抵达同样的目标。凉山彝族的原生性图案、文字和雕刻给了他新的灵感和启发。吸引他的不仅是这些不可知的形象，更重要的是它们原本所具有的魔力和能量。新作中的一组木雕很大程度上便得益于这些神秘的体验和感知。而这样一种形式上的“肆意妄为”，在这里更像是一次次“荒诞”的精神历险。

▲肖克刚，匿名2019 No.4，布面丙烯，120 x 97 cm，2019

Xiao Kegang, Anonymous 2019 No.4, Acrylic on canvas, 120 x 97 cm，2019

肖克刚经常阶段性地陷入困境。曾有一段时间，还查出患有轻微的惊恐障碍或惊恐症。惊恐症患者常常伴以强烈的濒死感或失控感，其由于害怕产生不幸后果，便会随时引发急性焦虑和紧张。因此，对肖克刚而言，绘画同时也是他缓解精神焦虑的一个途径。画面中那些“失控”的笔触和失重的“形象”固然不是其惊恐障碍的显现或表征，但或许是进入他画面的一个适切入口。

肖克刚将这两年多的近作统一命名为“匿名”。“匿名”不同于艺术家常用的“无题”。“无题”是无法命名或不愿命名，而“匿名”的意思是原本有名，只是不愿署名或不署真实姓名，即隐瞒身份、个人特征或不说明自己的身份。这不仅意味着作品之间原本的差异性，也提示我们这些作品所代表的也是他不同的生命时刻和精神时刻。这些年，肖克刚一直窝在成都郊区，平时很少进城，更少出省，始终保持着与艺术圈和现实世界的距离，就像他画面中那些“随机出没”的幽灵一样，宁愿做一个匿名者，孤身活在自己的小世界里。当然，在网络的终端，我们每个人或用户其实都可以成为匿名者。吊诡的是，互联网时代本质上不存在匿名者。（文/鲁明军）

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Xiao Kegang: Anonymous

Duration: 28/12/2019 –29/02/2020

Opening: 28/12/2019, 15:00-18:00, Saturday

Organizer: A Thousand Plateaus Art Space

Artists: Xiao Kegang

Media: Painting Installation

Venue:A Thousand Plateaus Art Space, South Square, Tiexiang Temple Riverfront, 

Shengbang Street, High-tech Development Zone, Chengdu, China

Tel: + 86 - (0) 28 8512 6358

E-mail: [e-mail]

From December 28, 2019 to February 29, 2020, A Thousand Plateaus Art Space is pleased to present Xiao Kegang's solo exhibition “Anonymous”. On view are Xiao’s new works, including paintings and wooden installations, created in recent two years. Suggesting the implication of “anonymous”, the artist represents his visual study and spiritual experience by using different media and methods, obliquely and arbitrarily .

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Anonymous: Recent Works by Xiao Kegang

Xiao Kegang didn’t know how many paintings they have abandoned in more than two years, leaving over twenty pieces so far. It is not because he seeks any severe requirement and standard for his works, on the contrary, there is no “destination” for him. Most of the time, he works with a skeptical status. The goal is not so much to finish a painting as to draw himself away from reality and thereby successively open up unknown physical spaces and spiritual worlds.Therefore, if the pictures cannot satisfy his eyes or his viewing experience, suddenly in a certain day or certain time, he would immediately discard or erase them, preferring to return to a blank (canvas).

▲肖克刚，匿名2019 No.5，布面丙烯，206 x 160 cm，2019

Xiao Kegang, Anonymous 2019 No.5, Acrylic on canvas, 206 x 160 cm，2019

Many years before, Xiao Kegang had tried to shape a relatively complete and realistic narrative scene and been acknowledged by peers and friends, but soon waived this path and returned to experiments on the form, space, and medium of painting per se. It made him more convinced that the closest thing to his body and spirit was not the image but the process of touching the canvas. Image might be an important inducement and starting point, however, his intention is not to portray an object. It is precisely in the process of "eliminating" the object, "disassembling" and "reorganizing" the image that he resort to feelings, experiences and reflections of self-conscious.

▲肖克刚，无题2019 No.1，纸上粉笔、丙烯等，60 x 43 cm，2019

Xiao Kegang, Untitled 2019 No.1, Chalk, acrylic, etc. on paper, 60 x 43 cm，2019

Even so, it is not difficult to find traces of Baselitz, Auerbach, Bacon and medieval paintings in his pictures, but among them, Xiao Kegang’s paintings still rely on instinct. Making the media self-sufficient is not his real intention and what he values more is the body's “arbitrariness” on the canvas. In the process, he hopes to tear through the spiritual exit through collision and combat with knowledge and experience. Although partial adjustments would be made sometimes, he never deliberately “run” a picture and every painting is like a voyage without a purpose. He retains traces and texture of flowing brush strokes but often alerts himself to fall into simple and crude emotion by handling hard-edge, flowing as a poetic plane composition. Thus the picture seems not to have a recognizable space and image, but at the same time, we can feel that space and image are everywhere. During this time, he tried to apply the technique of collage, so there are occasionally some sporadic colored paper. The collage destroys the original “integrity” of the picture. It looks like a game of covering and cutting but creates gaps and new spaces. For him, those gaps are tantamount to dark abyss. Considering that such method was too deliberate, he gave up the direct collage later, besides, the medium of painting alone could achieve the same goal. Native patterns, words and sculptures of Yi group from Liang Mountain give him new inspiration. What attracts him are not only these unknowable images, but also the magic and energy that they originally have. The set of woodcarvings of his recent works largely benefits from these mysterious experiences and perceptions. Here, such form of "arbitrariness” becomes an “absurd” spiritual adventure for him.

Xiao Kegang is often in a staged dilemma. Once he was diagnosed as panic disorder. Patients with panic disorder are often accompanied by a strong sense of dying or out of control. Their fear of unfortunate consequences can trigger acute anxiety and tension at any time. Hence, painting at in this case becomes a way for Xiao Kegang to relieve mental anxiety. Those “controless” strokes and weightless “images” in the picture are not a depiction or representation of his panic disorder, but might be an appropriate entrance point into his picture.

▲肖克刚，无题2019 No.6，木雕装置，60 x 45 x 28 cm，2019

Xiao Kegang, Untitled 2019 No.6,  Wooden Installation, 60 x 45 x 28 cm，2019

Xiao Kegang named his works in recent two years “Anonymous”, which is different from the “Untitled” that commonly used by artists. “Untitled” means no name or unwilling to be named, while “Anonymous” means originally named but simply unwilling to sign or not sign the real name, that is, concealing identity, personality, or not identifying yourself. That not only means the original differences among works, but also reminds us that these works also represent the different moment of life and spirit. In recent years, Xiao Kegang has been nesting in the suburb of Chengdu. He rarely enters the city and travels outside Sichuan province even less. He is always keeping a distance from the art circle and the real world. Like the “randomly haunted” ghosts in his paintings, he prefers to be an anonymous person, living alone in his own small world. In the network terminal, everyone, as the user, might becomes anonymous. Paradoxically, there is in essence no anonymous in the Internet Age. (Text / Lu Mingjun)

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