艺术的叛乱

2016-09-14 陈湘鹏 作家树

雾霾系列 2012-2016 刘玉君

陈湘鹏文

在体制内，大多数画家终其一生的目标就是参加全国美展，把握官方语言的原则和动向。这与艺术的价值背道而驰。可以想见，中国广大地区的年轻艺术家的成长，充满了分裂的痛苦和分裂的技巧，多数人倾向于分裂成两个身份，另一部分艺术家会完全脱离轨道，进入孤绝的状态。

雾霾系列 2012-2016 刘玉君

刘玉君在河北格格不入。直到父亲去世，刘玉君才按照自己的意愿，离开河北，在宋庄住下，享受着做艺术的那份自由。他想做的第一件事就是拿回艺术的权力。在得到自由来表述事物时，他发现事物为权力所占据，根据权力来源不同，事物早已成为复杂权力关系的中心。对自我的声音越忠实，就越发不可自拔地深入到语言的考古学中，他必须从街道上的宣传画、幼稚憨厚的村姑、正经严肃的领导干部、发廊里的香港明星照、唐代的人物画、道教的造像、以及西方动画作品的中国女孩，检视权力和其语言的运作方式。

不明液体系列 2006-2016 刘玉君

90年代的宋庄正是一种“地下”的方式，对艺术控制进行抵抗。采取的方式各有不同，但对语言权力的敏感和激进的现代意识，形成了这一时期共同的走向。突然间，艺术家与源远流长的传统分裂开来，同时相对于西方话语，亟需建立新的独特性。传统问题和现代问题成了两个重要的靶子。

《不明液体》中的一系列女性形象，肌肤中透出绚烂的蓝颜色，这种色彩固然华丽，却是女性的天然已经被工业时代的因子异化的征兆。这种液体在画面上飞溅，破坏了画面，也表现出毒液的魅惑：一种妖冶的、盛开的、阴鸷的传统，这种深度，超越工业时代的简明特点，是沉溺于古老文化中的恶之花，它比表面的工业污染更具侵入灵魂的性质。它揭示了温文尔雅的中国传统的某个面相：一反概念化的正大光明，表现为妖气弥漫的景象。

不明液体系列 2006-2016 刘玉君

《不明液体》中的女性并不普遍，她们一反传统女性的端庄矜持，以性感、婀娜的姿态，大胆勾引着观者。东方人的特征被强调了，眼睛更小，颧骨更高，个性乖张，神秘迷离。这是西方视角中的东方美人。并置了至少三种最重要的美学话语：西方的、传统的、现代的，这种语言的提炼合成，使得美丽的面孔极具政治透视性，其中有一系列权力的施加，人被语言操纵、异化、损害的无形过程在这一语言考古过程中重现了。

不明液体系列 2006-2016 刘玉君

《不明液体》体现的是中国艺术家对于艺术语言特有的敏锐，由于语言政治学是他们未能解决的艺术处境，语言本身成了创作主题。这是萨义德的东方学，福柯的权力理论，与当代艺术对文化结构的挑战，发生在中国的鲜活实践。日常生活中充满了陈词滥调，虽然毫无生机，但它们构成了压力和习惯，迫使人们如此生活，所谓正统尤其如此。在《独裁者》系列中，刘玉君对政治人物肖像的标准动了一点手脚：画面进行了倾斜，用灰色代替了领袖像的明亮色系。仅仅是这一不合规的创作，就展现出权力和习俗的裂口，立即产生了十分吓人的效果。有位朋友劝告他把画包藏起来，避免惹上麻烦。这正是刘玉君需要的“文化出轨”状态，在河北，在北京，在历史里，无时无刻都有这样“正当的文化”在统治人们的心灵，人们感到格格不入，屈于习俗，终其一生扼杀真实和独特的体验。艺术家却能把格格不入作为打火石，点燃语言的烛火，“正当文化”的荒诞感立即显露无遗。

独裁者系列 2012-2016 刘玉君

刘玉君对艺术语言的权力运作的观察，使他追随到当代生活的时时刻刻中，他画的水彩雾霾，把大气污染下的人像，作为一种写实主义和表现主义相得益彰的风格，存储为时代文明的一个形象，大气污染和精神污染同样令人惊奇，当代人习以为常的面相，在长远的历史里是一个不可理喻的封闭的文明，人们的习性具有墓志铭的效果。

人权系列-胡适 2012-2016 刘玉君

人权系列-林昭 2012-2016 刘玉君

但随着时代的沉沦，他也越来越感觉紧迫，倾向于“行动”。事实上，艺术和时事的紧密联系，容易造成局限。对浓的政治语言，对艺术本身是一种僭越，这是90年代以来艺术抵抗运动带来的一个副作用，以致于产生了宣传式和口号式的艺术，但这不是死亡而是瓶颈，这意味着艺术语言走出了一个阶段，依然需要以艺术身份进行“继续革命”。

红星画现场写生-刘玉君收藏

焚书-江湖术士,美学理论,名人画册,抄来抄去,MB荒唐言

2014年的春节，刘玉君与四个艺术家相约，在宋庄的潮白河边把数千本书和画册连同书架撂在一起，浇上汽油点着。当年，他们看着这些书成长起来：近现代以来的中国美学理论、名人画册、抄来抄去的论文和江湖术士的荒唐言。大风吹来，火光冲天，书页在火舌中蜷曲，“操！”艺术家们痛快地宣告着自由，“操你妈的！”。在北京与河北交界处的天空下，破碎的文字追着上升的黑烟飞翔，慢慢降落在四周的燕赵大地上。

刘玉君 Liu Yujun

2001年至今生活在北京宋庄

主要个展

2011 罗宾逊画廊纽约美国

2010 ７７０画廊巴黎法国

2009 阿德勒·伯廷·陶波兰可画廊迈阿密美国

罗宾逊画廊比利时

ＬＬ画廊阿姆斯特丹荷兰

2008 罗宾逊画廊纽约美国

阿德勒画廊巴黎法国

2007 罗宾逊画廊比利时

八大画廊北京

2005 宋庄画家村画廊北京

THE RIGHTS OF ART

by Chen Xiangpeng

For most Chinese printers who work for the government, they spend the whole life in taking part in national fine arts exhibitions and understanding the principles and tendencies of the government. This is contradictory to the value of art. Thus, it is easy to understand that young artists in China have been in a painful and distorted state. Most of them are split into two identities while a few choose to get off the track and enter a state of isolation.

In Hebei, Yujun could not get along with his small city. He had a few painting friends, but their concepts of art were very different. After his father passed away, Liu Yujun followed his heart and moved to Songzhuang, pursuing the long sought-after freedom.

The first thing he wanted to do was to take back the power of art. He found that all things were controlled by power. The sources of power differed and things had become the center of complex power relations. If we stay true to our own voice, we would find this power relation to be everywhere, from promotional pictures in the street, innocent countryside girls, seriously-looking leaders, posters of Hong Kong stars, portraits of people in Tang Dynasty, Tao statues, and Chinese girls in Western animation, etc. From all of them, we could see how power and its discourse work.

Songzhuang in the 1990s witnessed the prosperity of underground art, which rebelled against artistic control from the government. They took on different forms, but their sensitivity towards the discourse of power and their radical modern awareness injected fresh blood into that period of time. All of a sudden, artists drew a line between themselves and traditions. New language of Chinese art was needed. Traditional and modern problems became the two principal shooting targets.

In the “Unidentified Liquid” series, the blue ‘splash’ suggests women’s nature has been alienated by the industrial age. The bewitching ‘splash’ damages the picture. It’s the blooming flower of evil in Chinese traditional culture, rooting deeper in people’s soul than industrial ‘pollution’. The hidden part of elegant Chinese tradition is exposed.

Women in the “Unidentified Liquid” series are different from restrained traditional women. They are sexy and graceful, alluring the audience with small eyes, high cheekbones. These Oriental beauties are created according to three important aesthetic discourses: western, traditional and modern. These beautiful faces reveals that power has been exerted on people who are manipulated, alienated, and damaged by discourse.

The “Unidentified Liquid” series shows Chinese artists’ sensitivity towards artistic language. As artists can do nothing to resist the influence of political discourse, language itself becomes the subject of their creation. It’s a practice of Said’s orientalism, Foueault’s theory of power and discourse, and contemporary art’s challenge against cultural structure. People are forced to live in the same way by traditions in daily life and so-called orthodox. In the “Dictator” series, portraits of politicians are painted in a gray tone and images are distorted a little. This bring about a frightening effect. A friend of LIU asks him to hide his works to avoid trouble. But that’s the state Liu Yujun wants to have. Throughout the history, “rightful things” governs people. Most of us cannot get along with them, but end up in surrender, hiding their true and unique experience. Artists, in contrast, use their unique experience as flint to light the candle of art discourse and expose the absurdity of those “rightful things”.

Liu Yujun puts his observation of the power of art discourse into his paintings. His water-color painting of smog depicts people in the polluted air, which is a combination of realism and expressionism. The air pollution and spiritual pollution are astonishing under the disguise of civilization. What we have considered to be common now will be viewed as part of an unreasonable and closed civilization over a longer time in history. What we do will be written in our tombs as epitaph.

Unidentified Liquid 2006-2016 Liu Tujun

DHEN Liu Yujun

As the situation gets worse, he feels it is urgent to take actions. In fact, the close relationship between art and current affairs has its limitations. The politicalization of art is in itself an intrusion into art. It is one of the side effects of art resistance movement since the 90s, especially when arts are reduced to slogans or even propaganda. Yet it is not death but the bottleneck. It means that art discourse has moved into a new phase. It is still necessary for art to continue the revolution.

“私人小说定制”

告诉我你干的好事

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