程婷婷：现代意识与原始的蜿蜒 | 艺术汇 艺术家书
《果实的胜利》 雕塑，木头树枝上岩彩
14x14x7cm 2017
艺术汇:在这一系列的图像中，“果实”作为一个贯穿其中的关键线索反复出现，但显然在这个语境中它不是单纯地作为被描绘的对象，而是被赋予了某种象征性意义，或者说你在试图剖析这一形象背后的种种隐喻。可否谈谈你对艺术史中“果实”这一题材的认知及其在你作品语境中的指向？
程婷婷:银制餐刀旁边的萎靡的苹果、浑圆结实的苹果、空旷房间里诡异的大苹果，题材只是艺术家呈现观看方式的载体。静物画往往有多重指向性，水果对我来说是某种嗅觉与生理的联想与错觉。卡拉瓦乔提到的“携带者音符的绘画”而不是“绘画诗歌”这一点我很赞同。
《关于水果题材的草图》纸本水彩 25x36cm 2016
艺术汇:你谈到这些图像与文本是基于对卢卡斯克拉纳赫的作品A Faun and His Family with a Slain Lion的拆解，并预设了若干分镜头的情境，并由此展开一系列社会、个人、政治、行为等层面的指涉。从这当中似乎看到了一种对原图像的延伸，如何理解这些虚拟的情境与克拉纳赫作品之间的关系？
程婷婷“低烧”展览现场 武汉喻家山北路 2017
程婷婷:克拉纳赫是德国最早描绘神话题材的画家，他使宗教题材带上了世俗气息，反禁欲主义和怪诞的造型是令人玩味的，即有中世纪的哥特式又有人文主义。因为我们看到的图像都是集成化的，它可能是虚构，理论，新闻，哲学。西方或者非西方，中心或者地缘，普世或地方，精英或是草根，创作应该是挪用或者创造性的借用由碎片，隐喻，或想象构成的散文式论证。从克拉纳赫而言，他跟很多同时期的其他画家不太一样，总是透露着某种矛盾冲突，文明对峙野蛮，挺荒诞但恰恰是我想要的。
“日常沟通”望远镜艺术家工作室 展览现场
《忧郁的热带》 装置 木头上墨汁 黑金沙 2019
艺术汇:事实上，从你以往的作品中即可以感受到一种对艺术史图像及风格元素的借用或涉及，但显然你对它们进行了提取、解构、重置……并在其中注入了一种来自个体的表述及转译，这种围绕着某个艺术史线索或元素展开的创作方式是否源于你对艺术史研究本身的兴趣及思考，并将其有意地植入自身的创作之中？
程婷婷:对我来说研究美术史是兴趣爱好，它即强烈的吸引着我，但仿佛又与我隔离，犹如隔岸观火，蛇在宗教中象征原始，欲望，禁忌，同时也有着性，性别，羞耻，重生。蛇的最古老的文化代表来自美索不达米亚，代表不朽的愈合，好的作品的一项不容争议的功能便是知识和理念，其呈现却是震撼和宣泄。正如亚历山大布洛克所言“诗人自混沌中创造和谐”。
“日常沟通”望远镜艺术家工作室 展览现场
《忧郁的热带》 装置 木头上墨汁 黑金沙 2019
程婷婷“低烧”展览现场 武汉喻家山北路
场景装置 尺寸可变 2017
艺术汇:无论是文本的叙述，抑或图像的暗示，均显示了某种与情色或两性关系有关的表述，而末尾的文字“In place of a hermeneutics we need an erotics of art. Pornography is the law for woman.”似乎也印证了这样一种创作意图。应当如何看待这一主题元素在你创作中的意义？这当中是否渗透了某种女性主义思想？
《关于水果题材的草图》纸上水彩 19x28cm 2016
程婷婷:我其实希望是严肃的，荷马史诗的奥德赛或乔伊斯的尤利西斯中围绕主线有很多的人物和情节，而连接这些碎片的主题思想均是“性”。无关乎性别。“新女性”在当下已经不是从女性的角度去攻击男性目光了，在那个年代Amrita Sher-Gil是那样做的，而在当下应该是女性应该用自己的手段对抗强权和话语权以及政治问题和暴力，首先得消化文化然后才是“分裂”和当代性，避孕药，洗碗机，洗衣机，人工智能已经尽可能的削弱了女性在意识形态上的功能了。例如格列克式的分裂，普桑的的作品《屠杀无辜者》，德拉克洛瓦的《萨达那帕拉之死》，《霍乱时期的爱情》，都给了我很多启示。
《女孩与水果》布面丙烯 24.8x20cm 2018
艺术汇:你的作品在形式上颇为多元，在内容上也往往糅合了丰富的信息，不同的元素在特定语境的重组过程中又不断衍生出新的关系，通过对多元媒介形式的自由运用，以及对内在信息的不断充实，作品所提供的观看及认知渠道也由此获得拓宽。相对于那种单一的创作模式，你似乎更倾向于以一种多线索、多维度的方式展开工作？
程婷婷:绘画有点类似文字的某种属性，是交流的工具，它既不是计划也不是预先确定的创造性冲动，而是关于身体与外部世界的感受的准确描述。追寻媒介形式和材质，材质带来的历史审美关系。绘画的灵感是来源于绘画以外的媒介，即不符合固有的概念和规范，看起来是行外的，可以是科学的实验，可以是东方写意，可以是古典甚至也可以是抽象的，没有藩篱。
左：节选自T.S.Eliot晚期即兴诗
右：《关于水果题材的草图》纸本水彩 25x36cm 2016
艺术汇:尽管你的创作涉及了包括本体语言、艺术史、文化、社会等层面的研究及思考，但仍然能够感受到其中所洋溢的那种丰富而细腻的感性因素，而这种感性的抒发显然源于个体经验。你是如何看待这种个体经验，或者说个体化表达在自身创作中所发挥的作用？它是否占据着一个至关重要的位置?
程婷婷:如果现实由0到10组成，我可能还原0到5，细节是丰满化了的意象。刀疤、泪腺，漩涡、喷泉与梦魇、月光、蛛网、苹果高光或者耳朵上微微发炎的红血丝，故事情节呈现的是凝固的“刺点”瞬间的永恒。个体的激情，动机，失望，欲望，都会帮助我建立自己与外部世界的关系，对忧郁的迷恋，对虚构的刺激，将自己的怀疑，激情，幻想分裂投射到对癫狂的文明的审视上。
《骷髅与水果》布面丙烯 27.3x38cm 2018
程婷婷武汉工作室
采访/撰文：王薇 翻译：盛夏
相关展览：
望远镜&艺术汇 | "日常沟通：卜云军 程婷婷 李亭葳 刘冬旭 激进文献"
ART FRONTIER:In such a series of images, “fruit” repeatedly appears as a key clue,and it is not merely considered as the object but emblemed with symbolic idea, so to say, you attempt to analyze the metaphors behind.How do you think about the subject of “fruit” in art history? or what is its meaning in your work?
ChengTingting:Withered apple beside silver knife, full and fresh one, or big weird one in an empty room, all these are only the vehicles of viewing experiences made by artists. The form of still-life painting often indicates multiple directivities.
To me, the subject of fruit is the imagination and illusion associated with sense of smell and other physical sensation. I do agree with the idea proposed by Caravaggio, “It is the painting with musical notes but not the poem of painting.”
ART FRONTIER:You have mentioned that these images and texts are resulted from the deconstruction of Lucas Cranach’s A Faun and His Family with a Slain Lion with predefined scripts or scenarios to express the social, personal, political and behavioral indications. It seems a derivation from the original one, hence, how do you interpret the relationship between these virtual scenarios and Cranach’s work?
ChengTingting:Cranach is one of the first German artists painting mythical subjects,infusing the religious subjects with a sense of earthliness. His absurd and anti-asceticism design, showing the Medieval gothic and humanistic characteristics, is quite contemplative.
The images before us are all integrated as, perhaps, fiction, theory, news and philosophy. Western or non-western, centralized or marginalized, universal or regional, elite or grass roots, the new designs should creatively appropriate the prose arguments composed of fragments, metaphors and imagination. Cranach is different from his contemporary artists and his works always imply some contradictory conflicts between civilization and barbarism. It seems very absurd but exactly what I want.
ART FRONTIER:In fact, it could be felt from your previous works the appropriation or indication associated with imagery and iconographical elements of art history. Obviously, you have extracted, deconstructed and reorganized them to include your own description and interpretation. Does such a way of working based on certain clues or elements of art history derive from your own interest and contemplation in studying art history? Do you intentionally embed them in your work?
ChengTingting:Studying art history is one of my favorite subjects, it is a strong attraction to me but at the same time, alienated, and I feel like watching a fire from the other side. In religion, snake represents primitive desires and taboos, as well as sex, gender, shame and rebirth.
Such earliest cultural representative symbol originated from Mesopotamia, resembling eternal healing capability at that time. I think that one of the functions of a good work is to present knowledge and idea, but its form could be shocking and venting. As Alexander Blok has said, “poets create harmony from chaos”.
ART FRONTIER:Both narrative of texts and implication of images of your work show some kinds of descriptions involving erotic or sexual relations, moreover, the sentence at the end, “In place of a hermeneutics we need an erotics of art. Pornography is the law for woman”, may also indicate the intention. How do you interpret its meaning in your work? Does it infiltrate with a piece of feminist thought?
ChengTingting:Actually, I hope it represents seriousness. Homer’s Odyssey and James Joyce’s Ulysses include many characters and stories along the main plots, what connecting those fragments is “sex”.
The concept of “New Women” has been no longer meaning striking back the male points of view from the female ones. Amrita Sher-Gil was to do so back in her days, but at present, women should resist authoritative and discourse power as well as political and violent issues by their own ways, digesting culture, then division and contemporaneity.
Contraceptive, dishwasher, washing machine and AI technology have diminished
the female ideological characteristics as much as possible. El Greco’s division, Nicolas Poussin’s Slaughter of the Innocents, Eugene Delacroix’s La Mort de Sardanapale and Gabriel García Márquez’s Love in the Time of Cholera have offered me lots of inspirations.
ART FRONTIER:Your works are quite diverse in term of form, and include rich information in content. The reorganization of various elements in the certain context produces new relations, and experiences of viewing and recognizing are expanded through the free exercise of multiple medium forms and continuous enrichment of intrinsic information. Compared to the single way of working, it seems that you are more inclined to the multi-thread and multi-dimension ways, doesn’t?
ChengTingting:Paint ing bears some resemblances to text . I t is a tool of communication, and does not result from the preplanned and predetermined impulses but the precise description of feelings associated with body and external world. What I’m looking for are medium forms and materials, as well as the induced historical aesthetic relationships.
The inspiration of painting comes from other mediums than painting itself, and they may not be accord with existing concepts and conventions, even look like amateurish, but could be scientifically experimental, orientally impressionistic, classic or abstract, in short, without any limitation.
ART FRONTIER:Your work involves the studies and contemplations about ontological language, art history, culture and society, but still permeates with rich and delicate sensibilities, which obviously derive from your personal experiences. How do you think about such personal experiences, or your own expression in your work? Does it dominate an essential position?
ChengTingting:If the reality composes of the levels from 0 to 10, I may reproduce it from 0 to 5. Details are well developed imagery. Scars, tear gland, swirl, fountain, nightmare, moon light, cobweb, highlight on apple or redness on ear, all are presented as the eternal moment of frozen “punctum” through story plots.
Personal passion, motive, disappointment and desire all contribute to establish the relationship between myself and external world; fascination of melancholy,
stimulation of fictitious status, as well as suspicion, passion and fantasy about division are projected on the examination of crazy civilization.
2019“北京艺术地图”第二期发布
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