【拾萬现场】孙大量: 爱欲与荒诞
小幽与小羞 -孙大量个展
艺术家： 孙大量
策展人： 鲍栋
展览时间：2019年3月22日- 4月17日
预约观展：2019年3月16日- 3月22日
开幕时间：2019年3月16日周六下午4点
地址： 北京市朝阳区798艺术区798西街02号
电话： 010-53317400
邮箱： hunsand@hunsand.com
网站： www.hunsand.com
爱欲与荒诞
毋庸讳言，“性”是孙大量作品中最惹眼的部分，各色各样的“性”，首先是性的身体、器官和性爱场景，这部分是赤裸裸的、色情的，甚至淫秽的，虽然他低写实度的风格减轻了其感官上的刺激程度，但同时也增强了他绘画风格的直率与野性。其次是女性性别的象征物或替代品，女式帽子、高跟鞋和服装，这些题材在他的作品中反复出现，关乎性，也关乎性别，这些事物看起来是性爱与性别的道具。
孙大量：小幽与小羞 展览现场
孙大量绘画中的性似乎总是支离破碎的局部，身体的（自然的）局部或服饰的（文化的）局部，而其余的部分似乎都被省略掉了。正是这些视觉上与叙述上的省略，那些与“性”相关的内容是高度符号化的，比如女人的身体总是被他简化成姿势加性征器官，而女性身份则被简化成帽子与高跟鞋，这些简化甚至是孩子气的，像儿童画一样夸张着感兴趣的部分，在这个意义上，孙大量对“性”的迷恋是一种孩童对游戏的迷恋。
与此看起来截然相反的是他对日常事物的迷恋，一枚鸡蛋、一具海螺，一支花苞、一堆水果、一根熄灭的火柴、一条似乎被剪断了电线的灯泡，这些普通的事物也经常出现在他的画面中。当然，孙大量也时常把“性”的眼光投射到它们身上，把它们描绘得充满肉体感，也因此给它们赋予了某种生命力。而观众则能够从中看出怜悯心，当一个人把注意力、情感和时间投入到那些极其普通的“小玩意”身上，这背后多少包含着一种无功利因而无分别的“爱”。
孙大量：小幽与小羞 展览现场
因此，在孙大量的绘画中存在着一种“性”与“爱”的张力与转换，“性”是禁忌的、隐晦的、坏的、传闻性的，而“爱”则是无忌的、显白的、好的、童话般的，在这个意义上，孙大量的性题材绘画就是一种“坏童话”。但这些作品与流行的亚文化情色漫画并不属于同类，孙大量的“性”是广义的，更接近于爱欲，或者说一种生命本能的原动力。
不管是直接描绘“性”，还是把“性”投射到人物与静物上，他的画面总是一副“羞怯”的表情，造型一直在细节上含糊其辞，笔触始终在吞吞吐吐，色彩也大都是点到为止的。但这些绘画语言上的节制是恰当而精确的，因为这最大程度地把观众的注意力集中到了形象本身，而不是画面涂抹上。语言的节制、背景的抽象、形象的明确以及主题的鲜明，再考虑到孙大量偏爱的小尺幅，他的绘画由此获得了一种寓言般的文体。
孙大量：小幽与小羞 展览现场
无论是童话或是寓言，都意味着叙述的简练，有一些作品是直白的，如“一根剥开的火腿肠摆在那里”，但更多的是不可理喻的，如“黄昏的树林上空漂浮着一个吐着舌头的喇叭”，甚至一些作品是神秘的，如“黑色虚空背景上有一双眼睛”。但在叙述的短小也意味着言外之意的空间巨大，这正是孙大量的过人之处，他使画面上每一个形象都成了意象，这不仅与他对造型和色彩的处理有关，更与他对事物关系的把握有关，孙大量抓住的是事物的相邻性和相似性，把日常的世界在这两个维度上串线变异。所谓意象，即从惯常意义中滑动了的形象，而滑动的过程则省略掉了，或者说交给了读者/观众。在喇叭与舌头的组合中，嘴巴被省略掉了，这是意义相邻性的省略；在灯泡和漂浮之间，气球被省略掉了，这是形象相似性的跳跃。这些意象之间还可以继续连接，让舌头喇叭与幕布、裸女组成一个舞台般的场景，使舌头喇叭的语义及经验继续滚动放大，最终使这一意象获得了定向的无限开放性。
孙大量：小幽与小羞 展览现场
最近，孙大量的作品中出现了越来越多的“玄思”意象，大都是一些无缘故的抽象形状，例如虚空背景中的黑色球体、夜晚天空中的黑色长方体、悬在两个女人头上的袋状物。在视觉上，孙大量刻意用高密度的塑造和色阶去强化，也用虚平的背景来反衬出这些形体的体量感，让它们显得更加的突兀。这些意象与其说是心理的，不如说是精神的，它们从超现实主义的美学跳出，指向了哲学意义上的荒诞。
什么是荒诞？如果说超现实主义是原始人模仿走路却发明了轮子，那么荒诞则是轮子剥离出了功用彻底变成了图腾，即符号。在符号中，意义的流动停止了，阅读/观看中的智识与审美指向了某种“客观精神”，引发的是一种宗教性的终极情感。在这个时代，这种绝对的情感似乎只面对绝对的本我与绝对的他者的时候才能够遇到，在孙大量这里，前者是爱欲，后者是荒诞。
文 / 鲍栋
《模特》
80 x 100cm x 2
布面油画
2018
《女人》
80 x 100cm
布面油画
2018
《玫瑰花蕾与眼泪》
25 x 35cm
布面油画
2018
孙大量
孙大量，1971年出生于中国徐州，1997年毕业于上海戏剧学院，现工作生活于南京。近期展览包括：小幽与小羞—孙大量个展（2019），拾萬空间；日常炼金术—孙大量个展（2014），林大艺术中心；孤岛日记—孙大量个展（2012），伦敦马克道斯画廊等等。
Eros and Absurdity
Frankly, depicting “sexuality” is the most eye-catching aspect of Sun Daliang’s works, which consists of various kinds of“sexuality”. First of all, the sexual body, organs, and scenes that are naked, erotic, or even salacious, although by lowering the realistic semblance, Sun reduces the degree of stimulation to the viewer’s perception, at the same time, it heightens their straightforwardness and unruliness. Furthermore, the symbolic items or replacement for the female gender such as, female hats, stilettos and garments that recur in his works are related to sex, as well as gender, which looks like the props for sexual acts and genders.
The notion of sexuality in Sun Daliang’spainting always seems fragmented and detailed, either corporeal (natural) or decorative (cultural), while the rest is often abbreviated. Because of these visual and narrative abbreviations, the content related to “sex” is highly symbolic. For example, the female body is often simplified as a gesture and sexual organ, while the female gender is represented by a hat or stilettos thatmay even seem somewhat infantile, where the parts of interest are exaggeratedas in a child’s painting. In this sense, Sun Daliang’s fascination with the“erotic” is synonymous to a child with games.
Contrary to which is his fascination witheveryday items such as, an egg, a seashell, a flower bud, a pile of fruits, adimmed matchstick, a light bulb that seems to have its electrical cord cut offand etc., these common objects often appear in his images. Of course, SunDaliang often projects the “sexualized” gaze onto them, and portrays them with a sense of fleshiness, whereby he assigns them a certain sense of vitality. For this reason, the viewer would grasp the artist’s empathy, particularly the reason for one to put his focus, emotions and time into those common“knick-knacks” is often propelled by a kind of altruistic and undifferentiated“love”.
Hence, there is a tension and translation from“sex” to “love” in Sun Daliang’s paintings where “sex” is forbidden, ambiguous, malevolent, transmitting, while "love" is truthful, pretentious, benevolent, and fairy-tale-like. In this sense, Sun Daliang’s erotic paintings are a kind of “wry fairy tale”. However, these works do not belong to the same category as the erotic manga in Asian sub-culture, Sun Daliang's "sex" is in a broader sense, synonymous to the Eros or a kind of inertia of life instincts.
Regardless of the artist’s literal depiction of“sexuality” or projection onto the figures and objects in his paintings, his images often reveal an expression of diffidence, where the compositions are evasive and brushwork abashed, his use of colors concise. Although the these self-imposed refrains in the language of the painting are appropriate and accurate, which draw the viewer's attention to the subjects, rather than the painted surface. His economical language, abstract context, distinct forms and subject taken into the consideration of Sun Daliang's adoption of smalldimension of the canvas, earns his painting a prophetic discourse.
Either fairy-tales or prophecies, it would suggest a succinct narrative. Some works are literal, for example, “An open up piece of ham”, others are impervious to reason, in the case of, “A trumpet with a tongue sticking out and floats mid-air above a forest at dusk”, or even mysterious, “A set of eyes atop the black void”. Although the briefness of his narrative implies for a greater potential in the expanded meanings, it is also the way in which Sun Daliang exceeds others. He transforms every figure on his image into an image, which is not only related to his compositional and color executions, but also his command about the subject. Sun Daliang is able to capture the derivative and semblance of the subject and strings together the quotidian world from these two alienated parameters. The so-called image would be the figure that slips out of the common perception, while Sun has abbreviated this process, or in other words, bequeathed it to the viewer/audience. In the composition of the trumpet and the tongue, the mouth is abbreviated, this marks his syntactical reduction; and between the light bulb and the floating, the air balloon is abbreviated, which marks a leave of icoincs emblance. These images would further connect with each other, where the tongue-sticking trumpet, the curtain, and the naked woman would come together into a staged scene, that would continue to allow the syntax and experience of the tongue-sticking trumpet to roll and aggrandize, which eventually provides the image a designated direction of infinite potential.
Recently, there are more and more “suspended thoughts” in Sun Daliang’s works, most of which are random and abstract forms. For instance, the black spheres against an empty background, black rectangular shapes in the night sky, the sacks hanging over the two women’s head. Visually speaking, Sun Daliang has intentionally applied high-density composition and color schemes to enhance the optical effects, and his empty and flat background contrasts with the volume of these shapes, so they seem to stand out from the canvas. Instead of considering these images as psychological, it makes more sense to think of them as spiritual for they have jumped out of the surrealist aesthetics, and imply for absurdity in the philosophical sense.
What is absurd? If surrealism could be about the primitive man’s invention of the wheel to imitate walking, then absurdity would be eliminating all functions of the wheel for it to become a totem, in other words, an icon. For this icon, the fluidity of meaning stops, the knowledge informed perception and aesthetics from reading/looking incur certain“objective spirit”, to provoke the extreme emotion of devotion. In this time, these extreme emotions are perhaps only encountered when one is confronted with the absolute self and others, but for Sun Daliang, the former is the Eros, and the latter is an absurdity.
T / Bao Dong
Sun Daliang
Sun Daliang was born in Xuzhou in 1971. Sun graduated fromShanghai Theatre Academy in 1997 and now lives and works in Nanjing. Recent exhibitions includeSpicy Fairy Tale-Sun Daliang Solo Exhibition (2019), HunsandSpace; Alchemy-Sun Daliang Solo Exhibition (2014), Linda Art Center; An Island Dairy-Sun Daliang Solo Exhibition (2012), Mark Dawes Gallery, etc.
拾萬空间于2014年成立于草场地艺术区211号院，并在2018年迁至798艺术区。拾萬空间对常规意义的方盒子展览保持警惕，意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域；希望通过持续的展览和项目，激发出当下文化中被忽视的部分，将当代艺术思想的价值生发到你我的身边。
地址：北京市朝阳区798艺术区798西街02号
电话：010-53317400
邮箱：hunsand@hunsand.com
网站：www.hunsand.com