了了·青年实验空间 | 粗暴现实——夏方作品展即将开幕

2016年6月28日
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7月2日下午3:30，《粗暴现实——夏方作品展》将于了了·艺术传播机构3号馆1楼开幕，该展览是了了青年实验空间项目第四次展览，将持续到7月9日。

青年艺术家推介系列展（二） & 了了·青年实验空间4

The Series Exhibition of Young Artists promotion(2) & LIAOLIAO·Young Art LabSpace 4

粗暴现实——夏方作品展

Violent reality——Exhibition of Xia Fang’s Works

策展人 Curator

廖上飞 Liao Shangfei

主办 Hosts

西华大学艺术学院 Schoolof Art,XiHua University

了了·艺术传播机构 LIAO LIAO Arts Dissemination Institution

展览时间 Duration

2016.07.02－07.09

开幕酒会 opening

2016.07.02 15:30

展览地点 Venue

成都市天府大道中段177号世纪城新会展中心天鹅湖花园22栋了了·艺术传播机构1楼

LIAOLIAO Arts Dissemination Institution, Tower22, Swan Lake Gardens, No.177, Mid-SectionTianfu Avenue, Chengdu

前言

Preface

廖上飞

Liao Shangfei

夏方的“人群系列”作品起于对现实的关注。她将目光朝向一系列“热点事件”，这些事件通常是震惊世人但并没有引起各方重视或值得人类永远珍藏、纪念的。离中国人似乎很远但备受国际社会关注的难民危机，发生在中国各地的一系列震惊全球的事件成为她着重表现的对象。她的作品涉及受世界媒体关注的热点新闻、国内外发生的重大事情，如难民潮、暴力拆迁、警察维稳等。“人群系列”作品并非再现现实或亲近现实的结果，而是粗暴现实的结果。现实如此粗暴，粗暴的现实让颇具责任感的艺术家实在难忍，艺术家有限的暴露充其量是“粗暴”。显然，夏方并非用传统的写实主义的表现方法“记录事件”，而是通过当代绘画的方式“表现事件”。她的表现是主观能动的，“创作观念主要涉及对新闻图片的‘挪用’与形式上的‘转译’，在手法上侧重于后现代艺术范畴的‘挪用’与‘戏拟’，崇尚叙事的片断与偶然、无序与断裂，审美上追求现实与超现实在结合过程中呈现出的‘别扭’与荒诞”[1]。从互联网、报纸等传播媒介上“挪用”（选择）图片，然后将其“转译”到画布上——她不是机械复制，而是对其进行主观性处理，以达到“戏拟现实”的目的。现实如此粗暴，粗暴得极近荒诞。面对夏方的“人群系列”作品，相信你所意识到的比你所看到的真实。

Xia Fang’s “Thecrowd series” works are from attention to reality. Shehaslookedtowards a series of “hot events”, which usually shocked the world but did not cause the attention ofall social parts, and were not worth treasuring or commemorating. The refugeecrisis that is very far away from Chinese people butconcerned by theinternational community, a series of events that shocked the world occurred invarious parts of China all become the objects that she focused on. Her worksinvolves the hot news which focused by the world media, great things that happened at home and abroad, such as refugees,violent demolition,police stability maintenance, etc. “Thecrowd series” works is not the result of representingreality or closing to reality, but the result of exposing reality. Reality isso violent, violent reality made the responsible artists become intolerable.The limited exposure of artists is at best “brutal”. Obviously, Xia Fang did not “record events”by traditional realism method, but “representevents” by the way of contemporary paintings. Herexpression is subjective initiative, “creative conceptmainly relates to ‘misappropriation’ of news photos and ‘translation’ of forms, technically focuseson ‘misappropriation’ and ‘parody’ inpost-modern art, advocates of narrative fragments and accidental, disorder andfracture, aesthetically pursue of ‘awkward’ and ‘absurdity’represented in combination of reality and surreality”[[1]]. “Misappropriating” (selecting) photos from Internet, newspapers and the media, then “translating” them to the canvas—— she is not amechanical reproduction, but be subjective, so as to achieve the purposes of “parody reality”. Reality is so violent,violent was very close to absurd. Facing of Xia Fang’s “the crowd series”, it is believed that whatyou realized is much more real than what you see.

夏方笔下的“人群”只有“群”而没有“人”。“人”被抽象化、符号化、模糊化，我们看不到具体的“某一个人”，我们看到的是一广场一广场、一厅一厅、一船一船、一群一群、一团一团、一堆一堆剪影般的人，这些人要么游行、抗议，要么围观、欢呼，要么逃亡……经艺术家“转译”过后的一系列“事件现场”蕴藏着内在的激烈冲突，这种冲突与权力和权利相关。“人群系列”作品整体有一种“剧场”效果。有表演者就有看客，然而当局者迷旁观者未必清。表演和观看（围观）构成的权力和权利话语关系折射出当代政治意识形态的虚假性和荒诞性。被抽象化、符号化、模糊化的人群让人感受到一种貌似强大且正义的集体无意识。现实如此粗暴，暴力精于以正义的面目迷惑世人。貌似杂乱实际暗藏着序列的笔触强化了作品的内在张力。笔触与“人群”可谓完美一体，看似乱哄哄的人群实际受集体无意识的主宰。个体无意识并不可怕，可怕的是被世代规驯且至今潜伏于人类集体无意识中的野蛮、暴力欲求。黑与白可谓邪恶与正义的隐喻，始终处于对抗状态。黑白单色的确给人冷静和单纯的印象，但“人群系列”作品带给人更多的是“压抑感”。何以感觉压抑？那是因为黑和灰占了上风。在我看来，黑白单色的运用实际拉开了作品与现实的距离，达到了一种陌生化的效果。“人群系列”作品因之也具有了文献性和历史感。这样的绘画能促人深思，特别是能激发人反思自己身处其中的人性、社会现实，非常具有现实意义。

Xia Fang’s “population” is only “group” butnot “human”. “Human” is abstract, symbolic and blurred. We can not see specific “someone”, what we see are thousands ofsquares, halls, boats, groups of silhouettedpeople, who eitherto protest, or watch,cheer,fled……A series of “live events” that “translated”by the artist contained a fierce internal conflict that is relevant to powers andrights. “The crowd series” worksas a whole had a “theater” effect. Where there is a performer,there is a spectator. However involvers always get confused while outsiders cannot be more clear. The discourse relation between powers andrights that consisted by performance and viewing(watching), reflects the falsityand absurdity ofcontemporary political ideology. Abstract, symbolic and blurred peoplemade someone feel a sense of seemingly powerful and righteouscollective unconscious. Reality is so violent,violent is skillful in confusing people by justice. The brushwork that seemly messy but actually orderly,strengthened the internal tension of the work. Brushwork and “crowd” can be described as a perfection.Seemingly noisy crowd is actually dominated by the collective unconscious. Individualunconscious is not terrible, terrible is brutal and violent desires that has beenregulated and tamed by generationsand still lurked in the collective unconscious ofhumanity. Black and white, which can be described as metaphor of evil andjustice, are always in a state of confrontation. Monochrome gives youthe impression of calm and simple indeed, while “the crowd series” works bring people “a sense of oppression”. Why feeldepressed? That's because black and gray had prevailed.In my opinion, theapplication of monochrome actually had pulled works away from reality, and reachedan effect of defamiliarization. Therefore, “the crowd series” works also are documentary and historical. Such paintings canpromote people to ponder, especially inspire people to reflect on human natural and social reality inwhich they lived. There is a very practical significance.

二零一六年六月十五日于绵阳

June15, 2016 in Mianyang

[1]夏方：《论群体性事件:<人群系列>创作报告》，2016年。

Xia Fang: On mass events: areport of “the crowd series” works, 2016.

夏方