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“万物花开”玩画廊展主题阐释

花匠小妙招
2024-11-22 11:49

　　这是一些非常年轻艺术家的作品联展，而且女性居多。她他们大多还是在读的本科生或研究生。作为青春生活的亲历者，没有什么人可以替代她他们这一代人自己的青春体验。青春与消费主义之间的关系向来密切，青春世界中的想象与消费主义的双重力量连同她他们的生机勃勃与厌倦不堪是她他们主要的内心冲突。这些忧伤的、阳光的、反叛的、理想的、放纵的、飞翔的青春体验，构成了这次展览作品的主要题材内容之一。充满着夸张的心事呓语和感伤、迷茫的气息，似乎是生存与情感记忆的自然流淌，润物无声、却惊心动魄。于是以诡秘状的形式，甚至欣赏其中谜一般的情绪。她他们大多遵从于一个自足的世界，通俗的情节模式、时尚的趣味充溢着优雅的品格，在细节上让人心头一暖或一痛。　　中国这个越来越多元的时代，不知所终地将把我们带向何方的现代化过程，使一切都变化的急速而扑朔迷离；在一个仍在不断转型的时代里，事物是那样的复杂，许多边缘都是模糊的。人的欲望、相互间的交往、权力的运作，包括我们以为透彻的金钱关系其实都并非那么清晰可辨。人与人之间，性别的模糊化，情感的无法划分定位，造就了她他们漂浮的缺乏节制的游离状态。她他们的创作没有界定，没有极端，没有具体表现什么意义，只是一个存在的状态。这种自我抑制或自我放纵的艺术转化，触及了一种情感上或者心理上的真实，就像孤绝的情感和自我尊重的态度。也许，她他们强调的是在不确定中张望的不确定方式，而并非如以往艺术一样只重视“确定的意义”本身。　　在每个时代终结或交错之际，都有那么一些存活着的精灵，自知而又茫然地存在于边缘世界。她他们是一些尴尬的、不愿与世俗苟同的年轻人。同时有着相同状态的艺术创作，以各种表现形式存在着。他们无论做人还是创作上保持着疏理的状态，想象的同时尝试着实验。无论现实生活如何变迁，艺术还是要做的。边缘状态中的艺术也是现实生活的折射。她他们以特有的面貌和形式，已逐渐形成各自的特色，成为某种趋向。只是这种摩棱两可的徘徊，着实只能是静观其动了。或许我们也在询问，怎样的社会情势反映了她他们的价值取向和审美趣味？当然，我这里的言论可能也透露出我个人的价值、趣味，故也只是聊备一格而已。　　This is a group exhibition by several young artists, the majority female. Most of them are still undergraduate and graduate students. As young people themselves, their experiences of youth are invaluable and irreplaceable. There has always been a close tie between youth and consumerism; the main contradictions in the world of young people lie in their combined power of imagination and consumerism, as well as their liveliness and cynicism. These sad, bright, rebellious, wishful, outrageous, flying experiences of youth make up one of the main subject matters of this exhibition. Filled with exaggerated self-pity, and an impression of sentimentality and confusion, they seem to be a natural outlet for existence and emotional memories; smooth and soundless, yet shocking to the heart and soul. This leads to a secretive manner, or even an attitude of completely absorbed enjoyment. Most of them obey a world of self-sufficiency, a vernacular plot model and fashionable interests overflow in elegant quality, giving the viewer of the details a momentary warmth or pain in the heart. 　　China, in a time of increasing multiplicity and in a modernization process leading us to an unknown destination, is undergoing changes that are rapid and complex; in an era of constant transformation, all matters have such complexity, many borders are ambiguous. People’s desire, social interactions, the use of power, including money relations that we consider transparent are, in reality, neither clear nor distinguishable. Among people, ambiguity in sexuality and indefinable emotions, cause them to drift afloat endlessly. There is no boundary, no extreme, no particular meaning expressed through their creativity; there is only a state of existence. Such an artistic transformation, self-suppression or abandonment, is touching upon a truth of emotion and psyche, like an isolated emotion or attitude of self-respect. Perhaps, they want to emphasize the instability modes of viewing in the midst of instability – they are nothing like past artists whose sole focus was on “stable meaning” itself. 　　At the end of each era, or in periods of transition, there are always some fairies, self-aware but aimless, living in the world but on the borders. They are young and awkward people who are unwilling to mess with the common world. They produce artistic works under the same state, and exist through every kind of expression. Whether simply being a person or creating, they are maintaining a state of reorganization, experimenting while imagining. No matter how the actual world changes, art will always be constant. Art produced from border existence also reflects on actual life. With a unique display and form, they gradually shape their own characteristics and extend in a certain direction. Only this ambiguous wandering; perhaps their motion can only be viewed in stillness. Perhaps we are also inquiring, what kind of social context reflects the tendencies of their values and their aesthetic tastes? Of course, my discussion here also reveals my own values, and interests, nothing but filling a few lines with my impressions.