|
AN ART SPACE Art and artists Exhibitions and events Artist interview 雷红绘画实践——语言的灵魂 出品人 | 吴滨，策展人 | 王春辰，学术顾问 | 段正渠，学术主持 | 王春辰 展览时间：2018.11.14-11.30 展览地点：WS GALLERY | 上海淮海中路1298号2F 主办单位：WS SPACE LEI HONG：THE SOUL OF LANGUAGE Curator: Wang Chunchen Producer: Ben Wu 雷红的绘画实验性更强调个体进入主体情境中无意识的自发性和偶然性，这般状态的延续印记着拨开梦魇自由的描绘者的路径，其呈现方法正是艺术家对自己不同时间段内心心像的衍变及多态生活的真实感受与贴切描述。 ——惠书文 展览现场© Ws Space Lei Hong's experimental painting emphasizes the spontaneity and contingency of the unconscious when the individual enters the subjective situation. The continuation of this state marks the path of the descriptor who breaks away the nightmare freedom. Its presentation method is exactly the artist's real feeling and proper description of the evolution of his inner image in different periods of time and the polymorphic life. ——Hui Shuwen 展厅外© Ws Space 展览现场 Exhibition site Photo/5
展览现场5 © Ws Space 展览现场 Exhibition site Photo/10
出品人吴滨与艺术家雷红© Ws Space
出品人吴滨致辞© Ws Space
策展人王春辰致辞© Ws Space
艺术家雷红致辞© Ws Space
出品人吴滨、021创始人包一峰、艺术家雷红、法拉利中国地区负责人Cherry© Ws Space
艺术家雷红与artgogo创办人、著名文化人曹启泰© Ws Space
左起：设计师阿丁、出品人吴滨、艺术家雷红、设计师陈红卫© Ws Space
艺术家雷红与夫人© Ws Space
艺术家与友人合影© Ws Space
观展观众© Ws Space 部分展览作品 Part of the exhibition works Photo/8
碎片，2018，布面综合材料，200x150cm© Lei Hong
一个人的世界二，2018，布面综合材料，200x150cm© Lei Hong
一个人的世界三，2018，布面综合材料，200x150cm© Lei Hong
Ben，2018，布面综合材料，150x150cm© Lei Hong
无题，2018，布面综合材料，150x150cm© Lei Hong
向阳花，2018，布面综合材料，200x150cm© Lei Hong
缚生，2017，布面综合材料，200x150cm© Lei Hong
舆论灵魂，2017，布面综合材料，200x150cm© Lei Hong
抗争与滞然，2017，布面综合材料，200x150cm© Lei Hong
无题，2015，布面综合材料，150x400cm© Lei Hong 语言的灵魂——雷红的绘画实践 王春辰 我们今天面对艺术进行思考的时候，基本的问题实际上都是围绕着绘画展开，提出的各种艺术思辨和论辩也是以绘画为话题，而一部美术史的主体更是非绘画莫属。故此言，绘画之道，是艺术的根本，是世界意义呈现的载体，不可不察。 雷红早年学习绘画，经过人生境遇的各种历练之后，如今重归绘画的现场，他漫步在北京的绘画场域里思考着绘画。在中国的艺术生态里，绘画是最大的版块，从事绘画的人最多，难以计数，每一个画家是如何确立自己的立场和方式的？换言之，绘画能否进入灵魂？绘画是绘画吗？这是现代艺术以来的旷世之问。雷红内心里潜伏的那种生命感悟，不期然再次与绘画相遇，当他重返绘画之时，已经于心了然了该如何面对绘画，所以他再次上手作画就不再是过去的亦步亦趋，而是对技法的运用是腾挪移步、自由有加，一次次发出最本质的生命之问，以绘画出击鞭笞沉沦的世界。 这是绘画的生命之本，是绘画的灵魂之在。雷红的感触也在这里，无论他选取哪一类的题材，无论是用哪一种的技法，他都是以情感真实、以情绪喷薄、以自由表现为出发点。他不再受困于具象非具象这样的纠结，也不再为人物、物品、风景、形式这样的分割所限制。他的内心是我就是我，我看到的就是我看到的，我感知的就是我感知的，哪怕是思绪的一瞬间，他都捕获入画。他审视的绘画对象一下喷涌而出，一个屋角、一个水池、一座戏台、一方山崖这些日常不能再日常的对象，一下摄入画笔；一个站姿、一个匍匐、一个举手、一个弯腰这些并不惊讶的动作都被刻画的富有意蕴。雷红画这些就像写下日记，记载的是自己的日常目光，但内里是对它们的一种真实在场的揭示，物质世界全然是人的悖论的投射：既在，又不在；既有，又虚无。雷红不断述说着“一个人的世界”，岂不是孤独的灵魂永无可遁入之地？沉静之思无处不在。 雷红虽然隔了这般久重归绘画实践，但他的思考强度和广度都因生活阅历而强化。如这批作品中的《舆论与灵魂》、《抗争与滞然》、《缚生》、《一个人的世界》、《我的世界》等，可以看到他思索的话题已然进入的尖锐性和当下性；当他行走在南北方城市之间，他震撼过、惊讶过、不解过，时至今天，沉入反思中。他的重归绘画是情之所至，是人生的必然选择，这也是在绘画语言能够自由运用的原因：语言的驾驭是他的内心所求，而非为艺术而做语言探索。纵观他的这批近作，可以看到，他对日常生活的观察是知微见著，入画手法不拘一格，需要表现主义，就大笔挥洒，让人物的挣扎状跃然纸上（《抗争与滞然》）；当无所依托，不知魂归何处时，就模糊形象，不拘格式，消除背景空间，仿佛悬置了所有的对象，以一句超大的喇叭冲进画面，围绕它的是一片惊恐的痕迹，画面看似凌乱，用笔梳简，又如涂鸦，但意向性就在身边（《舆论与灵魂》）。 绘画的表现性手法常常被误解，以为是绘画的随意性，甚至是反绘画性的策略。其实不然，它是从严格的再现模仿理论挣脱出来的百年奋斗，它的内在属性与外在特征都经历过百多年的探寻和磨砺，内化为当代绘画体系中最具穿透力和情感抒发的一种语言形式。但它的外形迹化与内部情感观念的结合，却不是一蹴而就的，也不是照葫芦画瓢就自然而然做到表现力的。它的前提是需要磨砺艺术家的内心感觉能力，或曰思考与气质并举，这里面最珍视的是一个字：真，而不是相反。如果不是真实感觉、真实思考、真实存在，绘画的表现性对于那些模仿者就是一根鸡肋，用不好又弃不掉。雷红现在的绘画有点不一样，说的就是他能够把握住表现语言的内在实质，实际上是他的人生思考达到的一种深度，使他能在芸芸世界中保有了真实感觉。这种真实感觉能收能放，不在于看别人画册看别人展览，而是他能用敢用会用。如《无题》这幅作品，创作于2015年，由两件组成一幅整体，画面中的意象十分丰富。左幅里有一个人上举手臂，站立在黑压压的虚空中，面对着重叠的空间，可以看到有乌鸦若僵尸漂浮，上方一个人形倾倒下坠，背后是高耸的立方形，散布在空中（意象中？界外？），下有纵横交错的空间，吞噬了一切的物质和生灵；右侧画面上方有一虚薄的白色人形漂浮着，若魂魄飞升，其下方有十字架倾斜，中间又出现黑色乌鸦，这次是站立着，嘴中衔着一根草，没有生机的样子，而其旁边则是一座高高的立柱，上有女神像，状如沉思哀悼，最下方有车辆行走，又是现代都市的景象，整体构成一座无可名状的废墟之地。 雷红对物理界到人世界的意象截取，突出了象征寓意，但又不荒疏于表达，他始终都在突出这个世界的万象之谜，看似平常的图景，经过他内心的体悟，化作了视觉刺激对象，它们传递的并不是绘画本身，而是三界的虚无与荒芜。其感知的当下性与不拘笔法的绘画格局构成了雷红回归绘画的决心和坚韧，这个时代的未知大于可知，又漠然于已知，举凡普世的却变成了异在的，这让尚且呼吸的人不禁嗟乎咏叹，惆怅莫名。如题名《缚生》所示，团状如麻非无解，而是在困厄中重生。绘画之意义非是绘画，而是个体价值的重生与坚守。 2018年8月10日 于北京花家地·酷暑 The Soul of language—Leihong ’s Painting Practices Wang Chunchen As a matter of fact , our essential issue unfolds around painting when we think in the face of art nowadays and various consideration and arguments are proposed on the topic of painting as well. Moreover the subject of an art history is still painting. Therefore there is a saying that the doctrine of painting is the roots of the art and the presented carrier of world significance, and we must be aware of this. Leihong who learned painting in his early years now returns to the scene of the painting after going through a variety of experience from life and strolls in the field of painting thinking about the painting in Beijing. In China, painting is the largest version in artistic ecology . There are too many people who are occupied in painting so that it’s difficult to count. How does each painter make his standpoint and manner? In other words, Is the painting able to enter into the soul? Is the painting the painting ? That’s the doubt of many ages. That kind of life sentiment lurked in Leihong’ s heart meets the painting unexpectedly again . He knows well how to deal with the painting when he returns to the painting so that when he starts painting once again ,his application of painting skills is more flexible and more skilled instead of lacking thoughts of his own and emulating others in everything. He launches an attack to lash out the fallen world by raising the most essential questions again and again. This is the basic of life and the soul of painting , and It’s where Leihong ’s feelings lie. No matter what kind of themes he chooses and what kind of skills he makes use of, He always takes the following features ，to make it true by filling with feelings, to gush with emotions and to show freely ，as the starting points. He is no longer trapped in figurative and non-figurative entanglement and limited by the segmentation of figures, goods, scenery and forms. His heart is I am who i am, I see what I see and I feel what I feel. He can capture even instant thoughts to paint. He starts painting as his examined paint objects pour out of the most common things such as one corner of a house, a pool, a stage and a cliff. These unsurprising movements ,for example a standing posture, a craw, a raised hand and a stoop, are depicted with implication meaning. Leihong records his own daily views by painting things just like keeping a dairy. However, the inside meaning of painting is a revelation of the real presence of these objects. The material world is a complete projection of people’s paradox: it’s everywhere and it’s nowhere at the same time; it has everything and meanwhile it has nothing. Leihong keeps saying “World of One”, Dose the lonely soul never have a place to go ? The silent thinking exits everywhere. The intensity and breadth of his thinking strengthens because of life experience although Leihong’ s return to painting practices after so long a time in between. Judging from his works like Public Opinions and the Soul , Defiance and Stagnation,Constrained Lives, World of One and My World etc. We can draw a conclusion that the topic of thinking has already featured with keenness and currency. Walking in the cities from north to south, he has experienced shocks ,surprises and confusion and he has been put in a reflective mood about life up to this day. His return to painting practices is the extent of feeling , an inevitable choice of life and it’s also the reason why the language of painting can be applied freely. The controlling ability of language is the state of his heart demanding instead of doing language exploration for art. Looking through his current works , we can see that he has a keen observation about life and unique painting skills, he makes strokes with a pen when it requires expressionism to let characters’ struggling stand vividly revealed on the paper (Defiance and Stagnation). When there’s nothing to rely on and have no idea where should the soul belong to , he is able to let a super colossal trumpet rush into the picture surrounded by horror-struck traces and it seems to suspense all the painting objects by applying painting skills such as vague figures, informal forms, elimination of background space. The frame seems like a mess with rare stroke lines and graffiti. However ,you can always see the intentionality of the picture just around here (Public Opinions and the Soul). The technique of painting expression is often misunderstood as the randomness of painting and even as the strategy used to oppose painting. Actually, it is the century-old endeavor to come out of strict simulation theory and its intrinsic attributes and extrinsic features experienced hundreds of years of exploration and suffering to turn it into a language of modern painting system with the most penetrating power and expressing emotions . Nevertheless, the combination of the outside traces and inner emotional concepts neither happens in an action nor be capable of mastering expressive force naturally just by imitating. Its premises are to sharpen artists’ inner sensibility or to develop consideration and temperament simultaneously and being truthful is the most valuable word rather than the opposite one. Without true feelings ,true thinking and real existence,the expression of painting is an useless chicken bone which is neither adopted effectively nor abandoned to those imitators. Leihong ’s current paintings are kind of quite different from others,that is to say he is capable of mastering the inner essence of presentational language which is in fact the depth of reflections on life he has achieved to make it possible for him to retain true feelings among this world. He is able to handle this feeling well ,it’s not to see others’ pictures and exhibitions but he has the ability to use the true feeling ,the courage to make use of it and can use it well. Let’s take one of his works Untitled as an example. The image of Untitled ,painted in 2015 and formed the whole painting with two pictures is super abundant . There is a man with raised arms in the left picture standing in the dark void and facing overlapped space; there are crows floating like zombies; there is a person toppling and falling in the upper picture ;there are towering cubes scattered in the space(in the image ?or out of the world?) at the back of the man and there is crisscrossed space below which devours all substances and lives. There is a vague and weak human shape in white floating in the upper side of the right picture. If the soul flies up to heaven , there are fastigiate crucifixes ; black crows are shown again in the middle of it standing with a straw in its mouth and lack of vitality. Besides it , there is a tall pillar with the state of Liberty on it who is in meditation and mourning. There are running vehicles at the bottom of the picture and the scene of modern cities is shown again , and the whole image composes a unspeakable wasteland. Leihong highlights on the interception of physical and human world and doesn’t lack of expression. He has always emphasized the mystery of all objects in the world and these pictures which seem like some plain things will be turned into the objects of visual simulation after his inner comprehension. What they are trying to transmit is not the painting itself but the nothingness and desolation of three realms. His perception of currency and the painting pattern without stick to the technique of drawing constitutes the determination and tenacity on his returning to painting .The unknown is greater than the knowable in this era, and it’s indifferent to the known. Common people in the universe exit in its otherness which makes living people have a deep sign with a sense of melancholy. As the the title Constrained Lives shows that we are able to find a solution on a mess and reborn in times of trouble. The significance of painting is not to paint but to reborn and stick to individual values. August 10th,2018 Huajiadi , Beijing Midsummer 关于艺术家 /
雷红/Lei Hong 1968 生于河南郑州，毕业于首都师范大学美术学院表现性绘画工作室，现工作生活于上海、北京。 早年学习绘画，经过人生境遇的各种历练之后，如今重归绘画的现场。他的思考强度和广度都因生活阅历而强化，展出的作品中《舆论与灵魂》、《抗争与滞然》、《缚生》、《一个人的世界》、《我的世界》等，可以看到他思索的话题已然进入的尖锐性和当下性。当他行走在南北方城市之间，他震撼过、惊讶过、不解过，时至今天，沉入反思中。何为绘画的生命之本？绘画之灵魂何在？绘画，能否深入灵魂？雷红不断述说着“一个人的世界”，岂不是孤独的灵魂永无可遁入之地？沉静之思无处不在。 2018年An Art Space最值得关注的十五位艺术家！ © Lei Hong This article is published by exclusive AN-ART SPACE, the artist authorized to publish, without permission, please do not reprint. AN ART SPACE DIGITALl MEDIA OPERATION PLATFORM Copyright © 2018 AN ART SPACE. All rights reserved. / Learn More About Art Information ▼ © AN ART SPACE © 2018 AN ART SPACE | Design by Think Web Strategy |
|
|
