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司博闻个人艺术展“ 物种园中的人 ”正式开展

2020-04-30 来源:  浏览:    关键词:司博闻个人艺术展,司博闻

司博闻个展“ 物种园中的人 ”已于新氧艺O2art空间开幕,展览将持续至2020年5月26日。

- 展览作品 -

1.jpg

握手

200x150cm 

布面油画   2019

马术比赛

200x160cm

布面油画   2019


车上的两个人

120x100cm

布面油画    2020

平衡车上的人

140x130cm   

布面油画   2020 

孩子与机械狗

140x130cm

布面油画   2020 

自然博物馆一

180x150cm

布面油画    2020

自然博物馆二

180x150cm

布面油画    2020

冲突

140x130cm x2  

布面油画   2020

(横屏观看)

人民广场

180x300cm  

布面油画  2020

(横屏观看)

司博闻:匿名者的身体

同前几年相比,司博闻的近作更为纯粹,或者换句话说,它们所承载的内容更单纯并贴近于现实本身,而其思考的深度并未缩减。画面中仍然是匿名的身体,但之前的那种如同神话隐喻或梦境般的宏大叙事被艺术家逐步拆解,被取而代之的是对某一动作的多维度呈现,他们分别来自艺术家经历的日常场景或浏览的新闻图片。他的创作更加贴近福柯笔下的异托邦世界,敞开一条通往存在本体的道路。故事性在他的近作中消失了,我们看到了如同生活潜影的图像依次出场,它们被艺术家主体的潜意识接收、打碎、转译,最终被移植到画面之上。

出身于中央美术学院油画第一工作室的司博闻,曾在法国的留学经历,这解释了他作品中的一直存在的古典性,这贯穿在他的绘画语言以及部分主题之中。艺术家在讲述自己创作时不断强调“关系”的重要,我们确实能在他的画作中看到大量不同关系的排列组合:色彩与留白,身体与身体,人与环境,自我与他者……这一切使得画面闪现着欲言又止的含蓄和微妙的均衡。另一方面,司博闻笔下结实、破碎并扭曲的形体同时承载着艺术家创作中的直观情绪,如同德勒兹讨论培根画作中的“绘制感觉”,“感觉”在作品细节之处逐步释放:其中的张力和节奏全部隐藏在笔触和偶尔闪现的鲜艳色彩里。它们仿佛是艺术家留给我们进入作品真实意图的缝隙,观者从中抽丝剥茧,完成一次次旅程。

在此次于新氧艺O2art的展览《物种园中的人》中,司博闻共展出了十多件作品,其中他对于身体的处理格外引人注目。在艺术家笔下,几乎所有的身体都没有头部或部分肢体,他们如同静物,被剥离了具体身份,回到一种更“自然”的状态里。例如《握手》这件作品,两个形体坐在一片看似会议室的空间内,而形体本身却被艺术家处理地裸露且扭曲,如同未开化的动物,使得握手这一被人类文明赋予意义的行为显得格外荒诞。在《开车时候的两个人》中,男性与女性以一种平行关系呈现在画面中,后者如同位于乌尔比诺维纳斯( Venus of Urbino),而前者男性却背对观众,在背景闪现的一片蓝绿风景和简单的汽车轮廓中,应带有某种暧昧关系的两者因缺乏叙事暗示而彼此独立起来。这种独立的个体性在《冲突》中更为显著,只不过以一种更剧烈的方式表现出来:他们分别被艺术家留下了一个被截取的动作,但在两片不同的阴影中,两者似乎在不相干地面对各自困境。在表面讨论的性别问题下,艺术家更注重的是单独个体所带来的沉思:作为具有思考能力的一种生物,人类是如何面对、激发、判定、理解所面对的客体的,以及如何回望自身。

对人类本体的思考一直贯穿在司博闻的创作中,在展厅中的另三件作品《自然博物馆系列》和《孩子与机器狗》中,身体被置于可被辨识的环境里,作品的主题似乎更贴近我们当下普遍关注的议题,提醒了我们那些有关人与自然之物以及人造物的种种理论。但事实上,艺术家并非有意贴近这些主题,这与他一直以来的思考一脉相连,正如展览题目所暗示的,人无非是“物种园”中的一类存在,仅当跳脱出被理智所塑造的自我中心圈内之时,人才能回归到一种去历史去秩序的语境中,也就是艺术家所描绘的匿名身体的瞬时状态。

司博闻的新作时常展现着一种带有距离的冷静观感。相比起赤裸的批判,他的工作更像是将当下生活经验截取,纵使它们在日常中毫不起眼、转瞬即逝。在艺术家这里,这些时刻被固定、加工并简化,因此,画面产生了一种既熟悉又疏离的效果,使得被规训的日常变得陌生。在大量空白和重叠的匿名身体背后,艺术家不但实现了自我视觉经验的重塑,同时通过这些不易被注意的瞬间,再次提出了关乎人之本体的发问。

文/孙天艺

Si Bowen: Body of the Anonymous

Compared with those of the previous years, Si Bowen's recent works are purer, or in other words, what they convey now is simpler and closer to the reality, while preserve the depth. Anonymous subjects still exist, but the previous grand narrative of seemingly myth or dreams was gradually dismantled by the artist. They are replaced by a multi-dimensional presentation of one certain action, which might be traced to what he has experienced in daily life or news photos he has read. His creation is like the Heterotopia proposed by Foucault, where a road to existence has been opened. In his recent works, there are less stories but more images of reality. They are received, smashed, interpreted and finally transplanted to the pictures by the artist's subconscious.

Si Bowen, who came from the First Oil Painting Studio of the Central Academy of Fine Arts, had studied abroad in France for two years. His study experiences partly explained the classical visual language and preferred themes that has been running through his works. When talking about his work, the artist emphasizes the importance of "relationship". Indeed, we can see arrys of different relationships in his paintings: between colors, bodies, human and environment, self and others, etc.. All these make his paintings filled with implicit and subtle balance. On the other hand, the strong, broken and distorted bodies painted by Si Bowen also carry his most intuitive feelings during the creation process, just as what Deleuze elaborated as the "painting sensation" in Bacon's paintings, where the "sensation" is gradually unfolded in the details of the works: both the tension and rhythm are hidden in the brushwork and occasionally bright colors. They seem like opportunities provided by the artist for us to appreciate the real intention behind the work, from which the viewers peer into the work and embark on the journey step by step.

In the exhibition In the Garden of Species at O2art, Si Bowen has displayed more than 10 recent works, among which his treatment of the body was undoubtedly noticeable. In these works, bodies have no heads or limbs, turning themselves as inanimate objects that has been stripped of their specific identities and back to a more "natural" state. For example, in the work Handshake, the two bodies are sitting in a space that looks like a conference room, while the bodies themselves are exposed and distorted by the artist, just like uncivilized animals. All of these make handshaking, an cultured act endowed with meaning, absurd. In Two People While Driving, the man and woman are presented in a parallel relationship in the painting. The latter is like Venus of Urbino, while the former turns his back to the audience. In the blue green scenery in the background and the simple outline of the car, the two people, who are supposed to have an affair, become independent due to lack of narrative hints. This independent individuality is even more obvious in Conflict, which is shown in a more intense way: each of them is left with an intercepted action by the artist, but in two different shadows, the two seem to be facing their respective dilemmas without interfering each other. Behind the discussion on gender issues, the artist put more attention on the discussion of individuals: as a creature with thinking ability, how human beings face, stimulate, judge and understand the objects they confront and how to observe the reflection of themselves.



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