《欲象》展览

主办：宋庄美术馆

艺术总监：栗宪庭

策划：长风

参展艺术家（按拼音排序）：焦兴涛 韩旭成 黄文亚 廉学洺 刘海舟 吕 顺 明 可 庞宏伟 齐中华 单竹兰 舒 勇 屠宏涛 魏 言 邢 波 薛 滔 张建俊 张利语 张小涛赵俊涛

展览时间：2007年7月28日---8月28日

开幕时间:2007年7月28日（星期日）下午三时

展览地址：北京通州宋庄美术馆

交通路线如下：

一、公交路线：

路线1：从大北窑桥底车站乘坐938支9到宋庄小堡村的护工站(或称“美术馆”站)，下车即到。 路线2：乘坐地铁八通线到“通州北苑”站下车，转乘2路到宋庄小堡村下车，下车后

从路北“中国宋庄”的大门进入，一直向北走至艺术园区，看到一幢红色的建筑即是（或在北苑乘坐938支9）。

二、驾车路线：

路线1：驾车进入东六环，京哈高速出口往宋庄方向行驶。参照路线2。 路线2：京通快速往山海关方向，驾车进入京哈高速公路，“丁各庄”出口，向北行驶，见到“宋庄人民政府”

的大牌子再向西，到头丁字路口往北，过红绿灯，路北见到“中国宋庄”的大门，进入一直

向北至艺术园区，过环岛200米左右，路东有东区艺术中心的路口往西，看到一幢红色的建筑即是。

焦兴涛作品



庞宏伟作品[JH:PAGE]

栗宪庭 灿 烂 《欲象》展序

长风拿来他策划的展览方案，申请在宋庄美术馆做展览，题目原来叫《物欲艺术展览》，我改成《欲象》，对艺术家也做了一些选择和调整。人的物欲，本是天性。我知道他想表达对时下社会“物欲横流”的看法，即使如此，那也是社会学家研究的问题。我的意思是作为艺术家或者一种艺术现象，你对时下物欲横流世界的态度和感觉是什么？以及通过哪些方式表达？乃至这些方式的独特性何在？才是艺术的事情。这里艺术家的作品，大多是对“物欲横流”社会的一种片段和抽样的表现，大多是一种是“糜烂图像”，所以“欲象”也不甚确切。“欲象”是浮世欲象，是糜烂欲象，它要表达的不是物欲本身，不是物欲横流的社会现象本身，是艺术家对它的感觉及其找到表达这种感觉的方式。 这并不是一个新鲜的题目，1995年冬天，我为罗氏兄弟的展览写了《浮华的伤害》； 1996年春，俸振杰把自己画的“糜烂皮肤”办了一个《皮肤的叙述》的展览，我在他的展前言里，用了鲁迅先生的“溃烂之处，艳如桃李”的话，来形容对物质主义社会的感觉。接着就是艳俗艺术的“大众样板”“艳妆生活”“跨世纪彩虹”的展览。2000年我开始使用“烂”，作策展的题目，“烂”在中文里包含两个表面相反实际上有关联的含义，是灿烂，明亮，艳丽；一是溃烂。英文里的OVERRIPE，有类似含义――有熟过了的意思，但没有灿烂的含义。八十年代以来，美国式的消费文化及其审美趣味，影响了全球的文化和审美趣味。所以，八十年代以来，在全球的范围里，都有艺术家通过艺术关注这种审美趣味。商业的发达把消费变成一种价值标准，刺激着人的物质欲望的迅速增长，而且现代传媒作为消费文化的核心因素，把一切都变成一种短暂的、趋新的、流行的、赌博式的世俗趣味。作为儒家文化圈，格外有一种艳丽、喜庆乃至农民式的暴发趣味。 2000年以后，中国艺术家对物欲横流的表现，较1990年代中期的艳俗艺术，更强 调腐烂的气息。如张小涛，屠宏涛，刘海舟，韩旭成，廉学洺，张建俊等人的作品，大多使用了“烂”的“比喻图式”，如张小涛使用老鼠，腐烂的草莓，杯盘狼藉；刘海舟使用堆积如山的油腻的肉鸡；屠洪涛用垃圾堆；韩旭成用内脏肠肚；廉学洺和张建俊也用杯盘狼藉；象张小涛说的“纵欲过度之后的糜烂图像是令人眩晕的，这些图像对于我来说充满着恐惧感和动荡不安。它们是我们荒诞生活微观片断的抽样放大，也是我们面对这个物质化的欲望社会从心理到生理的本能反应。”同时，他们或多或少寻找到一种相应的油画表现技法和笔触，好表达那种因腐烂、油腻、垃圾般感受引起的情绪。

吕顺画面中的花、蛙、猪等图象，流淌一样画面处理，使这些比喻图象，更意象化，成为他感伤情绪的直接宣泄。黄文亚用人的嘴、舌图片局部，拼成似嘴、舌又似女性性器官的图片作品，和张利语用硬币黏合成的象征性、权力等符号的作品，寓意都十分明确，但过于直白。齐中华把各种消费品堆积在一起拍成照片，明可拍摄的大面积的广告墙，拼接在一起，也有“堆积”的感觉。赵俊涛综合装置和行为，用堆积和吹爆彩色气球的方式，让人产生艳丽、暴发和转瞬即逝的联想。庞宏伟把建筑工地照片拼接在手指甲上，把城市化比作一种化妆感觉。邢波把灯红酒绿的城市景观，画得辉煌而浮华，并把这些城市景观装在针管里，把“浮华盛世”比作一剂“兴奋剂”或者其他药物，也是比喻方式。物欲横流的世界在这些艺术家的作品中，大多使用了与“垃圾”，“堆积”有关的比喻方式，这种方式让人联想到中国传统的比、兴之方式，这是中国当代艺术的一个可以深入探讨的题目。 薛滔把新闻报纸当作基本材料，使用绞、拧、编成其他物形的方式，既“废物利用”，“绞、拧、编”也有一种情绪宣泄的感觉。焦兴涛用雕塑的方式，放大各种 “商品包装”，精彩处是特意强调出自己的态度――复制的包装并非奥登伯格式的，而是对揉过和捏过的商品包装的放大和复制。 舒勇这样描述自己做的乳房雕塑：“在今天这个男权社会中乳房很大程度上可以改变个人的命运。大家千方百计的用各种方式改变着乳房，从我们大小媒体上充斥的丰胸整胸广告中，从许多女性冒着有生命危险也要做丰胸手术的行为中，似乎可以感觉到乳房的重要非同一般。事实上，乳房在欲望中被政治、经济、文化无限放大。在这种背景下乳房的大小变的敏感和脆弱。”光洁和似玻璃般的脆弱，以及似泡沫般的膨胀感，是舒勇处理这些巨乳的方式，它不仅是乳房，也成为对“欲望膨胀得随时爆裂”感觉的一种比喻。 把單竹兰的作品放在“欲象”展览中不确切，她的作品让人想起著名日本老一代女性主义艺术家草间弥生的作品，但比草间弥生多有一种温情感觉，性的感觉不可以都归入我前面所说的欲望，單竹兰的作品，给人的是一种特有的女性敏感和温情的包围感觉。同样，把魏言的作品放在这个展览也不尽合适，画面虽然有烂乎乎的感觉，但似有一点恐惧式的寓言感觉。当然合适这个展览的艺术家还不少，但限于时间和物力来不及邀请了。[JH:PAGE]

 Gorgeousness•Overripe

——preface to《Images of Desire》

li xianting

Chang Feng brought me his curatorial plan and applied for a show in Songzhuang Art Museum. The subject was Art of Human Desire. I changed it for Images of Desire and made some reselections of participating artists. Human desire is innate quality. I knewhe wanted to present the opinion to nowadays society’s indulgence of human desire.Even so, that is the problem of sociologist. What I mean is, as an artist or an artphenomenon, what is your attitude or feeling to that? By which ways will you express yourself? And what is unique of these ways? It is these things that are the matters of art. The works in this show are mainly the segmental and sampling presentation of the society indulgent of human desire, mainly a kind of overripe image. So Images of Desire is not completely accurate. The desires and images are the ones of Vanity Fair, are overripe ones. What the subject wants to express is not the human desire itself, and not the indulgence of human desire in the society. It is the feeling of artists to it and the way they found to express such feeling.

This is not a fresh subject. In the winter of 1995, I wrote Pains of Vanity Fair for the Luo Brothers. Spring of 1996, Feng Zhengjie made a show Narration of Skin with the Rotten Skin he paint, and I used peachblossom-like fester by Mr. Lu Xun to describe the feeling of material society in the preface to his solo show. Then it follows the Gaudy Art shows like Public Model, Gaudy Life, and Trans-century Rainbow. From 2000, I started to use 烂 as asubject to curate shows. In Chinese, 烂 has two seemingly different but in fact related meanings, one is gorgeous, bright, colorful, another is rotten, decayed, overdo. English word OVERRIPE has similar meaning——too ripe and marked by decay or decline, but no meaning of gorgeousness. Since the 1980s, American-style culture of consumption and aesthetic appetite has affected the whole world. So, since 1980s, artists all over the world have been paying attention to such aesthetic appetite through their art. The prosperous of commerce changes consumption into a standard of value, irritating the rapid raise of human desire. Moreover, modern media, as the core element of consumption culture, whose up-growth changes everything into a short, trendy, and updated worldly appetite. And it shows especially a gaudy, celebrating and even boorish appetite of new-rich in the circle of Confucian culture.

After 2000, the presentation of Chinese artists to the indulgence of human desire emphasizes more on overripe smell than Gaudy Art in the middle of 1990s has done. As Zhang Xiaotao, Tu Hongtao, Liu Haizhou, Han Xucheng, Lian Xueming and Zhang Jianjun, etc., most of their works use the metaphorical image of overripe, like Zhang Xiaotao’s rats, rotten strawberry, messy dishes; Liu Haizhou’s piles of greasy chickens; Tu Hongtao’s rubbish dump; Han Xucheng’s body organs; Lian Xueming and Zhang Jianjun’s messy dishes too. Just as Zhang Xiaotao has said: “The overripe images after indulgence are dizzy, which for me are full of fear and turbulence. They are the enlargement of the micro-segmental sample from our ridiculous life, and also our instinct respond to this material society of desire, psychological and physical.” At the same time, they have more and less found a corresponding technique and stroke of oil painting, to show that feeling caused by overripeness, greasiness and rubbish. Wang Baolin and Gong Lin both make body-shape statues with materials which canshow the process of overripeness or fate, dissimilation. Such statues and the process of making them are also metaphorical. The images of flowers, frogs and pigs, etc. in Lv Shun’s works, as well as the flowing strokes on the canvas, make these figurative images more imagist and become the direct loose of his sentimental feeling. Huang Wenya’s picture works made by putting together the detail images of man’s mouths and tongues, looks more like woman’s sex organs than like mouth or tongue. And Zhang Liyu’s works made by sticking together coins, symbolizes sex, power and so on. Works of these two artists are

quite clear in meaning, but too direct. Qi Zhonghua takes photos of piles of consumption issues. Ming Ke takes photos of large-sized advertising wall, which can also producefeeling of piling by jointing the walls together. Zhao Juntao combines installation and performance, creating the feeling of gaudy, new-rich and transitory by piling and blowing burst colorful balloons.Pang Hongwei put the photos of building sites onto the nails, comparing urbanization to make-up. Xing Bo paints the city landscape of debauchery gorgeous and foppish, and puts the city landscapes into injector, comparing the VanityFair to a dose of incitant or other drugs, which is metaphor too. In the most works of these artists, the metaphor of the world indulgent of human desires is related to rubbish and piling.Such method let us think of the traditional Chinese rhetoric method Bixing, and is a subject of Chinese contemporary art which can be deeply discussed.

Xue Tao uses newspaper as basic material, wringing or weaving them into different shapes, which is not only recycle, but also a release of feelings. Jiao Xingtao enlarges different kinds of commercial packing with sculptures, the highlight of which is a special emphasis on his own attitude——the packing reproduced are no after Oldenburg, but the enlargement and reproduction of commercial packing having been kneaded.

This is Shu Yong’s description of his sculpture of breast: “In the Patriarchal Society today, breasts can change one’s life to a great extent. People tried their best to refine breasts. From the ads of breast enlargement and refinement in different kinds of medias, and from the facts of many women venturing their lives to do breast enlarging operations, we seemingly feel the importance of breasts is uncommon.In fact, breasts are unlimited exaggerated in desire by politics, economics and culture. Under such background,thesize of breasts becomes sensitive and fragile.” Smooth, clean, fragile like glass, and inflated like bubbles, this is how Shu Yong manipulates these huge breasts. They are not only breasts, but also a metaphor of the feeling that the desire inflates too much toexplode at every second.

Putting Shan Zhulan’s works in this show is not quite accurate. Her works remind us famous Japanese feministartist Yayoi Kusama, but with more gentle feelings. The feeling of sex in her works cannot be included into the desire I said above. Her works make us feel like being surrounded by special female sensitivity and softness. Also, it is not completely proper to put the works of Wei Yong in this show. Although his works feels rotten, but a little more like horrifying allegory. Of course there are quite many artists who fit for this show, but it is too late to invite them because of the limitation of timing and material resource.