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“记忆的形状”董文通个展

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展览时间:
2018-05-19 - 2018-05-28
开幕时间:
2018-05-19 15:00
展览城市:
广东 - 深圳
展览机构:
谷仓当代艺术空间
展览地址:
深圳市南山区华侨城OCT创意园北区C3栋一楼
主办单位:
谷仓当代艺术空间 栗空间画廊

展览介绍

记忆的形状

——董文通的“废墟拾遗”及其“个人生存谱系”

Shape of Memory- "Collection of Anecdotes in Ruins" of Dong Wentong and its "Individual Survival Spectrum"

杨小彦

Yang Xiaoyan

董文通的母题不无残酷,又不无自然。他始终把目光盯住废墟,或者与废墟具有同一性的房子,和围绕着这些房子的景观。因为盯得紧张,盯得目不转睛,于是就演变成一场无言的逼视,一场洞察末日的凝视,一场有温度的平视,以及一场,在他心目中建业构起来的,诗意般不停地发生骚乱的对视。

Motif of Dong Wentong is a little cruel and natural. He always gazes at the ruins, houses which have the same identity as the ruins, or scenery around these houses. His nervous and staring gaze becomes a wordless gaze, an insightful gaze, a warm and horizontal gaze, and a poetic gaze established in his heart with constant disturbance.

其实,董文通不是对废墟有兴趣,那只是一个由头。他所执着的是往昔,是那些先他而在的,几百年前,几千年前,甚至上万年前的血缘痕迹,一代又一代地,既化身在基因中遗传至今,而且还要继续遗传下去,同时又固执地附着于曾经的生活之地、之房、之处、之物,让那些与生俱存的周遭环境无不打上母胎的印痕。他看到这些个印痕,然后,眼前的实物就在他的盯视中变成了永恒的镜像,而走向他年轻的内心,在大脑的视觉区搭建起一座又一座迷宫般的回廊。他就终日穿行在这些个回廊中,寻找着可能是真实、也可能是虚伪的出口。

In fact, Dong Wentong is not interested in ruins which is just a pretext. What he persists is the past time and is blood trace which has been existed earlier than him for several hundreds, several thousands, or several tens of thousand years from generation to generation. The blood trace has been inherited to now in gene and will continue to be inherited. Meanwhile, it is persistently attached to living place, living house, living room, and articles of daily use so that the intrinsic surrounding environment is marked with maternal fetus. Material objects within his sight become eternal mirror image in his gaze after seeing these traces so as to move towards his young heart, while ambulatories like labyrinths one by one are established in visual area in his brain. He walks through these ambulatories for all days long so as to look for exit which may be true or false.

我蓦然想起了卡夫卡的“城堡”,不断地尝试着走向前去,不断地以为自己已经触摸到了粗糙的墙壁,但是,一次又一次的落空,粗糙的墙壁在无限地向后退缩,以至于让寻找本身成为事实,徘徊其中而百感交集。

I suddenly remember the “Castle” of Kafka. The leading character constantly attempts to go ahead and constantly believes that he has touched the rough wall. However, he fails in vain time after time. It seems that rough wall is retreated infinitely so as to make search to be fact, while the leading character just wanders and has mixed feelings.

“家乡”就是董文通的“城堡”,不断地走近,以为达成目标后才发现,“家乡”还在远方、远方,有一只无形的手在召唤着他,让他前行,让他思索,让他挣扎。于是乎,董文通用各种观看的方式走近他的“家乡”,所以才有了种种的盯视、逼视、平视和对视。他种种的观看状态一直停留在“家乡”的废墟表面,有力地形塑了具有样本意义的“记忆”的形状。这些个形状,就成为了董文通的作品,那些个油画、速写、装置和影像。

"Hometown" is the "castle" of Dong Wentong and it is to be found that "hometown" is still in the distance and an intangible hand summons him, makes him move forward, think and struggle upon continuous approach when he deems that the goal is achieved. So Dong Wentong approaches his "hometown" in all kinds of ways of seeing, then there are kinds of staring, gazing, looking straight ahead and staring contest. All his seeing states always remain on the ruin surface of "hometown" to forcefully shape the "memory" of sample meaning. These shapes become works, oil-painting, sketch, device and image of Dong Wentong.

董文通一直在做的是,让“记忆”变成可以触摸的形状,然后,他就可以在遥望中把观看变成了眼前的“抚摸”。他从双眼中伸出一只无法窥见的手,然后,努力向前伸去,一直就那样,哪怕痉挛,哪怕窒息,也必须伸着,向前,再向前……

Dong Wentong always tries to make "memory" touchable shapes so that he can then change watching into "touch" before the eyes while looking into the distance. He stretches out a hand which cannot be seen from the eyes and then he struggles to stretch it forward; he keeps it and he must stretch forward and forward regardless of spasm and suffocation…

原来,记忆是有形状的。

So memory has its own shapes.

拉康从镜像理论出发,试图论证记忆的起源,并把这一起源追溯到子宫之中。他认为人的成长有“二次认同”,第一次认同诞生在怀孕之际,带着子宫的暖流被抛向与个人俨然陌生的未知世界,开始了人生旅途最初的冒险。成长的第一个胎记既带有子宫的挤压,也包含着父母的抚摸,并最终形成初始的人格。接着,稍微长大了,必须走向社会,去托儿所,去幼儿园,上小学、中学,初始的人格受到了社会全面的捶打甚至欺压,原先的认同所形成的平台成为二次认同的开始,并在二次认同中完成人格的成长,以社会身份亲临种种隐含着叛变与眷念交杂的情境,体会着人生的严酷与兴奋。

Lacan tried to prove memory origin and he dated this origin to uterus starting from mirror image theory. He thought that human growth has "secondary recognition" and the first recognition occurs at the time of pregnancy; individuals were thrown to totally strange unknown world along with warm flow of uterus to start initial adventure of life journey. The first growth birthmark was with both extrusion of uterus and touch of parents to finally form initial personality. Then individuals had to move towards society, go to nursery, kindergarten, primary school and middle school when they grew a bit older and their initial personality was subject to overall beat and even bully of the society; platform formed by original recognition became the beginning of secondary recognition and personality growth was completed in secondary recognition. They had to personally face all mixed situations of implied betray and fondness and taste asperity and excitement of life.

其实,艺术家面对他的母题时,他已经完成了拉康意义的“二次认同”,他的艺术行为实质上是“第三次认同”,试图通过重新定义母题而获得一种永恒的力量,让本来飘忽的记忆实体化,成为摸得着的、有形状的存在。

Actually an artist has finished "secondary recognition" of Lacan meaning when he is facing his motif and his artistic behavior is essentially "the third recognition"; he attempts to obtain a kind of eternal power through redefining motif so as to solidify original uncertain memory and make it into touchable and tangible things.

在《还乡拾遗.系列创作之一》这幅油画里,一个应该是来寻找过往痕迹的成年人,正对着一堵嵌在墙壁里的柜子仔细辨认。画面近景的墙上挂着家庭镜框,镜框里大概放着家人在各处的合照,镜框上头则贴着几幅三点装女郎的彩色画片。熟知家庭布置的人们都知道,家庭镜框等于是家庭公开的历史,而三点装女郎的彩色画片则给出的房子的年代。盛行三点装挂历是上世纪九十年代的事,到了世纪末时,这一门曾经大红大紫的生意就突然式微了,基层民众的趣味发生了重大转移,于是三点装画片就成为历史的节点象征,贴在墙上,像时钟那样,把历史固置在某个动人的时刻。本来,在古旧的房子里贴着三点装女郎的彩色画片,本身就宣示着现代化的强行介入,引发了人们对物质主义的疯狂想象与追逐。然后,一切都过去了,飞速发展意味着丢弃,房子于是变成了废墟,只有墙上的旧物依稀可辨。有意思的是,董文通把探寻旧物的中年人又画了一幅,显示他对这一个人的姿势与有独特的偏爱,似乎他代表着一种努力。在《还乡拾遗.系列创作之二》中,探究者变成了一个摄影家,他正通过镜头把眼前的废墟给仔细地记录下来。在《还乡拾遗.系列之三》中,董文通又把探究者变成另一个中年男人,他在户外注视着曾经的住处,表情冷漠而又有点好奇。

An adult who comes here to seek for past traces is carefully identifying a cabinet embedded in the wall in the oil-painting of Returning to Native Place and Collection of Anecdotes Creation Series I. A family picture frame is hung on the wall of close shot of the image and there may be group photos of the families in some places in the picture frames; several colorful paintings of bikini ladies are posted above the frame. People familiar with family layout all know that family picture frames are public history of the family and colorful paintings of bikini ladies offer the time of the house. Calendar of bikini ladies prevailed in 1990s and this business in the limelight suddenly declined at the end of the century. Major transfer of taste of grassroots took place, so bikini pictures became historical node symbol and it was posted on the wall to fix the history in certain touching moments like a clock. Putting up colorful pictures of bikini ladies in an archaic house originally declares forcible intervention of modernization and it triggers people‘s crazy imagination and chase of materialism. Then all is past and rapid development means discarding, so the house becomes a ruin and only old things on the wall can be distinguished vaguely. It is interesting that Dong Wentong draws another painting of a middle-aged man to explore old things so as to indicate that he uniquely favors the gesture of the person; seemingly it represents a kind of effort. The explorer becomes a photographer and he is recording the ruins before the eyes carefully through the camera lens in Returning to Native Place and Collection of Anecdotes Creation Series II. Dong Wentong turns the explorer to another middle-aged man in Returning to Native Place and Collection of Anecdotes Creation Series III and he is watching his former residence outdoors, expression indifferent and a bit curious.

关键是,所有这些入画的母题是通过照片确认的。也就是说,艺术家先是用镜头记录下眼前的旧物,然后再变成流畅的油画。照片的旧物是静止的,一旦转变成油画,就自有一种表现性在,从而突显了其中的荒诞。今天来看,艺术家通过影像从事表达已经不是问题。面对旧物与面对照片,在观看上可以具有某种同一性,让照片如旧物般发光。关键是观看者的立场,他能否意识到观看本身所蕴含着的意义。

It is the key that all these painting motifs are confirmed though pictures. That is to say that the artist records the old things before the eyes with camera lens firstly and then turns it to smooth paintings. Old things in pictures are still and they have certain representation once transformed into oil-paintings so that absurdness of them is highlighted. It is not difficult for artists to be engaged in expression through images today. There can be certain identity in terms of seeing to make pictures shine like old things in front of old things and pictures. The key is position of viewers and whether he can realize the meaning of watching itself.

从董文通的作品看,他对逼视、凝视、平视与对视并不陌生,他正是通过几个系列的作品,从摄影到平面再到装置与剧场效应,不断地把自己从这四种观看的方式中转移,以至于使观看本身因频繁变位而显出一种焦虑,一种缠绕着情感不断深入的焦虑。结果是,观看成为象征,作品只是这一系列象征的载体,用以陈述一段并非虚构的个人史。《遗落的世界之我的小学》系列,以及《被遗弃的学校》系列和《被毁坏的工厂》系列,其实是艺术家本人从小到大的那些个让他刻骨铭心的处所,也是他成长中无法模糊的节点,这些个处所与节点升腾到记忆中,竟然让记忆凝结成可以认真触摸的形状。董文通正是这样一次又一次的触摸,唤发起他内心的思绪,从而让记忆的形态外化为拍摄、描绘与摆布的对象以及观看的载体,让个人生存成为可以查阅的谱系,从而让世界在记忆中固置。

He is familiar with watching intently, gazing, looking straight ahead and staring contest in terms of works of Dong Wentong and he continually transfers himself from the four watching ways from photography to plane and then to device and theatric effect right through several series of works so that watching itself indicates a kind of anxiety, a kind of anxiety twined with feelings to continuously deepen due to frequent conjugation. The result is that watching becomes a symbol and works is only the carrier of this series of symbols to state a period of true personal history. The series of My Primary School of the Abandoned World, the series of Abandoned School and the series of Destroyed Factory are actually unforgettable places for the artist himself from childhood to older ages and nodes which cannot be blurred during his growth; these places and nodes rise to the memory and are condensed into careful touchable shapes unexpectedly. Dong Wentong arouses his inner thoughts right through such touches over and over so as to transform memory form to objects of photography, description and manipulation and watching carrier so that personal survival becomes referred pedigree and the world is fixed in the memory.

所以,从这一意义看,我觉得董文通拼其合力所创作的,其实只是一件作品,那就是“记忆的形状”,这个形态的细节散落在各处,董文通经过一次又一次的拍摄、描绘、装置,再拍摄、再描绘、再装置,让过往被遗弃的、被毁坏的岁月连同物质得以恢复,并屹立在世界之前,让尊严重新成为根基。

So I think what Dong Wentong creates in efforts is actually a piece of works, namely "memory shape"; details of this form are scattered in places and Dong Wentong recovers past deserted and destroyed ages and materials and makes them stand in front of the world so that the dignity becomes the foundation once again through shooting, description, equipping and re-shooting, re-description and re-equipping over and over.

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(责任编辑:张鑫)

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董文通22018-05-19 09:25:42
谢谢老同学🌹😄💪💪💪
何铁手1152018-05-19 01:23:05
老同学这么多年的坚持不容易。从画面上看到了技术、思想的沉积和发散,祝愿展览圆满成功,身体健康,阖家欢乐。
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