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“重生-DAWN OF REBORN”陈佳曦个展

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展览时间:
2019-11-02 - 2019-11-11
开幕时间:
2019-11-02 15:30
展览城市:
四川 - 成都
展览机构:
宋呈当代艺术馆
展览地址:
成都市锦江区桦彩路158号德必川报易园A209
策 展 人:
崔付利
学术主持:
张一桥
主办单位:
宋呈当代艺术馆
展览备注:
出品人:王行
统筹:余心如

展览介绍

自我的图像——陈佳曦作品中主体意识

Self-image: Subjective Consciousness in Chen Jiaxi's Works

初次见陈佳曦的作品,首先想到的问题就是——图像是如何与自我联系在一起的——尽管这看似一个空洞、庞杂且无意义的问题。因为,艺术家在绘画中表现“自我”的情感和经验是最为常见也最为直接的手段。早在文艺复兴时期,艺术已经开始被看作人类主体的一种表现形式,虽然19世纪工业主义和复制技术的发展曾经威胁到艺术家唯一个体的地位,但很快建立在摄影基础之上的视觉艺术再现新样态的发展直至当下。问题是,无论哪种图像化的技术,艺术家是如何在创作过程中发现和建构自我的主体意识的。所以,这个问题的关键在于——探讨陈佳曦的自我图像化这种艺术观念的发展轨迹和方法意识。

"How the image relates to the self?"—this is the question struck me when I first saw Chen Jiaxi's works. It seems to be a hollow, complicated and meaningless question, though, painting is the most common and direct means of artists to express "self" emotions and experiences. It could be traced back to the the Renaissance when art has begun to be regarded as a manifestation of human as the subject. Although the development of industrialism and reproduction technologies in the 19th century once threatened the artist's status as a unique individual, visual art that established on photography quickly helped them resume the statues and other new forms have been developing until now. The problem is how artists discover and construct their subjective consciousness of the "self" in the creative process, no matter what visualizing techniques are employed. Therefore, the key to this problem lies in exploring the development trajectory and methodological consciousness of Chen Jiaxi's artistic conception of self-visualizing.

身体

Body

在柏拉图的哲学世界中,身体是一个不可信赖的因素,是灵魂通向它们之间的障碍。但我更倾向于身体首先是物质存在,就如同绘画一般,意识只不过是身体上的附着物,绘画则是图像的载体。“身体”某种意义上便成为人们找寻意识的媒介和场所,这也是艺术史中身体经常被艺术家所观察和被表现对象的原因所在。而陈佳曦也不例外,2017-2018年,她创作了一批关于“手”的作品,尽管她只是用素描的方式刻画了“0-10”的手部形象,以及一些具有特殊寓意和指向性的手部动作,但这与她之前的作品有着根本性的变化,这也是陈佳曦发现自我意识的开始。

In Plato's philosophy, body is an untrustworthy factor and an obstacle to the soul. But I intend to believe that a body is first of all a material existence, just like a painting. Consciousness is only the attachment of body, and painting is the carrier of image. In a sense, "body" has become a medium and place for people to find consciousness. This is also the reason why body is often observed and represented by artists throughout art history. Chen Jiaxi is no exception. During 2017-2018, she created a series of works about "hands". Although these were only sketches of the "0-10" hand images and some hand gestures with special meanings or implications, they were fundamentally different from her previous works. This marked the beginning of Chen Jiaxi's discovery of self-consciousness.

随后,陈佳曦的创作中开始表现出对身体的迷恋。但无论在表现形式还是对自我意识的认识上,都逐渐变得深入和全面。在《Thinking》系列中,陈佳曦开始放弃“手”的作品中写实再现的方式,而是走向带有表现主义的绘画语言探索。正如每个艺术家都明白的那样,图像-实体的品质是并不能从被再现对象的品质中完全分离出来。换言之,写实再现的方式可能限制了陈佳曦的情绪表达和关于自我的想象。这批作品中色彩丰富、奔放且有极强的对比性,甚至她直接用色彩来塑造画面中物体的造型和轮廓。虽然作品中仍然有手、猫、女性身体等可以辨识的图像,但它已不再像“手”那样对像化的再现,而是充满了更多关于自我意识的视觉隐喻。

Afterwards, Chen Jiaxi began to show her fascination with the body, and her expression and self-consciousness both gradually became more in-depth and comprehensive. In the "Thinking" series, instead of employing realistic representation in the "hand" works, Chen started to explore the painting language of expressionism. As each artist understands, the quality of the image-entity cannot be completely separated from the quality of the object being represented. In other words, the way of realistic representation may limit Chen's emotional expression and imagination about herself. These works are colorful, unrestrained and highly contrasting, in which she used color to build the shape and outline the objects. Although there are still recognizable images in the paintings, such as hands, cats, and female bodies, they are no longer representations of images like those in "hand", but full of visual metaphors about self-consciousness.

此外,陈佳曦对于“手”系列的阐释更多的是关于“手”本身的感想,但是《Thinking》系列中,陈佳曦开始了对灵魂、意识的强调。我个人认为,这开始了她对主体意识的探寻阶段。在她的《Abstract City》、《Abstract Dancing Music》两个系列作品中,陈佳曦仍然延续着这种方法,但是她在绘画中越来越强调这种手段的变体,这也构成了其作品中图像的诗意和音乐性,而不是早期“手”系列中的模仿性。“身体”在这两组作品中更加抽象和游离,记号、笔触、斑点、线条在画面中自由组合和并置着它们之间的某些关系,已经变得非常任意化。因此,这两个系列作品的形式并非对象的简化和提炼,更多的是她的创作在非模仿性的基础上,在整体上统一绘画里所运用的要素,也就是说她有意在强调其作品的绘画性。

In addition, Chen's interpretation of the "hand" series is more about the "hand" itself, however, in the "Thinking" series, she began to emphasize the soul and consciousness. I personally think that this was the beginning of her exploration of the subjective consciousness. In her series of "Abstract City" and "Abstract Dancing Music", she continued this way and the variations of it were also increasingly emphasized in her paintings, constituting the poetic and musical features of the images in her works, replacing the imitative traits in the early "hands" series. “Body” appears to be more abstract and disassociated in these two sets of works. Marks, strokes, spots, lines are freely combined and juxtaposed in the picture, and the relationships between them have become very arbitrary. Therefore, the form of these two series of works is not the simplification and refinement of the object, but more of her creation using painting elements as a whole on a non-imitation basis, that is, she intends to emphasize the painterly characteristics it of the work.

或许,人们总是会将身体与性产生一种联想,这与身体被单纯地抽象为一种形象和外在性有着直接的关联。而且,身体取代了山、水、林成为一种崭新的风景已成为全球化的事实。当身体话语压缩成了性,并和性等同起来的时候,性好像也没有什么负重之感,陈佳曦在《Ink Print-body》系列中也没有避讳性的问题。只是在她的作品中,性不再是一种特殊而私密的生活形式,而是一种公开的、无所禁忌的普通生活。陈佳曦笔下关于性的绘画,它既不丑陋,也不诗意;既不肮脏,又不圣洁。正是如此,陈佳曦的作品切断了观者对身体过于情色的想象,而是让性话语的透明感照亮了性的深渊。

People tend to associate body with sex, and this tendency is directly related to body being simply abstracted into an image and externality. Moreover, it is a fact that body has replaced mountains, water, and forests as a new scenery. When the body discourse is compressed into sex and equated with sex, sex does not seem to be burdened anymore. Chen does not evade the sex issue in the "Ink Print-body" series. In her works, sex is no longer a special, intimate behavior, but an open, unconstrained ordinary part of life. Chen's paintings about sex are neither ugly nor poetic; neither dirty nor holy. As such, Chen's work cuts off the viewer's erotic imagination of the body, but illuminates the abyss of sexuality with the transparency of sexual discourse.

意识

Consciousness

如果说以上分析是关于陈佳曦作品中身体图像的脉络梳理,那么也同样伴随着她自我主体意识从发现、探索和构建的过程。保罗·克利曾经提出:“艺术并不是描绘可见的东西,而是把不可见的东西创造出来”。所以,艺术向来不是对客观世界肯定或否定的机械反映,这也是陈佳曦作品从写实再现到抽象表达的原因所在。而我认为,真正“不可见”的那一部分正是每个人都尝试去寻找的自我意识。

The analysis above combs through the body images in Chen Jiaxi's works, and it also reveals the process of her discovering, exploring and constructing self-subject consciousness. Paul Klee once said: "Art is not to depict something that is visible, but to create something that is invisible." Therefore, art has never been a positive or negative mechanical reflection of the objective world. It also explains why Chen's works have developed from realism to abstract expression. And I think that the part that is truly "invisible" is the self-consciousness that everyone tries to find.

《Abstract Mystery Misery》是陈佳曦在泰特现代美术馆观看一件影像作品时的有感而作,但她并不是从影像作品的视觉感受出发,而是她在影像作品的音乐中感受到某种莫名的痛苦。无论是音乐本身还是痛苦感受,相对于视觉艺术它们都显得抽象和无序,但把抽象的概念视觉化不正是艺术家所追求的吗?《Abstract Mystery Misery》完全抽离了其作品中一切可辨识的图像,线条的缠绕、盘旋似乎交织了一道命运之网,尽管我们想拼命挣扎却又无法逃离。但它又像一个通往未来之境的通道,触手可及而又遥遥无期,而这条通道在我看来也正是陈佳曦自我意识的视觉转换。

"Abstract Mystery Misery" was inspired by a video work exhibited in Tate Modern, however, instead of being touched by the visual experience, Chen felt certain inexplicable pain from the music of the work. Compared to visual art, music or painful feelings are abstract and disordered, yet it is the visualization of abstract concepts what the artist is pursuing. "Abstract Mystery Misery" completely detached all the recognizable images from her works. The entangling, circling lines seemed to interweave a web of destiny, in which we desperately struggle but could never escape. But it is also like a passage to the future, at your fingertips and far away. And this passage, seems to me a visual transformation of Chen's self-consciousness.

陈佳曦的另一件作品《Description: free sketches moments》,尽管她是在暗房中使用胶片这种媒介进行创作而来,但与摄影有着根本性的不同。胶片中的形象并非像摄影通过拍摄对象而来,而是她根据自己的潜意识和想象所形成的图像。拉康在他的镜像理论曾经得出这样的理论,他认为婴儿通过他者的镜像形成自我的确认,在误认中构建起自我的想象界。与她其他作品所不同的是,《Description: free sketches moments》不是对图像的提炼和抽象,而是她通过对他者的想象建构一种自我的主体意识,而且她在这个过程中也更强调这种个人意志。

Another work of Chen's, "Description: free sketches moments", was created with film as the medium in the darkroom. However, it is fundamentally different from photography. The images in the films are not the subjects taken, but the images that she created according to her own subconscious and imagination. Jacques Lacan's mirror stage hypothesis suggests that an infant develops and confirms the self-identity through the mirror, and constructs the self-imagination in misunderstandings. Unlike her other works, "Description: free sketches moments" is not a refinement and abstraction of images, but rather a construction of self-contained subjective consciousness by imagining the other, and she also emphasizes the personal will in this process.

重生

Rebirth

可以说,陈佳曦充满了对未知的探索和归途的迷茫,她也从对身体媒介的表现自我意识的考量。未知、痛苦、迷茫或许会像乱麻般缠住自己,又像深陷漩涡一般无法抽离,但她却一直用一种平和的态度去面对自我,这或许是一种天然的自我解脱与救赎,在混乱和迷失中寻找自己的平衡点。但所有的事情和所谓的意义都那么明晰之后,那还有什么意义呢,我想这或许是陈佳曦真正从事绘画创作,以及她真正“重生”的开始!

It is fair to say that Chen Jiaxi is engaged in the exploration of the unknown while full of confusion about the unknown, and her application of body as a medium suggests her consideration on self-consciousness. Although the unknown, the painful, and confusion may be twining around her, and forms a deep whirlpool from which she cannot pull herself away, she has always been facing herself with a peaceful attitude. This may be a natural self-liberation and redemption to find one's own balance in confusion and loss. But what is the point if everything and the so-called meanings are so clear-cut? I believe this may be the true beginning of Chen Jiaxi's creation of painting and her true “rebirth”.

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(责任编辑:杨红柳)

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