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司博聞個人藝術展“ 物種園中的人 ”正式開展

2020-04-30 來源:  瀏覽:    關鍵詞:司博聞個人藝術展,司博聞

司博聞個展“ 物種園中的人 ”已于新氧藝O2art空間開幕,展覽將持續至2020年5月26日。

- 展覽作品 -

1.jpg

握手

200x150cm 

布面油畫   2019

馬術比賽

200x160cm

布面油畫   2019


車上的兩個人

120x100cm

布面油畫    2020

平衡車上的人

140x130cm   

布面油畫   2020 

孩子與機械狗

140x130cm

布面油畫   2020 

自然博物館一

180x150cm

布面油畫    2020

自然博物館二

180x150cm

布面油畫    2020

沖突

140x130cm x2  

布面油畫   2020

(橫屏觀看)

人民廣場

180x300cm  

布面油畫  2020

(橫屏觀看)

司博聞:匿名者的身體

同前幾年相比,司博聞的近作更為純粹,或者換句話說,它們所承載的內容更單純并貼近于現實本身,而其思考的深度并未縮減。畫面中仍然是匿名的身體,但之前的那種如同神話隱喻或夢境般的宏大敘事被藝術家逐步拆解,被取而代之的是對某一動作的多維度呈現,他們分別來自藝術家經歷的日常場景或瀏覽的新聞圖片。他的創作更加貼近福柯筆下的異托邦世界,敞開一條通往存在本體的道路。故事性在他的近作中消失了,我們看到了如同生活潛影的圖像依次出場,它們被藝術家主體的潛意識接收、打碎、轉譯,最終被移植到畫面之上。

出身于中央美術學院油畫第一工作室的司博聞,曾在法國的留學經歷,這解釋了他作品中的一直存在的古典性,這貫穿在他的繪畫語言以及部分主題之中。藝術家在講述自己創作時不斷強調“關系”的重要,我們確實能在他的畫作中看到大量不同關系的排列組合:色彩與留白,身體與身體,人與環境,自我與他者……這一切使得畫面閃現著欲言又止的含蓄和微妙的均衡。另一方面,司博聞筆下結實、破碎并扭曲的形體同時承載著藝術家創作中的直觀情緒,如同德勒茲討論培根畫作中的“繪制感覺”,“感覺”在作品細節之處逐步釋放:其中的張力和節奏全部隱藏在筆觸和偶爾閃現的鮮艷色彩里。它們仿佛是藝術家留給我們進入作品真實意圖的縫隙,觀者從中抽絲剝繭,完成一次次旅程。

在此次于新氧藝O2art的展覽《物種園中的人》中,司博聞共展出了十多件作品,其中他對于身體的處理格外引人注目。在藝術家筆下,幾乎所有的身體都沒有頭部或部分肢體,他們如同靜物,被剝離了具體身份,回到一種更“自然”的狀態里。例如《握手》這件作品,兩個形體坐在一片看似會議室的空間內,而形體本身卻被藝術家處理地裸露且扭曲,如同未開化的動物,使得握手這一被人類文明賦予意義的行為顯得格外荒誕。在《開車時候的兩個人》中,男性與女性以一種平行關系呈現在畫面中,后者如同位于烏爾比諾維納斯( Venus of Urbino),而前者男性卻背對觀眾,在背景閃現的一片藍綠風景和簡單的汽車輪廓中,應帶有某種曖昧關系的兩者因缺乏敘事暗示而彼此獨立起來。這種獨立的個體性在《沖突》中更為顯著,只不過以一種更劇烈的方式表現出來:他們分別被藝術家留下了一個被截取的動作,但在兩片不同的陰影中,兩者似乎在不相干地面對各自困境。在表面討論的性別問題下,藝術家更注重的是單獨個體所帶來的沉思:作為具有思考能力的一種生物,人類是如何面對、激發、判定、理解所面對的客體的,以及如何回望自身。

對人類本體的思考一直貫穿在司博聞的創作中,在展廳中的另三件作品《自然博物館系列》和《孩子與機器狗》中,身體被置于可被辨識的環境里,作品的主題似乎更貼近我們當下普遍關注的議題,提醒了我們那些有關人與自然之物以及人造物的種種理論。但事實上,藝術家并非有意貼近這些主題,這與他一直以來的思考一脈相連,正如展覽題目所暗示的,人無非是“物種園”中的一類存在,僅當跳脫出被理智所塑造的自我中心圈內之時,人才能回歸到一種去歷史去秩序的語境中,也就是藝術家所描繪的匿名身體的瞬時狀態。

司博聞的新作時常展現著一種帶有距離的冷靜觀感。相比起赤裸的批判,他的工作更像是將當下生活經驗截取,縱使它們在日常中毫不起眼、轉瞬即逝。在藝術家這里,這些時刻被固定、加工并簡化,因此,畫面產生了一種既熟悉又疏離的效果,使得被規訓的日常變得陌生。在大量空白和重疊的匿名身體背后,藝術家不但實現了自我視覺經驗的重塑,同時通過這些不易被注意的瞬間,再次提出了關乎人之本體的發問。

文/孫天藝

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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