张业鸿｜金色 绿色 春风沉醉

THE GOLDEN SPRING BREEZE－ZHANG YEHONG Solo Exhibition

 

 

 

策展人：李泊岩

CURATOR: Li Boyan

 

开幕 Opening：2018.6.30 4:00 pm

展览日期 Date：2018.6.30-2018.7.27

 

北京市朝阳区草场地红一号院A2 希帕画廊

CIPA, Red No.1-A2, Caochangdi, Chaoyang District, Beijing

 

在挪用图像的空间里，艺术家张业鸿还原了最原始的浪漫主义野心，一切被限制的自由放置在最漫无目的表达中。这种野心，是摄影家式的。张业鸿的作品并非要表达图像限制所带来的痛苦的源头，而是对当代主义“物像化”的一种反思：图像既不能按照历史观点去笼统推新，也不能打破“社会理想”和“人生意义”去彻底解放。

站在历史的角度来看，绘画越来越离不开摄影，这显然成了一个全世界公认的结论。从马奈、德加、塞尚再到修拉，挪用图像，都以隐藏的方式辅助着他们的创作。而图像的伪真实在张业鸿看来，某种层面上是对真理的否定，借用经典摄影演变而来的绘画，使那些不在一个时间维度之上的图像，在他的虚构框架中形成了貌似真实的佐证。

克里格（M. Krieger）认为，诗和其它艺术作品，作为人的精神创造产品，与生俱来便赋有内在的自相矛盾或“悖论”。在张业鸿的创作过程中，他尽其可能通过自定义剧本来表达复杂的思想，他逐渐发现语言文字在表达形式中，除了本身充满了歧义之外，也局限并僵化了图像背后的情感思想，使其丧失了生命力。在展览《金色 绿色 春风沉醉》中，张业鸿在寻求一种广阔的视觉符号互动方式，进行打破符号与意义相矛盾的语言形式，将若干历史中的个体创作者的图像串联，在金色和绿色为预言的路径中使时间拉长，推动图画串联在一起的必然意义。

在信息化从发送到汇拢再到消失的快速过程中，观看变得极其被动，张业鸿站在图像自身的角度，试图将这种尴尬被注视，注视到图像自身带有的诗歌色彩上——金色、绿色，又通过春风沉醉这一情境，昭示出的真假难辨，其实才是其作品的美学基调。在此过程中，艺术家能做的是剥离过多的符号，只留下他想要的。

 

In the space of image appropriation, artist Zhang Yehong restores the primitive romantic ambition, placing restricted freedom in indiscriminate expressions. This ambition is of photographers. What Zhang Yehong intends to express in his work is, instead of images’ limitation being the source of pain, the reflection on contemporary imaginization: images cannot be pressured to update in a general manner following historical opinions, nor can them be thoroughly liberated by breaking social aspirations and meaning of life.

From a historical perspective, drawing being more and more inseparable from photography has become recognized over the world. For Édouard Manet, Edgar Degas, Paul Cézanne and Georges Seurat, image appropriation assisted their creation in hidden manners. The pseudo truthfulness of images, in Zhang Yehong’s point of view, is the denial of truth on some level. Paintings, evolving with the help of classical photography, enable the images of different temporal dimensions to form evidence of ostensible truth inside its fabricated frame.

In Murray Krieger’s opinion, poetry, as well as other forms of art, as creations of human spirit, was born with innate contradictions or paradox. In Zhang Yehong’s working process, he tries his best to express complicated thinking by customizing scripts. Gradually he discovered that language and text as expressions, besides being full of ambiguities, restrain and stupefy the feelings and emotions behind them, deprives them of their vitality. In the exhibition The Golden Spring Breeze Zhang Yehong seeks for an interactive method of broad visual symbols, breaking down the opposition of symbols and meanings in language expression, linking together many images of individual authors in the history, prolonging time in the prophetic path of golden and green, and promoting the connection of images to form inevitable significance.

During the rapid process of information being sent, to convergence, and to disappearance, viewing becomes extremely passive. Zhang Yehong starts from the perspective of images, tries to transform the awkwardness of being viewed to the poetic colors in the images—golden and green. He then uses the context of being delighted in the breeze of spring to express the difficulty in distinguishing the genuine and the fake, which is the base tone of his work. In this process, what artist could do is to strip off the redundant symbols and leave only what he wants.

 

 

 

 

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