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1个“杂感”和4个山水画·著名设计师、诗人、画家旺忘望

1 "miscellaneous feeling" and 4 landscape paintings · famous designer, poet and painter wang forgetful



中国艺星网/编发/自然

China Yixing network/braiding/nature

 作者/跨界艺术旺忘望 

Author/crossover art



乱线山水 2015年 旺忘望

Chaotic landscape in 2015 wang wang forget



乱线山水 2015年 旺忘望

Chaotic landscape in 2015 wang wang forget



乱线山水 2015年 旺忘望

Chaotic landscape in 2015 wang wang forget



乱线山水 2015年 旺忘望

Chaotic landscape in 2015 wang wang forget



即兴创作后的感想

The feeling after improvisation


昨晚,在望京蓝韵美术馆与一些当代艺术家聊艺术现状与未来发展。大家还共同创作了一幅作品,名叫“告别约翰凯奇”。创作前有个基本限制:除了一卷100米长的裱画纸,别的不许用正常的绘画工具。通过这种“限制”,大家反而找到了观念的起点:就是从“有”的反面“无” 进入观念层次的表现。

大家各有绝招,我是从“声音”这个材料入手,做了“喷酒”、“用4/4拍节奏打击纸”、“用手机语音同纸说话”、“用方言签名”。其它人用贴、擦、刮、舔、扎、听、砸、吐、烟、灰、喊、烧等材料与行为完成了“空无”这个观念。最后,面对折腾半天,没有什么“痕迹”的一卷白纸,大家的共识是:“用约翰凯奇的方法结束约翰凯奇式的艺术”。不再用惯性思维做无用功,而是用逆向思维探察“无限的可能性”。深夜回到家,有些兴奋,写了一首名叫《今夜,结束约翰凯奇的艺术》的诗:


今夜  就在一卷中国宣纸上

在一卷东方美女的皮肤上

结束乱伦的产业


我对着雪白的文化

喷一口洋酒

我不知它的去向和未来

我不知它的蒸发和痕迹

就留下空气吧

让下一世纪的视觉去验证


我用四拍的节奏

打击干净的纸

它的回音永远记下我的吻

它的回忆就是我的指纹


用最亲近的语言

伸进纸的纤维

伸进它的成长

告诉它  洁白的“无”

我要用声音永远爱你


用手机

用移动的群

用语音

告诉你

就像浮云告诉蓝天

就像热情告诉冰雪

一切都是那么镇静

一切最终都化为乌有


亲爱的“虚无”

最后

我不得不用呼喊

在你虚空的身体上签下我的名


就让沉默

永无止境的沉默

让约翰.凯奇的《4分33秒》

在无中

永久的空吧


我们现在越来越清楚,“当代艺术”自杜尚、约翰凯奇以来在观念上已没有什么突破了!六十多年来尾随他俩的千军万马的观念艺术家几乎都在重复的使用他们的观念和方法。其实他俩是在西方语境中借用了“东方的思考方式”,以“禅宗”为观念支点,完成了从“西方的思考方式”向“东方的思考方式”的转换。这一转换使“艺术认知地图”扩大,找到了艺术很多的“盲维”。至此,在反理性和去欧洲中心化的浪潮中,这种认知升级达到了实用目的。


的确,有什么样的思考方式就会有什么样的艺术态度;有什么样的艺术态度就会有什么样的艺术结果。禅宗的“虚无”和反“执着”与“意义”已成为后现代艺术的核心理念。然而,有趣的是有许多中国当代艺术家“未识庐山真面目”不知道“当代艺术的源头”是中国的思想资源。尾随西方一圈后,才发现不是缺少模仿和拷贝的速度而是对西方的历史和中国传统文化都缺乏深入的了解。


全球化时代,文化交叉互渗,你中有我、我中有你。文化的融合性是很强的。即使如此,还是有很多民族强调文化的主体性,地域性和差异性。因为这已关涉到国际间文化话语权的争夺。这里的问题已不是简单的艺术问题,它是文化政治问题。


中国的当代艺术经过三十多年的艺术实践,终于到了“反思如何走自已的路”的时候了。这是一个大变动的时代,很多模模糊糊的东西似乎正在来临。不久的将来人类将进入智能人时代。不知那时的艺术将演变成何种样式。这是全球的艺术家都在思考的问题。我们只能认知升级,发现还没有意识到的艺术“盲维”。


2018.4.16


Last night, I talked with some contemporary artists about the current status and future development of art in wangjing lanyun art museum. They also created a work together called "farewell to John cage." There is a basic restriction before creation: except for a roll of 100 meters long paper mounting, normal painting tools are not allowed. Through this "limitation", we find the starting point of the concept instead: it is the expression of entering the concept level from the opposite of "being", namely "nothing".

Everyone has their own tricks. I started with the material of "voice", and made "wine spraying", "beating paper with 4/4 rhythm", "talking with paper with mobile phone voice", and "signing with dialect". Others use paste, wipe, scrape, lick, prick, listen, hit, vomit, smoke, ash, shout, burn and other materials and behavior to complete the "empty without" this concept. Finally, in the face of a blank sheet of paper with no "trace", the consensus was: "end John cage's art with John cage's method". Instead of using inertial thinking to do useless work, we use reverse thinking to explore "infinite possibilities". Home late at night, a little excited, wrote a poem called "tonight, end of John cage's art" :

Tonight on a roll of Chinese rice paper

On a roll of Oriental beauty's skin

End the incest industry

I face the snow-white culture

Take a sip of wine

I don't know where it's going or where it's going

I don't know its vaporization and traces

Just leave the air

Let the next century's vision prove it

I use four beats

Strike clean paper

Its echo will always record my kiss

Its memory is my fingerprint

Use your closest language

Fiber into the paper

Reach into its growth

Tell it white nothing

I will always love you with my voice

Using a mobile phone

With moving groups

With voice

To tell you

Like clouds telling the blue sky

Like passion telling ice

Everything was so calm

Everything eventually went up in smoke

Dear "nothing"

The last

I had to shout

Sign my name over your meaningless body

Let silence

The endless silence

4 minutes and 33 seconds by John cage

In the absence of the

Empty forever

It is becoming clear that "contemporary art" has had no conceptual breakthrough since duchamp and John cage. The armies of conceptual artists who have followed them for more than 60 years have almost always used their ideas and methods repeatedly. In fact, they borrowed "Oriental way of thinking" in the western context, and completed the transformation from "western way of thinking" to "eastern way of thinking" by taking "zen" as the conceptual fulcrum. This transformation expands the "map of art cognition" and finds many "blind dimensions" of art. Thus, in the wave of anti-rationality and de-centralization of Europe, this cognitive upgrade has achieved practical purposes.

Indeed, what kind of thinking style will have what kind of artistic attitude; What kind of artistic attitude will have what kind of artistic results. Zen's "nihility" and anti-" persistence "and" meaning "have become the core ideas of postmodern art. However, it is interesting to note that many contemporary Chinese artists "do not know the truth" and do not know that "the source of contemporary art" is China's ideological resource. After following the west around, I found that it was not the lack of imitation and copy speed, but the lack of in-depth understanding of western history and Chinese traditional culture.

In the era of globalization, cultures are interwoven and intertwined. Cultural integration is strong. Even so, many ethnic groups emphasize the subjectivity, regionalism and difference of culture. Because this has been related to the international competition for the right of cultural discourse. The problem here is not simply one of art, but of culture and politics.

After more than 30 years of artistic practice, it is finally time for Chinese contemporary art to reflect on how to go its own way. It was a time of great change, and many vague things seemed to be coming. In the near future, mankind will enter the era of intelligent man. I don't know how art will evolve then. This is a question that artists around the world are thinking about. We can only upgrade our cognition and discover the "blind dimension" of art that we are not yet aware of.


2018.4.16



作者简介:旺忘望,设计师,诗人,画家。目前是中国最具实力的跨界艺术家。1962年生于沈阳。1979年考入甘肃省工艺美术研究所,从事仿古画,刻砚,盆景工作。1984年考入中央工艺美术学院书籍艺术系(现清华大学美术学院)1988年任解放军出版社美术编辑。曾任《中国专家人名辞典》编委。北京大学资源美术学院设计系主任。现任《中国美术报》视觉总监。文化部中国社会经济文化交流协会常务理事。中央美术学院城市设计学院客座教授,辽宁文学院客座教授。旺忘望被公认为中国新时期最重要的平面设计家。以文化设计著称。曾设计大量的中国文化巨星的平面形象如莫言,崔健,张艺谋,王朔,铁凝,贾平凹,余华,王蒙,刘心武,刘震云,芒克,陈丹青,周国平等等。 2007年转型创作当代艺术。从海报创作转化为现代图像制造。被益为安迪.沃霍尔式的中国当代艺术家。2007年,作家出版社出版《放电--旺忘望的诗歌与插图》上下集。2007年获中国当代诗歌高峰年会独立诗歌奖。2010年获中国诗书画高峰论坛(诗歌组)金奖。2010年获“纪念圆明园罹却150周年大型青年诗会”优秀奖。


Author profile: wang forwang, designer, poet, painter. At present, he is the most powerful crossover artist in China. Born in shenyang in 1962. In 1979, he was admitted to gansu arts and crafts institute, engaged in antique painting, ink-stone carving, bonsai work. In 1984, he was admitted to the book art department of the central academy of arts and crafts (now the academy of fine arts of tsinghua university). He was once the editor of the dictionary of Chinese experts' names. Director of design department, school of resources and fine arts, Peking University. Currently, he is the visual director of China art news. Executive director, China association for social, economic and cultural exchanges, ministry of culture. Visiting professor, school of urban design, central academy of fine arts, liaoning university. Wang forwang is recognized as the most important graphic designer in the new era of China. It is famous for its cultural design. Has designed a large number of Chinese cultural superstar plane image such as mo yan, cui jian, zhang yimou, wang shuo, tie ning, jia pingwa, yu hua, wang meng, liu xinwu, liu zhenyun, munk, Chen danqing, zhou guoping and so on. 2007 transformed the creation of contemporary art. From poster creation to modern image production. He was acclaimed as an Andy warhol-style contemporary Chinese artist. In 2007, the author publishing house published the first and second volumes of "discharge -- poetry and illustrations of wangwangwang". In 2007, he won the independent poetry award of China contemporary poetry summit annual meeting. In 2010, he won the BBS (poetry group) gold award of China poetry and calligraphy summit. In 2010, he won the excellence award of "large-scale youth poetry club to commemorate the 150th anniversary of yuanmingyuan".


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