雙重現(xiàn)實(shí)
呂山川筆下的《事件》
文／范迪安
呂山川所做的工作并非一種藝術(shù)考古學(xué)的研究，而是表達(dá)自己對(duì)于現(xiàn)實(shí)事件的反應(yīng)。作為一個(gè)當(dāng)代藝術(shù)家，他對(duì)“當(dāng)代”的理解是藝術(shù)家的表達(dá)應(yīng)該與現(xiàn)實(shí)有關(guān)，這實(shí)際上也是中國(guó)當(dāng)代藝術(shù)最重要的特征之一。生活在社會(huì)急劇變革中的中國(guó)藝術(shù)家都切身地感受著現(xiàn)實(shí)對(duì)于他們的作用與影響，他們處于全球與本土、自我與社會(huì)強(qiáng)烈互動(dòng)的張力之中，由此內(nèi)在地生發(fā)起表達(dá)現(xiàn)實(shí)的愿望，可以說(shuō)，以“當(dāng)代”—當(dāng)下現(xiàn)實(shí)—為資源的藝術(shù)創(chuàng)造成為中國(guó)當(dāng)代藝術(shù)最為引人入勝的文化特征。但是，就呂山川而言，他對(duì)于現(xiàn)實(shí)的表達(dá)又是與眾不同的，他的藝術(shù)有魅力之處在于他的創(chuàng)作體現(xiàn)了自我與事件、語(yǔ)言與媒介、繪畫(huà)過(guò)程與行為這三個(gè)方面的統(tǒng)一，概而言之，他的藝術(shù)是事件、媒介和行為三位一體的結(jié)果。
2007.5.1 500X300cm
首先，進(jìn)入?yún)紊酱ǖ淖髌返氖录际恰吧鐣?huì)性”的或可謂之“大”的事件，包括政治、軍事、經(jīng)濟(jì)、文化等方面，這些事件既有中國(guó)的內(nèi)容，也有國(guó)際的內(nèi)容。在2007年，它們是影響中國(guó)的大事，也幾乎是在世界范圍內(nèi)產(chǎn)生影響的大事，這反映了中國(guó)處在全球化時(shí)代與世界密不可分的事實(shí)，也反映了一位中國(guó)藝術(shù)家的全球視野。這些“事件”首先作為“新聞”能動(dòng)著呂山川的感覺(jué)，使他產(chǎn)生一種“再現(xiàn)”的沖動(dòng)。對(duì)于他來(lái)說(shuō)，重要的不僅僅是各種事物的“內(nèi)容”而更是事件發(fā)生的“現(xiàn)場(chǎng)”，在那些“現(xiàn)場(chǎng)”之中，充滿(mǎn)著感人的氣氛和彌漫開(kāi)來(lái)的力量。這種“現(xiàn)場(chǎng)”令他興奮。作為畫(huà)家，他所要捕捉和再現(xiàn)的正是這種可以轉(zhuǎn)換為藝術(shù)形象與形式的“現(xiàn)場(chǎng)”，于是他把畫(huà)布當(dāng)成了“現(xiàn)場(chǎng)”的容器，在描繪的過(guò)程中緊緊控制著氣氛與力量這兩個(gè)因素。也許他所畫(huà)的事實(shí)不完全與每一個(gè)觀者的生活經(jīng)驗(yàn)有關(guān)，但他作品中膨脹的“現(xiàn)場(chǎng)感”卻能在視覺(jué)上構(gòu)成對(duì)人的沖擊，使人進(jìn)入到事件之中，在那里感受曾經(jīng)發(fā)生的存在。在這個(gè)意義上，呂山川成功地實(shí)現(xiàn)了社會(huì)學(xué)內(nèi)容向藝術(shù)性表達(dá)的轉(zhuǎn)換。
2007.8.21 400X250cm
在今天的日常生活中，報(bào)紙已經(jīng)成了人們與外部世界溝通的重要媒介，在報(bào)紙這種媒介上的圖像也成為事件的代言人。呂山川緊緊抓住報(bào)紙這種媒介—這種與他的日常生活有關(guān)，也與他的藝術(shù)語(yǔ)言有關(guān)—就抓住了藝術(shù)表達(dá)的出發(fā)點(diǎn)，使他能夠建立起一種持續(xù)的藝術(shù)生活。只要新聞中有事件，就有報(bào)紙的傳播，也就有了他作畫(huà)的契機(jī)。通過(guò)報(bào)紙這個(gè)媒介，他意欲抒發(fā)的情感一方面有了通往畫(huà)布的橋梁，也使媒介本身成為他藝術(shù)中的“內(nèi)容”。指明這一特點(diǎn)是重要的，在現(xiàn)實(shí)與媒介難以分離的今天，媒介本身成為一種真實(shí)的存在，這對(duì)于藝術(shù)家來(lái)說(shuō)提供了創(chuàng)造的資源，現(xiàn)代以來(lái)無(wú)論中外的許多藝術(shù)家都以這種方式畫(huà)出了關(guān)于現(xiàn)實(shí)的圖像，只是呂山川在這種方式上更加徹底。只要看到報(bào)紙上傳播出重要的事件，無(wú)論白天還是黑夜，他馬上開(kāi)始作畫(huà)，而且一氣呵成，直到完成。另一方面，他用了巨大的畫(huà)布將報(bào)紙的圖像放大，使圖像極為醒目地展現(xiàn)在眼前，就像真正進(jìn)入事件發(fā)生的現(xiàn)場(chǎng)一樣，使作品的“新聞性”得到最大限度的肯定。由此可以說(shuō)，呂山川以報(bào)紙這種“媒介”為藝術(shù)表現(xiàn)“媒介”的做法，刷新了媒介進(jìn)入藝術(shù)的記錄。
2008.2.1 500X300cm
毫無(wú)疑問(wèn)，呂山川是一位具有極高的繪畫(huà)感悟力和表現(xiàn)能力的畫(huà)家，在當(dāng)代藝術(shù)整體形態(tài)走向綜合媒介運(yùn)用的時(shí)代，他堅(jiān)信繪畫(huà)這種最基本的藝術(shù)語(yǔ)言仍然具有表達(dá)當(dāng)代主題的價(jià)值，但他同時(shí)也知道必須為繪畫(huà)注入新的生機(jī)，從而使繪畫(huà)具有足夠的與其他媒介形成視覺(jué)上抗衡的魅力，因此，他在運(yùn)用繪畫(huà)語(yǔ)言進(jìn)行藝術(shù)表達(dá)時(shí)融進(jìn)了繪畫(huà)的觀念性表達(dá)。他的繪畫(huà)首先是“即興”的，真正做到有感而發(fā)，無(wú)感而歇;他的繪畫(huà)過(guò)程是充滿(mǎn)行為方式的，在圖繪中既用畫(huà)筆塑造，也用手涂顏料，使繪畫(huà)過(guò)程成為一個(gè)注入體能的過(guò)程，留下難以料測(cè)的形式痕跡;他通常將畫(huà)面的色調(diào)作“降調(diào)”處理，使畫(huà)面的色彩更加單純，突出了顏料物質(zhì)性的力度;他規(guī)定自己在“新聞”還在“新”的時(shí)間段里完成作品，當(dāng)天的事件當(dāng)天畫(huà)完，觀念性地體現(xiàn)“事件”這個(gè)主題的時(shí)效性......所有這些，都構(gòu)成了他的繪畫(huà)獨(dú)特的觀念與表現(xiàn)有機(jī)統(tǒng)一的風(fēng)格，這是他對(duì)當(dāng)代藝術(shù)的一種貢獻(xiàn)。
作品局部， 攝影：郝科
Double Reality
Events in Lv Shanchuan’ s Painting
Fan Di'an
Lv Shanchuan’s works are not extensive research of contemporary art methodology, but expressions of his own reflections on certain social events. As a contemporary artist, he deems that artists’ expression should relate to the reality, and in fact this is also one of the most important characteristics of Chinese contemporary art. China has been undergoing periods of rapid modernisation and artists are inevitably influenced by the social reality experienced during their daily lives. They are affected by the robust tension and contradictory relationships between globalisation and localisation, between societies and individuality, which therefore intrinsically aspires the artists to present their notion of reality. Art that confesses this ideology then becomes one of the most fascinating identities of Chinese contemporary art. However, Lv Shanchuan’s expression on reality differs from the abovementioned approaches. Lv’s unique artistic style comes from realising the unification of individuality and social events, languages and the media, painting process and performances. As a result, Lv's art integrates social events, the media and performances into one.
2008.9.13 400X250cm
Firstly, Lv Shanchuan’s paintings use social or the so-called significant events involving politics, military, economics and cultural affairs that affect China or around the world as his subject matters. On one hand, these works imply that during the era of globalisation, China has an interwoven relationship with other countries in the world; on the other hand, these works indicate that Lv is a contemporary artist with a global perspective. These social events stir his emotions and compell him to re-represent them. For him, it is not only important to convey the underlying social issues, but also to present the actual “scenes” of where they happen. These “scenes” are filled with emotions and energy in a contagious manner, and these “scenes” excite him. As an artist, Lv needs to capture and re-represent these scenes which can be reinterpreted and integrated with his personalised artistic style. He turns the canvases into containers of the scenes, tightly controlling the atmosphere and energy within. It is possible that some events in his paintings bear no relationship with certain audiences' own experiences. Nevertheless, the accumulating sense of presence instilled in his works creates massive visual impacts, pulling viewers into the events to feel what actually happen there and then. In this respect, Lv successfully induces the transformation of contents within sociology into expressions in the artistic contexts.
作品局部，攝影：郝科
Nowadays, newspaper has become one of the most important media for communications with the outer world. News images have therefore become a symbolic manifestation of the events themselves. Lv Shanchuan utilises news relating to his daily life as references for his artistic language, and uses it as a starting point to build his artistic expression. So long as there are social issues in the news, newspaper will circulate and provide inspirations for Lv to create. Lv conveys his feelings onto the canvases by referencing to newspaper images he has seen, in which the media or news is visually transformed into a crucial content in his art. Remarkably, in today’s world where it becomes difficult to separate the reality and the media, media contributes to the existence of reality. It becomes a resource for artists as their source of creativity. Many artists in China and abroad use the media to create diversified imagery about the reality, and yet Lv Shanchuan does it all the more. As soon as he sees an important event in the news, regardless of whether it is day or night, Lv starts to paint immediately, not stopping until the work is completed. He deliberately magnifies the images onto his colossal canvases. The images are so glaring that viewers are deeply engaged as if they are drawn into the scenes, confronting the news aspect of the works in a multiplied manner. Lv uses newspaper as the media to artistically represent the media or news, refreshing the way for the media to enter into art.
世界廣場(chǎng)-上海 600x250cm 2009
Undoubtedly, Lv Shanchuan has an excellent talent for painting and artistic expression. While the trend in contemporary art nowadays is to shift towards the use of multimedia, Lv firmly believes that painting, being the most basic artistic language, still has the worthiness in representing contemporary topics. He strives to integrate new elements into paintings in order for them to compete with the visual appeal of the other media. Lv integrates conceptual expressions within his artistic languages. His paintings are spontaneous; he paints what he feels, and stops when his feelings subside. His painting process is performative; he paints both with brushes and with his bare hands smearing paint onto the canvases, injecting movements and physicality into the process, leaving traces of unpredictability. Lv also intentionally suppresses the tones of the works, making the colours appear simpler, thus in turn emphasising the materiality of the paint he uses. He sets to finish the paintings when the news is still new, often on the same day that it comes out, reflecting conceptually the timeliness of the subject matter of “events”. All these constitute towards the uniqueness of his paintings in terms of concept as well as a unified, organic style, making these his contributions to the contemporary art domain.
內(nèi)頁(yè)欣賞
*本文（含圖）刊載于《東方藝術(shù)·大家》雜志2017年7月“呂山川專(zhuān)刊”；
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