【评论】陈志光的迷漫之象

【评论】陈志光的迷漫之象

【评论】陈志光的迷漫之象

时间:2011-01-12 14:54:36 来源:

>【评论】陈志光的迷漫之象

作者:范迪安  发布时间: 2010-01-22 15:44:07
  在当代艺术界,陈志光这个名字几乎与“蚂蚁”这个符号连在一起。这些年来,他持续地以蚂蚁为原型,做出了大批作品。在他的手下,蚂蚁这 种微小但具有普通认知的生物被幻变为各种各样的造型,通过拟人化的塑造,它们成为生活中的角色和现实空间的存在。 
  很显然,陈志光在这些年里竭尽可能地用不同手法为蚂蚁造型,将蚂蚁的形象“放大”到让人不能忽视它们的存在的程度,体现了从“生物社会学”的角度建立 自己艺术观众的努力。作为当代艺术家,他深知要解决艺术语言与现实的关系问题,要找到自我与社会关联的枢纽,要最直接而强烈地呈现身处的世界的某种重要特 征。他将蚂蚁生活化、象征化和“放大”的做法,就体现了一位当代艺术家的“当代”意识,而由此展开的语言逻辑和发展指向,则形成了陈志光在中国当代艺术领 域的鲜明个性,经他的努力,蚂蚁变成了一种含带文化意涵的符号。 
  陈志光在制作他的蚂蚁时选择了不锈钢材料,也是一种观念的体现。在当代艺术的表述中,不锈钢被许多艺术家所采用,其显见的原因就是这种材料眩目的光亮 和反射的特美在某种程度上对应了当代社会纷繁的现实,特别是都市化进程形成的视觉景观。正是这种材料的物质属性具有隐喻当代文化特征的潜质,才为艺术家们 普遍钟爱。但是,陈志光用不锈钢制作蚂蚁,思考的是如何内在地建立起材料与主题的关系,并且使材料的物质属性随着主题的扩展而变成主题本身的有机组成部 分。在他的作品中,蚂蚁的生物性被金属材料所“置换”,因而“蜕变”为具有文化意涵的符号,不锈钢反射和互映的结果,则使蚂蚁与外部世界形成了交融。在他 新近的作品中,他还实验性地使用了不锈钢锻彩的技法,更加强化了这种材料的视觉强度,从而使不锈钢材料不是以“专利”的形式为其所用,而是用艺术观念与主 题的需要成为得心应手的语言。
  更重要的是,当陈志光着手创作个体的蚂蚁形象时,他就开始思考如何将这些形象与环境结合起来,使“个体”的意义在“公共”的情境中得以彰显。早些时 候,他用结群的方式将蚂蚁们摆成场景,形成一组组戏剧性的群像,这个时期,他主要的目标是将蚂蚁与社会学角色联系起来,为蚂蚁的出场提供身份的合法性,但 这类作品还主要停留在雕塑的意义上。后来,他更多地让蚂蚁走出雕塑的范畴,用装置的手法构成蚂蚁的世界。在一个蚂蚁满布的空间里,个体的意义不再重要,重 要的是一种种视觉的奇观。在眩目的光反射中,空间被扩展为主体的结构,观众身处其间,能够直接体验到与这个世界的接近,并且由于反射的作用,形成与这个世 界的交融。与此同时,陈志光更进一步将蚂蚁群带入都市,让它们与都市的建筑、街区、环境发生联系,就象一个导演,他指挥着蚂蚁的排列和布阵,在都市这个大 舞台上演出一场又一场关于“迷漫”的戏剧。 
  迷幻的个体与迷漫的意象,构成了陈志光的艺术观念表达。毋庸赘言,这种表达指涉或反映了他的感受的现实世界,也解释了我们共同经验中的世界。 
  陈志光这些年的艺术行为和艺术形式有机地结合起来,构成了他自己的文化姿态与艺术方法,也是他在艺术上不断巩固和强化自我意识的体现。他的艺术经历充 满了人到中年一代艺术家的丰富性:早年学画,他的风格趋于表现主义与象征主义的结合,能运用活泼乃至艳丽的色彩,更施展与直觉关联的想象,笔下物象往往是 生命体验的痕迹,这些艺术特征在他后来的立体作品中均有流露;他从事雕塑很长时间,包括设计和制作被称为环境艺术、城市公共艺术的大型作品,对于空间环境 中作品的戏剧性效果有许多体会,也攒积了足够的经验与能力,这些经验与能力转用于装置艺术,他便能很好地把握作品的空间尺度和整体氛围。更重要的是,他这 些年立足北京画坛,深感从事当代艺术当在感性的用力与理性的用思这两个方面同时并举,因此,他能以足够的“独”劲制作足够数量的作品,在蚂蚁这个形象上延 展不同的状态,不断进行视觉上的新组合,扩大符号的文化内涵和融入现实的可能性。它对古典艺术有着强烈的兴趣,也一直在探索如何将中国艺术传统的美学经验 与现代表现材质结合起来,这就有了他在蚂蚁系列之外的“条屏”系列等作品。在这部分作品中,他将中国画的造型布局、笔墨感觉转化为不锈钢材料语言,同样通 过“放大”与“置换”传达了一种都市化背景下的文化感受,可以说也是一种迷漫的意象。  
  当代艺术中最有活力的新趋势,无疑是艺术家在视觉性和文化性二者的关联上所作的探索和表现出来的锋芒,陈志光的作品提供了充分的应证。

 

【评论】Chen Zhiguang’s Ubiquity
作者:Fan Di’an  发布时间: 2010-01-13 10:32:20
In the world of contemporary art, Chen Zhiguang’s name is almost associated with the ant. In recent years, he has created abundant works, with the ant as the prototype. The seemingly insignificant organism is personified to a variety of vivid roles in human society.  In an attempt to build a larger audience base with sociobiology, Chen Zhiguang tries his utmost to endow ants with different appearances and magnifies the symbol of ants so that nobody can ignore their existence. As a contemporary artist, he feels obligated to figure out the relation between art language and social reality, to find the intersection where self and society overlap, and to directly and intensively depict the features of the society where he lives. The artist’s contemporary thought is represented in his way of representing ants. It is his finest effort to transform the ants into a symbol with rich cultural connotation.  Chen Zhiguang uses stainless steel to create his ants. In the world of contemporary art, stainless steel is utilized by many artists, because their dazzling surface corresponds to the complicated reality of contemporary society, especially to the progress of urbanization. Artists love the material because of its potential of indicating contemporary culture. Chen Zhiguang chooses stainless steel with a deeper thought. He intends to build the in-depth relation between material and theme and to make the property of stainless steel an integral part of the theme. In his works, the biological properties of ants are replaced by the metal property of stainless steel. In this way, the ants are converted into a symbol with cultural meaning and the reflection of stainless-steel surface represents the association between the ants and their surrounding environment. Recently, the artist experimentally uses a new technique called stainless steel coloring to forge a stronger visual impact in his artworks.  Chen Zhiguang thinks carefully about how to integrate the ants into the environment as soon as he starts to create the first ant. Earlier, he placed ants in groups and his major intention was to associate ants with social roles. The ants were still mostly sculptures. Later, he tried to make the ants pass beyond the limit of sculpture and he has built an ant world with the methodology of installation art. In a space where ants are ubiquitous, what is important is the overall visual effect, instead of each individual ant. Even the audience can become part of the ant world and experience the closeness with ants. As an effort to further cultivate this closeness, Chen Zhiguang takes the ants into cities and integrates them into buildings, streets and other urban environments. Like a director, he manages the ants in cities and stages one drama of Ubiquity after another.  Ubiquity is a vivid display of Chen Zhiguang’s comprehension of art. Undoubtedly, his artworks do not only represent his own feeling of the reality, but also explain our common experience in the world.  Chen Zhiguang’s art behaviors and art forms in recent years are organically combined to construct his methodology of art, which indicates his willingness to consolidate and intensify self-awareness. He is an artist with colorful experience. In earlier years, he created flamboyant paintings that combined expressionism and symbolism. This trait would also be represented in his later works. After that, he created numerous sculptures, including large-scale works known as environmental art and public art. In doing so, he accumulated rich experience, which he would use to maneuver the dimensions and surroundings of installation art. In recent years, he feels the deep need to create artworks with both sense and sensibility. Thus, he continually forges new shapes of ants, realigns visual effects and expands the cultural meaning of the ants. He is extremely interested in classical art and has always been exploring how to combine traditional Chinese aesthetics and new material. This is the inspiration of his Scroll series. In this series, he converts traditional Chinese paintings into stainless-steel scrolls. By magnifying and realigning cultural feelings against the background of urbanization, he creates another kind of ubiquity.  The most active trend of contemporary art is the artists’ exploration of the connection between visual effect and cultural connotation. Chen Zhiguang’s works are undoubtedly an excellent example of this.

 

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