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    我想今天前面这一部分,讲一下我自己的作品,因为这个也是自己的创作。首饰艺术,接下来可以从我的作品中可能分三个系列,来做一个介绍。

滕菲在演讲

    第一个系列我想介绍的是我07年做的一组作品,我给它总体的一个名字叫《朵颐》,我想个作品是为我自己做而做的首饰艺术作品,应该说它虽然是在今年制作完成,并且做了一些展览,专业的一些杂志报道啊,包括一些评论文章也很多,但是我想它的这些作品生成的过程是比较长的,应该说有十几年的一个积累在里面。

    《朵颐》,我给它的概念是,就像我们这个图片上看到的一个名字瞬间摄影,就是摄影的时候拍的一个云朵,一个花一个云,都是可以颐养身心的,在这个系列里面,我想我给予首饰的概念,我说它是给灵魂的礼物。我们看到这个是用的白玉的材料做了一个《胎记》,这组作品无论是从形态,还是材料,还是某一些元素,都跟自己的身体,跟自己的一些经历有直接的关系,这是源于胎记的这样一个形态,采用了白玉、黑玉这样来完成的两个作品。它是可以把玩的,不可以佩戴。如果说首饰是用来佩戴的,这两个虽然不可以佩戴,但是它跟身体是有关联的,跟人是发生关系的,所以在这样一种定义下,我认为它都可以称之为首饰。

    这个是《胎记》这个作品。它的灵感,我想我也用文字在这边也可以解读一下,就是儿时看过的电影里面,母子相认的时候,都是以胎记作为一个证据的,那么在没有高科技可以检测DNA做亲子鉴定的时代,胎记是人们赖以作证的一个标识。这个作品的由来呢,也是从自己的身上发现有一块胎记,那么这个胎记我自己看不见的,那么当初比如说离开自己家乡,到北京来读书的时候,自己的母亲可能会跟自己说:好像就一个孩子从此以后就消失了,因为你出去读书,什么时候能回来,就都不得而知,但是这个胎记是丢不了的。所以在我的印象中,胎记是永远不会改变的,它是一个永恒不变的符号,但实际上这个东西到底是不是这样呢?这之后可能最后我们可以聊,因为有一些不同的概念,那么在我看来胎记是不变的,虽然人在不断的变化,而胎记是永远不变的,这是我的一个概念。

    这个作品运用了银的材质,通常我对银的一种运用和处理的手段呢,就是用手把自己的手纹、指纹、一些人纹的痕迹,把它保留在这个金属上面,使它有更多的一种温暖的感觉,就是想打破传统中的人们对金属的运用,通常都是比较冷漠、冰冷这样一些感受,通过这样一个处理,你可以改变它的一种视觉上的一种效果,当然中间我们看到的一些点状、水珠状的东西是翡翠,做了一些从胎记这个概念里,提炼出来的不同的演变,这样的一个东西。

    那么这件作品我想可能看到有些地方用的也挺多,这个也是跟自己经历或者说成长过程中,特别密切的一个印记、一个符号。这个是自己在怀孕、生子以后留下的一个剖腹产的疤痕,它的那个构想是从这里来的。或者说它的一个创作的诱引是从这来的,我想在经过九月怀胎的这样一个过程中,本来应该是很自然的去生产的,但是有好多东西不是你自己所能把控的,所以在迟迟不能自然生产的前提下,剖腹产就变成很自然的事,在我看来就是这样一个过程就像我这所写的,这个过程中是怎么样的一种感受,一种切腹的过程中是怎么样一种感受,一种切腹的一种痛感,但是大脑意识又是很清晰的,包括整个过程你都能很清晰的感受到。那么最后就是通过缝合,通过切口孩子可能就诞生了,缝合以后留下了这个刀痕。

    我觉得对我来说,这个印迹、这个疤痕实际上换来的不仅仅是一个生命,其实对我自身,对母体来说它也是一个再生的一种体验。这种感受,这样的一种体验我觉得还是很独特的,所以有了这种作品。那么对于这个作品本身完成了,如果它独立存在那儿,它是一种感觉,而真正佩戴,大家可能也注意到了,就是我没有像通常的首饰一样仅仅作为装饰佩戴在一个很松弛,或者很随意的一种状态,而是让它有一种非常严丝合缝的,因为这个作品本身设计就是为我自己而做的,那么非常紧密的,跟镯子,跟围度非常贴近,目的就是让它能够诠释出一种自己对生命的体验也好,对生命的一种体悟,通过这样一种比较紧张的,不是很松弛的一种氛围,通过演绎的这么一个图景,能够把那个作品的背后的东西,体验的东西能够表达得更准确。

讲座现场

    这个作品题目叫《那个夏天》,因为孩子出生是在夏天的时节,所以说包括这个作品也是那个夏天作品的一个演绎,同样用的我们可以看到,就是很拧巴的、很扭曲的这样一些金属的材料,它把它处理成这样一种效果,那我想也算我自己对金属本身的一种体验、认识或者是一种特殊的处理手段。

    这个作品叫《40日记》,也就是40岁那一年,就是2003年非典爆发了,我想我们大家都应该共同经历了这么一个事件。这对我来讲,的确就是一个非常有意思的作品的诱发点。那么以前自己是习惯于有留短发的,非典爆发以后,谁都不敢去公共场所,对吧?也不允许你经常的去出没一些公共场所了,所以说自然的就想剪头发这的这个欲望就没有了,留完了以后,其实可能身体各方面的状态啊,就是人自然的就会掉好多头发,所以我就在那个时期,就每天把我的头发积累起来,就像这样的一个状态,每天都会有,然后把它积累起来。因为头发我们知道,可能留长发的女孩子可能会更有这一个经验,就是通常头发掉了一地,就是很讨厌的,但是慢慢、慢慢你发现,你把它收集起来,通过这样的揉搓这样一个方法是特别容易清理的,并且它有了一些似乎通过你的行为,你这样一个收集的过程,它变的有了一些意义,并且把每天收集来头发标上日期,这样我有了一个时间段的积累,最后把它做成了我们刚才看到的,这样一个用银这些结构,把它完成了一个项圈。

    那么像这样的作品,我觉得可能通常来说,我不知道你们看到那个作品,尤其是女孩子们,就是平常你们也戴首饰的人,就说这个作品,或者是这个首饰、项圈给你戴,你会用什么样的感受,有好多人是不敢戴的,因为它这个材质是非常特别,有一种很有意思的心理的东西在跟你产生作用。但是我记得有一次因为我那个展览是在四月份做的,是在798的一个画廊,做完以后有一些朋友他们做研讨会,研讨会就是有一些不同的领域的朋友们来聊这些作品,其中有一个摄影师,她也是一位女性,她正好自己有一些身体的原因,她头发特别短,像男人一样的,就是板寸,几乎就是推光的这么一个发型,然后她看到这个东西特别有感觉,她也愿意戴,这是我唯一遇到的一个,因为她自己有一些共鸣的东西,还是什么出于什么原因,而且她戴的效果非常和谐,但是通常来说它这个东西是为个人,是很私密的,或者为某个个体来做这个东西的时候,别人都是有距离感的,所以说我们讲这个首饰本身,它如果说具有一个佩戴功能,但是它对人的精神,那样的一个作用可能也不可忽略,就是这个上面的作用也是很强的。

    同样这个作品我给它取的是《谜》这么的一个概念,我们可以看到,我这个项圈,或者项圈的这个形,其实就取于这个CT片子里头的某一个形态的局部,这个也是早期的一张自己的片子,身体或头不舒服,我曾经拍下来的一个资料,那么把它做成了这么一个项圈,在我看来这个片子本身它是一个很神奇的一个东西,就像我这个文字里看到的一样,就是它从不同的角度、不同的区域,这个脑体的图像,有是摆在我面前真是像一个侦探大片一样特别神秘。因为通常我们不会这么在意自身、在意自己的一些身体去反观自己,尤其是在这么嘈杂或者令人焦虑的今天这样一个社会的状态下面,人真正能静下来去关心一下自己,去反观一下自身,内在的身体的这些东西好像,相对来说不是那么容易。在这种状况下你去作了这样一些工作,偶然一个机会也好,还是必然的一个行为,那么让你去作了这样一种体验,或者自己去作这么一个工作。你会觉得这个是一个有神奇的一个效果,就像我自己的感受一样,就是不是我自己的东西,就会提出一些疑问,提出一些质疑的东西来。

    我们看到这个项圈他是橡胶和银两种材料来处理,同样这个作品我们看这个像塑料一样管状的东西,你马上就会想到这些输液的一些管,这样的一些东西。那么我这个作品,我题目也是“身体的预言”。其实想讲就是说因为曾经在这个作品之前,好多年前应该说作为装置作品,也是一个预言。那个作品也是通过一个输液管然后把自己手工作了很多纸,一张一张的纸作的非常厚,那么用油通过输液管,输入到那大厚厚的纸的这么一个装置作品中,那个作品是当年为德国的一个展览作的。那个作品当时是一个也是对身体、生命的体验,通过因为住院、生病,你会感受到人在输液过程中你会想到很多东西,挺神奇的一样感悟,所以有了那件作品。在96年的时候,在那个时候在回过来作这个的时候我把它置换了,我们可以这两个塑料头上的首饰,有珍珠、银这样做的首饰的东西作的跟这样结合在一起。因为我始终想说,在今天,首饰它不仅仅是一个装饰的一个东西,它同时也是能够滋养人的精神、灵魂具备这样一个功能的艺术作品,所以这件作品本身就是用首饰把它引喻的似乎是能够人精神、灵魂这样一种有疗效的这样一个物体。

    那个作品我们可以看到在衣服上有一些心电图的这种标识,那么这个也是取材于自身的,那么这件作品题目叫“心悸”。就是通常就是……,这个是我自己的一个心电图原始材料的记录,那么我把这个作品中,或者这个原始资料里面,我觉得非常有意思的线型的局部,把它处理到这个丝网印的方法,就是处理在一个带有吸铁这种功能的这么一种吸铁板上。这样就是我们可以看到这个首饰,这件作品它是可以随意变化的,你愿意带在什么位置都可以,通过吸铁石这样一个概念就可以达到你想要的随心所欲的佩戴方式。那么这个线型也是取决于那个XN那个心电图的那个状态。当然就像文字里讲的,我像那根细若游丝的心悸,正常的影响是非常规律的,连续不断的。那么如果因为我不懂,没有太多的医学知识,因为我有一种感觉就是说,如果你这个心电图出现了太多那样变化,或者不规律、不均匀的时候或者断裂比较长,这个肯定不是一个好的现象。但是人的生命、人的身体,有的东西不是说你自己完全可以把控的,可能说是我的一种愿望,我就希望自己的这个心率、心音永远是和谐的,比较动听的东西,因为生命本来就很美好。

    这个是另外一件“回忆”,用这个银的材质和珍珠来做的相对比较,古旧的、古朴的这么一种感觉的发卡、也可以当胸针,也可以当发簪这样的一个功能东西。它看上就很陈旧,似乎凝聚了很多或者承载了很多故事一样的东西,这么一件作品。他既可以佩戴它同时对我个人来说也有很多的意义。那刚才前面这组朵颐的系列我讲的可能有点乱,就算是这么大概的一个简单的叙述吧。因为我没做太多准备,所以我希望最后可以留下来咱们提问题,在这个过程中我会作一些补充和跟大家交流。

(节选 现场录音记录整理)

 
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今日讲坛是北京今日美术馆基于普及艺术教育的目的,而举行的面向大众的公益性学术讲座
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马未都今日讲坛是北京今日美术馆基于普及艺术教育的目的,而举行的面向大众的公益性学术讲座。讲坛每期都会邀请艺术界最有建树的大家开课,本次莅临今日讲坛的人物是:马未都
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