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“惟观神彩”张小涛个展



 
 

·展览城市:上海-上海
·展览时间:2007-01-23~2007-02-25
·开幕酒会:2007-01-27 18:00
·展览地点:升艺术空间

展览前言: 
  张小涛的一些作品是从“食色,性也”的主题中展开的。比如在他的《天堂》、《116楼310房》、《欲望的图像》、《来自天堂的礼物》系列作品中反复出现的青蛙、金鱼、避孕套,以及小龙虾、蛋糕、草莓以及缠绕的植物等等。青蛙的繁殖能力非常强,多产而多子;“鱼”更是中国传统性文化中带有隐喻与象征的符号;佳肴以它的美味来满足人们的欲望。这些根植于人们本能欲望的象征,其实是我们现实日常生活中消费文化的真实写照。因为隐藏在消费背后的是欲望,所谓开拓无限的消费需求,实际上就是开拓人们对消费的欲望。于是欲望就不再是有限的欲望,欲望不再仅仅局限于食色嗜好的作用,而成为对空虚无限形式的欲望,成为气派与华丽、成功与高贵的欲望,成为和影响到人们的日常生活的想象和对时尚的生活方式的追求之中。从这一角度看,欲望所带来的消费文化在当代消费社会无疑是一种生活方式,即以一种非政治化的、普遍的伦理、风尚和习俗的形式将个人发展、即时满足、追逐变化等特定价值观念合理化为个人日常生活中的自由选择。这是我理解张小涛以直接象征欲望的“食色”,而达到的他对现实文化的针对性。耐人寻味的是张小涛所描绘的食色总是与腐烂的痕迹有关,比如他画的《溃烂的山水》和《来自天堂的礼物》之三 等,试图借助于腐烂的比喻,传达出他对这种腐烂所隐含的追逐物欲而发生的种种“贪婪”现象的焦虑,他是以他所描绘对象的景观来展示腐烂,并予以显微化。换言之,他把这些腐烂置放到一个更大的社会背景中来凸现和演绎。因为我们现实的某些现象太腐烂了,而现实远比艺术沉重和复杂。《来自天堂的礼物》系列和《116楼310房》,他以这样的饕餮盛宴后的狼藉场景切入,重新思考人与现实的关系,观照人性生存在社会现实以及在自然中的位置,仿佛是将食物与人类的关系展示为一处共同生存的戏剧,一场人类食与色欲望的共舞。而在《放大的道具》和《水晶》系列中,“避孕套”、废弃的医用针管、吊瓶等玻璃器皿,这些透明、半透明的“二手物质”所演绎出的液状印漬与斑痕,更是构成他许多作品的主要物象和视觉元素。相对来说它比食物和小动物来的更为直接和明确。钟情透明、半透明,其实是人类对神秘事物要求的一种本能的心理补偿,因为透明化解了太多由神秘造成的尴尬与困惑,改变了以往封闭、压抑的感觉。而“避孕套”、废弃的医用针管、吊瓶等玻璃器皿,那是人为的结果,总是与病痛、伤害、报应相关,带有对沉溺纵情欢爱的警惕和控制,否则将陷入刺激增强而身心困乏的窘境。其实中外艺术史上表现性题材或性意识的作品非常多,各有特色。我感兴趣的是张小涛为什么以“性”这个经常在艺术创作中使用的题材作为他艺术创作的切入点?在我看来,好像没有什么比“食、色”更能反映人的本性和欲望了。它们是那么地直接和赤裸裸,而这种直接性恰恰直接地折射出我们的现实生存的状态——对欲望的不间断地追求。张晓涛艺术表现的丰富性本源于日常生活的与人性的复杂混浊,对开放背景中人欲横流景象的衍说,也以一种独特的情景表达了他对物质欲望疯狂增值、精神关怀日益疏理的伤痛。这正契合了我们时代的文化焦点。新世纪的狂欢,现实的魅惑与迷乱,在他的作品中以艺术的话语方式见证、测度和隐伏着他对时代特征的认知、反省、质疑、批判的姿态。

  Zhang Xiaotao depicts a festering world where rats, ants and waste thrive in polluted urban landscapes; an entropic world where the artist transforms conventionally aesthetically pleasing forms such as strawberries or birthday cakes into still lives of putrefying pulp. In presenting these objects in their utmost repugnancy Zhang demonstrates his belief that all things, despite their aparant beauty, possess a darker side, an ugly truth that he takes to represent the state of society’s disorder and decline. In his depiction of discarded condoms and medical equipment, waste heaps and symbolic armies of ants, we are poignantly reminded of the destructive path that we are following, one which can surely only lead to a final downfall. Despite this apparently apocalyptic vision however, the artist argues that his works are ultimately positive. In Zhang’s new video pieces this becomes clearer as we see the ruins that society has become starting to produce new life; flowers that are symbols of hope amongst the chaotic destruction.
Zhang Xiaotao was born in 1970 in Hechuan, Chongqing ovince and graduated in 1996 from the Oil Painting Department of the Sichuan Fine Arts Institute. He has exhibited extensively internationally, being shown in the U.S.A, Australia and Europe. Most recently he has had solo shows in Norway and Lithuania (Dreamscapes, 2005) with his most recent solo exhibition being Dream Factory-Rubbish Heap, shown in Tokyo and Shenzhen in 2006. The artist has produced extensive writings about his work and inspirations and currently divides his time
between Beijing and Chengdu.


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