伸向现实世界的艺术触觉

伸向现实世界的艺术触觉

伸向现实世界的艺术触觉

时间:2012-04-16 14:09:48 来源:

>伸向现实世界的艺术触觉

-李晓松

        一看胡晓钢的系列油画《到此一游》,不禁被他画幅中那些形形色色的旅游者逗得爆笑不止。很多日子过去了,那些生动的形象还历历在目。只是笑过之后有些沉重,有些心头发紧。
        那么一群精神无着的人在借用旅游的方式体验一种漂泊,他们茫然的来,茫然的去,最终只是为了“到此一游”。而他们当中的绝大部分,则是用公款来开支的,他们被编在各种考察团、学习参观团和对外交流团等队伍中,开始是从国内的甲地到乙地,后来就大批地从国内涌向美国和欧洲。而且愈演愈烈,以至到了竟相攀比,唯恐世界上还有哪处名胜自己没有“到此一游”的地步。
        这是中国改革开放以来最荒诞的“公务后鸟群”潮流。它的一个很大的背景就是精神的无根性。胡晓钢的《到此一游》,正是想通过对一个集群形象的细微刻画,深刻地揭示出一种普遍的精神空洞和文化缺失,他不仅仅是要展现一种荒诞的社会行为,而是在冷静探究行为者的各种心态,探究行为的社会和心理根源。他试图以这种直接的视觉经验,把精神病态的感性呈现在当代文化的尴尬境地中加以审视,以此来表达一名艺术家不可回避的对现实社会的关注。
        作为人类的特殊感官和社会良知,艺术家有义务成为时代的发言人,理应把感性的触觉伸向现实。只有拿出与当代重大现实问题密切相关的力作,当代艺术才能肯定自身的价值,才能够在当代文化中产生效应。我想,胡晓钢正是基于这样的意识在进行《到此一游》的创作的。
        

 
FEELERS OF ART TOUCH THE REALISTIC WORLD
By Li Xiaosong


 When viewing Hu Xiaogang’s series oil painting entitled “Here We Are”, I couldn’t help burst out laughing at the assorted tourists in the picture. Many days later, the true-to-life figures still lingered in my mind, and weighed my heart with sadness.
 With aimless minds, and by way of tourism, those people are there just for experiencing a sort of wandering life. Without any meaningful objective, they come and go, for nothing but boasting the “here we are” sort of traveling experience, and most of those people are traveling on public money. After being included in assorted observation, study or visiting groups, they start to tour from site A to site B inside China, and later on, swarm into the United States and European countries. When such situation increasingly festers, those people end up in rivaling with one another to tour places, only fearing some of the world’s scenic wonders would remain unvisited in their “here we are” tours.
 Ever since China’s reform and opening up, these people have set off the most absurd tide of “public-servant migrants”, who are typically marked by rootless mentality. Through detailed descriptions of such groups of people in his series painting “Here We Are”, Hu Xiaogang tries to reveal the commonly-found spiritual vacancy and cultural absence. He not only showcases a social absurdity, but also soberly explores diversified mentalities of the doers, and traces the social and psychological origins of such behaviors. Through direct visual experiences, he tries to examine the perceptual demonstration of such mental illness against its awkward background in the contemporary culture, and his ultimate goal is to show an artist’s inescapable concern of social realities.
 Serving as a special sensory organ of the humans, and based on his social conscience, an artist should become spokesman of the times, and extend his perceptual feelers into realistic life. To show its value and exert impact on modern culture, contemporary art must produce influential works that are closely associated with important problems of the present-day life. It is my firm belief that Hu Xiaogang has based himself on such awareness when creating his series painting “Here We Are”.

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