作为时代界面与个人畏惧的数码镜像 ——阅读焦振予《原代码》

作为时代界面与个人畏惧的数码镜像 ——阅读焦振予《原代码》

作为时代界面与个人畏惧的数码镜像 ——阅读焦振予《原代码》

日期:2015-04-04 09:04:27 来源:
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名家 >作为时代界面与个人畏惧的数码镜像 ——阅读焦振予《原代码》

  吴 亮

  焦振予的《原代码》系列是否也应不假思索地归于抽象艺术的行列,当然是!或许人们会习惯性地这么认为……这个问题真的非常重要吗,如果事情并不紧迫就不必急于分类;只听任眼睛的热情观看,即便焦振予在这里连篇累牍为我们提供的不过是冷冰冰的阿拉伯数码,遗憾的是,我们的热情亦早已被过剩的数码镜像与阐释理论所耗尽。
  现在就让我们的简短讨论从这里开始:什么是抽象艺术?那些被共同命名的各种抽象艺术绝非同属一个体系——何况“体系”这个词的古希腊文原意不过是“我来安排”,它的源头绝非客观——虽以它为名,在它的内部却各不相同,之间很难产生有效的对话;人们只是停留在浅表的外部进行观察,出于今后识别之需给它们分别找出某些标志,并为其安排一个位置。这样做的后果,易忽略与“我的安排”相对应的“我的感受”,同时也遗忘另一条古老的观看之道——艺术,无论我们怎么称呼其类型,无论具象还是抽象,它都应是敞开的、自明的。
  观看一幅抽象画或一个抽象系列,并不是谋求一次对话,充满误解不仅必须,它简直就是对被拒绝同时被吸引的双重体验。今天,所谓当代艺术受到了广泛的注意、追捧和质疑,我们迫不得已,将当代艺术名义之下的一切物品、符号和表现形式一一放到了宽广的时代视野中进行观察,追溯艺术史,遥看近在咫尺的作品,似乎早忘记了一对一的近距离关系,就像精神分析医生面对他的病人,那种亲和力与拒斥力的叠加所产生的诱惑;所以我们必须回去,看一幅画或连续看一组类似的画,如同聆听病人的倾诉。
  接下来我们就要直接面对焦振予的作品了——它们敞开自身了吗,它是自明的吗,它又在向我们倾诉什么呢……毫无疑问,浮现在画面上的那些被置换了的“原代码”脱离了具体的时代界面,它们从最初的等式、公设、定理以及晚近的代号、密码的所指中逃逸,获得了单一的象征性——阿拉伯数码无所指地漂移在画面中,它们与背后的所指世界的关系已彻底断裂;而它们本身,则能指性地替代了世界主体:它批判了原代码对世界的覆盖式僭越,同时又将同样的原代码以当代艺术的名义对镜像与镜像意欲表达的现实世界再次进行了僭越,从而十分反讽地重新回到了艺术家刚刚试图予以怀疑的世界自身,因为当代艺术正是这个世界的有机部分,是其中之一。
  早期,《原代码》在诞生之初,焦振予为其安排了一幅混沌无序的图景,甚至显得焦躁不安,但是阿拉伯数码已经出现并起源式地预示了未来;它们如原子或微生物孢子,渺小,众多,偶然,随机,分散,纷纷降落在流淌、溶解、喷发与酷似爆炸气浪的前景,零碎纷乱,互不关联;这一切都是空间性的、没有重力的、漂浮的以及虚无的,它们在形成或瓦解的过程中,尚不清楚这些数码原子将何时重新聚拢,又以什么样的途径与原理聚拢。
  近几年,焦振予的《原代码》终于成型、凝固并静默了,那是一种喷发之后的沉积物,一种无声倾诉,它曾有的喧闹已是历史性的回述与想象——阿拉伯数码俨然壮大膨胀,混沌消逝了,它们公然僭越了空间的主体位置,站到了世界前沿,成为了唯一者,逼近了我们的眼睛——在一块块被竖起来的沙砾表面,这些数码构成了整齐的矩阵,井然有序,驯服,各司其位,即便出现了“正与反”,它们依然待在原来的位置。这是一个象征,自然的无序世界终于被带入技术理性的秩序世界,无论我们将这里的数码任意置换成别的什么:进化、文明、规训、数字化生存、复制虚拟技术或热力学第二定理——熵的饱和。
  这样的解读是否过度?你不是说你要一对一地面对病人,即面对一个艺术家聆听他倾诉的吗,可是你却谈到了物理世界、文明进化甚至宇宙的起源与末日……好吧,让我们试着回到弗洛伊德,沿着那位据说早已过时的精神分析大师所开拓的道路,逆向追溯……莫非在焦振予早年的无意识记忆底层,由阿拉伯数码建构起来的算术学习乃是他的童年噩梦之一,他现在努力为人们呈现出来的理性思维恰恰是一个颠倒的形象,即极力掩饰他的个人畏惧、挫折和不为人知的内心经验,企图通过艺术表现重建自信,将数码符号版图指代世界,以矛盾的思想者面目出现只是他的策略;而那种既接纳又质疑的模棱两可,既不安又平静的双重姿态,直观地赋予数码时代以表面化图景,正是为了治疗他童年创伤的心理代偿,以艺术之名?
  当然,做这样的臆测目前证据还不够充分,也许对今天的当代艺术而言,艺术家的个人生平与无意识不再是我们应该揭示的重点。但是,人的问题始终是一切艺术的根源,也是一切世界体系构造的根源,当代艺术不可能仅仅热衷于表现那个脱离了人的冷漠世界,即便这个世界真的已经被技术与数码统治彻底异化。焦振予的《原代码》所传递的信息从表面看,的确是世界的而不是个人的,这肯定会引起我们的共鸣,但同样也会令我们产生一种类型感;因此,过分地注意《原代码》的时代界面反而可能有损于我们对其作品形式的细微感受,焦振予虽然不是一个形式主义者,不过他的《原代码》具有自觉、鲜明而无止境的形式及单纯的个人风貌,正是这种无止境的形式与单纯风貌吸引了我们:它从数码镜像中孵化出来,它是数码时代的衍生物,它似乎不再是象征我们的时代,它进入了另一个自足的界面,在那里,它无比地寂静——我们渴望接近它,不需要正确地理解它。因为,艺术向来是疑问而不是结论,是难题而不是答卷。

  Digital Mirror Image as Time Interface and Personal Fear
  The Reading of Jiao Zhenyu’s Source Code

  Wu Liang


  Whether Jiao Zhenyu’s Source Code Series is certain to be categorized into the genre of abstract art without too much consideration? The Answer is yes. Perhaps people are accustomed to think so. And whether this question is important is still questionable. If things are not urgent then there is no immediate need to categorize them. The only thing needed is to have your eyes in passionate viewings, even though it is only cold Arabic numerals that Jiao had provided us. Sadly, our passion has long drowned out by excessive digital mirror images and concept interpretations.
  Now let us begin our short discussion here: what is abstract art? Those which were called under the same name were absolutely not from the same system, let alone the word system has its original Greek meaning of “let I decide”. Its origin was never objective. Although named so, the compositing part were different and can never converse with one another easily. People stayed on the surface to observe and arrange a place for it for the purpose of identification. The resulting phenomenon is the ease to ignore the “let I feel” corresponding to “let I decide”, and on the same time, forgetting another ancient way of viewing. Art, no matter how we call it, no matter what its system is, abstract or not, it should always be open and self-clarifying.
  To view an abstract painting or a series of abstract paintings is not trying to make a conversation, during which you may be full of misjudgments, which is not only necessary, but almost a paradoxical feeling of rejection and attraction. Today, the so called contemporary art got widened attention, pursuits and questions, which made us have no other choices but to put every item, symbol and expression under the name of contemporary art into the extensive time horizon to observe, to trace back the art history, and viewing art work right in front of your eyes, as if the one to one correspondence is long forgotten. Just like a doctor facing his Schizophrenia patient, and face the lure combined by the affinity and rejection. Therefore we must go back to view the single painting or to continuously viewing a series of such work, just like listening to the patient.
  And then we will face Jiao’s work directly. Are they themselves open? Are they self-clarifying? What are they trying to tell us? Of course, those replaced “Source Code” floating above the canvas has broken free from the time interface. They escaped from the primitive formula, equation, theory and late codes and passwords, to acquire a singular symbolism. Arabic Numerals floating in the painting without actual meanings indicates the break up between them and the world they specify. And they have replaced the objects of worlds, to criticize about the overwriting transgression into the real work and hence made the same source code transgressed the real world expressed by mirror image and mirror image intention in the name of contemporary art. It returned to the world where artists barely started to question, because contemporary is a part of this world, and one of it.
  In an earlier time, when the Source Code Series was just created, Jiao Zhenyu arranged it in a chaotic picture, somewhat anxious; however the Arabic Numerals has already appeared and predicted the future. They are like atoms or micro spores, small, numerous, incidental, random and sparse, diffused in the moving-erupting-and-explosion like foreground, shattered and independent, each of them is distinct, weightless, floating and void. During the process of them forming and disintegrating, it is unknown when will these digital atoms will re-gather, and doing so under what way or law.
  In recent years, Jiao Zhenyu’s Source Code is finally set, and stayed silent. It's the sediment after the eruption, a silent whisper. Its noise is solitarily historical rehearsal and imagination. The Arabic Numerals expanded and its chaotic feature disappeared. They transgressed the major location in space and stood in the frontline of the world, orderly, tame and on each one’s post. Even the positive and negative position appeared, they stayed where they were. It is a symbol of the chaotic nature world taken into technologically organized order world, no matter what we change the digits into: evolution, civilization, dogma, digital survival, copied virtual reality or the second thermo of thermodynamics, the saturated entropy.
  Is such interpretation over the edge? Did I just say that one should face the patient one on one, that is, to face the artist and listen to his mind? But I on the other hand, talked about the world of physics, the evolution of civilizations and even the origin and ending of universe. Ok let’s try to go back to Floyd, and walk the path of the long staled Psychoanalysis to track back. Perhaps in the lower level of Jiao Zhenyu’s sub-consciousness, the mathematical study constructed by Arabic Numerals is one of his childhood nightmares? The logical thinking reflected in his paintings is just a reverse image, trying to hide his personal fear, setbacks and psychological experience known to none? And he is trying to re-build his confidence through art creation? To use the digital symbol to stand for the world, to use the mask of a paradoxical thinker is just his strategy. The question and acceptance, the tranquil yet anxious posture is there to give the digital era the surface image, just to cure his childhood injuries, in the name of Art?
  To contemporary art today, the personal life and unconsciousness of artists are no longer in the focus of what is ought to be revealed. However, the problems of people themselves are always the origin of every form of art as well as every structure in the world system. Contemporary art is not only interested in showing the indifferent world without the appearance of humanity, even if the said world had been completely changed and controlled by technology and digital culture. Reaching from the surface, Jiao’s Source Code series does appear to express the information from a worldly basis instead of individuality, thus creating harmony among us and on the other hand, making us having the sense of type. Therefore, concentrating on the time interface of the Source Code series may contradict the micro sensations emerged towards the genre of his work, even though the Source Code series does embody the self-awareness , infinite forms and simple features. Such feature attract us, just like the derivative of the digital age born from the egg of digital image, as if it no longer stands for our time and entered a interface of self satisfactory, where is sits in silence and waiting for us to approach and not necessary to understand it properly. Because art is always the question not the conclusion, always the problem not the answer.

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