艺术手记Note Excerpts about Art

　　俸正杰Feng Zhengjie

　　关于《皮肤的叙述》

　　毋庸置疑，艺术正是作为个体的艺术家与他们所处时代的社会现实、文化环境、生存状态相互关系的结果。不论他是或者纠缠与过去的社会文化情结进行有效的当代解决;或者迷恋与正在发生的现实状态进行此时性的直接描述;或者敏感于社会文化的隐含问题进行超前性的预示设置。艺术家以其个人性的敏感、体悟通过独特的艺术方式与时代发生关联，从而确立其艺术的价值和性格精神指向。

　　中国当代的社会现实、文化环境是十分复杂而又极为独特的，伴随着改革开放的进一步深化，一个有着几千年古老文明而又长期封闭的国度正经历着深刻而又巨大的变化，无论是纵向的发展或者是横向的碰撞、交流都是严峻的挑战，可谓机遇与艰难并存，发展与危机共生。一方面，西方社会以其发达的经济、繁荣的景象向我们展示了一幅眩目的蓝图，且我们已初尝甜头，另一方面又以其高度物化的社会对人的异化而带来的种种社会问题、精神危机向我们昭示了深刻的危机，并在今天的中国已经初露倪端。走出伊甸园，人解放了自身，但一定就走向了乐园吗?显然并非如此。这一古老的悖论正是由封闭走向开放的中国的社会和人所面临的现实而又尴尬的处境。卫星、电视、电话、电影、核能、电脑、高速公路、小汽车、飞机、火车、高楼、霓虹灯;色情录像、黄色书籍、厕所文化、暗娼、文盲、廉价劳动力;生存危机、孤独感、无聊感、紧张感、环境污染、疾病、犯罪、人情的淡漠、信仰的失落、道德的沦丧......构成了一幅复杂混乱、珠玉并存的当代社会自然景观和人文景观。

　　如果说八十年代的新潮美术首先表现为一场文化运动，通过引入西方现当代文化来反抗、解体中国传统文化从而十七项当代社会开放的话，那么到了九十年代的今天我们的艺术则应该清理和反思这场运动(甚至改革开放)所带来的社会和文化现实，发现其所隐含的问题，真正扬弃的吸收利用中外既存文化中有价值的东西，以使我们的社会和人能健康地生存和发展，这正是我近段时间的艺术探索所试图解决的课题。

　　皮肤作为生命体的组成部分覆盖了生命体几乎全部的表面，生命体正是籍皮肤与外界发生直接的关系。显然，来自皮肤的“叙述”可能只是表征性的，但它必然源于生命体内部与外部或者和谐统一或者矛盾冲突的深层关系。《皮肤的叙述》系列创作正是以此为切入点关注当代社会和人的现实状况和生存处境，以视觉艺术的方式传达我的感受、体悟和观念。

　　显然，皮肤在这里一方面具有生理上的现实意义，一方面也具有作为艺术的视觉图式的象征意义。作为生理意义上的皮肤的病变意味着环境的污染、自然的失调、性的泛滥等多种可能性的现实因素;作为视觉图式意义上的夸张、强化、刺激、不协调等则预示着生命与文化、理想与现实的矛盾冲突和精神的困惑、价值的失落、道德的沦丧等内心化的因素。而所有这些正是当代的社会现实、文化环境所隐藏的严重问题和深刻危机。

　　《皮肤的叙述》通过实物拼贴(图片――粗俗而又普泛的色情形象、健康而又充满诱惑感的青春玉女形象、典雅而又端庄的古典艺术形象等;卫生巾、纸、线、布片等)和手绘(图像的借用与处理――实物拼贴的着色、民间年画的复制转换;皮肤的病变，模糊的人物肢体、头像、城市夜景等)的综合运用并以红黄蓝绿等鲜艳而又强烈的色彩来加强画面的紧张、前推的效果，以此实现皮肤的“叙述”的视觉方式的转换。作品既有对人伦理想的向往和呼唤，也有对现实状况的焦虑，更有对当代社会和文化的隐含问题和精神危机的前置性预示和批判。

　　一九九五年六月于四川美术学院

　　About “Recounting of Skin”

　　Feng Zhengjie

　　There is no doubt that art is the consequence of the interactions between the individual artist and the social reality, cultural environment and existence status in his times, no matter whether he is entangled with the past social and cultural complexions, or indulged in the direct descriptions of the on-going reality, or focused on the forecasts and pre configurations of the hidden social and cultural issues based on his keen insight. Artists, based on their individual sensitivities and understandings, associates themselves with the times in a unique way of art presentations, thus to establish their value and spiritual directions in the art.

　　The social reality and cultural environment in today’s China is very complex and unique. With the further development of the reforms and opening up policies, China, as a nation with a civilization of thousands of years and long term blockage from the outside world, is experiencing profound and tremendous changes. It is austere challenge no matter in the longitudinal development or in the transverse collision and communications. The chances and difficulties as well as development and crisis accrete. On one hand, the west society has shown us a bewildered blueprint with its advanced economy and prosperous scenes; on the other hand, the highly materialized society has brought forward many social problems and spiritual crisis. What does further emancipation mean to us? Will there be the Eden? The old paradox is just the dilemma of the open china and its reality. The satellites, movies, telephones, nuclear powers, computers, expressways, cars, aircrafts, trains, skyscrapers, neon lights; erotic videos, pornographies, toilet culture, prostitutes, illiterates, cheap labors; existence crisis, senses of isolation, boredom, tension, environmental pollution, diseases, crimes, people’s indifference, lost of beliefs, decline of moral values…all of such has composed modern China’s natural, social and cultural scenes with complexities, coexistence of the good and the bad.

　　If the fashion art in the 80s was a cultural campaign in which west modern cultures were introduced to confront with the Chinese traditional culture, then the artists in the 90s should introspect the social and cultural reality and hidden problems brought by the campaign and further develop the useful in both cultures in order to better support society and our people. That is the question I am trying to answer in my recent art explorations

　　Skins as part of the compositions of life itself fully cover the human body as the only intermediate of reactions between life and the external world. Apparently the narration of skins is nothing but the narration of skins will probably superficial, however it must originate from the profound relationship between the internal life and the outside world. “Narration of skins” just took such a cut-in point to show concerns on the living status and existence situations of the modern society and modern people and to convey the feelings and understandings of myself in a way of visual art.

　　Obviously , skins possess not only the physical meanings but the symbolized meanings presented in the visual art. Physically, pathological changes in skins indicate various actual factors as environmental pollutions, disorders of the nature, casual sex deluge; visually, skins can also be interpreted as the contradictions and conflicts between life and culture, reality and dream, spiritual confusions, moral decline and other internal factors. All these show serious problems and profound crisis behind the social reality and cultural environment.

　　Recounting of skins uses comprehensive means, such as images of seductive girls, classical art images, pathological changes of skins, and flamboyant colors, to strengthen the effect of tensions. The works shows no only the wake of ethic and dreams, tensions and anxiety of the reality, but also the forecast and criticism of the hidden problems and spiritual crisis of the modern society and culture.

　　Sichuan Academy of Fine Art, June 1995