BETWEEN艺术实验室(北京)_ 迷阳:马胤鑫个展

元鼎文化 2016-12-02 19:47

MA YINXIN :LOST IN THE LIGHT 马胤鑫:迷阳 2016. 11. 20 - 2016. 12. 15 Between Art Lab,'...

MA YINXIN LOST IN THE LIGHT

:迷

2016. 11. 20 - 2016. 12. 15

Between Art Lab, Beijing

北京朝阳区酒仙桥路东坝环铁会馆

WWW.BETWEENARTLAB.COM

文:阎玉婷

Article: YAN Yuting

我很庆幸在认识马胤鑫之前先看到了他的作品,这样让我可以更加直接面对作品本身。实际上,我一直在试图通过文字来清晰的阐释马胤鑫的作品,可似乎任何一种概念性定义、风格化描述、社会学式分析都有悖于作品本身的自我存在力。让我很难从一个文化概念或美学线索出发去寻找作品的线性逻辑,反而作品以一种独立的状态逆向推向我,并引起我许多扩散性的思考。

I was glad that I saw Ma's works before meeting him in person, because I was able to appreciate his works directly. In fact, I had been trying to clearly explain his works with texts, but any kind of explanation, including conceptual definition, stylized deion, or sociological analysis, is in conflict with the works’ self-existences. However, I was unable to find the linear logics of his works from a cultural identification or an aesthetic theory. The works appear to be in an independent state that extends to me conversely, and the state evokes my diffuse thinkings.

2006年,马胤鑫开始以沈阳90年代建筑楼体为绘画对象,在接下来十年里,他仍然持续在延伸这个题材,很多人都会疑问:“为什么艺术家一直在画楼这个图像?”,实际上,在最开始了解马胤鑫的作品时,我也有此疑惑。但是我发现,以这样的出发点来思考很难找到契合点。由此,我从另一个角度进入思考,“为什么不一直画楼?”在我看来,对于具象性的绘画而言题材与内容更多服务于对叙事或感情表达需求,而马胤鑫的作品在这层意义上显得格外的理性,马胤鑫曾说:“实际上这些楼在2006年的沈阳是非常日常的建筑,并没有太多的怀旧意义,只是目前随着城市发展,所以这些楼都不存在了,反而产生了怀旧的意义”。马胤鑫的绘画并不是从社会学系统作为其艺术的出发点的,对题材的锁定同时也体现着马胤鑫对过分意义化与符号化的对象的漠不关心,这样的方式衍生成一种范式成为艺术家从外部易动的世界走向绘画内部的方法论。

In 2006, Ma YinXin started painting buildings from the 90s in ShenYang, China. For the following decade, he has been working on the same theme. Some people asked, “Why do you keep painting old architectures?”, and I had a similar confusion the first time seeing his works. Gradually, I realized that my original thinking was unable to find the point of coherence. Therefore, I started thinking about the opposite question, “Why not keep painting architectures?” In my opinion, the theme and content of figurative paintings are more to be used as the supports of narratives and emotional expression, but the theme and content of Ma’s painting are exceptionally rational. Ma said, “These architectures were very common in Shen Yang back in 2006, and people didn’t developed too much of nostalgia over the meanings and the representations. But, as the city became more developed and urbanized, these old buildings were no longer existed. People suddenly are nostalgic about the lost.” Ma YinXin’s paintings are not made out of a sociological system, and the repetitive theme also shows his indifference towards extensive signification and symbolication. This method creates a canonical form and becomes the artist’s methodology of moving from a changeable exterior of the world into a painterly interior.

马胤鑫通过一种对自我限制的方式,将创作维度锁定在一个几乎狭窄的空间,通过限制的方式,锁定这个空间的拓展,在此我们会发现作品最终图像与原始素材的互文关系。首先是从构图上,通过对摄影构图的第一手来源,再通过对照图像的剪裁确立绘画的构图。马胤鑫经历过几个大的阶段性的尝试,从古典巴洛克式构图走向“横平竖直”式构图,在这个过程中对于绘画边缘性的思考与选取角度直接影响画面的构成与呈现效果。在绘画相对传统的思考方式上,将构图的可能性推向一种更为细致与精确的层级。在确立构图之后,我们会发现绘画的笔触一方面通过线性逻辑与构图产生关联,一方面通过色彩与笔触将图像推向一种“自我存在”式的二手现实。在有关“光”的表达上,艺术家的建构方式是表现性的,同时建立起另一种客观现实。整体画面通过马胤鑫自我的绘画方法论将“光”介入原始图像,将画面细致的推向现实与非现实的切面中。

MA Yinxin passes through a method of self-limitation, interlocks the dimension of creativity within a narrow space, and with the method of limitation, controls the expansion of this space. In this space, viewers can discover the connection between ultimate imageries and initial materials. Composition comes primarily. Use first-handed photographic composition and then edit contrastive imageries to establish painterly composition, MA YinXin has gone through a few transitional experiments: from classic Baroque composition to Mondrian grid composition. In this transition, the considerations of the marginality of painting and depiction of angels have direct effects on imagery constitution and graphic performances. Painting, a fairly traditional thinking method, pushes the possibility of composition to a more defined and more accurate level. Once the composition is established, we soon realize that the painterly brushworks, on the one hand, passes through a linear logic to create connections with the composition, and on the other hand, passes through colors and brushworks then pushes the image to a second-handed reality of self-existence. Regarding the expression of lighting, the artist uses the establishment of representation, while creating another objectified reality. The overall image, because of Ma’s self-painterly method of intervening lighting in original images, pushes the meticulous details into the section between reality and non-reality.

“迷阳”取义为“失亡于光亮”,在有关光与影的概念切换中,通过绘画性的“光”将楼体的钢筋水泥注入一种细腻的情感表达,The title LOST IN THE LIGHT has the meaning of dying in bright light. Interchanging between the concepts of light and shadow, the artist uses the painterly lighting to pour a subtle emotional expression into the armored concrete of architectures.这种表达的方式是含蓄的,在现实客体与绘画之间将绘画材料的物质性融入建筑对象的物质性,建立起一座绘画性的“建筑物”,呈现了绘画的物质性的重要意义。此次意义上,如果限制作为一种不可回避的条件,那么在限制条件内,如何呈现深层逻辑与艺术家个体的表达权利成为一个在狭窄的缝隙内的自身生命力,通过对概念的模糊化形成绘画的语言。

This way of expressing is implicit, and it integrates the materializations of the painting materials into the materialization of architecture between an objectified reality and painting, which establishes a painterly architecture that reveals the importance of pictorial materializations. Speaking from this meaning, if limitation is an unavoidable condition, then within the limitation, the question of how to reveal the deep logic and the artist's individual right of expression becomes an autologous vitality that lives in a narrow crack. By living in the ambiguity of concepts, it forms a painterly language. Pp

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