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展讯▕ Face To Face童雁汝南作品展

2018-05-230
导语:意大利时间2018年5月28日下午4点,“Face To Face : 童雁汝南作品展”将于威尼斯Fondazione querini stampalia博物馆举行开幕式。

Fondazione querini stampalia博物馆地处威尼斯岛的核心地段,是威尼斯最有学术分量的、最重要的美术馆之一。“Face To Face童雁汝南作品展”将于该馆一楼主展厅举办,这也是该美术馆主展厅首次举办的中国艺术家的展览。

童雁汝南的作品不同于美图秀秀式摹写,而是通过摒弃外在修饰的方式让人返还到连接天地宇宙之初,从画面回观自己,进入与宇宙万物关系的深度思索,回到本真状态,获得一种新的原初动力,反思人生以达到心灵栖居。20年如一日修行式,坚持面对面写生的创作方式,来阐述中国山水精神,是对互联网时代艺术的整体反思,在世界艺术领域独树一帜。2015年启动了“欧洲肖像艺术驻地创作计划”,包括各国元首在内的数百位各界名人曾为其做模特,作品组成了一道“名人记”,并在欧洲各重要美术馆展览,此次举办威尼斯个展亦是其中的一站。

Face To Face童雁汝南作品展

开幕:2018年5月28 日星期一下午4点

展览:2018年5月28 日—6月5日

地点:威尼斯Fondazione querini stampalia博物馆一层

支持单位:威尼斯市政府

承办单位:威尼斯Fondazione querini stampalia博物馆

协办单位:威尼斯大学、威尼斯美术学院、威尼斯博物馆联盟、We Exhibit机构

艺术家简介

童雁汝南

● 在意大利、德国、瑞士、新加坡、香港等美术馆举办十多次个展,在法国大皇宫国家博物馆、东京都美术馆等百余次联展;和Marlborough 、G.A.M 等画廊合作;作品被莫斯科现代艺术博物馆、古根海姆基金、 中国美术馆、中华艺术宫等收藏;获瑞士洛迦诺金杯奖、ISPEC特殊文化奖等。

 

● 杭州G20 、厦门金砖主会场艺术总监。曾策划数十项展览,顾问数十亿收藏基金。近年来探究中国文化艺术的源头及当代活化的方式,正策划有国家文化战略意义上的展览和项目。

作品欣赏


1705301 Francesca Monti / 41x33cm


1707311 ALESSANDRO BONALUMI / 41x33cm

比利时创作现场

十问十答

Q1:请问你创作中的最终指向是什么?达到这种境界有没有一个途径?

童:其实就是『画可通道』中的『道』,但是其出发点和归属点仍旧会落在具体的、现实的人生之上。老庄思想起步的地方,不曾把艺术作为追求的对象,『道』是创造宇宙的基本动力。他的体认本无心于艺术,但不期然地又归于具体艺术中升华上去的。人对宗教最深刻的要求,在艺术中都得到了解决。它是一种直达事物内部的圆满、自足的、与宇宙相通感的,通向自然无尽之境的。

   达到这个境界是没有方式、方法和步骤的,但是它还是有几个前提。它需要把对象中外在的、附加的、已有的、人为主观的成见放下,对物不作分析的了解,要直接纯粹地从当下所感受到的事物里去找,使其成为自身的东西。放下以自我为中心的欲望,包括认识的欲望和主动表现的欲望。耳止于听,心止于符。以此为前提,才有可能打开个人生命中的障壁,与天地万物的生命融为一体。

Q2:为什么这十五年来你选择的题材几乎仅限于肖像画?

童:西方美术史大概就是一个肖像画的发展史。发展这么久,现在肖像画到底还有哪些突破的可能,我选择了这个很有挑战的主题,借用油画肖像来呈现中国山水精神。在肖像画的精微、具体、准确,和山水画的可游可居、灵动之境,在这两极之间获得的空间细窄的夹缝中若能生长出来的东西就会有很旺盛的生命力。被挤压的空间越小,它的爆发力就会越大,限制越多,天地就越宽。我是丰富自己的体验上,尝试各种媒介、各种视角,最传统和最当代的,但这些只是让我内核的『场』更广。当代艺术的现状是不断地推翻、换新;是猴子掰玉米,掰一个扔一个。我们是开发的、包容的、完整的,所有的新可能都会化入到这个『不变』中来。『不变』才有贯穿力的,才能切入得更深更广,才能『万变』。通过纯粹的形象打破写实与抽象附会迷离之说,拯救形象在图像时代的命运。

Q3:为什么选择41cm x 33cm的尺寸,正面,平涂的背景和几乎不变的风格?

童:这个尺寸是等同或略小于真实头像的比例、正面、平涂的背景,在视觉上没有太多张力的。虽然是一直画同一个尺寸、样式、风格,但平时也会有很多的积累,包括从小练书法和学国画,研究生上雕塑课程。除了这个尺寸外偶尔也会画其他大小的肖像。2006年户外写生大风景,4m x 3m,一天一幅,连续画11天。有一贯性,才会有穿透力。虽然看起来是十五年来每天不断地重复,但其实恰好相反,每一张脸都是鲜活的、不可以复制的,每次画的时候都像一次新的历险、一个新的挑战,画面都是丰富的新世界。

Q4:你作品不同的肖像有各自具体的特征,用了不同的笔触、颜色来表达,这样让画面中是否无法表现出整体的超越性,请问你怎么看这一点?

童:超越性,其实就是我们讲的『画可通道』中的『道』。现在许多人心中『道』的样子,是一种非具体的、看不见摸不着的东西,但其实『道』都是由具体的艺术活动升华上去的。有一切的超越精神,都是从能见、能闻、能触,一时一地、自用自成的具体形象而来。也就是说只有不同,才有『和』的前提和动力。这样才可能在多样性中超越。

   根据模特的特征的变化,画面重新构建的内在结构也发生变化。它不仅仅是画面的笔触、色彩的不同,而是内在结构整体的变化。这种超越是内向的,在形式上不是显而易见的。一个面孔就是构建一个新的世界,这更体现多样性和整一性之间的共生关系。

Q5:为什么你画面中的形象都是模糊的?

童:模糊性是庖丁解牛的刀的精准性,存在于整体感的变化之中的清晰。整体感不是逻辑清晰的形式分析,是对运动中甚至为模糊性的本质的整体捕捉和把握,也是一种确定。画面始终呈现在一种不完满不饱和的状态,此时它就会发生错位的互动,互动之间就会发生整一性的关系。作品从来都是不确定的、模糊的、不充分的、不一致的、不稳定的,它总是一种游离的、延展的、流变的状态,它才会有生命力,才会在不断的生成中变得完满,才接近世界原发时的混沌世界。

Q6:为什么你的肖像几乎不重点刻画眼睛?

童:举个例子,法国抽象大师德布雷,1998年来华时,带他去看潘天寿纪念馆,他说潘天寿画得非常好,但画鹰时要是不画眼睛的话,会更好。现在来看,可能这句话里讲了一个道理,在画面中眼睛是可以传达感情、说故事的。也就是说眼神是有叙述性,有表现性,有图解性的。顾恺之的人物画,有很多年也都是画龙不点睛的,画眼睛要注意点了睛之后就很可能会把对象会活化。这个『活』,容易对象化、外化,是可见的。眼睛是很重要的,是沟通可见之物和非视觉里不可见之物的桥梁,是天地人神交汇处。模特眼睛的神是与模特平行的第二自然,传神以后就可以进到人物的本真。当模特的神与作者的神相遇交融的时候,就产生了一个世界,是一个完整的、自由的、可游可居的完满世界。

Q7:看你的画经常会对应到另一个艺术家身上,比如说苏丁、弗洛伊德,包括国内的刘小东等,你是怎么看和他们之间的差别?

童:新的形式在『艺术死亡』后已经没有更深的价值了。我不会主动和别的艺术家拉开关系,在主动拉开的过程中,就陷入了另一种对形式的追求,它就不再是一个自然的、混沌的状态。把美术史上所有的前者,那些被割裂的东西全部都是打包在一起,成一个整体,整体地去看。它不会否定某一者,但在内核上可能有很大的差别。比如苏丁和弗洛伊德这些画家都比较在乎对象的生动性和潜意识;梵高和德国表现主义画家,他们关注自己作为艺术家主体的感情的表达。也区别于所有的写意画家,写意其实是一个关注笔触,关注语言方式的,是在抒发胸中之意的。在动『意』的时候,人的主观性就出来了,这种主观性会失去一个整体的精神性。我和他们的区别就是,我和对象和心之间的关系。他们讲究对象的生动性,作为艺术家主体的感情,手、心与物是割裂开的;而我是三者融为一体的。所以他们的『生动』是对象、形象的生动,而我的『生动』是一种动力,是整个画面的生息,是物我一体的生气,和对象共进共退的关系。这个生气是生命力在不断地扩充中、不断地完满的一种关系。

Q8:有一些批评家策展人把你的肖像画当作一种社会性的考察,你怎么看这个问题?

童:我的肖像画要呈现的东西都是模糊不清的,是不太抓得到的。讲社会性是很直接的、容易接大众都在谈的问题上来的,虽然和我的初衷没有什么关系,但……我画的肖像就是直接的、世俗的、活生生的、具体的,甚至有人说这些人都是生活底层的,类似于老庄经常假想出形残而德全的人。有模特说我画得比本人要丑,其实这不是『丑』而是一种存在的真实,是更接地气的。是永恒的。打碎虚伪的局限和表面的短暂的美,呈现出的是永恒,是一种大美。真实的人,超越而融混于社会性中,与一切众生往来,以与世俗处。模特本身就是不可分割的现实世界的整体。

Q9:你的作品是属于传统的还是当代的?

童:它不是主流但是超前性,而且是对现在正发生的当代艺术整体反省上的当代作品。 判断一件作品是否有当代性不是看作品的形式和题材、意义,其中很重要的一个标准就是,它对当代的价值有没有发生批判性的关系。这种批判关系和当代艺术上否定和创新是不一样的,这是一种整体反省式的批判、是超越社会的片段、支离破碎、无根、各种危机、各种冲突的。人类天地神人一体性的自觉之力,将可以解决人类自身的矛盾。一种平衡,一种补充。把当代艺术中的各种异化融入化掉,恢复其生命力,给其最初始生命原动力、最完满的精神。它不是在象牙塔之内的,是给人类精神的一种安顿,具有普遍价值。我作品十五年如一日的、如参禅般的面对面的写生,其实就是对这种信息时代、对专利式快餐文化的一种发问。永远同样大小、看起来一样形式的作品按跨越十五年的线性排列在一起的仪式感。

Q10:一个好画家和一个商业上成功的画家之间有差别吗?

童:当然很多时候是有很大差别的,甚至是相反的。有名气和商业上成功的画家会和整个时代的现状有紧密的结合,;一个好画家更可能对于这个时代有一种超越性,很多时候会走在整个思想史的前沿,甚至与这个时代主流相反的。

成功的艺术家的作品是指向对当下社会的认识,反映或者批判,是直接的、有效的、实用的。当然他也容易同时与当代艺术的利益场发生关系的。想成为一个成功的艺术家,只要有策略,有步骤,努力地去办,就有可能有很大收获的。好的画家的作品是洞察到事物内部的,通向精神自由的无限之境的,以无目的为目的。

 

Q10&A10

 

Q1 :Could you tell us what is the final purposeof your work? Is there a way leading to this kind of state?

A: In fact, it is the “ Dao” (or Way) in the saying “ Painting can lead to Dao.” But the starting point and the final destination will still fall into the specific and actual qualitieshuman life. The place from which the thought of Laozi and Zhuangzi arisesdoes not pursue art as its object, “Dao”is the fundamental propulsion that creates the cosmos. In the realisation of Dao, the intention is not in art, but it is unexpectedly inclined towards art as something concrete in order to sublimate it. The most profound request of people towards religion has been understood in art. Art is a state in which one accesses directly the perfection of objects, contentment, a sense of connection with the universe, and it leads to the endlessness of nature.

We have no ways, procedures or methods to get to this state, but it still has several prerequisites. It demands to let go of the external, secondary, previous, subjective prejudices, to understand things without analysis, we must find it in the direct, pure feeling of things in the present moment, in that way they become our own things. One must let go of egotistical desires, including the desire to know and the desire to express ourselves actively. One must shut the ears to listen and stop the mind to feel. Based on this prerequisites, we may open the blockage in one's life and become one with the life of heaven, earth and all living things.

 

Q2: Why in this last fifteen years you have chosen to confine almost all your work within the subject matter of portrait painting?

A : Western History of Art is basically the historic development of portrait painting. After such a long development, what breakthrough possibilities still remain for portrait painting? I have chosen this relative challenging subject, to display the spirit of Chinese landscape painting in the subject matter of portrait painting borrowed from the oil painting tradition. In the crack between the subtle, specific and precise character of the portrait painting and the aesthetic ideals of the landscape painting in which one "can travel or reside" in a living landscape, there is a very narrow space in which can grow things of exuberant vitality. The smaller the space one is squeezed into, the more explosiveness one has; the more limitations, the wider field of activity. I’m trying to enrich my experiences, use all kinds of media, points of view, the most traditional and the most contemporary, but these just make my core inner “field” wider. The status of the contemporary art is to continuously overthrow and renew; discarding one thing as soon as the next appears. We are open, inclusive and integrative, all new possibilities can come into this “invariability”. Only this “ invariability” can bring consistency and have the power to cut deeper and wider, integrating all changes.

Q3: Why do you choose the size of 41cmby33cm, frontal, flatbackground and almost always the same style?

A: This size is equal or slightly smaller than the actual bust scale, the frontal and flatbackground does not visually create too many tensions. Although I havebeen drawing the same size, pattern and style, I accumulate very long series, even in the Chinese calligraphy and Chinese painting that I studied since my childhood, and in the sculpture project I did formy postgraduate studies. Apart from this size, I occasionallymake portraits in other sizes. In 2006 I painted from life a large landscape outdoors, 4m by3m, I painted it consecutively for 11 days, one piece a day. Only when we are constant, we can have the force of penetration. Although it seems that I’ve been repeating the same for 15 years, in fact it is just the contrary; every face is vivid and irreplaceable, every time I paint is like a new adventure and a new challenge, each image is a rich new world.

 

Q4: In your works, different portraits all have their specific character, you have used different brushwork and colours to express them, which may or may not make impossible to showcase in the painting the transcendence of the whole work. What's your point of view on this?

A : Transcendence, is in fact the “Dao” we talked about in the saying “Painting can lead to Dao”. Nowadays many people think of “Dao” as something indefinite that can't be seen or touched. But in fact “Dao” is sublimated by definite artistic activities. All the transcendent spirit there is comes from images that can be seen, smelled, touched, in a time and place, used and done by someone. That is to say, only by having diversity we can have the prerequisite and motivation of “harmony”. Only this way we can find transcendence in the variability. According to the change of the character of the model, the reconstructed inner structure of the painting also changes. It is not only the difference in the brush strokes and the colours of the painting, but also the changes of the inner structure of the whole. This kind of transcendence is internal, not apparent in the visible form. A new face constructs a new world, this reflects the symbiotic relation between variability and unity.

 

Q5: Why are the images indistinct in your paintings?

A : In-distinctiveness is the accuracy of the knife with which Pao Ding cutthebeef, it exists in the distinctiveness of the changes in the sense of wholeness. The sense of wholeness is not a clear logical formal analysis, it is seizing and grasping in movement the wholeness in the essence of in-distinctiveness, and it is also a kind of determination. The painting, from the beginning to the end, emerges in an unfulfilled and unsaciatedstate, and in this time it will have misplacement interactions, and between these interactions,relations of unity will appear. The works are never definite, distinct, complete, consistent, nor stable, they are always in a drifting, extending and flowing state. Only in this way they can have vitality, and in their continuous generation become fulfilling, only in this way they can approach the primal chaos ofthe world´s beginning.

 

Q6: Why is there so little emphasis on the eyes in your portraits?

A: To put an example, when the French abstract painting master Olivier Debre came to China in 1998, I took him to the Pan Tianshou memorial hall. He said Pan Tianshou painted very well, but that had he not painted the eyes of the eagle, it would be even better. Looking at it now, maybe this sentence was explaining a principle, the eyes in the paintings are able to convey emotions and tell stories. In other words, the expression of eyes has a narrative, revealing and illustrative nature. The famous painter Gu Kaizhi for many years also did not dot in the eyes when he painted the dragon. One must pay attention when dotting in the eyes, after they are drawn, the object may very possibly come to life. This “life” can easily objectify and externalise, it is visible. The eyes are very important, they are the bridge between the visible and the invisible, and also the intersection between heaven, earth and the human spirit. The spirit in the eyes of the model is a parallel second nature of the model, after they come to life one can access the true nature of the character. When the spirit of the model meets and blends with that of the painter, a world is created; a fulfilling world, complete, free and  in which "one can travel or reside" (ke you ke ju).

 

Q7: When seeing your paintings, people often compare them to other artists' such as Chaïm Soutine, Lucian Freud or Liu Xiaodong from China. What do you think are the differences between you and them?

A : New forms already have no deeper value after "The Death of Art". I do not want to actively separate myself from artists, because in doing that, one falls into the pursuit of the external form, and cannot be any more in the natural state of primal chaos. All the former artists on the History of Art that have been dissected as separate things are wrapped back into one package, and become a whole, and are seen as a whole. It will not regectany one, but there may be a huge difference in the core. For example artists like Chaim Soutine and Lucian Freud are concerned aboutthe vividand the subconscious qualities of the object; Van Gogh and German expressionist artists pay attention to the expression of their own emotions as the subject artist.The differences are also in all the Chinese freehand style painters, Chinese freehand style pays attention to the brushwork and the language mode, it expresses directly what is in one's mind and heart. By stirring one's “ Yi” (thoughts/intention), the subjectivity of the person arises, and with this subjectivity the spiritual quality of wholeness is lost. The difference between me and them is in the relationship between my object and my heart/mind. They pay attention to the vividness of the object, seen through the emotion of the artist as subject: hand, heart/mind and object are split apart; however for me these three aspects are fused into one. So for them, the vividnessis of the object, the image. But for me the vividnessis a kind of propulsion, it inhabits the whole painting, it is the vitality of the object and myself together as one, a relationship with the object in which we both enter and withdraw. This vitality is the force of life expanding continuously, a kind of ever-fulfilling relationship.

 

Q8: Some critics and curators see your portraits as a kind of social study. What do you think of this?

A : Everything my portraits attempt to show is indistinct, one can't get hold of it. To speak about society is something very direct and very easy to link with the opinions of the general public. Even though it has no relation with my original intention, my portraits are very direct, worldly, real and concrete, and even some say these people are from the lowest rung of life, similar to the "xing can de quan" figures imagined by Laozi and Zhuangzi, that inspire beauty in spite of their ugliness because of their inner virtue. Some models said that I painted them uglier than in reality, in fact this is not “ugliness” but some kind of truth of existence, more earthy.  It is eternal. By shattering artificial limitations and the superficial ephemeral beauty, what appears is eternal, some kind of Beauty. The real human both transcends and blends into society, it is connected to all living things because it dwells in the world. The models themselves are the indivisible wholeness of the real world.

 

Q9: Are your works traditional or contemporary?

A: They are not the mainstream but rather ahead of their time, and they are contemporary works that reflect upon the contemporary art as a whole that is taking place right now. In order to determine whether a work is contemporary or not, we should not look at its form and subject matter or meaning. One of the very important criterion is to see whether it has a critical relationship towards contemporary values. This kind of critical relationship is different to the denial or innovation of contemporary art, it is a reflective critic of the unity, which has transcended all social segments, fragmentation, lack of basis, all crises and conflicts. The force of the human awareness of the unity of Heaven, Earth and the Human Spirit  can solve the contradiction of humanity itself; some kind of balance, some kind of complementarity. Let go of all the distinctions and blends in contemporary art, recover its vitality; give it to the most initial life motive force and the most fulfilling spirit. It is not inside the Ivory tower, but a place to settle for the human spirit that has a universal value. The face-to-face painting from life I have done this 15 years, which is like a meditation, is actually a question towards the information age and the monopolistic fast-food culture. There is a sense of ceremony in arranging linearly together all the works over 15 years, that are always the same size and with the same apparent form.

 

Q10: Are there any differences between a good painter and a commercially successful painter?

A: Of course sometimes there are huge differences, to the point they can be opposites. The famous and the commercially successful painters are closely bound to the status quo of their time; a good painter will probably transcend his time, will often be leading the whole intellectual development and even go against the mainstream of the time. The works of a successful artist are aimed to the knowledge in the current society, they reflect or criticize it, they are direct, efficient and practical.

Of course the artistmight at the same time easily relate to the interests of contemporary art. If one wants to be a successful artist, just by having a strategy, procedures and working hard to execute them, one can maybe have great achievements. The works of a good painter see clearly the inner nature of theobject, and lead to the unbounded state of the freedom of spirit, their purpose is to be free of purpose.

 

 

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