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艺述:【双语】Robert C. Morgan|郭桢The Breadth ofInk水墨的广度

发表时间:2019-10-17 00:22:00  来源:野望文存  浏览:次   【】【】【

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Zhen Guo: The Breadth ofInk
 by Robert C. Morgan, Ph.D.

I am interested ina group of ink paintings by the artist Zhen Guo inaugurated in 2016collectively known as “Muted Landscapes.” In each of these paintings, the inkwashes are thickly applied either in an undulating open spread or in a varietyof compressed segments. The segmented ink paintings, made visible in works suchas Earth Eye and Uncertain, appear densely packed into one another.They are all done directly on sheets of Xian paper, more commonly known towesterners as “rice paper.”

“ Earth and Mother” Muted LandscapeInk on Rice paper   200cm x 300cm x 25cm  2019      
 “大地和母亲” 哑声的风景系列多种材料

At the outset ofthis series, the paper uniformly measures 140 cm x 68 cm.  By 2018, the works in this series begin toexpand in scale, requiring larger sheets of paper. This allows the artist’swork to become slightly less concentrated and more inclusive. In 2018-19, wesee mixed media elements entering into Zhen Guo’s ink paintings. For example,in Upended Vision one may find remnants of nature, such as twigs and dryleaves, accompanied by ceramic bricks and broken tiles, along with intenselybright neon tubing.  This gives her inkwork a pronounced dramatic quality, similar in effect, to her large-scale installationsin recent years, involved political metaphors, for which the artist is oftenassociated.
本系列开始时,纸张尺寸统一为140厘米x 68厘米。到2018年,该系列作品的规模开始扩大,需要更大的纸张。这样一来,艺术家的作品就可以变得舒展,而更具包容性。在2018-19年度,我们看到混合媒体元素进入了郭桢的水墨画中。例如,在《高瞻远瞩》或(颠覆了的视觉)中,人们可能会发现大自然的残留物,例如树枝和枯叶,并伴有陶瓷砖和碎瓦,以及明亮的霓虹灯管。这使她的水墨作品具有明显的戏剧性效果,其效果与近年来的大型装置相似,涉及政治隐喻,而艺术家的创造经常与之相关。

“Upended Vision” Muted Landscape  Ink on Rice paper  500cm x 300cm x 100cm 2018
“颠覆了的视觉” 哑声的风景系列,装置, 多种材料

In addition to herink paintings, the artist’s writings about her work add another dimension toher art. I refer to a statement from 2012 in which Zhen Guo declares that “artwithout a sense of the times can only be called pseudo art.” I am not sure whether ornot she is referring to ink painting, but it does raise a curious question asto what exactly constitutes “a sense of the times.”  How does an artist know for certain that whatshe is doing is “of the times.”  Havingrecently read a statement by the Rumanian poet Tristan Tzara, a leading figurein the founding of Dada movement in 1916/17, it would appear that Zhen Guo’sstatement is well taken. Tzara also seemed to feel that the raucous antics ofthe Dada artists at the Cabaret Voltaire in Zurich were very much “of thetimes.”
除了她的水墨画之外,艺术家关于她的作品的著作为她的艺术增添了新的维度。我指的是2012年的一份声明,其中郭桢宣布“没有时代感的艺术只能称为伪艺术”。我不确定她是否在指水墨画,但这确实引发了一个好奇的问题。究竟是什么构成了“时代感”。艺术家如何确定自己的所作所为是“时代”。最近阅读罗马尼亚诗人特里斯坦·特萨拉(Tristan Tzara)的讲话, 对于1916至17年的达达运动,看来郭桢的说法是正确的。特萨拉似乎还觉得苏黎世歌舞表演的达达(Dada)艺术家的滑稽动作非常“时代”。

“Earth Eye” Muted Landscape  Ink on Rice paper  140cm x 68cm   2016
“神眼“ 哑声的风景系列   纸本水墨

But if an artistis not of the times in the present tense, then what does it mean?  What other times are being addressed?  Given the long history of ink painting inChina, it would appear that artists lived removed from the present as we knowit today. This would include following the traditions of ink painting in theacademic sense. From this perspective, it is conceivable that the concerns ofartists living and working in the distant past were more removed from thespectacles of the everyday world.

“White Night” Muted Landscape Ink on Rice paper 140cm x 68cm   2016
“白夜”   哑声的风景系列  纸本水墨

The connectionbetween time in the present and the historical past constitutes what I wouldcall “the breadth of ink.” In this sense, the artist can be in many times atthe same time, that is, not just the present, but also the past  or, for that matter, moving irrevocablytowards the future. This would suggest that the artist is approaching someremote territory of reality evoked by nature or even by science as a form ofartificial intelligence. Perhaps, the paradoxical distance of the future iswhat Zhen Guo is contemplating in her work; and like many Chinese ink paintersworking today, she continues on some level the fundamental legacy of inkpainting as a source of her activity as a feminist and as an artist politicallybound to the past, present and future in equal terms as she reconstructs aforgotten history through her art that has yet to be defined.
“Illusion” Muted Landscape Ink on Rice paper 140cm x 68cm    2016
“春梦” 哑声的风景系列   纸本水墨

So what is thetradition of ink painting that pulsates through time?

The courtly tradition of this activity in China goes backmany dynasties, as far back as the Qin Dynasty in the third century BC. Thetradition further developed in the eighth century Tang Dynasty, and then againin the tenth century Sung Dynasty where ink painting focused largely on thelandscape. Five centuries later, the span of subject matter came to fruitionamid the decorum of the Ming Dynasty. Each of these dynasties perfected its ownstyle or myriad of styles related to ink. This should not imply that the art ofcalligraphy evolved in a parallel manner. Although the handling of the brushmay have been similar, the actual practice of calligraphic writing retained itsown distinct qualities apart from that of either courtly or landscape painting.

“Valley” Muted Landscape  Ink on Rice paper  140cm x 68cm   2016
“峡谷“ 哑声的风景系列     纸本水墨

 The ink paintingsof Zhen Guo suggest a practice representing the landscape through differentstyles and mannerisms of painting. Her reference to the body in her MutedLandscapes is clearly evident , occasionally reaching heights of pureingenuity.  Here I would agree withthe scholar Dr. Yibing Huang in his essay, “Why ChineseLandscape Needs to be Rethought” (2019): “Zhen Guo redefines Chinese landscapeor shanshui as a naked female body possessing its own voice, desire, identity, andyet also suffering the violence of dismemberment and repression.”
郭桢的水墨画提出了一种通过不同的绘画风格和手法来表现风景的实践。她在《 Muted Landscapes》中对身体的提及很明显,有时甚至达到了纯粹的匠心。在这里我很同意学者黄亦兵(麦芒)博士在其论文《为什么需要反思中国景观》(2019年)中说:“郭桢将中国景观或山水重新定义为拥有自己的声音,欲望,身份并遭受痛苦的裸体女性身体。肢解和镇压的暴力。”

The unique contribution of Zhen Guo as an ink painter is theoverlay and bundling of cascading shapes and forms that compress against oneanother and push towards a distinct placement. One might comprehend these formsas abstract without losing their dark and definitive organic momentum.

“Uncertain” Muted Landscape  Ink on Rice paper 140cm x 68cm   2016
“悬念“ 哑声的风景系列    纸本水墨

These conjugalforms open up a logic of their own, a corporeal logic that descends throughtime, over time, within the interstices of the moment. The manner of their beingis inexhaustible. Far from the deluge of a quaint repetition, they linger intime as they ascend to become physical formations. The strata of the Earth hasbeen given a magnitude through ink that absorbs heat and light, that ordainsthe impossible as a rejuvenated sensibility through mock clouts of dirt thatsettle into place on their own, launching a gestural weight within the breadthof ink, granting us the opportune space – a space that regains its substance asa bodily process, as a longitudinal focus of enraptured skin clinging to ourorgans as its covering, skin that is folded, creased, and ironically caught inthe act of memory over time, beyond time, sensing what history has become andwhat we still remember upon our first gaze at the infinite scope of theuniverse. Zhen Guo’s ink reveals what it conceals, the latter empowering theformer. The trick of time is to be caught in the breadth of ink, where all timefolds in upon itself and grants a leave to becoming no less than what we are:human beings in touch with one another.
这些共轭形式打开了它们自己的逻辑,即随时间在瞬间的空隙中随时间下降的有形逻辑。它们的存在方式是取之不尽的。远离古朴重复的浪潮,它们随着上升成为物理形态而及时徘徊。通过吸收热量和光的墨水为地球的地层赋予了一定的幅度,通过模拟的尘埃团将其自身安置在适当的位置,在水墨的广度内发出了姿态上的重量,将不可能的事重新焕发了青春的敏感性。我们是一个合适的空间,这个空间是通过身体过程重新获得实质的空间,是被包裹的皮肤纵向附着在我们器官上的纵向焦点,它的覆盖层是皮肤的折叠,折痕,并且随着时间的流逝而具有讽刺意味地陷入了记忆的行为中, 时间了解历史已经变成什么,以及我们第一次凝视宇宙无限范围时仍记得什么。郭桢的水墨揭示了它所隐藏的内容,后者赋予前者权力。时间的妙处就在于它能被浩瀚的笔墨所捕捉,在那里所有的时间都在自己身上折叠起来,并给予了我们不被抵制的权利:人类彼此接触。(罗伯特·C·摩根 2019/ 10 纽约)
Robert C. Morgan is an artist, critic, educator,independent curator, and poet. He has written several books and numerous essaysfocused on recent developments in the history of art and artists. Dr. Morgancurrently teaches in the graduate program of fine arts at Pratt Institute inBrooklyn, New York and is represented as an artist by Proyectos Monclova inMexico City.
本文作者罗伯特·C·摩根(Robert C. Morgan)是一位艺术家,评论家,教育家,独立策展人和诗人。他有多本著作,并发表了许多文章,重点介绍了艺术和艺术家历史上的最新发展。Morgan博士目前在纽约布鲁克林的普拉特学院(Pratt Institute)从事美术研究生课程的教学,并由墨西哥城的Proyectos Monclova代表画家。 

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