评论 ｜ 前卫的出走和精神的复归 ——陈胄艺术中的林园与民间

　　

　　别走太快 210x420cm 布面油彩 2008

　　记忆的林园

　　在欧洲文化传统中，花园代表了尘世的混乱与喧嚣之外的庇护圣所。从圣经和但丁描述的伊甸园到吉尔伽美什的神仙之园，从柏拉图的学园到凡尔赛宫的园林，它们仿佛是文明世界之外的净土，又象征着忙碌与纷乱中的间歇与休憩。相较欧洲花园，中国传统园林更注重自然景观的营造，强调将人为的痕迹融于自然，以及整体与部分之间的关系。通过各种人工方式再造的园林在自然景观中似乎是一类异质的存在，花园并不是纯然的自然，而是自然环境之中另辟的一片空间，让我们在接近自然的同时，又间隔了自然。

　　

　　时间错移-游园1，130x150cm,布面油彩，2023

　　

　　时间错移-游园2，130x150cm,布面油彩，2023

　　花园与林园对于自然和社会环境的意义正像风景绘画之于绘画艺术的意义。绘画史中的风景画源于人作为主体开始审视自然。人们从神话、圣经及圣徒生平的叙事背景中瞥见了山川和林木的曼妙，从历史及人物主题的夹缝中提取出片刻的间隙，将风景“解放”出来，这即是风景进入绘画的关键。当代艺术中风景的作用在于提取一系列强符号中的弱符号，在充满意义的符号群中寻找意义的出走，在密不透风的话语丛林中探索观念的重启；在风景之外探寻其社会权力与图像表现的话语建构，同时在生态学的意义上反思都市文明和消费景观存在的问题。

　　从上述意义上讲，如果说当代艺术是一大片自然景观，那么具有反思性和异质感并启发人们思维转换的艺术可以作为其中的一小片园林。艺术家陈冑的作品即是在当代艺术语境下的一片林园，在自然景观的外表下深藏着个人与社会记忆；同时在观赏对象和自我审视的游移之中，保持着对潮流和时尚的距离。

　　

　　致敬南田1号，100X60cm,布面油彩，2023

　　

　　致敬南田2号，100X60cm,布面油彩，2023

　　自新表现主义以来，绘画在艺术的历史叙述完结之后只能追寻更早的原型，并在命名之前加上“新”或“后”（neo-post-）。当代架上绘画似乎走向了一条不归路，在媒材和表现形式无法承载观念的情形下超载前行，仿佛要冲下悬崖的边缘。在某种后现代语境下，不同文化的传统纷纷派上用场；不同学科、媒介间也展开了跨越借鉴，来减缓观念更新的速度，来解决形式逻辑与观念表达之间的紧张关系。陈冑的绘画在传统文人水墨画训练的基础上，在风景题材的表象之下，进行了跨时空的探讨，体现各种矛盾主题与记忆中的意象。在当今过度荧光化、电子化和喷枪效果的当代绘画潮流中，陈冑以经典水墨画的图式和语言，以及跨时空的多重视角，远离了过度意识形态化的阐释与潮流化的读解，延续着绘画最纯粹的语言，以个人记忆作为屏障放缓绘画观念和形态更新的脚步。

　　

　　游园&雅集7，布面油彩，46x38cm，2010

　　

　　游园&雅集3，布面油彩，46x38cm，2009

　　在古代政治家、演说家西塞罗描述的古代记忆术中，特殊的形象和不不符合常规的经营布置会使人印象深刻从而便于记忆。这种具有冲突性和怪诞效果的形象被称为“能动意象”（imagines agentes）。在陈冑的“时间错移——游园”系列绘画作品中，一些不符合常规、打破固有图像逻辑形象的出现，促成了整个画面的怪诞效果。这些积极有效的形象出现在林园之中，使观者过目不忘。这些“能动意象”与林园的搭配正是古代定点记忆术与当代绘画艺术的结合，艺术家通过记忆重建了林园，通过时空交错的体验开辟出一片属于个人的私密场域，它既出于自然又与自然环境相互间隔，一种当代性的精神体验与观看方式便从这种疏离之中悄然显现。

　　

　　节日145x210cm. 布面油彩 2007

　　共享的民间

　　前卫艺术的策略在于和公众拉开距离，从而达成与社会实践相分离的审美效果。但是从20世纪初的历史前卫主义（historical avant-garde），到20世纪60年代以来的新前卫主义，以及20世纪末的参与式艺术中，艺术的自律与日常生活实践的关系问题一直贯穿着前卫艺术这三个发展阶段。前卫艺术始终都不仅仅是形式的变革，而是与社会实践和政治话语息息相关。前卫理论家们所担心的始终是艺术与生活实践的过度割裂导致的后果。所以在三次前卫艺术的浪潮之间，是各种呼吁艺术与生活实践重新建立关系的口号，在这诸多的口号之中，民间话语和实践可能是最奏效的一个。

　　

　　

　　昆仑木禾，尺寸：160x180x55厘米，材料：黄铜，年代：2018

　　陈冑的装置作品从民间神话出发，他在研究西南地区民间神树图式和立体形态的基础上，延伸出多个变体。那些曾经被当代艺术家所规避的各门类民间艺术又重新得到了发掘；当代艺术家也像考察民间艺术家创作的学者一样走遍中国西北和西南的田野和乡间。这也正是中央美术学院实验艺术学院成立的初衷：艺术从民间出发，走向当代。陈冑就是在中央美术学院实验艺术学院度过了三年重要的博士研究时光，来自西南乡土民间的生活习俗、信仰状况以及精神图式恰好是艺术家与生俱来的观念源泉。这种来自民间的特殊的当代性，正是弥合前卫艺术的自律性与生活实践裂隙的最佳方式。在一般意义上，“当代”一词，特指我们所处的当下，但同时也隐含了另一重意义，即“共享”（con+temporary=“共同的”＋“时间”）的含义。民间作为一种策略，在陈冑的一系列装置作品中都所有运用。而这种与古往今来的历史所“共享”的民间恰恰对应了法国艺术史家阿拉斯（Daniel Arasse）所述的与艺术作品相关的“三个时代”：艺术品制作的时代、艺术品被当下观看的时代，以及这两个时代之间的时代，即从作品问世到我们所处的当下之间的时代。在最后一个时代中，包含了历代观者的目光的集合，这些目光塑造和改变了当下的目光。阿拉斯颇具阐释学意味的讨论为当代性增加了一重含义，同时也为民间经验作用于当代的合理性找到了新的突破口。

　　有了上述认识，当代艺术的前卫性与民间之间就产生了一重新的关系。在陈冑的作品中，“民间”即是一种共享的经验，艺术家有意地从前卫性中出走，来自民间、面向民间、并且保持特定意义上的“当代性”，这可以作为解决当代艺术的及其观众紧张关系的策略。诸如此类从艺术自律走向艺术社会自足的尝试，试图弥合前卫艺术与民间的巨大鸿沟，但是又容易与消费和市场过度结合，使之成为一种廉价的消费品。而陈胄从民间神话出发，借助民间神话母题的装置和影像作品《通天术》，则显现了艺术家纵贯古今的历史意识，以及批判意识和研究态度，从而超越了一般意义上的“前卫艺术”和“民间艺术”。当代艺术本身就是时空交叠的共同体，可以借鉴任何文化和历史时代的任何成果；“民间”也不能成为一种当代艺术存在合理性的借口，而应该作为一种艺术家和公众经验“共享”的契机，它基于一种新的当代性，一种与现实交织的、根植于历史想象中的共享的当代性。

　　文/高 远 （策展人 艺术史学者）

　　（点击上方文字链接，即可跳转至开幕现场报道）

　　

　　

　　

　　展览现场 / 本次展览将持续至6月11日，感兴趣的观众可前往成都蓝顶美术馆观展。

　　An Avant-garde Escape and Spiritual Reversion

　　– Groves and Folk in Chen Zhou’s Art Works

　　Gao Yuan（curator and art history scholar）

　　Groves in Memory

　　In the European traditional culture, the garden represents a sanctuary from chaos and noise of the secular world. From the Garden of Eden described in the Bible and by Dante Alighieri to the garden of gods in Gilgamesh, from Plato’s academy to the gardens of the Versailles Palace, they seem to be pure lands away from the civilized world, but also symbolize break from and repose in the busy and chaotic pandemonium. Compared with European gardens, Chinese gardens draws more attention to the creation of natural landscapes, which emphasize the integration of man-made traces into nature, and the relationship between the whole and the part. Gardens recreated by various artificial means seem to be a kind of heterogeneous existence in the natural landscape. The garden is not sheer nature, but another space in the natural environment, so that when we are close to nature, we distance ourselves from it.

　　

　　时间错移-游园4，130x150cm,布面油彩，2023

　　The significance of gardens and groves, to nature and social environment, is that of landscape painting to the art of painting. In the history of painting, landscape painting originated from man as the subject who began to examine nature. People who had a glimpse of the beauty of mountains, rivers and trees from the narrative background of myth, the Bible and life of saints, extracted a momentary interval from the cracks of history and human themes, and “liberated” the landscape, which is the key to landscape painting. The role of landscape in contemporary art is to extract a series of weak symbols from a series of strong symbols, to seek the escape of meaning from a cluster of symbols full of meaning, and to explore the restart of ideas in the impenetrable jungle of discourse. It explores the discourse construction of its social power and image expression beyond the landscape, and reflects on the existing problems of urban civilization and consumption landscape in the sense of ecology.

　　

　　致敬南田3号，100X60cm,布面油彩，2023

　　In the above sense, if contemporary art is a vast expanse of natural landscape, then the art that is reflective and heterogeneous and inspires the transformation of people’s thinking can be regarded as a patch of garden. Artist Chen Zhou’s works, in the context of contemporary art, are groves of trees with personal and social memories hidden under the appearance of natural landscapes. At the same time, he keeps a distance from the trend and fashion in the movement of the object of appreciation and self-examination.

　　Since neo-expressionism, painting, after completion of the historical narrative of art, can only pursue earlier archetypes and add “neo-/post-” before the name. Contemporary easel painting seems to be heading towards a road of no return, which is going forward overloaded under the circumstance that media and forms of expression cannot bear the idea, as if to rush off the edge of a cliff. In a post-modern context, the traditions of different cultures come in handy; Different disciplines and media have also carried out cross-reference to slow down the speed of idea updating and solve the tension between formal logic and idea expression. Chen Zhou, based on his training of traditional literati ink painting, has endeavored to explore things across time and space under the surface of landscape themes, reflecting various contradictory themes and images in memory. In today’s contemporary painting trend of excessive fluorescence, electronization and airbrush effect, Chen Zhou has kept away from excessive ideological interpretation and trendsetting interpretation with his own pattern and language of classic ink painting, as well as multiple perspectives across time and space, and is continuing his purest language of painting, slowing down his pace of painting concept and form renewal with his personal memory as a barrier.

　　

　　游园&雅集4，布面油彩，46x38cm，2009

　　In ancient mnemonics, as described by Marcus Tullius Cicero, the ancient Roman statesman and orator, special images and unconventional operations and layouts would impress people so that they could easily remember. Such images with conflicting and grotesque effects are called “imagines agentes”. In Chen Zhou’s series of paintings such as Time Wrongly Shifted and On Visit in a Garden, the appearance of some images that do not conform to the convention and that break the inherent logic contribute to the grotesque effect of the whole picture. These positive and effective images appear in the grove so that the viewer will never forget. The matching of these “dynamic images” with the grove is the combination of ancient fixed point memory and contemporary painting art. The artist has recreated the grove garden through his memory, and has opened up a private field of his own through the staggered experience of time and space. It is both out of nature and being distanced from the natural environment, whence a contemporary spiritual experience and way of viewing quietly emerged from this sort of alienation.

　　The Shared Folk

　　The strategy of avant-garde art is to distance itself from the public so as to achieve an aesthetic effect separated from social practice. However, from the historical avant-garde in the early 20th century, to the new avant-garde since the 1960s, and the participatory art in the late 20th century, the relationship between the self-discipline of art and the practice of daily life has been running through three stages of avant-garde art in development. Avant-garde art has always been more than just a form of change, but closely related to social practice and political discourse. What the avant-garde theorists were always concerned about is the consequences of excessive disconnection between art and life practice. Therefore, amid the three waves of avant-garde art, there are various slogans calling for the re-establishment of the relationship between art and life practice. Among these slogans, the folk discourse and practice may be the most effective.

　　

　　《遇见1、2、3》，录像，循环播放

　　In his installation works stemming from folk myths, Chen Zhou extended a number of variations on the basis of his research on the schema and three-dimensional form of the folk divine trees in Southwest China. Folk art, once shunned by contemporary artists, has been explored again. Contemporary artists, like scholars examining the works by folk artists, trudge the fields and countryside in northwest and southwest China. This is exactly the original intention for the founding of the School of Experimental Art of the Central Academy of Fine Arts – art setting off from the folk and delving into the contemporary era. It was at the Experimental Art School of the Central Academy of Fine Arts that Chen Zhou spent his three years of important doctoral research. The living customs, beliefs and spiritual schema of the rural folk in Southwest China are just the source of the innate ideas of the artist. This kind of special contemporariness from the folk is the best way to bridge the gap between avant-garde art’s self-discipline and life practice. In the general sense, the word “contemporary” refers to the present era, but it also implies the meaning of “shared” (con+temporary = “common” + “time”). Folk, as a strategy, is used in a series of Chen Zhou’s installation works. This folk “sharing” with history from ancient to modern times corresponds to the “three epochs” related to the art works described by French art historian Daniel Arasse: the epoch when artworks are made, the epoch when artworks are viewed by the present, and the epoch between these two epochs. That is, the epoch between the creation of works and the present we are in. The last epoch contains a collection of the eyes of successive generations, which has shaped and changed the eyes of the present. Daniel Arasse’s hermeneutic discussion adds a new meaning to the contemporary, and also finds a new breakthrough for the rationality of folk experiences in the contemporary times.

　　三影像作品

　　遇见1、2、3......

　　作者：陈 胄

　　媒介：录像

　　时长：循环播放

　　作品说明：

　　驾车以正常行驶的速度，分别绕成都一环路、二环路、三环路通行一圈，摄像机镜头对着天拍摄。视频以每一圈路通行实际时间为时长。三个屏幕竖立分开展示三段视频，视频没有开始和结尾，循环播放。

　　With the above understanding, a new relationship between the avant-garde of contemporary art and the folk thus came into being. In Chen Zhou’s works, “folk” is a kind of shared experience. The artist, having intentionally left the avant-garde and come from the folk and posed face to the folk, maintains the “contemporary” in a specific sense, which can be used as a strategy to address the tension between contemporary art and its audience. Such attempts from artistic self-discipline to artistic social self-sufficiency were intended to bridge the huge gap between avant-garde art and the folk, but they are easy to be overly combined with consumption and the market, making it a cheap consumer product. On the other hand, beginning from the folk myth, and with the help of his installation and video works The Magic of Getting Access to Heaven on the theme of the folk myth, Chen Zhou showed his historical consciousness across the ages, and critical consciousness and attitude in research, which went beyond the “avant-garde art” and “folk art” in the general sense. Contemporary art itself is a community of overlapping time and space, which can learn from any achievements of any cultural and historical era. “Folk” cannot be an excuse for the rationality of the existence of contemporary art, but should be used as an opportunity to “share” the experience of artists and the public, based on a new contemporaneity, a shared contemporaneity intertwined with reality and rooted in historical imagination.

　　

　　陈胄

　　陈胄，重庆潼南人。本科和研究生毕业于四川美术学院中国画专业。中央美术学院实验艺术专业博士。师从吕胜中先生，主要研究方向为传统语言转换。曾执教于西南民族大学艺术学院，现任教于川音成都美术学院，副教授、硕士生导师。

　　主要展览及活动：

　　个展

　　2023 别走太快：陈胄个展，蓝顶美术馆，成都；

　　2022 1+1=2真理 陈胄 柳光苏 双个展，成都艺原美术馆；

　　2018 生机，陈胄个展，凤凰含章艺术中心，北京；

　　群展

　　2021 希望花田：中国酉阳第二季乡村艺术季，重庆市酉阳县何家岩村；

　　2021 广福村项目：乡村场域中的艺术共生，成都市郫都区广福桥村；2021 共在共情共生：中国社区美育行动计划展，四川大学美术馆，成都；

　　2020 与历史同行：四川美术学院80周年展，四川美术学院美术馆，重庆；

　　2020 寻山造境，烟台山文化艺术中心开馆展，福州；

　　2019 HAND IN HAND 中德艺术展，柏林艺术家协会，德国柏林；

　　2019 生态项目展——自在的共在 ，成都蓝顶美术馆；

　　2019 再造的表达，成都市美术馆；

　　2018 2 018·中国（西安）青年实验艺术展，西安美术馆，西安；

　　2018 美术馆之眼—成都市美术馆2018年度提名展，成都美术馆；

　　2018 中央美术学院博士研究生毕业作品展，中央美术学院美术馆，北京；

　　2017 “现在的未来”实验艺术展，杨画廊，北京；

　　2017 “现在的未来”实验艺术展，中央美术学院，北京；

　　2016 不足为外人道，金杜艺术中心，北京；

　　2016 进入乡村：拯救与共生，广东美术馆，广州；

　　2016 心与眼图像研究当代艺术系列展——观看之道，凤凰含章艺术中心，北京798艺术区；

　　2014 文轩新象——当代艺术100人邀请展，文轩美术馆，成都；

　　2014 和声——成都.北京两地艺术家邀请展，成都；

　　2013 跨越领域，许燎源博物馆，成都；

　　2013 建/重建，作为社会实践的“想象”：亚洲艺术家社会性艺术实践项目，外滩美术馆，上海；

　　2013 “微关系”30位艺术家的自我叙事，刘海粟美术馆，上海；

　　2013 水墨相遇芭蕉园现场艺术项目，成都双流；

　　2013 蓝顶10周年艺术群落展，蓝顶艺术区，成都；

　　2012 SeeSaw中国当代集体创作实践，尤伦斯当代艺术中心，北京；

　　2012 蓝顶磁场，蓝顶美术馆，成都；

　　2012 “十日谈”研究项目之“昆山在造”，器Haus空间，重庆；

　　2012 实验季第一回，A4当代艺术中心，成都；

　　2012 昆山在造4月30日现场，器 .Haus空间主持，成都；

　　2011 “肌能测量” 实验工作坊4期 ，千高原艺术空间，

　　2011 成都双年展特别邀请展之“川流不息文献展”，蓝顶美术馆， 成都；

　　2010 “南风窗”：当代艺术邀请展（第一回）展 ，卓越艺术空间，北京；

　　2010 实验工作坊第3期，UN Space艺术空间，长春；

　　2010 实验工作坊第2期，西村艺术空间，成都；

　　2009 “群落.群落”宋庄艺术节，宋庄美术馆，北京；

　　2009 极地张力，成都，北京上海巡回展；

　　2008 “西南力量”首届当代艺术邀请巡回展，上海、广州、成都巡回展；

　　2008 虚城计，2008“新动力.中国”当代艺术双年展，原弓美术馆，上海；

　　2007 BAZAAR 上海艺术慈善之夜，南岸艺术中心，上海；

　　2007 “蓝顶三年当代艺术开放展” ，蓝顶艺术区，成都；

　　2007 艺术是一种工作——西南当代艺术家工作室邀请展，梦纳利画廊上海；

　　2007 从成都到北京，西蒙画廊，荷兰海牙；

　　2006 首届“新动力.中国”当代艺术双年展北京邀请展，TS1艺术空间，北京；

　　2002 重庆美术馆开馆展之实验的艺术教育展，重庆美术馆，重庆。

　　学术论坛及讲座：

　　2012年 在地性介入艺术项目“昆山再造 ”，北京尤伦斯当代艺术中心学术报告厅；

　　2013年 暗流:重塑亚洲力量—— 第一单元：乡望，被凝视的他者，上海外滩美术馆；2016年“从个体实践谈艺术语言的建构”讲座，四川美术学院。

　　作品收藏：

　　上海原弓艺术机构、荷兰苏蒙画廊、北京凯旋艺术空间、西村艺术空间、成都蓝顶美术馆、北京金杜艺术中心等。

　　作品出版：

　　今艺术·典藏、当代艺术新闻、大艺术、艺术界、文艺研究、当代美术家、BAZAAR、艺术银行等。