唐骁 TangXiao

光环、花园和湖 Aura, Gardens and Lake：

开放的视阈

文 / 冀少峰

透过朗雪波、陈波、唐骁三位艺术家的视觉表达行迹，不仅让阅读者清晰地窥探出他们的视觉叙事逻辑，更把自我对当代社会和艺术人生的真诚思考和激情表达和盘托出。一个不争的事实是，他们的视觉叙事及弥漫其间的激情讲述已然和他们的父辈和师辈有着明显的差异。一方面，他们鲜有其上一辈的苦难和悲情意识，更少了些沉重与宏大叙事，他们更加关注的是小“我”，在激变的社会发展变革中自我的生存处境。这不仅因为他们出生并成长在一个变革的年代，他们虽然未曾经历“文革”的磨难与沧桑，但他们的确又非常幸运地直面了一个伟大时代的开启——思想解放和改革开放，这也使他们的文化视野更加开放，他们身上不可避免地充斥着一种文化资本化、资本全球化的烙印，鲜有的国际范儿，能够给阅读者一种扑面而来的清新与亲切。他们在代际的同质化讲述中，又都保持着异质化的视觉精神诉求。

朗雪波以“体积”叙事确立了朗氏话语，简洁而不简单，明快而有张力。其实在朗雪波的视觉叙事背后，隐藏着深深的艺术社会学思想，即空间权力与图像政治，在那些简洁有力的视觉表达背后，有着一种深深的空间秩序忧虑。如果再进一步讲，其实他在探讨或在着力探究建构一种符合中华文明性格的现代文明秩序。他讲出了思想，表达出了观念，用简洁的语言来彰显丰富的哲思，其穿透纷繁现实的能力着实令阅读者难忘。

如果说在陈波身上带有鲜活的社会主义经验的视觉叙事特征的话，他从浪漫的怀旧与忧伤中不断走出，代之而来的更是他的置身其间的文化记忆和精神守望，这不仅仅是陈波的视觉记忆，更是一代人的精神标记。题材的国际化不仅令陈波走向更广阔的精神空间，而持之以恒坚持不懈的表现主义激情，特别是那些迷人的灰白色调和变形拉长的人物形象，的确为阅读者贴上了醒目的陈波标签。

唐骁的视觉语汇和修辞，不可避免地带有强烈的抽象表现主义印迹。近期他不断尝试平面绘画与装置的结合，二维与三维的转换，一方面他突破单一架上叙事所带来凝视与观看方式的改变，另一方面他又使装置带有架上绘画的风格与样式，营构出的则是一种矛盾、冲突、不断调和，及至混搭着丝丝的焦虑与不安、聚焦、非聚焦、安静与躁动、不安与焦虑成为他视觉叙事的关键词。近期的作品更带有一种暗流涌动中的危险格局的生成，其观念所指和图像背后的深深的政治性则不言而喻。

三位艺术家以自我真诚的视觉探求对于他们的生存处境作出了自我差异化的思考。他们对于自我生存处境中所面临的问题，既没有回避，亦没有以一种假崇高而刻意彰显，他们真诚而又真实，激情而又理性，他们个体化的生存经验和视觉表达恰恰印证了一个多元与多样化时代的来临。正是这种强烈的个人视觉叙事特征，无疑推动繁荣着当代艺术走向更加多元与开放的视阈，而恰恰是这一个个鲜活的视觉表达，也成就并助推着当代艺术具有了思想多棱镜的特征。很显然，三位艺术家为艺术的再出发带来了一种鲜活的力量。

2017年2月4日下午4:25于东湖三官殿

Open Horizon

Text / Ji Shaofeng

Through the visual expression deeds of three artists, Lang Xuebo, Chen Bo, and Tang Xiao, readers can not only clearly see their visual narrative logic, but also reveal their sincere thinking and passionate expression of contemporary society and artistic life.An indisputable fact is that their visual narrative and the passionate narration permeating it are already significantly different from their parents and teachers.On the one hand, they seldom have the sense of suffering and tragedy of their predecessors, and they have less heavy and grand narratives. They pay more attention to the small "me", the living situation of self in the drastic social development and transformation.This is not only because they were born and grew up in an era of change. Although they did not experience the hardships and vicissitudes of the "Cultural Revolution", they were indeed very lucky to face the opening of a great era - ideological emancipation and reform and opening up.Their cultural horizons are more open, and they are inevitably imbued with a brand of cultural capitalization and capital globalization. The rare international style can give readers a fresh and friendly feeling.In the homogeneous narration of the generations, they all maintain a heterogeneous visual spiritual appeal.

Lang Xuebo established Lang's discourse with "volume" narration, which is concise but not simple, bright and tense.In fact, behind Lang Xuebo's visual narration, there is a deep artistic sociological thought, that is, space power and image politics. Behind those concise and powerful visual expressions, there is a deep worry about spatial order.If we take it a step further, he is actually discussing or focusing on exploring the construction of a modern civilization order that conforms to the character of Chinese civilization.He speaks out his thoughts, expresses his concepts, and uses concise language to demonstrate rich philosophical thinking. His ability to penetrate the complicated reality is really unforgettable for readers.

If it is said that Chen Bo has the characteristics of visual narrative of vivid socialist experience, he constantly walks out of romantic nostalgia and sadness, and what he replaces is his cultural memory and spiritual watch in the meantime.Not only Chen Bo's visual memory, but also the spiritual mark of a generation.The internationalization of subject matter not only leads Chen Bo to a wider spiritual space, but also his unremitting passion for expressionism, especially those charming off-white tones and deformed and elongated characters, indeed puts a striking label of Chen Bo on readers.

Tang Xiao's visual vocabulary and rhetoric inevitably bear a strong imprint of abstract expressionism.Recently, he has been experimenting with the combination of two-dimensional painting and installation, and the conversion between two-dimensional and three-dimensional. On the one hand, he broke through the changes in gaze and viewing methods brought about by a single narrative on the easel, and on the other hand, he made the installation have the style of easel painting.And style, what is constructed is a kind of contradiction, conflict, constant reconciliation, and even a mix of anxiety and uneasiness, focus, non-focus, quiet and restlessness, uneasiness and anxiety have become the key words of his visual narrative.The recent works show the generation of a dangerous pattern in the undercurrent, and the deep political nature behind the concept and images is self-evident.

The three artists made self-differentiated thinking about their living conditions with their sincere visual exploration.They neither evaded the problems they faced in their own living situation, nor did they deliberately express themselves with a false sublime. They were sincere and real, passionate and rational. Their individualized living experience and visual expression just confirmed aThe era of pluralism and diversity is coming.It is this strong personal visual narrative feature that undoubtedly promotes the prosperity of contemporary art to a more diverse and open perspective, and it is precisely these vivid visual expressions that also achieve and promote contemporary art to have a multi-prism of thought.Characteristics.Obviously, the three artists have brought a fresh force to the re-start of art.

February 4, 2017 at 4:25 pm at Sanguandian, East Lake

展览时间：2017年2月24日—2017年3月20日

展览地点：汤湖美术馆1、3号厅（武汉经济技术开发区兴华路1号汤湖公园内）

参展艺术家：朗雪波、陈波、唐骁

策展人：王心耀

Exhibition time: February 24, 2017 - March 20, 2017

Exhibition location: Halls 1 and 3 of Tanghu Art Museum (in Tanghu Park, No. 1 Xinghua Road, Wuhan Economic and Technological Development Zone)

Participating artists: Lang Xuebo, Chen Bo, Tang Xiao

Curator: Wang Xinyao