唐骁 TangXiao
 1930年代，法国兴起了具体艺术（Concrete Art）运动，强调图像必须是由纯粹的平面、线条和颜色构成。绘画里的这些元素除了代表其自身外，不代表世间任何；除了表达其自身外，不具有其他代指。这一行动的目的是将绘画从有限的“符号”代指中解放，以求艺术之无穷。1954年，日本“具体派”也同样地使用了这一词汇，把日本的艺术从旧时代的极权主义漩涡之中抽离为目的，并通过行动的“具体性”宣告新时代的精神自由。 本次展览以“具体绘画”为主题，从历史之中抽取“具体”的概念，观察每一位艺术家创作生产逻辑中的“具体性”和“差异性” ，并在潜在的、未知的、各种可能性中组成坚实面，进而体现“具体”。相较于过往对作品的“趣味”和朴素“社会学”方法的研究，本展览希望使艺术家作品的“真实感”和“接触感”成为最显现的特征。 In the 1930s, the Concrete Art movement emerged in France, emphasizing the need for images to be composed of pure planes, lines and colors. These elements in painting do not represent anything other than themselves; they do not have any other meaning than their own expression. The purpose of this action is to liberate painting from the limited "symbolic" representation in order to achieve the infinity of art. In 1954, the Japanese " Gutai Group " used this term in the same way, with the aim of removing Japanese art from the totalitarian whirlpool of the old era and proclaiming the spiritual freedom of the new era through the "concreteness" of action. With the theme of "Concrete Painting", this exhibition extracts the concept of "concrete" from art history, observes the "concreteness" and "difference" in each artist's creative production logic, and forms a solid surface of potential, unknown, and various possibilities, thus embodying "concrete". Compared to the previous research on the "taste" and simple "sociological" approach of the works, this exhibition hopes to make the "sense of reality" and "sense of contact" of the artists' works become the most visible feature.  《风平浪静》这一系列作品使用的是航海信号旗视觉符号所转译的文字信息。“风平浪静”一词来自德语词汇“Meeresstille”语境中的体悟。德语中的很多词汇往往具有情境式的含义。我曾为歌德的一首八行诗所触动，此诗为1795年歌德乘船穿越第勒尼安海前往意大利时所作： Reget keine Welle sich. 著名翻译家樊修章先生将其译作《大海的宁静》：“大海凝然未醒/海面统辖着沉静/船夫揣着忧心/四顾是平滑万顷/死寂令人心悸/周遭没一点风声/浩浩茫茫天外/觉不到波声涛影” 。德语中的“Stille”有凝固不动的意思，从这个词所指代的情境中我感到的是孤独心迹与自然伟力之间的不对称，并在看似风平浪静的远洋海面上愈加突出。同时也映射着人类在与自然相处时应保有的对话姿态和尊重。第勒尼安海是从法国马赛港到中国广州港的必经之路，从马赛到广州共14870公里，水手和商人在惊涛骇浪，或风平浪静的海洋上漂泊，为各自的世界带去远方的气息。 航海信号旗是由26个图形和三原色组合成的符号，分别对应26个拉丁字母，用于悬挂在轮船上表达船只的各种航行和装载信息。我用这套视觉符号语言翻译了歌德的这首诗，让人得以看到、想象和拼凑远方的景象，并将这一情感体验诗学化，当世界充斥着力量博弈和人心揣测时，作为艺术家仍然希望传达出艺术的挣扎——希望能够搭建出一个渠道，为大家呈现可能的方向，无论我们前方的海面是波澜不惊还是惊涛骇浪，我们始终要在这艘船上继续前行。这个时候最需要的是沟通，看到就是力量。 The series of works "Calm Sea" uses the text information translated by the visual symbols of the navigation signal flag. The word "calm" comes from the understanding in the context of the German word "Meeresstille". Many words in German often have situational meanings. I was once struck by an octet by Goethe, composed in 1795 when he sailed across the Tyrrhenian Sea for Italy: Reget keine Welle sich. Mr. Fan Xiuzhang, a famous translator, translated it into "The Tranquility of the Sea": "The sea is still unaware / The sea governs the silence / The boatman is worried / Looking around is smooth and vast / The dead silence is palpitating / There is no wind around / The vast sky / I feel Less than the sound of the waves and the shadow of the waves." "Stille" in German means to freeze, and what I feel from the situation referred to by this word is the asymmetry between the lonely mind and the mighty force of nature, which is more prominent on the seemingly calm ocean. At the same time, it also reflects the dialogue posture and respect that human beings should maintain when getting along with nature. The Tyrrhenian Sea is the only way from the port of Marseille in France to the port of Guangzhou in China. The total distance from Marseille to Guangzhou is 14,870 kilometers. Sailors and businessmen drift on the stormy sea or the calm sea, bringing the breath of the distance to their respective worlds. The nautical signal flag is a symbol composed of 26 graphics and three primary colors, corresponding to 26 Latin letters, and is used to hang on ships to express various navigation and loading information of ships. I translated this poem by Goethe with this set of visual sign language, so that people can see, imagine and piece together distant scenes, and poetize this emotional experience. When the world is full of power games and people's speculation, as The artist still hopes to convey the struggle of art—hoping to build a channel to show us possible directions. No matter whether the sea in front of us is calm or rough, we must always move forward on this ship. What is most needed at this time is communication, and seeing is power.  荷兰哲学家苏恩梅克尔（Schoen-maekers）认为，人们通过冥想深入自然，透视现实隐秘的内在结构，这个内在结构就是“造型”。自然中存在相互对立的一对对元素，如积极与消极、男与女，空间与时间，黑暗与光明等等，都可以通过简化而压缩为水平线和垂直线。这个论述与蒙德里安（Mondrian）早前的“加减构成”实验不谋而合，且拓展到更深远。这种对于造型的理解方式同样深深的影响着我的绘画。通神论哲学是受东方思想影响的一种神秘主义，关于对立的二元，在我看来，和中国的《周易》中太极两仪的演绎有着共通之处，中国哲学关于对立转化的道家思想，以及阴阳在中国山水画中的表现方式，再参照蒙德里安的艺术的话，或许能为中国抽象找到更多可行的出路，而不必局限在以修行名义进行的“极多主义”的重复动作中。 The Dutch philosopher Schoen-maekers believes that people go deep into nature through meditation and see through the hidden inner structure of reality. This inner structure is "modeling". There are pairs of opposing elements in nature, such as positive and negative, male and female, space and time, dark and light, etc., which can be compressed into horizontal and vertical lines through simplification. This discussion coincides with Mondrian's earlier "composition by addition and subtraction" experiment, and it has been extended to a far-reaching level. This way of understanding modeling also deeply affects my painting. Theosophy philosophy is a kind of mysticism influenced by oriental thought. Regarding the duality of opposites, in my opinion, it has something in common with the deduction of Taiji and Liangyi in China's "Book of Changes". Chinese philosophy is about the transformation of opposites. Thinking, as well as the expression of yin and yang in Chinese landscape paintings, and referring to Mondrian's art, may be able to find more feasible outlets for Chinese abstraction, instead of being limited to the repetitive actions of "maximalism" in the name of practice middle.  |