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刘锟.隶属于中国当代的年轻艺术家群体.这个群体是目前中国当代艺术创作中最眩目的一群。作为这一群体的明显特征.他们少了纷争与负压.少了伤痕与忧虑.却多了几份轻松与真实。他们关于现实的反映,或许内敛.平和、诗意,或许偏激、骚动、诙谐;时而积极,时而孤寂,时而雀跃.时而沉闷.然而他们的动机.单纯而含蓄.他们的形式.充实而快活。刘锟也是如此.他的艺术,没有历史性的宏大叙事.也没有历史文化的沧海桑田.更多的是在平静中慢慢融洽的表述.在自然里畅快诙谐的流露。故而观者与他的交流.会显得直接而简单.甚至多了几份悠然与从容。毋庸置疑.对于当代艺术家而言.“绘画终归要回到眼睛本能的敏锐度.以绘画的形式,呈现存在于内心世界的本质”。面对画布.刘锟显然已经认识到所谓的“创作的意义”.并非专门指向艺术“伟大性”的纯粹理念.亦非仅仅针对于现实生活的简单而机械地反应。在他看来.艺术创作在敏感而激动地感受包容着现实变化的同时.也应更多地呈现出超越现实的文化特性。围绕着这一观点.刘锟也在试图建立属于自己的有别于“世界”的“视界”。在大多数的作品中.刘锟将人物置于画面相对中心的位置.同时尽可能地对那些无关痛痒的细枝末节进行所谓的“简化”。于是.人物越是居于画面中心,细节越是简化.却给观众带来一种越加莫名的“孤寂感”.这种孤寂对应于那些有关“功夫”的命名.也愈加显得有些荒诞不经。刘锟甚至用一种近乎平涂的方式来处理画面的背景.以此进一步控制画面的空间深度与结构层次.与此同时艺术家也引入了类似舞台灯光的投射.制造出不同于现实的幻觉结构。而在另一些作品中也有关于具体场景的表达.譬如说《有山》.《有水》等.但是这些场景仍充满了明显的歧义性.更多的是非物质化的景观呈现。刘锟现阶段的创作.体现的是他个人艺术的“现在”的轨迹.然而他的作品已经挑明了自我的态度.立场.趣味.根源等等。尤其是他在创作中的表达和表达方式所彰显出的个人特质:细致的观察.出人意料的表达.不经意的幽默.以及一如“化骨绵掌”般的幻想翱翔……。——赵力
Liu Kun belongs to a group of contemporary young artists in China, which is the most dazzling group in contemporary Chinese contemporary art. As a distinct feature of this group, they have less strife and under pressure, less scars and anxiety, but a few more relaxed and real. Their reaction to reality may be introverted, but their motives are simple and subtle, and their forms are fulfilling and merry. They may be extreme, turmoil, humorous; they are sometimes active, sometimes lonely, sometimes cautious, sometimes dull. Liu Kun is also the case.His art, there is no historical grand narrative.Also there is no sea of history and culture.More is the expression of ease and calmness in the calm .Friendly witty in nature. Therefore, the viewer and his communication will be direct and simple, even more leisurely and calmly. Undoubtedly, for contemporary artists, “painting must return to the instinctive acuity of the eye, in the form of painting, to present the essence that exists within the inner world.” Facing the canvas, Liu Kun apparently has realized that the so-called “significance of creation” is not purely directed toward the “greatness of art.” Nor is it merely a simple and mechanical reaction to real life. In his opinion, while the artistic creation is sensitive and excited to contain the changes in reality, it should also show more of the cultural characteristics beyond reality. Around this point of view, Liu Kun is also trying to establish his own “horizon ” which is different from “world ”. In most of the works, Liu Kun places the characters in the relatively central position of the picture, while at the same time doing what is called “simplification ” for those innocuous minutiae. So the more the characters live in the center of the picture, the more simplified the details, but to the audience to bring a more inexplicable “loneliness.” This loneliness corresponds to those on the “Kung Fu,” the name is also more and more Some absurdity. Liu Kun even uses a nearly flat-painted way to handle the background of the picture to further control the spatial depth of the picture and the structure of the hierarchy, while the artist also introduces a projection similar to stage lighting to create a different illusion of reality . In other works, there are expressions about specific scenes, for example, “There are mountains.” “There is water,” etc. However, these scenes are still full of obvious ambiguities, and more are non-materialized landscapes. Liu Kun’s creation at this stage reflects the track of “present ” in his personal art, however, his work has already taken the attitude of self-attitude, position, interest, root cause and so on. In particular, his personal traits expressed in the way of expression and expression in his creation: meticulous observation, unexpected expression, inadvertent humor, and soaring fantasy like a bone-marrow. - Zhao force