7月2日下午3:30，《粗暴現(xiàn)實——夏方作品展》將于了了·藝術(shù)傳播機構(gòu)3號館1樓開幕，該展覽是了了青年實驗空間項目第四次展覽，將持續(xù)到7月9日。
青年藝術(shù)家推介系列展（二） & 了了·青年實驗空間4
The Series Exhibition of Young Artists promotion(2) & LIAOLIAO·Young Art LabSpace 4
粗暴現(xiàn)實——夏方作品展
Violent reality——Exhibition of Xia Fang’s Works
策展人 Curator
廖上飛 Liao Shangfei
主辦 Hosts
西華大學藝術(shù)學院 Schoolof Art,XiHua University
了了·藝術(shù)傳播機構(gòu) LIAO LIAO Arts Dissemination Institution
展覽時間 Duration?
2016.07.02－07.09
開幕酒會? opening
2016.07.02 ?15:30 ?
展覽地點 Venue?
成都市天府大道中段177號世紀城新會展中心天鵝湖花園22棟了了·藝術(shù)傳播機構(gòu)1樓?
LIAOLIAO Arts Dissemination Institution, Tower22, Swan Lake Gardens, No.177, Mid-SectionTianfu Avenue, Chengdu
前 ?言
Preface
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廖上飛
Liao Shangfei
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夏方的“人群系列”作品起于對現(xiàn)實的關(guān)注。她將目光朝向一系列“熱點事件”，這些事件通常是震驚世人但并沒有引起各方重視或值得人類永遠珍藏、紀念的。離中國人似乎很遠但備受國際社會關(guān)注的難民危機，發(fā)生在中國各地的一系列震驚全球的事件成為她著重表現(xiàn)的對象。她的作品涉及受世界媒體關(guān)注的熱點新聞、國內(nèi)外發(fā)生的重大事情，如難民潮、暴力拆遷、警察維穩(wěn)等。“人群系列”作品并非再現(xiàn)現(xiàn)實或親近現(xiàn)實的結(jié)果，而是粗暴現(xiàn)實的結(jié)果?，F(xiàn)實如此粗暴，粗暴的現(xiàn)實讓頗具責任感的藝術(shù)家實在難忍，藝術(shù)家有限的暴露充其量是“粗暴”。顯然，夏方并非用傳統(tǒng)的寫實主義的表現(xiàn)方法“記錄事件”，而是通過當代繪畫的方式“表現(xiàn)事件”。她的表現(xiàn)是主觀能動的，“創(chuàng)作觀念主要涉及對新聞圖片的‘挪用’與形式上的‘轉(zhuǎn)譯’，在手法上側(cè)重于后現(xiàn)代藝術(shù)范疇的‘挪用’與‘戲擬’，崇尚敘事的片斷與偶然、無序與斷裂，審美上追求現(xiàn)實與超現(xiàn)實在結(jié)合過程中呈現(xiàn)出的‘別扭’與荒誕”[1]。從互聯(lián)網(wǎng)、報紙等傳播媒介上“挪用”（選擇）圖片，然后將其“轉(zhuǎn)譯”到畫布上——她不是機械復制，而是對其進行主觀性處理，以達到“戲擬現(xiàn)實”的目的?，F(xiàn)實如此粗暴，粗暴得極近荒誕。面對夏方的“人群系列”作品，相信你所意識到的比你所看到的真實。
Xia Fang’s “Thecrowd series” works are from attention to reality. Shehaslookedtowards a series of “hot events”, which usually shocked the world but did not cause the attention ofall social parts, and were not worth treasuring or commemorating. The refugeecrisis that is very far away from Chinese people butconcerned by theinternational community, a series of events that shocked the world occurred invarious parts of China all become the objects that she focused on. Her worksinvolves the hot news which focused by the world media, great things that happened at home and abroad, such as refugees,violent demolition,police stability maintenance, etc. “Thecrowd series” works is not the result of representingreality or closing to reality, but the result of exposing reality. Reality isso violent, violent reality made the responsible artists become intolerable.The limited exposure of artists is at best “brutal”. Obviously, Xia Fang did not “record events”by traditional realism method, but “representevents” by the way of contemporary paintings. Herexpression is subjective initiative, “creative conceptmainly relates to ‘misappropriation’ of news photos and ‘translation’ of forms, technically focuseson ‘misappropriation’ and ‘parody’ inpost-modern art, advocates of narrative fragments and accidental, disorder andfracture, aesthetically pursue of ‘a(chǎn)wkward’ and ‘a(chǎn)bsurdity’represented in combination of reality and surreality”[[1]]. “Misappropriating” (selecting) photos from Internet, newspapers and the media, then “translating” them to the canvas—— she is not amechanical reproduction, but be subjective, so as to achieve the purposes of “parody reality”. Reality is so violent,violent was very close to absurd. Facing of Xia Fang’s “the crowd series”, it is believed that whatyou realized is much more real than what you see.
???夏方筆下的“人群”只有“群”而沒有“人”?！叭恕北怀橄蠡?、符號化、模糊化，我們看不到具體的“某一個人”，我們看到的是一廣場一廣場、一廳一廳、一船一船、一群一群、一團一團、一堆一堆剪影般的人，這些人要么游行、抗議，要么圍觀、歡呼，要么逃亡……經(jīng)藝術(shù)家“轉(zhuǎn)譯”過后的一系列“事件現(xiàn)場”蘊藏著內(nèi)在的激烈沖突，這種沖突與權(quán)力和權(quán)利相關(guān)?！叭巳合盗小弊髌氛w有一種“劇場”效果。有表演者就有看客，然而當局者迷旁觀者未必清。表演和觀看（圍觀）構(gòu)成的權(quán)力和權(quán)利話語關(guān)系折射出當代政治意識形態(tài)的虛假性和荒誕性。被抽象化、符號化、模糊化的人群讓人感受到一種貌似強大且正義的集體無意識?，F(xiàn)實如此粗暴，暴力精于以正義的面目迷惑世人。貌似雜亂實際暗藏著序列的筆觸強化了作品的內(nèi)在張力。筆觸與“人群”可謂完美一體，看似亂哄哄的人群實際受集體無意識的主宰。個體無意識并不可怕，可怕的是被世代規(guī)馴且至今潛伏于人類集體無意識中的野蠻、暴力欲求。黑與白可謂邪惡與正義的隱喻，始終處于對抗狀態(tài)。黑白單色的確給人冷靜和單純的印象，但“人群系列”作品帶給人更多的是“壓抑感”。何以感覺壓抑？那是因為黑和灰占了上風。在我看來，黑白單色的運用實際拉開了作品與現(xiàn)實的距離，達到了一種陌生化的效果?！叭巳合盗小弊髌芬蛑簿哂辛宋墨I性和歷史感。這樣的繪畫能促人深思，特別是能激發(fā)人反思自己身處其中的人性、社會現(xiàn)實，非常具有現(xiàn)實意義。
Xia Fang’s “population” is only “group” butnot “human”. “Human” is abstract, symbolic and blurred. We can not see specific “someone”, what we see are thousands ofsquares, halls, boats, groups of silhouettedpeople, who eitherto protest, or watch,cheer,fled……A series of “l(fā)ive events” that “translated”by the artist contained a fierce internal conflict that is relevant to powers andrights. “The crowd series” worksas a whole had a “theater” effect. Where there is a performer,there is a spectator. However involvers always get confused while outsiders cannot be more clear. The discourse relation between powers andrights that consisted by performance and viewing(watching), reflects the falsityand absurdity ofcontemporary political ideology. Abstract, symbolic and blurred peoplemade someone feel a sense of seemingly powerful and righteouscollective unconscious. Reality is so violent,violent is skillful in confusing people by justice. The brushwork that seemly messy but actually orderly,strengthened the internal tension of the work. Brushwork and “crowd” can be described as a perfection.Seemingly noisy crowd is actually dominated by the collective unconscious. Individualunconscious is not terrible, terrible is brutal and violent desires that has beenregulated and tamed by generationsand still lurked in the collective unconscious ofhumanity. Black and white, which can be described as metaphor of evil andjustice, are always in a state of confrontation. Monochrome gives youthe impression of calm and simple indeed, while “the crowd series” works bring people “a sense of oppression”. Why feeldepressed? That's because black and gray had prevailed.In my opinion, theapplication of monochrome actually had pulled works away from reality, and reachedan effect of defamiliarization. Therefore, “the crowd series” works also are documentary and historical. Such paintings canpromote people to ponder, especially inspire people to reflect on human natural and social reality inwhich they lived. There is a very practical significance.
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二零一六年六月十五日于綿陽
June15, 2016 in Mianyang
[1]夏方：《論群體性事件:<人群系列>創(chuàng)作報告》，2016年。
Xia Fang: On mass events: areport of “the crowd series” works, 2016.
夏 ?方
簡介
1993年生于江蘇淮安
2016年畢業(yè)于西華大學藝術(shù)學院
個展?
2016 粗暴現(xiàn)實——夏方作品展，了了·藝術(shù)傳播機構(gòu)，成都
群展
2015 “畫意成都”美術(shù)作品年度展，四川省美術(shù)館，成都
四川省、成都軍區(qū)“紀念中國人民抗日戰(zhàn)爭暨世界反法西斯戰(zhàn)爭勝利70周年”美術(shù)作品展，四川省美術(shù)館，成都
2014 四川省第七屆新人新作美術(shù)展，四川省美術(shù)館，成都
部分參展作品欣賞
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《人群系列 · 二》 130cm×97cm 布面油畫 2015年
《人群系列 · 四》 200cm×150cm ?布面油畫 2015年
《人群系列 · 五》 200cm×150cm 布面油畫 2015年
《人群系列 · 六》 162cm×130cm 布面油畫 2016年
《人群系列 · 十》 162cm×130cm 布面油畫 2016年
《人群系列 · 十二》?130cm×97cm 布面油畫 2016年
《人群系列 · 十三》 130cm×97cm 布面油畫 2016年
《人群系列 · 十五》 162cm×130cm 布面油畫 2016年
相關(guān)展覽
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[廖上飛策劃] 青年藝術(shù)家推介展第一回：
不確定的未來——申曉舞作品展
了了·青年實驗空間項目一至三回：
黑白之美——莊子鋼筆畫作品展
孤獨的榮耀——姚磊“中國孩子”系列油畫展
此時——曹衛(wèi)國作品展
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