泛亞洲視點(diǎn) —關(guān)於張可欣的新藝術(shù)

　　黃 篤

　　張可欣是一位長(zhǎng)期在海外活動(dòng)的中國(guó)藝術(shù)家，他遊牧式的生活修煉了個(gè)人的精神意志，既能面對(duì)當(dāng)代變化多端的複雜世界榮辱不驚，又能沉靜下來專心自己的藝術(shù)，並逐漸完善和確立了鮮明的個(gè)人藝術(shù)風(fēng)格。

　　張可欣的藝術(shù)表現(xiàn)出一種新波普的語言，沒有一個(gè)規(guī)定性的約束，既接納了擴(kuò)張性、淩亂性、混雜性、不確定性的動(dòng)力，又模糊了高級(jí)與低級(jí)的區(qū)分，還揉雜了商業(yè)、流行和廣告的語匯，甚至解構(gòu)了傳統(tǒng)的中國(guó)文化資源。如果説經(jīng)典波普藝術(shù)具有一種平穩(wěn)的語言系統(tǒng)，那麼新波普則是一種混雜的語言方式，他的作品裏就蘊(yùn)涵著這種新波普的語言，不論是裝置，還是繪畫，他的藝術(shù)都保持其內(nèi)在的語言邏輯。他的這種新波普除了沿用經(jīng)典波普之外還融入了庸俗的東西，即把那種越軌的東西或不被正統(tǒng)文化所承認(rèn)的東西帶入藝術(shù)範(fàn)疇。那麼，在這個(gè)意義上，經(jīng)典波普藝術(shù)並不具他的那種經(jīng)驗(yàn)——他的作品中一種別樣的風(fēng)格，即充滿泛亞洲的圖像和語言，構(gòu)成了“泛亞新波普”的顯著特徵。他的這種泛亞洲視點(diǎn)是基於個(gè)人像一個(gè)文化遊牧者的經(jīng)驗(yàn)，因?yàn)檫[牧性的藝術(shù)是與正統(tǒng)的、主流的藝術(shù)相對(duì)立的，它處於一個(gè)沒有邊界的游離狀態(tài)，是不確定的，是沒法被編制的，是難以約束的，它不斷摧毀確定的邊界。這也就是遊牧藝術(shù)最具破壞力和最具顛覆力之處，更體現(xiàn)了藝術(shù)的張力。

　　正是由於張可欣的遊牧經(jīng)驗(yàn)才使他的藝術(shù)不僅在技術(shù)美學(xué)上大膽使用顏色和圖像，而且還在思想上從泛亞洲的視角審視、分析和表現(xiàn)亞洲內(nèi)部動(dòng)態(tài)的混亂和混雜，並牢牢把握住亞洲處於動(dòng)蕩、不安、焦慮、慾望的文化表徵。儘管張可欣從微觀方法出發(fā)來處理每一件來自不同視覺資源的作品，

　　其骨架則是中國(guó)古代的營(yíng)造法式，但是被藝術(shù)家打散或者説被解構(gòu)的傳統(tǒng)，也就是説，它們是藝術(shù)

　　家經(jīng)過過濾、壓縮、塑造之後重新整合而成的新的視覺語言。這種獨(dú)特的視覺語言不僅生動(dòng)再現(xiàn)了在普世價(jià)值觀下新舊觀念的更替，傳統(tǒng)與現(xiàn)代的廝磨，人性與獸性的搏鬥，而且深刻解析了亞洲混雜的現(xiàn)代性——雜交、混亂、極權(quán)主義、不確定性、現(xiàn)代化、傳統(tǒng)、宗教。落後、時(shí)尚等社會(huì)特徵。

　　藝術(shù)家的神聖性在於他能站在更高之上表達(dá)立場(chǎng)。這種立場(chǎng)則體現(xiàn)在藝術(shù)家既能敏銳洞察到複雜現(xiàn)實(shí)的變化，又能對(duì)此做出理性的分析。我們?cè)趶埧尚赖淖髌分心芨惺艿剿麑?duì)某些社會(huì)文化問題的思考和解析，即通過借用世俗的語言和解構(gòu)世俗的語言去追問和批判世俗世界。

　　2009年2月2日（星期一）于北京

　　A Pan-Asian Perspective – the New Art of Zhang KeXin

　　Zhang KeXin is a Chinese artist who has lived abroad for many years. His nomadic lifestyle has molded his spirit and his will, making it possible for him to face this ever changing and more complicated world without sacrificing his individual artistic style – all the while maintaining his focus and demeanor thus allowing him to perfect his distinct manner of creation.

　　Zhang KeXin’s art speaks a language of Neo-Pop Art – a language with no fixed grammar – a language that is non-deterministic, both expansive and chaotic – a language that blurs the distinctions between high and low class, mixing the vocabulary of commerce, fashion, and advertising – a language which at times deconstructs traditional Chinese cultural constructs. Were we to say that classical Pop Art possesses a steady system of language, then we would say also that Neo-Pop Art possesses a language which is a mixture – this mixture being displayed in Zhang KeXin’s works. Whether in his installations or his paintings - the inner logic of his artistic language is evident. His Neo-Pop Art mixes the aberrant and vulgar together with the styles of classical Pop Art – bringing the culturally unorthodox into the art world. Thus his art exhibits what classical Pop Art does not – a unique experience and style – a style full of “Pan Asian” images and languages – and constituting the remarkable characters of his “Pan Asian Neo Pop Art”. This unique viewpoint has developed over time as his experience as a cultural nomad has broadened. His nomadic artistic style is diametrically opposed to an orthodox style of mainline art. His style is in a constant state of dissociation – with no borders, no controls, and no limitations. There is nothing fixed and certain in his work – which is precisely the character of nomadic art – at times destructive and subversive – yet displaying the tractability and adaptability of art.

　　It is precisely his nomadic experience that gives Zhang KeXin the ability to audaciously utilize

　　colors and images in his esthetic and technique – an ability to survey, analyze and display the chaos and instability inside the movements of the new Asia - from a “Pan Asian” point of view. He is able then to firmly seize the cultural tokens of Asia, which are simultaneously turbulent, anxious, uneasy and full of desire. Although developing each work from different visual resources in microcosm, Zhang KeXin’s works exhibit a structure rooted in ancient China - Chinese Construction Rules - yet this tradition is deconstructed by the artist. Stated differently, he takes different traditional elements, then filters, compresses, and molds them into an amalgam, creating his own new visual language. This unique visual language not only vividly recreates a general sense of worth - the subrogation of old and new concepts, the friction between tradition and modernity, the grapple between what’s human and brutal, but it also deeply resolves the mixed modernity in the new Asia - hybridization, chaos, totalitarianism, non-determinacy, modernization, tradition, religion, old and new fashion - the social fabric of our time.

　　The sanctity of an artist lies in his ability to air his points of view on a grander stage. This ability is grounded in the artist’s capacity to incisively penetrate the changes in a new complicated reality and then reasonably analyze these changes. We are able to sense in his works the thinking done and analysis made by Zhang KeXin of many modern social and cultural issues. We are able to perceive his manner of questioning and criticizing a profane world with one language – a language both mundane and deconstructing.

　　Huang Du

　　Monday 2nd,February,2009, Beijing