【惠書文｜藝評】陳蜀：在這個時代中，我們的記憶都是“被選擇”後的意識殘留
原創 AnArtSpace 一甸藝術 4天前
Conscious residue in selective memory
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選擇性記憶中的意識殘留
“ 2020·Artist Chen Shu ”
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面對當下人類所處的嚴峻的自然生態問題，藝術家陳蜀不遺餘力地通過作品直視現實生活環境。在這個集體記憶與個體記憶經常性丟失，以及被廉價兜售的時代中，藝術家陳蜀創作的作品，似乎能讓我們感覺到集體意識中依然存有真相殘留的可能性和威脅性，而這種威脅性也將伴隨著我們的記憶逐漸退化……
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In the face of the severe natural ecological problems, artist Chen shu spared no effort to look directly at the real life environment through his works. In this era of frequent loss of collective and individual memories and cheap selling, in the works of the artist Chen shu, we can feel the possibility and threat of residual truth in the collective consciousness, which will be accompanied by the gradual degeneration of our memories...
©陳蜀 ,《Forbidden resistance series 1》, 150x120cm, 布面丙烯, 2020
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A short comment on the latest works of artist Chen Shu
Article/Hui Shuwen
在這一“混亂攪摻”的社會情狀下，一個圖像所包含的文本信息，似乎可以反映現時代背景所“內設”的人為語素，以及影射出的社會複雜的多類矛盾和對立事物之屬性。
In this "mixed and confused" social situation, the text information contained in an image seems to reflect the artificial morphemes "built in" in the current background, as well as the attributes of complex social contradictions and opposites.
©陳蜀，《Forbidden resistance series》，30x25cm，布面油彩，2020
當選擇的圖像經過藝術家對其進行二次解構或多次重組編寫時，圖像之前的“自然性”被打破，而其中隱匿的特定情境、時效語態將愈發生顯一股特殊的圖像力量，並在個人語言上形成獨特的藝術魅力，最終成為極具辨識度的觀念語言。
When choosing images after the artist on the secondary deconstruction or restructuring written many times, before the image is broken, "naturalness" and one of the specific situation, aging voice hidden becomes show the image of a special force, and on the individual language forms the unique artistic charm, eventually into the concept of the most recognizable language.
©陳蜀，《Forbidden resistance series 3》，30x30cm，布面油彩，2020
從“古鎮系列”的架上繪畫，到“古鎮影像”的動態作品；從立體影像作品再到平面裝置繪畫；藝術家陳蜀一直在生於斯、長於斯的生活環境中尋找與之相對應的話語關係，他將這些古鎮元素與個人的生命思考緊密結合，從而形成具有強烈氣息而又凝鍊的語言符號。
From easel paintings of "ancient town series" to dynamic works of "image of ancient town"; From stereo image works to flat device paintings; Chen shu, an artist, has been looking for the corresponding discourse relationship in the living environment where he was born and grew up. He closely combined the elements of these ancient towns with his personal life thinking, thus forming language symbols with strong breath and concentration.
©陳蜀，《Forbidden resistance series 6》，180x150cm，綜合材料，2020
如果說19年創作的古鎮系列繪畫作品還只是藝術家陳蜀對於古鎮題材的圖示延續和深入洞究的話，那麼他現在的近作無疑是在此基礎上將個人繪畫的語言往前推進了一步……
If the series of paintings of guzhen created in 19 years is just the continuation and in-depth exploration of the theme of guzhen by the artist Chen shu, then his recent works undoubtedly advance the language of personal painting on this basis...
©陳蜀，《Forbidden resistance series 9》，60x50cm，布面油彩，2020
作為繪畫來說，能把個人的藝術語言再提煉或者推進，其實很難。它不是我們熟知的一個砝碼加另一個砝碼的重量疊加的過程，也有可能是一步步做減法來呈現的時間異變性。對於藝術家陳蜀來說，他2020年的作品語言的確往前“推進”了，我說的這種“推進”不是泛指技術上或者題材上的新穎變化，而是他塑造出往外釋放的語言•核質——剔除掉徒具外形的人物表皮之後，可見一斑生動，甚至刺眼的光照餘溫。
As for painting, it is difficult to refine or promote one's artistic language. It is not the process of adding the weight of one weight to the weight of another weight as we know it, but it may also be a step by step subtraction to show the time variability. For artist Chen shu, his 2020 work language is forward "push", the "push", I say, not referring to technology or the subject of new change, but he creates language, to release out nuclear mass - out ACTS of shape epidermis after characters, is vivid, even the light of dazzling.
©陳蜀,《Forbidden resistance series 12》, 180x150cm, 綜合材料, 2020
正如他的新作《Forbidden resistance series》，以群青色的基底色層鋪滿整個畫面，色域的塊狀、點狀隨時陷入你的視網膜，畫面的視覺中心出現無數具體和模糊的人形，他們驚詫怒喊、平靜如水面，或萎縮低迷。
Just like his new work Forbidden resistance series, the whole picture is covered with a mass of cyan base color layers. The blocks and dots of the color register can sink into your retina at any time. In the visual center of the picture, there are numerous concrete and vague human figures, who are astonished and angry, calm as water, or shrinking and depressed.
©陳蜀，《Forbidden resistance series 8》，180x150cm，布面丙烯，2020
肖斯塔科維奇曾說：“許多事物在我們眼前老去了、消逝了，可是我想，許多似乎已經時過境遷的事物最後會顯得新鮮，強有力和永恆”。
Shostakovich once said, "many things are old and gone before our eyes, but I think that many things that seem to have passed will finally appear fresh, powerful and eternal."
©陳蜀,《Forbidden resistance series 3》, 150x130cm, 布面綜合材料, 2020
面對當下人類所處的嚴峻的自然生態問題，藝術家陳蜀不遺餘力地通過作品直視現實生活環境。在這個集體記憶與個體記憶經常性丟失，以及被廉價兜售的時代中，藝術家陳蜀創作的作品，似乎能讓我們感覺到集體意識中依然存有真相殘留的可能性和威脅性，而這種威脅性也將伴隨著我們的記憶逐漸退化……
In the face of the severe natural ecological problems, artist Chen shu spared no effort to look directly at the real life environment through his works. In this era of frequent loss of collective and individual memories and cheap selling, the works created by the artist Chen shu seem to make us feel that there is still the possibility and threat of residual truth in the collective consciousness, which will be accompanied by the gradual degeneration of our memories...
©陳蜀 ,《Forbidden resistance series 7》, 30x30cm, 布面油彩, 2020
陳蜀｜貳柒拾——符號裡的生命表達
《Forbidden resistance series 15》,150x120cm,布面油彩,2020
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關於藝術家
陳蜀 ｜Chen Shu
四川省美術家協會會員，四川省水彩畫研究會副會長
美國舊金山藝術學會海外理事，美國美中書畫研究院理事，美國舊金山中國畫廊簽約畫家
樂山當代油畫院執行院長
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關於策展人
惠書文｜Hui Shuwen
獨立策展人、藝術評論人。CONUTER-FEIT 獵質當代藝術雙年展品牌創辦人，獵質當代藝術展總策展人。致力於獨立藝術空間的創建與運營，同時參與多個美術館和畫廊項目的監製、策劃及撰寫展覽評論等工作。
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