展讯Notice

 

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黄世常:阳光普照

Huang Shichang: Shines Brightly


开幕  Opening

2021.07.24  16:00

展期  Duration

2021.07.24 - 2021.09.15

地址  Location

广州市海珠区泉塘路38号十号楼101 广州画廊
Rm 101, Bldg No.10, Quantang Rd No.38, Haizhu Dist, Guangzhou, China




无论是在创作层面还是感知层面,黄世常的作品都不是容易的。这种不容易在于,他的创作直接切入的是“创作这一行为自身的自由度和可能性”的问题。这是一位艺术家对长久以来捆绑着创作和感知的“再现主义(Representationalism)”的反思,也是对我们观看世界的习惯视角的一种重新审视。

因此,在对黄世常的作品展开具体讨论之前,我们必须要先思考的一个问题是:“创作”这个行为究竟该如何理解呢?一个现成的答案是:“创作是一种表达的方式,创作者通过这个方式把她/他的感悟或情绪传达给观众。”

这答案几乎是自明的。然而,对创作者来说,这答案却也暗示了一个尴尬的结论:艺术家所创作的作品的品质是由她/他要传达的感悟或情绪的深度来决定的。如果所传达的感悟或情绪不够深刻,那么即使她/他的技法精熟非常,所创作出来的东西也不过是装点日常生活的漂亮物件。这些漂亮物件距离成为名副其实的“艺术品”究竟还是差了些精神性的东西。

这样的逻辑中,要成为一位所谓优秀的艺术家恐怕一定要先成为一位锋利的社会批判者或是深刻的哲人,否则如何能从这个繁杂而肤浅的世界中去挖出凡人无法看到的真相、并通过创作的作品将它们传达给观众呢?

这就是再现主义,它将“艺术家深刻的结论”同时摆在了“创作”和“感知”这两种艺术实践的核心,从而制造了一个严格的结构。无论是艺术家还是观众,选择了再现主义也就意味着选择了进入这个结构,并承受这个结构为他们设定的角色以及相应的行为规范,不能越雷池一步。

可是这稳定的结构却在创作和感知层面分别造成了一个巨大的问题。如果作品的核心是它要传达的“深刻思想内涵”,那么为什么不直接以文字记录并传达这些内涵呢?在艺术家的创作层面,“视觉艺术创作”这一行为的必要性何在?而在观众的感知层面,如果艺术家要表达的东西是作品感知的唯一正确答案,那么感知作品岂不是变成了一种解题一般的智力活动?如果艺术中存在理性且唯一的“正确答案”,那么观看者的个性和感性又如何在艺术中存在?

黄世常足够敏感地感知到了再现主义对创作和感知带来的种种限制。他不愿通过把自己隐藏在某种伪装的深刻之中去扮演再现主义所定义的“艺术家”身份,直言自己的创作并不以达成某种预设的视觉效果和表达“思想内涵”为目的。


张容玮
英国格拉斯哥艺术学院美术学博士
中国美术学院在站博士后研究员


Huang Shichang’s works was not easy at all. Either in the level of creation or perception, this kind of difficulty lies in the fact that his works directly cut into the problem of “the freedom and possibility of the act of creation”. To the artist, it is the reflection on “representationalism” that has bound creation and perception for a long time; a re-examination of our customary perspective of viewing the world. 

Therefore, before opening up a specific discussion on Huang’s works, we must think about a question first: how to understand the act of “creation”? A ready-made answer would be :“Creation is a means of expression by which the creator communicates her/his perception or emotions to the audience”.

The answer is nearly self-evident. However, for the creator, this answer implies an embarrassing conclusion: The quality of the work created by the artist is determined by the depth of the perception or sentiment she/he desires to deliver. If the perception or sentiment conveyed is not deep enough, the works created are nothing more than good-looking tedious objects that decorate daily life, even if her/his skills are very proficient and refined. The lack of something spiritual precisely makes a wide gap from the pretty objects to become veritable “works of art”.

By this logic, in order to become a so-called extraordinary artist, one must become an incisive social critic or a profound sage supposedly. Otherwise, how can one dig out the truths that normal people cannot see from this complex but superficial world, and relay them to the audience by the works of creation?

That is representationalism, which places “the artist’s thoughtful conclusion” simultaneously at the core of both artistic practices, “creation” and “perception”, sequentially creating a strict structure. Whether the artist or audience chooses representationalism, it means that they have chosen to enter the structure, and bear the role and the relative code of conduct set for them by the structure which no one can transgress the bounds.

But the stable structure leads to a huge problem at the levels of creation and perception respectively. If the core of a work is the“profound ideological connotation” it conveys, then why not directly write in words and deliver it out? At the level of the artist’s creation, what is the necessity of the performance of “visual art creation”? At the level of the audience’s perception, if what the artist wants to express is the only correct answer to the perception of the work, then wouldn’t the perception of the work become an intellectual activity of problem-solving? If there is a rational and sole “correct answer” in art, then how does the personality and sensibility of the viewers exist in art?

Huang is sensitive enough to perceive the limitations of creation and perception that brought from representationalism. He doesn’t want to perform the identity of “artist” that defined by representationalism through concealing himself under some depth in disguise. He bluntly said that his creation is not aimed at achieving certain presupposed visual effects and expressing “ideological connotation”.

Zhang Rongwei

PhD in Fine Art, Glasgow School of Art, UK

Postdoctoral Researcher at China Academy of Art




关于艺术家  About Artist


黄世常,1982出生于中国广东,

2009年毕业于广州美术学院油画系,

现生活工作于广州与珠海。


Huang Shichang was born in 1982, Guangdong, China. 

Graduated in Oil department of Guangdong Academy of Fine Arts in 2009. 

Currently based in Guangzhou and Zhuhai.