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标题: “假戏真做”易国栋作品展 [打印本页]
作者: boyun    时间: 2010-9-8 16:49     标题: “假戏真做”易国栋作品展

主办：上海香地艺术中心
展览时间：2010年9月26日-2010年10月9日
展览地点：香地艺术中心（上海市莫干山路50号3号楼108室）
开幕酒会：2010年9月26日
15：00



“When lies become true ”Yi Guodong Solo Exhibition
Organizer: CHANTILLY ART CENTER
Date: Sep.26th,2010—Oct.9th,2010

Address:CHANTILLY ART CENTER (NO.50 Moganshan Rd,3,Rm 108 Shanghai China)
Opening: Sep.26th,2010 15:00

Email: xiangdiartcenter@163.com
Web: www.chantillyart.cn
Tel: 021-62765199


在游戏人生中触摸真实




王林

幼时读诗，书中往往有屈子吟江、太白醉酒之类的诗意画，只觉得非常喜欢。——看易国栋的油画作品，很容易想起这样惬意的事儿。他把古代山水画得跟盆景似的，典雅而不无装饰性，高古而又很人工化。这种源自网络游戏的场景，乃是对虚拟的戏拟。拟来拟去，显然是别有用心。

其拟古的诗意画，奇峰怪石、亭台楼阁、酒肆茶舍、小桥流水，画得饶有趣味。冷不丁巨刃插地、鸟大于人、一只手正在往壶里投蒙汗药等等，又突然让人感觉到冷冷的幽默。从“白居易梦想的破灭”这样的题目，从苏轼站在凳子上“把酒问青天”这样的动作，从玉兔拜观音感觉“很受伤”的表情，你的确可以体会到游戏人生的种种心理倾向。

易国栋是在游戏中长大，他深知同时代人是怎样从视屏中体会喜怒哀乐的。他想做的事情是把这种模拟的感受变得真实些，观者能在无须思想重荷的情况下，让内心反应同精神信仰、同历史记忆、同现实世界多少发生关系。

于是他在画中设置了种种冲突：诗意与暴力、慈悲与血腥、古代与当下、光亮与黑暗等等。用他自己的话说，“这种对立、冲突很有‘意思’，这种心态很别扭，也很复杂”。他要揭示当代人的游戏心态，只能以其人之道还治其人之身，即在游戏化的观赏中暴露游戏本身的假设性和虚拟性，让人明白假设和虚拟究竟遮蔽了什么东西。画家有意让中心雪亮，边缘漆黑，这不仅符合改变当代人视觉心理的屏幕观看，画面不无梦幻以致魔幻之感；而且造成精神反应的某种对比，让人从娱乐假象中重返真实世界，去体会现实中人的苦难人生。这不仅是艺术的社会责任，而且是艺术家真实体验的表达。因为网络一代的真实性不是真实与虚拟的截然对立，而是两者之间相互交织的心理矛盾。从感官表层的游戏娱乐到深层心理的精神反应，画家需要有适度的控制，因为他不想让艺术成为布道与说教的工具。尽管画面笼罩着暗蓝色的忧思与悲情，也不时出现血痕斑斑的刺激与箭头直指的挑衅，但以大观小的构图仍然是游戏性的，这和现实主义的写实场景是很不相同的。恰恰是在这一点上，易国栋借用了传统中国画鸟瞰的构图方法。而他对历史资源的重新利用，于视觉心理的潜在变化中，涉入当代艺术的文化主体性问题。这很耐人寻味，也是很有启发性的。


是为序。

2009年12月18日

四川美院桃花山侧

In the game of life touch


Young poets, often have qu yuan Yin, white, like drunken poetic only think very much. YiGuoDong - see paintings, easy to think of a comfortable. He put the ancient paintings with miniascape, elegant and not decorative, ancient and very artificialization. This from the scene, but the network game to virtual parody. The fitting, apparently have ulterior motives.

The NiGu poetic peaks, stone, pavilions, drinking tea and Bridges, drawing merriment. Grabs, bird Johnson blade inserted more than person, hand is to cast MengHanYao etc, pot and suddenly lets a person feel cold humor. From the "bai juyi broken dream" such topics, from his standing in the stool "sky" toast, from the moon goddess was feeling "worship of expression, you can really realize game life's psychological tendency.

YiGuoDong grew up in the game, he knows how contemporaries from videos in the joys and sorrows. He wants to do is take the simulation of real feelings, audience can become without thought in awe of circumstances, let the heart with spiritual beliefs, and reaction with the real world history memory, how much.

Then he placed in conflict with violence: the poetic, compassion, and bloody, ancient and present, light and darkness, etc. In his own words, "this conflict is opposite, the mentality, ' 'very awkward, also very complex". He will reveal the game mentality, the only way, namely in the game exposed the game itself watch begins and virtual sex, let people know what assumptions and virtual covered anything. Painters to make center, edge, the dark discerning not only change the visual psychology reveals the screen that is fantastic picture, sense of magic, And the spirit of the reaction caused some comparison, lets a person from entertainment to the real world of illusion and reality of human suffering to life. It is not only the social responsibilities, and art expression of real-life experience is an artist. Because the network generation of truth is not real and virtual opposite, but between the psychological conflict intertwined. From the surface of the senses game recreation to deep psychological reaction to the spirit of the painter, with moderate control, because he didn't want to preach sermons art become the tools. Despite the picture of sorrow and dark pall tragedy, occasionally appear bloodstain scabbers stimulation and arrows, but the provocation aimed to fill the composition is still small gameplay, this and realistic realistic scene is not the same. Just at this point, YiGuoDong borrowed from the traditional Chinese painting composition method. Bird But his historical resources in visual psychology, the potential changes, the involvement of contemporary art of cultural subjectivity. This is a very interesting and instructive.


Wang Lin
Peach mountain side of Sichuan Fine Arts Institute



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图片附件: 《我不入地狱谁入地狱》易国栋 布面油画 140X110CM 2008年.JPG (2010-9-8 16:49, 113.91 KB) / 该附件被下载次数 6
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