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喻红 - 艺术家喻红:《肖像》反应复杂时代里

2022-03-11 17:35:49
喻红

艺术名家:喻红

所属分类:油画家

官方网址:https://www.meishu.com/baike/1/1/4174.html

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简介

 喻红刚从地方 美术学院毕业就参加了1989年轰动1 时的人体大展、后来的“女画家的世界”和个人画展,这些机遇在别的艺术家那里通常会激发起1 种对艺术、对社会的职责,特别 在那个对轰动1 时的事件或思想充满渴望的时候。喻红之所以没有卷入从那当前 不断 持续着的风格、言语 探讨的大潮,最少 有部分缘由 是她对任何1 种时髦的警惕,还有她对叙事的兴味 。如她所说:“画画就是说话,是和言语 平行的表达手段。”从她被列为重生 代画家起,她就使关于风格的诘问 变得与她有关 ,在画面上坚持1 种少有的冷静和客观 的平铺直叙。而越是这样,她在构图和色彩上客观 倾向越是突出地给人不普通 的印象,那些人物非常 简单普通,但是只需 你留意就会感觉到他们都是过渡性的替代物。它们总是有1 种引诱 ,然而,你又会出于羞于落入圈套 或什么缘由 ,抵抗这类 引诱 ,在半推半就中它会促使你与某种空气相通,这类 空气才是真实的 故事核心。

6月,在北京的远洋艺术中心展厅里,《目击成长》带动了不少人的共鸣。从这45幅作品中的任何1 幅看,叙事和自传的外貌都比她之前 的作品更明确,特别 是那种标准的家庭照片的构图。仍然 是喻红式的客观 叙说 的笔调使这些从照片移植来的画面脱离了照片性质,照片与观看之间的时间距离是既定的,哪怕它是昨天拍的,观看时普通 伴随着飘渺的怀旧感,但是绘画与观看之间没有了时间距离。由于记忆与事实的差别,使叙事记忆的绘画比记录事实的照片更无情 绪上的真实感。

与此同时展出的是喻红对另1 系列照片的成功应用 ,与每1 幅作品并列着1 张同时间的历史照片。半岁时坐在童车里的喻红并列着1966年《人民画报》上毛主席首次检阅文革大军的照片;两岁时在公园里,胸前戴着毛主席去安源的像章,并列的是庆祝油画《毛主席去安源》出版的庆祝会。6岁要上学了,开始有社会认识 ,她摆着姿式 要学李铁梅,浑然不知那时候,毛主席正在跟尼克松谈话,世界上的事远比李铁梅复杂。8岁她开始学画,那时候心中的标准就是画并列在一同 的那张批林批孔宣扬 画。1984年,18岁的她抱着吉他模拟着小资情调了,那1 年《解放军画报》第二页上刊登着国庆35周年的阅兵式。1991年她和刘小东在纽约结婚时,《山东画报》报道了最后 的有奖销售活动。1994年当前 的记录都由两幅画构成,多出的1 幅是她的女儿,目击成长又多出了1 重目光。

画展以后 ,喻红说:“你看吧,每年都有大事。”从审判“四人帮”到大兴安岭大火、三峡大移民、特大洪水、大片别墅区的建造,最初 1 组是《三联生活周刊》2001年第37期报道“9.11事件”的封面,那1 年她和20年前的同学重返美院附中坐在20年前的坐位 上,她的女儿戴着红领巾走在上学的路上……

按照喻红的说法:“出生在这个地方、这个时间,是女性,就已 决定了人的绝大部分,人所能做的只是微调了。”所以在这个展览上,她采取了历史照片与成长自画像并置在同1 空间和时间的结构,这样就化解了双方各自意义上的封闭性,疏通了1 条可以互为参考的开放语境。虽然如此,但是这里的文本与视觉像两股平行的能量——记录与记忆、客观与客观 、远和近、宏大与平凡、权威与私人——几乎没有真实的 交点,也不作彼此 间的因果回应,社会历史的分量 和人性的固执坚韧,是哪1 方在催促着生活?

展览

 喻红把最新的个展命名为“金色天景”。4幅作品安置在尤伦斯艺术机构的天顶上,需求 俯视 欣赏。

“不管 生活还是艺术,1 个角度的奥妙 调整,就会带来对世界看法的改变。”艺术家杰罗姆·桑斯的话,也暗合了喻红的“策略”:通过平视到俯视 的变化,改变观众和画作、艺术家之间的关系。她希望观众抬头观看,而画中人物俯视观众这样的对照能“重拾绘画在过去时代的荣耀”。

比来 几年,喻红不断 在尝试通过对东东方 传统文明 的重新解读,创作出跨越不同文明 樊篱、直追生命本质的作品。

去年,在名为“时间内外”的个展中,她展现 了《春恋图》和《天梯》两幅作品。《春恋图》借鉴了唐代国画《捣练图》的画面结构,《天梯》的灵感则源自东方 中世纪宗教绘画。

这次的4幅作品仍然延续这1 探索。

《天井》以意大利天顶画《大力神和四季》为蓝本。人物是喻红随手拍的,他们各有各的活法,但摆脱不了生命的盲目性。

《天问》以敦煌莫高窟壁画《赴会佛和菩萨》为蓝本,灵感源于屈原长诗中对天提的170个成绩 ,表现人们在快速发展的社会中,对世界、生命、伦理、发展等事物的不确定性的疑问。

《天择》以戈雅的铜版画《荒诞的行为》为蓝本,探讨人类与文明的关系。人们创造文明却因文明和贪婪又回到从前,生活照旧 平淡。

《天幕》以新疆克孜尔千佛洞的《四像图》为蓝本,拔取 能反映社会生活的旧事 图片,表现人从生到死,从无知到有知,从得到失的处境。

“中国古代绘画对大部分观众来说都是久远的,时间上远,空间上远,心思 接受度也很远。但那些东西是千百年积淀上去 的、具有人性力量的。”喻红说,“我希望让观众重新拾回过去的美好事物。”

非女性主义者的女性视角

如果说《目击成长》是挖掘个人史的纵深,《她》系列则更像1 次横向的跨界。作为女性艺术家,喻红不太认同女性主义的标签。按她的说法,“什么东西如果上升到‘主义’的层面,那成绩 就很严重了,要抛头颅、洒热血啦。”但她认为她的作品不可避免地带有女性特有的视角。

《她》系列全是女性的特写,包括艺术家、作家、警察、打工妹、退休工人……仍然 是绘画和照片并置,只不过这1 次照片由被画者选择和提供。

喻红说这更成心 思,由于 从中可以感受到很多画面之外 的东西。比如女警察给的照片是很标准的证件照;1 个四川打工妹给的是大头贴;作家春树给的是《时代》杂志的封面照……

时代和社会总习气 赋予女性特定的身份。什么才是真实的 女性自我?或许,关注、尊重日常生活中女性对本身 的体认,才是《她》系列的寓意。

画展

 1986年 油画《自画像》参加在上海举行的首届“中国油画展”。

1988年 油画《寂静》等参加在北京中国美术馆举行的“油画人体艺术大展”。

1989年 油画《自画像》参加在摩纳哥蒙特卡罗举行的“蒙特卡罗国际艺术展”; 《蝴蝶梦》参加在南京举行垢“第七届全国美展”; 《美发厅》等参加在澳门举行的“中国女艺术家精英展”;《金色的肖像》等参加在日本巡回展出的“中国女艺术家作品展”。

1990年 油画《米色的肖橡》等作品参加在北京举行的“女画家的世界展”;《怀旧的肖像》等20余幅作品参加首次在北京举办的“喻红油画展”。

1991年 油画《初学者》等参加在北京举行的“重生 代艺术展”;《烈日当空》参加在北京举行的“中国油画年展”;《情人们》等参加在北京举行的“20世纪·中国”展。 1993年 油画《初学者》等参加在德国、荷兰、英国、丹麦巡回展出的“中国前卫艺术展”;《中国公主》等参加在乎 大利威尼斯举行的“威尼斯双年展”;《米色的肖像》参加在美国纽约苏荷区Z画廊举行的“中国古代 艺术展”;《有玫瑰花的肖像》等参加在美国纽约苏荷区举行的“红星照射 中国”艺术展。同年拍摄电影作品《冬春的日子》。

1994年 油画《艳阳天》等参加在美国纽约东村举行的“喻红刘小东近作展”;《梦游》等参加在纽约西村举行的“转换”展;《金色的惊喜》参加在北京举行的“中国·韩国女艺术家作品展”;《怀旧的肖像》参加在美国康州博物馆举行的“东西相遇”展;《走钢丝》参加在北京举行的“’94新铸联杯中国画·油画精品展”并获优秀奖;《圣婴》等参加在北京举行的“地方 美术学院油画糸教师作品展”;《林中孕妇》等参加在北京国际艺苑举行的“女画家的世界”第二届展;《艳阳天》参加在北京举行的首届“中国油画学会展”;《黄花肖像》参加在北京举行的“中国画肖像百年展”;《初夏》等参加芝加哥Art-Misia画廊举办的“中国当代女艺术家联展”。第1 届艺术与设计大奖赛候选人”。

2002年分别在北京远洋艺术中心和深圳何香凝美术馆举办“目击成长——喻红作品展”。

 

部分个展:

2016,《喻红:游园惊梦》,地方 美术学院美术馆,北京,中国; [2] 

2015,《平行世界》,苏州博物馆,苏州,中国;

2013,《忧云》,长征空间,北京,中国; [3] 

2011,《黄金界》,上海美术馆,上海,北京; [4] 

2010,《金色天景》,尤伦斯当代艺术中心,北京,中国

 

部分联展:

2016,《山水间》,上海当代艺术馆,上海,中国;

2015,《中国写意——中国美术馆学术约请 展》,中国美术馆,北京,中国;

2014,《2014中国艺术巴西展》,圣保罗,巴西;

2013,《时代肖像——当代艺术三十年》,上海当代艺术博物馆,上海,中国;

2012,《开放的肖像》,民生古代 美术馆,上海,中国;

2011,《回望60》天津美术学院美术馆 中国;

2010,《油画艺术与当代社会——中国油画展》,中国美术馆,北京,中国; 

English Introduction

 Yu Hong was born in 1966, entered the attached middle school of the Central Academy of Fine Arts in 1980, entered the Oil Painting Department of the Central Academy of Fine Arts in 1988, and graduated from the Master's Graduate Class of the Oil Painting Department of the Central Academy of Fine Arts in 1995. He is currently teaching in the Oil Painting Department of the Central Academy of Fine Arts.

Yu Hong has just graduated from the Central Academy of Fine Arts and participated in the 1989 sensational human body exhibition, the later "world of female painters" and personal painting exhibition. These opportunities often arouse a kind of responsibility for art and society among other artists, especially when they are full of desire for sensational events or ideas. Yu Hong has not been involved in the ever-lasting trend of style and language discussion since then, at least partly because of her vigilance for any kind of fashion and her interest in narrative. As she said, "Painting is speaking, a parallel means of expression with language." Since she was listed as a new generation painter, she has made the questioning about style irrelevant to her, insisting on a rare calm and subjective flat narrative on the screen. The more so, the more prominent her subjective tendencies in composition and color give people an unusual impression. Those characters are extremely simple and ordinary, but as long as you pay attention, you will feel that they are transitional substitutes. They always have a temptation, however, you will resist the temptation out of shyness to fall into a trap or for some reason. In half a push, it will make you communicate with some kind of air, which is the core of the real story.

In June, in the exhibition hall of Beijing Ocean-going Art Center, "Witness Growth" aroused many people's sympathy. From any of these 45 works, the narrative and autobiographical appearance is clearer than that of her previous works, especially the standard composition of family photos. It is still the subjective narrative style of Yu Hong that separates these ported pictures from the nature of photos. The time distance between pictures and viewing is fixed. Even if it was taken yesterday, the viewing is usually accompanied by a vague sense of nostalgia, but there is no time distance between painting and viewing. Because of the difference between memory and facts, the painting of narrative memory has more emotional authenticity than the photograph of recording facts.

At the same time, Yu Hong's successful use of another series of photographs, juxtaposing each work with a historical photograph of the same time, is on display. Yu Hong, who was sitting in a buggy at the age of half, juxtaposed photos of Chairman Mao's first review of the Cultural Revolution Army in the People's Pictorial in 1966; at the age of two, in the park, he wore a badge of Chairman Mao's going to Anyuan on his chest, and a celebration party to celebrate the publication of the oil painting Chairman Mao's going to Anyuan. At the age of 6, she had to go to school and began to have social awareness. She posed to learn from Li Tiemei. At that time, Chairman Mao was talking to Nixon. The world was much more complicated than Li Tiemei. At the age of 8, she began to learn painting. At that time, the standard in her mind was the propaganda pictures of Lin Bikong, which were painted side by side. In 1984, at the age of 18, she simulated petty bourgeoisie with a guitar. That year, the parade for the 35th anniversary of the National Day was published on the second page of the People's Liberation Army Pictorial. When she married Liu Xiaodong in New York in 1991, Shandong Pictorial reported on the initial prize-winning sales activities. Records since 1994 consist of two paintings, one more of which is her daughter, and one more eye for growth.

After the exhibition, Yu Hong said, "Look, there are big events every year." From the trial of the Gang of Four to the construction of the Great Hinggan Mountains Fire, the Three Gorges Immigration, the Great Flood, and a large villa area, the last group is the cover of "9.11 Incident" reported in Triple Life Weekly in 2001, when she and her classmates returned to the attached middle school of the American Academy 20 years ago and sat in their seats. Her daughter wore a red scarf on her way to school...

According to Yu Hong, "Born in this place, this time, is a woman, has decided the vast majority of people, people can only do fine-tuning." So in this exhibition, she adopted the structure of juxtaposition of historical photographs and self-portraits of growth in the same space and time, thus resolving the closeness of their respective meanings and dredging an open context for mutual reference. Nevertheless, the two parallel energies of text and visual image here - recording and memory, objectivity and subjectivity, distance and proximity, grandeur and commonness, authority and private - have little real intersection and no causal response to each other. Which side is urging life with the weight of social history and the tenacity of human nature?

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