喧囂和寂靜中出發(fā)——王念東作品展
Start from Hubbub and Silence Wang Niandong Solo Show
學(xué)術(shù)主持: 王林
Curator: Wang Lin
開(kāi)幕酒會(huì)：2007年12月15日下午3:00
展覽時(shí)間：2007年12月15日 -- 2008年1月7日（周一休息）
展覽地址：北京朝陽(yáng)崔各莊何各莊一號(hào)地藝術(shù)園/D區(qū)
E-mail: info@chinavarts.com
本來(lái)，唯美追求源自對(duì)形式的看重，強(qiáng)調(diào)繪畫(huà)自律，立足于本體論和形式主義。但這種精英化的審美追求，因其對(duì)“美即和諧”的特殊偏好，自然和傳統(tǒng)美學(xué)趣味相通，逐漸為大眾文化、商業(yè)文化所利用，成為廣告圖像和市場(chǎng)消費(fèi)的主要對(duì)象。唯美主義和消費(fèi)文化于當(dāng)代合而為一，是值得關(guān)注的。
王念東的想法正好相反，他不僅不去對(duì)抗大眾消費(fèi)對(duì)于唯美的嗜好，反而把唯美傾向的女性形象推向極端，使之變得矯飾。
經(jīng)過(guò)若干極致化的處理，王念東在唯美表達(dá)中取得有意為之的矯飾效果，并在有意為之的矯飾效果中達(dá)到物極必反的異樣性。這是對(duì)于異化的彰顯，在虛假性的消費(fèi)文化中揭示出消費(fèi)文化的虛假性。這種從極端化到異質(zhì)性的變異，表現(xiàn)在女性形象中，則是真實(shí)與虛幻、誘惑與回避的心理矛盾。正是由于深度的潛意識(shí)欲望和公共的性消費(fèi)對(duì)象所構(gòu)成的反差，取消了生活的真實(shí)性，也取消了欲望的真實(shí)性，使圖像化的文化消費(fèi)變得與人的真實(shí)存在毫無(wú)關(guān)系，從而成為虛擬的符號(hào)化生存方式。從這個(gè)意義上講，恰恰是王念東的男性眼光能夠穿透生活表象，在心理內(nèi)省中，觸及到個(gè)人隱私亦即時(shí)代的秘密。
------------王林 《在追求與逃離之間》
Don't drank behind God （pastel）
109×78cm
Originally, locating on ontology and formalism, aestheticism comes from care for the form, and stresses the self-discipline in drawing. However, the elite pursuit for aestheticism is gradually exploited by the populace and commercial culture, becoming the major target for the advertising images and market consumptions, thanks to its special interest in “beauty is harmony” and based on the common interest of nature and traditional aesthetics. In contemporary times, the aestheticism and consumption culture is notably incorporated into each other.
Wang Niandong holds different ideas. Instead of opposing the aesthetic preferences shown among the populace, he has pushed the aesthetic female images to the extremes, delivering them into affected images.
Through diversified treatments that go extreme, Wang Niandong has realized effects in the aesthetic expressions, and the heterogeneity in the affected effects. He aims to highlight the heterogeneity and reveal the sophistry in the consumption culture through the fake consumption culture. The changes from the extremity to heterogeneity, when displayed in the female images, are their psychological contradictions between the truth and the unreal, between the seductions and the avoidance. The contrast between the strong subconscious desire and the public target for sex consumption has removed the truth of life and truth of desires, to the extent that the imaged cultural consumption has no relation with the physical existence of the human being, but turning into the virtual symbolized way for existence. From this point, Wang Niandong sees from a man’s perspective through life’s presentations and touches the individual secrets, the secrets of the time, in the psychological reflections.
------------Wang Lin《Between Pursuit and Escape》
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