展覽名稱：《6.5維》——史晶個(gè)展
　　Exhibition: 6.5 Dimensions – Shi Jing Solo Exhibition
　　策展人：江銘
　　Curator: Jiang Ming
　　開幕酒會(huì)：2007年 11月15日下午三點(diǎn)
　　Opening Reception: at 3:00 p.m. on November 15, 2007
　　展覽時(shí)間：2007年 11月 15日-2007年 12月 15日
　　Exhibition Run: November 15, 2007 -2007, December 15
　　展覽地點(diǎn)： 印尼華藝莎藝術(shù)中心
　　Location: Vanessa Art Center Jakarta

　　評(píng)論：

　　6.5維
　　6.5 Dimensions——史晶解剖性作品的研究
　　shijinganatomical study of the works

　　江銘/文

　　史晶的作品明顯地與當(dāng)代藝術(shù)的所謂觀念性有一定的距離！他的作品是自我體驗(yàn)性實(shí)驗(yàn)的典范！我們從什么樣的角度解讀史晶的作品關(guān)系到我們?nèi)绾沃匦滤伎妓囆g(shù)與人類的關(guān)系的本質(zhì)屬性問題！在史晶的世界里，藝術(shù)是藝術(shù)家的個(gè)體體驗(yàn)的產(chǎn)物，而經(jīng)驗(yàn)是第二位。他認(rèn)為人的直覺是最寶貴的東西，直覺往往很準(zhǔn)確，而人的經(jīng)驗(yàn)卻可能出錯(cuò)，所以他不相信經(jīng)驗(yàn)的東西。于是他的藝術(shù)也從直覺出發(fā)了。在那些單純的畫面上他將色彩完全抽空，來(lái)嘗試體驗(yàn)單純的筆觸與感覺的通暢度，他所要體驗(yàn)的正是繪畫與人的關(guān)系，他所注重的是個(gè)體在現(xiàn)實(shí)中真切的精神體驗(yàn)。

　　Shi Jing’s works obviously stand apart from the so-called conceptuality of contemporary art! His works are the standard-bearers for self-practiced experimentation! The perspective we choose for decoding Shi Jing’s works is related to how we begin anew in pondering the quintessential issues of the relationship between man and art! In Shi Jing’s works, art is the product of the individual practice, with experience coming in second. He believes that a person’s intuition is a valuable thing. Intuition is often correct, but experience can be wrong, so he doesn’t believe in the stuff of experience. This is why his art begins with intuition. In those innocent pictures, he completely empties the colors and gets a feel for the connection between simple strokes and feeling. What he wants to get a feel for is the relationship between painting and person. What he emphasizes is the true spiritual feeling in reality.

　　普通的觀眾面對(duì)史晶的作品也許根本無(wú)從閱讀，因?yàn)樗髌返亩嘀鼐S度被隱藏在表象中，視覺的誤讀對(duì)產(chǎn)生于質(zhì)感的東西無(wú)法用語(yǔ)言來(lái)形容！所以解讀他的作品含義是第二位的，而我們?nèi)绾螠?zhǔn)確地，盡可能接近性地描述他的作品反而顯得更加重要。他的作品在描述之中意義就完全地顯現(xiàn)出來(lái)了！

　　When the common audience encounters Shi Jing’s works, it may have no idea where to begin in reading them, because many dimensions are hidden within the images. The sensual perceptions created by visual misreading are impossible to put into words! Therefore decoding the meaning of his works is secondary, while the most proper, closest way for us to describe his works becomes more important. In the course of describing his works, the significance becomes fully apparent!

　　史晶的作品我們可以用維度的關(guān)系來(lái)分析，其作品的幾個(gè)部分呈現(xiàn)出幾種不同的效果和感受。如果我們將具像繪畫的三維空間進(jìn)行解剖，將正面、左側(cè)面、右側(cè)面運(yùn)用成像度來(lái)確定，那么當(dāng)我們正面面對(duì)那組灰、白系列作品的畫面時(shí)，我們感到那些圖像顯現(xiàn)出一種模糊的、脆弱的、冷靜的印象，這種印象在很多人的經(jīng)驗(yàn)里是不滿意的狀態(tài)，因?yàn)槲覀儫o(wú)法準(zhǔn)確而又確切地捕捉到那個(gè)我們似乎已經(jīng)朦朧看到卻不能夠被顯影的圖像！這種感覺就像我們身處的世界，我們所面對(duì)的現(xiàn)實(shí)，我們所看到的那些事件、狀況、現(xiàn)象、我們似乎能夠捕捉到一些什么，但是我們又無(wú)法確切地知道那些真實(shí)的東西。在這個(gè)正面視覺印象中我們所能夠見到的就只有0.5個(gè)維度，連1個(gè)維度都沒有，它是不完整的，另外那半個(gè)維度被隱藏起來(lái)，我們不知道它在什么地方。但是當(dāng)我們的觀察視角發(fā)生變化的時(shí)候，隨著腳步的移動(dòng)，我們發(fā)現(xiàn)整個(gè)畫面出現(xiàn)了不同的虛實(shí)變化與形體起伏凹凸的改變，原來(lái)平面化的畫面開始出現(xiàn)具像的圖形以及光影的微妙改變。甚至在某些時(shí)候我們還仿佛感受到他所描繪的那些圖像在流動(dòng)。在那組白色畫面的作品中，我們體驗(yàn)到這樣的感受，即當(dāng)我們從畫面的正面移動(dòng)腳步向左或者向右的時(shí)候，畫面上開始顯現(xiàn)出某種特殊效果的、泛起銀白色光澤的具象的某些形象。于是我們感到一種喜悅，這種喜悅就好象我們突然發(fā)現(xiàn)了某種被隱藏起來(lái)的東西，那種感受很特別，讓人驚喜。那些圖像是清晰的但又是傾斜的，我們內(nèi)心的滿意度被稍稍削弱了，我們?nèi)绻脺?zhǔn)確的數(shù)字來(lái)表述，這個(gè)視角應(yīng)該有1.5個(gè)維度，因?yàn)閮A斜之后的維度應(yīng)該減少0.5，透視關(guān)系再減去1個(gè)維度，剩下的部分就只有1.5維了。左右兩邊的視覺維度都是這個(gè)數(shù)值1.5，而視覺效果卻是相反的關(guān)系。于是當(dāng)我們看完作品之后,我們的內(nèi)心里面將會(huì)合成一個(gè)圖像,這個(gè)圖像呈現(xiàn)具像的東西但是仍然不是完整的，這個(gè)心里合成的圖像仍然不是3維的，它至多只能夠達(dá)到2個(gè)維度的關(guān)系。

　　We can use dimensional relationships to analyze Shi Jing’s works, as various parts of his works present different effects and understandings. If we dissect the three-dimensional space of a concrete painting, defining the front, left and right sides by how they create the image, then when we face the images of those gray and white series, we will feel that those images present murky, weak and cold impressions, and this is unsatisfactory in the many people’s experience, because we cannot properly and fully capture an image that we had blurrily seen but couldn’t put our finger on! This feeling is reminiscent of the world in which we live. With the reality we face, the things we see, the situations and phenomena, we can almost grasp something, but we can never really know its truth. In this head-on visual image, we can only see half a dimension, not even a single full one. It is incomplete; the other half-dimension is hidden, whereabouts unknown. But when our observational perspective is changed, as when we take a step, we notice that the entire image has undergone a virtual change and the form attains depth. An image that was once flat starts to appear as a concrete image with minute changes in lighting and shading. Sometimes it is almost as if we can perceive movement in those images he sketched. In those white works, we can feel this sort of perception, and if we step to the left or the right, special effects appear in the image, emerging as silver-white forms of some sort. This brings us a bit of joy, like when we suddenly discover something that was hidden. That’s a special kind of feeling, a happy one. Those images are clear yet skewed, and our satisfaction level is dropped a notch. To use the correct numbers, this perspective has 1.5 dimensions, because the skew subtracts 0.5 and the transparency subtracts another full dimension, leaving us with 1.5 dimensions. The left and right perspectives are each at the value of 1.5, and the images are opposite. So after we see the work, our minds put them together as a single image. This image appears concrete, but is still incomplete; this mental composite still falls short of 3 dimensions, only adding up to two.

　　我們將作品的整個(gè)維度數(shù)值相加在一起也就是我們面對(duì)他一件作品所獲得的整體感受，這種感受遠(yuǎn)遠(yuǎn)超出了我們面對(duì)其他繪畫作品直接呈現(xiàn)給我們的心理視覺，那些作品從畫面感受上只有3個(gè)維度的空間關(guān)系，而史晶的作品卻達(dá)到了0.5+1.5+1.5+2=5.5的維度。這也就是很多的人面對(duì)著史晶作品所感受到的那種特殊性，我們感受到他的作品與我們所習(xí)慣看到的事物關(guān)系的不同，但是我們無(wú)法確定那些不同究竟來(lái)源于什么方面。他從藝術(shù)自身的語(yǔ)言研究出發(fā)，找到一種特殊的方法，為我們打開了一扇能夠通向精神領(lǐng)域的多個(gè)端口，這扇門很窄，找到他的人并不是很多。

　　If we add all of the dimensional values in a work together, which is the overall perception of one of his works, this perception far surpasses the psychological vision that we get directly from other works. Those other works only have a three-dimensional spatial relationship, but Shi Jing’s works have reached 0.5+1.5+1.5+2=5.5 dimensions. That is the peculiarity that many people perceive when faced with one of Shi Jing’s works. We get the feeling that his works are different from the things we’re used to seeing, but we can’t decide from exactly where that difference arises. He set out from the research of artistic language, found a special method, and opened for us a door that leads to many windows into the spirit. This is a very narrow door, and few people succeed in finding it.

　　在他的黑色系列的那些作品中我們會(huì)感受到另外的不同，他的黑色畫面的作品，譬如倫勃朗的那組作品，都是在燈光下作業(yè)的，他嘗試著用顏料表面的油質(zhì)反光來(lái)成像。在這組作品中我們能夠體驗(yàn)到打開燈光與不打開燈光時(shí)截然不同的外在視觸覺與內(nèi)在心理觸覺的復(fù)雜變化。在不打開燈光的情況下，我們正面面對(duì)畫面時(shí)，圖像呈現(xiàn)出殘缺的狀況，這種殘像只有0.5的維度，而打開燈光的時(shí)候則是3維立體的完整效果，不過這個(gè)效果只能在左右30°的夾角范圍內(nèi)才能夠看到，超出這個(gè)范圍則沒有了。而隨著這個(gè)視角的繼續(xù)加大之后我們會(huì)發(fā)現(xiàn)圖像重新變得殘缺不全，在左右兩邊的成像度都只有0.5維。在觀賞這組作品之后，我們的內(nèi)心仍然會(huì)合成一個(gè)心里的視覺形象，這個(gè)形象也不是完全3維的，我們也應(yīng)該將它確定為2個(gè)維度。

　　In his black series we find a different kind of difference. His black paintings, like the Rembrandt series, were done under light. He was dabbling with the use of an oily finish to reflect the image. With these works, we can get a feel for the complex visual and psychological changes between when the light is on and when it is off. When the light is off, and we face it head-on, the image appears in an incomplete state, and this state is only 0.5 dimensions. When we turn on the light it is in full 3 dimensional effect, though it can only be seen within thirty degrees to the right or left. Once we leave this radius, the effect is gone. Past this field the image is once again incomplete, and we only get 0.5 dimensions. After viewing these works, we can once again synthesize a mental visual form. This form isn’t fully 3 dimensional, and we should define it as 2 dimensional.

　　那么我們最終在這組作品中所獲得的外在與內(nèi)在的總體的體驗(yàn)將能夠達(dá)到6.5個(gè)維度，即0.5+3+0.5+0.5+2=6.5維。

　　Then, in this series of works, the overall dimensionality from internal to external comes out to 6.5 degrees, as such: 0.5+3+0.5+0.5+2=6.5.

　　這組黑色的作品給我們一種潛入心靈的神秘的東西，當(dāng)燈光亮起來(lái)的時(shí)候，我們看到很明確的圖像，但是我們感受不到這個(gè)圖像的真實(shí)性，它是一種假象。而燈光熄滅的時(shí)候，那種殘缺的畫面又折磨我們的視覺，我們總是想移動(dòng)視線，想從某個(gè)角度找到那個(gè)被隱藏起來(lái)的東西。可是那個(gè)被隱藏起來(lái)的究竟是什么呢？在這組作品中燈光成為繪畫的一個(gè)合理的組成部分。

　　This series of black works gives us something mysterious that reaches the soul. When the light is turned on, we see a definite image, but we cannot perceive the reality of this image, as it is a fa?ade. When the light is extinguished, that incomplete image comes to mess with our vision; we always want to move the line of sight, hoping to find that hidden thing through a certain perspective. But what, after all, is that which was hidden? In this series of works, light has become a reasonable component of the painting.

　　史晶的第三個(gè)實(shí)驗(yàn)體現(xiàn)在《黑森林》、《廢園》這樣的作品中，這些作品是在一個(gè)或者多個(gè)顏色的燈光下進(jìn)行的，他仍然使用單一的顏色，但是對(duì)這些作品的描繪可以不注意任何的形象與素描關(guān)系，而是可以胡亂的涂點(diǎn)，他企圖使圖像的感光度達(dá)到普通數(shù)碼相機(jī)的模式，而與人的肉眼的感光拉開距離。他發(fā)現(xiàn)人眼與數(shù)碼相機(jī)之間有一個(gè)夾層，這個(gè)夾層可能是被我們?cè)?jīng)忽略的灰色地帶。他想探求這個(gè)灰色的地帶究竟有著怎樣的可能性和多大的領(lǐng)域。從而我們發(fā)現(xiàn)在這個(gè)灰色的地帶中，抽象表現(xiàn)主義、神秘主義以及現(xiàn)實(shí)主義其實(shí)都共生在一個(gè)時(shí)空中，相互之間可以任意轉(zhuǎn)換與置換。

　　Shi Jing’s third experiment is embodied in works such as Black Forest and Waste Field. These works were made under a light or number of lights, and though they are also monochrome, this sketching could be done with no attention to the relationships of forms, instead they can be chaotically scribbled. He attempted to use the image’s light sensitivity to reach the level of a common digital camera, and create a distance from the light sensitivity of the human eye. He realized that there is a level between the human eye and the digital camera, which might be a gray zone that we previously ignored. He wanted to explore the potentials and scope of this gray zone. In this gray zone we discover that abstract expressionism, mysticism and realism all live within the same time and space, and that they are all mutually interchangeable.

　　在這組作品中對(duì)于它的維度應(yīng)該這樣描述，即所有角度，我們視覺的成像都是0.5維，無(wú)論在左、中、右哪個(gè)角度。而數(shù)碼相機(jī)所呈現(xiàn)的圖像則是3維的效果，再加上我們內(nèi)心所描述的2個(gè)維度，這組作品仍然給我們?cè)斐?.5+0.5+0.5+3+2=6.5維的總體感受。

　　The dimensionality of these works should be explained in this way – from any perspective, the visual image is 0.5 degrees, whether the perspective is left, center or right. The digital image is a 3 dimensional effect, and our internal depiction is 2 dimensions, so this series still gives us 0.5+0.5+0.5+3+2=6.5 dimensions overall.

　　從這組作品中我們會(huì)發(fā)現(xiàn)原作可以是不完整的。畫冊(cè)與傳媒可以是不真實(shí)的。真實(shí)的畫面與傳播的圖像可以完全是兩回事。面對(duì)這樣一種情狀，我們?cè)撓嘈耪l(shuí)？真實(shí)與假象之間究竟有著怎樣的距離？看來(lái)面對(duì)這些作品我們所感受到的已經(jīng)不僅僅是視觸覺的不同與奇特。它所帶給我們的東西已經(jīng)遠(yuǎn)遠(yuǎn)超出了繪畫本身。

　　From this series, we can see that the original work doesn’t have to be complete. Catalogues and media can be unreal. The real image and the broadcasted picture can be completely different things. When faced with such a situation, which do we believe? What is the true distance between the real and the false? It would seem that in these works what we perceive is not merely limited to visual differences and oddities. What it brings us has vastly transcended painting.

　　在我們?nèi)康纳c生活中，是什么東西使我們滿意或者不滿意？在全部的生命中，我們見到的一切，有多少是真實(shí)的、可以把握的、能夠持久的？又有多少東西是短暫的、殘缺的、破碎的？究竟什么是我們?nèi)可兄械囊饬x與價(jià)值？我們精神的世界究竟有著怎樣廣闊的可能性和神秘地帶？

　　In the entirety of our lives, what is it that makes us satisfied or unsatisfied? Among all the things we see throughout our lives, how much of it is real, graspable and lasting? How much of it is temporary, incomplete and fragmented? What, in the end, is the significance and value of our lifelong perceptions? What breadths of potential and mysterious realms are to be found in our spiritual world?

　　面對(duì)史晶的作品，我們被另外的一種審美所捕獲。這些東西區(qū)別于我們普遍所見到的很多的強(qiáng)權(quán)性作品，那些作品被賦予了明確的“觀念性”與“意義性”，他們往往使我們感受到某種來(lái)自于藝術(shù)家所賦予的說(shuō)教性特征，他們?cè)诮o我們這些欣賞者進(jìn)行某種政治的、文化的、藝術(shù)的說(shuō)教。但是在很多的時(shí)候，我們不能夠懂得作品直接所呈現(xiàn)出來(lái)的東西，于是藝術(shù)家只好借助于理論闡釋，編織出許多的象征性、引申性的意義來(lái)試圖說(shuō)服我們。閱讀這樣的作品我們需要借助文字或者語(yǔ)言，而視覺的直接性的感受往往變的無(wú)關(guān)緊要。史晶的作品其實(shí)是對(duì)于這樣一種藝術(shù)傾向的批判性的實(shí)驗(yàn)，在這個(gè)層面上有著重要的價(jià)值。他使我們重新思考架上繪畫的本質(zhì)性問題以及視覺藝術(shù)與哲學(xué)、政治學(xué)、文學(xué)等相關(guān)學(xué)科到底應(yīng)該有著怎樣的差異。

　　When facing Shi Jing’s works, we are captured by an entirely different aesthetic. This stuff is different from so many powerful works that are commonly seen, works that have been correctly dubbed “conceptual”. They often give us a perception of the artist’s preaching, like the artist is preaching some kind of politics, culture or art. But we are often unable to understand what the work is directly presenting to us, so the artist must resort to the use of reasoning and explanation, to weave symbolic and extended meaning to convince us. When reading into these works, we must make use of text and language, and the visual directness often loses importance. Shi Jing’s works are actually an experiment in critique of this artistic trend, and on this level it is very valuable. He makes us once again consider the essential issues of the painting on the frame, and what contrast the visual art should have with such sciences as philosophy, political science and literature.

　　中國(guó)的當(dāng)代藝術(shù)是西方價(jià)值系統(tǒng)的延續(xù)性產(chǎn)物，但是今天的中國(guó)現(xiàn)實(shí)卻使西方人驚訝地發(fā)現(xiàn)，中國(guó)人把這個(gè)由西方人所殖民的歷史演變成為中國(guó)人自我重新把玩的新游戲！很多被套用在中國(guó)本土的西方的體系與模式越來(lái)越顯得生硬而不合身！于是中國(guó)人開始為自己打造歷史與游戲規(guī)則，而且不講道理，只講實(shí)用與適用！在史晶的價(jià)值觀中這種本土的自我把玩的心態(tài)很是明顯，這種東西有著強(qiáng)大的中國(guó)本土經(jīng)驗(yàn)，這種經(jīng)驗(yàn)是由中國(guó)傳統(tǒng)文人士大夫的玩物的傳統(tǒng)延續(xù)下來(lái)的基因。譬如中國(guó)人能夠把一支毛筆和一張宣紙把玩出無(wú)數(shù)的微妙變化，而且樂此不彼，這絕不是西方人所能夠理解的。今日中國(guó)的藝術(shù)家在他們內(nèi)在基因里面仍然流淌著我們祖先的傳統(tǒng)，無(wú)論我們?nèi)绾螛?biāo)榜西方與現(xiàn)代，我們?nèi)杂兄芏酂o(wú)法被殖民的東西。我們能夠從史晶的作品中窺見到那些無(wú)法更改的東西，當(dāng)然這種東西并不是外在的表面的，而是本質(zhì)的，精神層面的，也是前衛(wèi)的。

　　Chinese contemporary art is a product of the western values system, but China’s current reality would lead westerners to the startling discovery that the Chinese have taken the originally transplanted history and turned it into a game of their own! Many western systems that have been adopted by China seem rigid and ill-fitted! So the Chinese began to create their own rules for history and the game. They ignore reason, only paying heed to utility and suitability! This kind of personal play attitude is quite apparent in Shi Jing’s works. This stuff has a strong native Chinese experience, and this experience holds genes from the playthings of traditional Chinese scholars. It is like how the Chinese can make endless variations with a brush and a piece of paper, and take so much joy from it; this is something that westerners just can’t understand. Today’s Chinese artists still have the genes of their ancestors’ traditions flowing inside them, no matter how much we look up to the west. Of course, this isn’t on the surface. It is essential, on the spiritual level, and it is avant-garde.

　　史晶的作品在中國(guó)當(dāng)代藝術(shù)的系統(tǒng)中成為比較特殊的一類，他不是從作品的外在觀念出發(fā)，而是從繪畫的語(yǔ)言結(jié)構(gòu)出發(fā)達(dá)到一種他稱之為“視觸覺”的新領(lǐng)域。他所創(chuàng)造的方法論在中國(guó)當(dāng)代藝術(shù)的系統(tǒng)中應(yīng)該有著怎樣的位置，我們還應(yīng)該進(jìn)一步深入研究。

　　In the Chinese contemporary art system, Shi Jing’s works stand in a particularly special category. They don’t set out from an external concept, but set off from the language of painting to enter into what he calls a realm of “visual contact”. As for where in the Chinese contemporary art system his original methodology should be placed, we should continue to explore.

　　2007年7月22
　　寫于北京大山子環(huán)鐵將府藝術(shù)區(qū)
　　July 22, 2007

　　Written in the Huan Tie Jiang Art District, Da Shanzi, Beijing

　　策展人簡(jiǎn)歷：江銘，又名王寶明，中國(guó)大陸當(dāng)代藝術(shù)批評(píng)家、獨(dú)立策展人、藝術(shù)家，著有《中國(guó)后現(xiàn)代藝術(shù)》一書。

　　About the Curator: Jiang Ming, also known as Wang Baoming, is a Chinese contemporary art critic, independent curator, artist and author of Chinese Post-Modern Art.