轉(zhuǎn)——扎西德勒
莫毅、明可、Will Corwin、白斌作品聯(lián)展
Mo Yi、Ming Ke、Will Corwin、Bai Bin: COINCIDENCE
開幕酒會(huì) 2008年5月24日 星期六 下午4點(diǎn)
展覽時(shí)間 2008年5月24日 – 6月22日
許多事情發(fā)自偶然，一次與明可在他的工作室喝茶閑聊，聊及我數(shù)年前在拉薩和林芝的一些見聞，這位前《西藏旅游》、《西藏人文地理》雜志主編，較之我更加熟悉藏地的高山大川、名寺古剎，一邊聊一邊隨手抱出一卷未經(jīng)整理的舊作，即是這套藏紙圖像轉(zhuǎn)印作品，影像的模糊飄忽、藏紙的特殊質(zhì)感以及復(fù)合的轉(zhuǎn)印技術(shù)，讓有深深版畫情節(jié)的我一時(shí)間愛不釋手，當(dāng)即建議找機(jī)會(huì)在“就是SPACE”展出這些作品。關(guān)于《印》系列，明可講得最多的是西藏印象對(duì)于他這個(gè)過客是模糊和不清楚的，而我的理解是，距離不一定產(chǎn)生美，但肯定產(chǎn)生力量。
“一個(gè)女人在50年代從毫不沾邊的天津跑向遠(yuǎn)曠的西藏高原，她竟是我的母親？！在西藏的邊遠(yuǎn)山谷中，一輛老式的蘇聯(lián)卡車翻滾到坡底的河邊，車?yán)镆粋€(gè)已經(jīng)懷孕了幾個(gè)月的女人盡然不死，而她腹中的孩子也沒死，那個(gè)孩子盡然就是我。”——莫毅，這為神交已久而未謀面的藝術(shù)家，其作品在許多展覽上令我印象深刻，在籌備此展的過程中認(rèn)識(shí)，相聊甚歡。多年藏區(qū)生活塑造了一個(gè)率直敏銳的性情漢子，這組拍攝于20年前、卻完成于今年的作品以嚴(yán)肅的記實(shí)性和抒情的敘事片段，融會(huì)藝術(shù)家近年的實(shí)驗(yàn)手段，呈現(xiàn)了對(duì)諸如“脆弱”、“意外”、“真實(shí)”和“理想”的記憶。因此20年后的莫毅仍然“想念西藏”。
對(duì)于威廉·克文（Will Corwin）而言，無論從地域還是人文，西藏都意味著無邊際的遙遠(yuǎn)和陌生，但這位年輕而執(zhí)著的藝術(shù)家因身邊朋友的西藏經(jīng)歷和自身家庭歷史，而對(duì)傳說中的美麗高原激動(dòng)不已。基于對(duì)形而上意義的崇高敬意，對(duì)遺跡、殘跡的逆向追溯，威廉·克文（Will Corwin）的作品更多地體現(xiàn)了“緬懷”本身，而非緬懷的對(duì)象，因?yàn)椤皩?duì)象”不在作品里，而在觀眾心中。
白斌，又名仁孜·根秋嘉措，一位來自于我的母校四川美術(shù)學(xué)院的年輕藝術(shù)家，我曾在成都探訪過他的工作室，藏文化的傳統(tǒng)和宗教藝術(shù)的淵源一直是他考察和工作的目標(biāo)。出生于甘孜藏地，求學(xué)于重慶，深造于德國卡賽爾，多重經(jīng)歷并未改變他作為藏族藝術(shù)家對(duì)本民族傳統(tǒng)藝術(shù)的熱衷。我們常常因“變革”和“批判”而歡呼，的確，大多數(shù)情況應(yīng)該如此。不過我從白斌身上看到了另外一種合理的解釋——面對(duì)偉大的精神力量，虔誠記錄和平靜觀察或許是最接近真實(shí)的描述方式。相信每個(gè)人都會(huì)震撼于《薩迦法舞》，心靈溝通的時(shí)候，語言是蒼白的，我如是，你如是，藝術(shù)如是。
這個(gè)展覽題名為“轉(zhuǎn)”，其含義非輪回、非涅磐、非因果，我緊緊捏在手中的一個(gè)詞是——“巧合”。只言片語，不足為道，別無他。
賀思恩
2008年5月10日
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只言片語
A面/Side A
數(shù)度進(jìn)出藏地，相信許多人跟我一樣，對(duì)那片遙遠(yuǎn)、神秘地域的熱情，并不因頻繁靠近而有絲毫減弱。
憧憬西藏，因?yàn)槲鞑靥馈⑻兇猓谑侵荒苈仄肺丁⒂朴频叵蛲Ｔ啻卧噲D去讀懂她的古老與神秘，結(jié)果當(dāng)然是徒勞，依舊魂?duì)繅?mèng)饒……
平均海拔4000米以上的青藏高原，有著“世界屋脊”之稱。這里地形復(fù)雜，大體可分為三個(gè)不同的自然區(qū)∶北部是藏北高原，位于昆侖山、唐古拉山和岡底斯山、念青唐古拉山之間；在岡底斯山和喜馬拉雅山之間，即雅魯藏布江及其支流流經(jīng)的地方，是藏南谷地；藏東是高山峽谷區(qū)，為一系列由東西走向逐漸轉(zhuǎn)為南北走向的高山深谷，系著名的橫斷山脈的一部分。
漢語中的“西藏”（藏文為bod ljong）一詞的來歷，眾說紛紜，在現(xiàn)今提出的一些觀點(diǎn)中，除了“西藏”稱謂始自清初，相信仍然存在不少疑難之處，以至許多專門研究藏學(xué)的學(xué)者，也難以清晰圓說，更惶論普通大眾。歷史上，藏語、漢語、蒙古語、滿語對(duì)青藏高原各部分的地域名稱和對(duì)藏族的族稱各不相同、且多次變化，而且這些歷史上的名稱互相交叉和影響，使得至今對(duì)西藏和藏民族的稱呼及其含義仍然存在較為復(fù)雜的情形。
英文“Tibet”一詞，可能源于突厥人和蒙古人稱藏族為“土伯特”，在元代經(jīng)阿拉伯人介紹到西方，也即是源于藏族的自稱bod。在民族稱謂上， Tibet對(duì)應(yīng)于“藏族”；但是在地域稱謂上，Tibet有時(shí)對(duì)應(yīng)于“西藏”，有時(shí)又泛指整個(gè)藏族地區(qū)，與“西藏”的含義有重大差異。
忘了是從哪兒看到這么一個(gè)玩弄文字游戲的解讀：
T——Touch 觸摸/ Towards 向，朝，將近
I——Inspire 使……產(chǎn)生靈感/ I 我
B——Best 最好的/ Belief 信仰
E——Eastern 東方的/ Echo 共鳴
T——Temple 寺廟，神廟/ Terrific 極好的/ the Holy land 圣地
有意思，且信之，給自己的腦袋放個(gè)假。
B面/Side B
許多事情發(fā)自偶然，一次與明可在他的工作室喝茶閑聊，聊及我數(shù)年前在拉薩和林芝的一些見聞，這位前《西藏旅游》、《西藏人文地理》雜志主編，較之我更加熟悉藏地的高山大川、名寺古剎，一邊聊一邊隨手抱出一卷未經(jīng)整理的舊作，即是這套藏紙圖像轉(zhuǎn)印作品，影像的模糊飄忽、藏紙的特殊質(zhì)感以及復(fù)合的轉(zhuǎn)印技術(shù)，讓有深深版畫情節(jié)的我一時(shí)間愛不釋手，當(dāng)即建議找機(jī)會(huì)在“就是SPACE”展出這些作品。關(guān)于《印》系列，明可講得最多的是西藏印象對(duì)于他這個(gè)過客是模糊和不清楚的，而我的理解是，距離不一定產(chǎn)生美，但肯定產(chǎn)生力量。
“一個(gè)女人在50年代從毫不沾邊的天津跑向遠(yuǎn)曠的西藏高原，她竟是我的母親？！在西藏的邊遠(yuǎn)山谷中，一輛老式的蘇聯(lián)卡車翻滾到坡底的河邊，車?yán)镆粋€(gè)已經(jīng)懷孕了幾個(gè)月的女人盡然不死，而她腹中的孩子也沒死，那個(gè)孩子盡然就是我。”——莫毅，這為神交已久而未謀面的藝術(shù)家，其作品在許多展覽上令我印象深刻，在籌備此展的過程中認(rèn)識(shí)，相聊甚歡。多年藏區(qū)生活塑造了一個(gè)率直敏銳的性情漢子，這組拍攝于20年前、卻完成于今年的作品以嚴(yán)肅的記實(shí)性和抒情的敘事片段，融會(huì)藝術(shù)家近年的實(shí)驗(yàn)手段，呈現(xiàn)了對(duì)諸如“脆弱”、“意外”、“真實(shí)”和“理想”的記憶。因此20年后的莫毅仍然“想念西藏”。
對(duì)于威廉?克文（Will Corwin）而言，無論從地域還是人文，西藏都意味著無邊際的遙遠(yuǎn)和陌生，但這位年輕而執(zhí)著的藝術(shù)家因身邊朋友的西藏經(jīng)歷和自身家庭歷史，而對(duì)傳說中的美麗高原激動(dòng)不已。基于對(duì)形而上意義的崇高敬意，對(duì)遺跡、殘跡的逆向追溯，威廉?克文（Will Corwin）的作品更多地體現(xiàn)了“緬懷”本身，而非緬懷的對(duì)象，因?yàn)椤皩?duì)象”不在作品里，而在觀眾心中。
白斌，又名仁孜?根秋嘉措，一位來自于我的母校四川美術(shù)學(xué)院的年輕藝術(shù)家，我曾在成都探訪過他的工作室，藏文化的傳統(tǒng)和宗教藝術(shù)的淵源一直是他考察和工作的目標(biāo)。出生于甘孜，求學(xué)于重慶，深造于德國卡賽爾，多重經(jīng)歷并未改變他作為藏族藝術(shù)家對(duì)本民族傳統(tǒng)藝術(shù)的熱衷。我們常常因“變革”和“批判”而歡呼，的確，大多數(shù)情況應(yīng)該如此。不過我從白斌身上看到了另外一種合理的解釋——面對(duì)偉大的精神力量，虔誠記錄和平靜觀察或許是最接近真實(shí)的描述方式。相信每個(gè)人都會(huì)震撼于《薩迦法舞》，心靈溝通的時(shí)候，語言是蒼白的，我如是，你如是，藝術(shù)如是。
這個(gè)展覽題名為“轉(zhuǎn)”，其含義非輪回、非涅磐、非因果，我緊緊捏在手中的一個(gè)詞是——“巧合”。只言片語，不足為道，別無他。
賀思恩
2008年5月10日
A面/Side A
Believe there are many people sharing the same feeling with me ,that though have traveled around Tibet several times but the enthusiasm for this distant and mysterious land could not be assuaged by frequently approaching.
Tibet is so beautiful and so pure,though I am longing for it,but I only can taste it bit by bit and crave it far away.I have been tried many times to spell her ancient and mysterious out, of couse ,the endeavor ends in vain, she is still my dreamland and the desire of my soul .
The Qinghai-Tibet Plateau which with an average altitude of above 4,000 meters is dubbed "the World Ridge" .Tibet has very complex topography and falls into three geographic parts: the northern part of Tibet known as the North-Tibet Plateau, lies between Kunlun Mountain, Tonglha Mountain and Kangdese Mountain, and Nyainqentanglha Mountain;between Kangdese Mountains and Himalayas;the river valleys which the the Yarlung Tsangpo and its anabranch flow by in the southern part of Tibet and lie between the Gangdise and the Himalaya ranges; the eastern part of Tibet belongs to an area of deep gorges where a series of mountain ranges from east to west criss-crossing mountain ranges running from south to north,and is some parts of the Hengduan mountain range.
The origin of Chinese word "Sitsang "(in Tibetan as bod ljong) is an arguable question, except that it was in the beginning of Qing Dynasty that the area started to be called "Tibet" is cetrtain, there are still many unsolvable points among the theories of latest research ,so as to even many scholars who specialized in Tibetan are unable to justify their theories , it goese without saying that the ordinary people's knoweledge of this. In History , there were many different titles to the part of the Qinghai-Tibet Plateau in Tibetan, Chinese, Mongolian, Manchu language, and the titles have been varied from time to time , but also the titles were crossed and have been impacted each other.So, to now the name of Tibet and the Tibetan people and the meaning of these titles are still in more complicated situation.
The English word "Tibet" may derived from "Tubbat" which be used to call Tibetan people by Mongols and the Turks and in the Yuan Dynasty the Arabs introduced it to the West, that is, from the form of Tibetans call their homeland "bod".In terms of nationality, Tibet means Tibetan people ,but in geography ,sometimes Tibet is indicate "The Qinghai-Tibet Plateau" and sometimes it names the whole area of Tibetan people lived ,there are significant differences between these two concepts.
There is a paronomasiatic interpretation which the derivationresource has been forgotten .
T——Touch / Towards
I——Inspire / I
B——Best / Belief
E——Eastern / Echo
T——Temple / Terrific / the Holy land
That's interesting, how about put faith in it and let the thought take a rest ?
B面/Side B
A lot of things just happened by chance,once Ming ke and I drank tea in his studio and chatted, then we related to some experiences of mine during my travel in Lhasa, Nyingchi a few years ago .Mingke, the former editor-in-chief of "Tibet tourism", "Tibet Human Geography" magazine who is doubtless more familiar with the high mountains and the great rivers the famous historical temples of Tibet than me. He talked and brought out a roll of disordered former artworks at will,which is this series: Photograph Transfer Printed in Tibetan Paper. The image is floating and blur and the Tibetan paper own an unique texture ,plus the combined technology of transferred printing, for a long time I fondled these pictures admiringly. As a person who has complex about engraving, I suggested to exhibit these works in "94 space " when there are any opportunity. About "Printed " series ,Mingke always mentioned that he is a passenger and his impression about Tibet is blur and illegibility. Distance may not bring about beauty,but distance surely can produce power ,that is my understanding .
"In 1950s ,there was a woman left Tianjin city where laid far away from the Qinghai-Tibet Plateau ,marched towards the wild, vast highland,and the woman eventually became my mother ?! An old-fashioned Soviet truck overthrew on the road,turned down to the bottom of slope and wrecked by the riverside in the remote valley of Tibet ,whereas a pregant woman who sat in the truck survived ,and her unborn child survived also, sometimes I could not believe that the child is me ."—Mo Yi,the artist I have knew long time ago although have no chance to meet.in many exhibitions, his work left me profound impressions. We finally got chance to get to know each other during the preparation of this show and we have had a very nice talk.Years of living in Tibet shaped him a man with unconstrain temper, always frank and at the sametime sensitive and smart. This group of work are shoot 20 years ago but finished in this year, in them there are serious realistic display and there are emotional narrative chapters,,the artist melted all the experimental means to render us a memory about "fragile" and "accident", "real" and "ideal".So we can tell ,though almost 20yrs past but Moyi is still "missing Tibet".
Whether in location or in the humanities, Tibet means nothing but boundless remote and alien to Will Corwin, but the young and never give up artist just fell in love with this legendary beautiful plateau with excitement , when he was shocked by his friends' family stories and their individual experiences in Tibet.Based on a metaphysical significance of the reverence and a reverse retrospective to the remains of the relic and ruin ,Will Corwin have embodied not the object to recall but the "memory" itself , for there is no "object " in an artwork and all of us have memories at heart.
Bai Bin , also known as Renzi?Genqiujiacuo is a young artist from Sichuan Academy of Fine Arts ,my alma mater. I have visited his studio in Chendu and got to know the traditional Tibetan culture and the source of artwork for Tibetan Buddhism always be his objects for inspecting and working on. Bai Bin was born in Ganzi area in Tibet ,and after grown up enrolled at the academy in Chongqing, then finished his further studies in Kassel,Germany. The multiple life which he experienced have not changed this Tibetan artist's zeal in the tradiational art of his own people.We often cheer for "reform "and "critical " ,certainly, in most cases we should do so . But then ,from Bai Bin's work I got another reasonable explanation—when you are facing the great spiritual strength ,perhaps sincere recording and clam observing is the best way to describe the reality. Just as I believe anyone who have watched the "Sakya Sacrificial Dances" must be shocked, that when hearts communicate mutely ,the language will be pale and powerless , I am in conformity with this truth and you are and so does the art.
The title of this exhibition is "Coincidence",after removed metempsychosis, nirvana and comeuppance,I grasped this word tightly in my hand. This article could not be viewed as integrity description but some scattered words, no more ,let's apperceive the aritists' meditation through their splendid works before us.
He Sien.
May 10th 2008
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