Slide

OLLEH

Exhibition

OLLEH

艺术家:太平

2020.12.12 - 2021.1.12

若如福柯所言,语言是一切被念出的东西的喃喃低语,太平的作品会在每一个步入展厅的人耳旁不断变换着低频振动。这种语音的变换源自艺术家创作方式的偶发性和反抗性,即他对瞬间灵感的捕捉和对既定范式的逆反。

正因如此,太平的作品呈现出块状分割感,而当我们放大去看这些块状区域,则会发现它们由碎片构成。作为观者,我们需要仔细观察、自省,才能在碎片的周围找到那个使其自身存在的,像文学之连续性一样的东西。

这种东西存在的前提,是太平保持着作为艺术家的自由姿态。这种自由不是安那其式的,恰恰相反,它是规范支配下的自由。矛盾但又可理解的是,太平无意破坏和毁灭那个由精英阶层所规范的文化系统和符号结构。他通过艺术实践作出行动,如同在午夜和朋友闲聊般调侃着艺术界所奉圭臬。

太平将自己假设为一个被实验对象、被批判对象,利用自己的实践来讽刺那早已僵化的,意识形态层面的欺骗。由此,他成为了一种仿真,一种与模仿的形象相反的,排除了相似性,以差异为食的存在。源于《傲慢与偏见》和《善恶的彼岸》之中的作品名称,蓝黑画面中的图腾符号,还有那个洗脑般的“OLLEH”,都是作为仿真形态的反词语对已有规则的持续僭越。

在此方法论中,仿真变成了破坏范式和复制的狡猾手段。这也恰恰证明了,太平以戏谑的态度剥夺旧形式的实体内容,并以戏仿之形式再演的实践在公认范式中被视为失败时,这种“失败”在后现代的形式上是成功的。

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“边界惊险但精彩,像绘制一个形象生动的轮廓线时一样充满诱惑力。我觉得创作过程本身就包含对艺术形式的思考,两者应该是一体、贴切的。”

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从那时起我尝试让白日梦式的想象力渗到画面中去,那些较早之前象征意味较浓的图示也被自然地冲淡了。或许正是因为这种像是被什么浸润过的画面所流淌出的气质和一些与现实相违和的图像内容才造成了类似梦境似的联想。

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