低调的绘画
黄燎原

薛若哲的作品我是用看,也是用“读”的。

如果去看,我看到一丝博伊曼斯的影子,一丝寒冷、陡峭、悬疑和不可知。另外,是人就看得出来,他画得真好。

另外,如果不说,是人都很难看出来他画中的玄机,比如《被取消的风景》,貌似画的是两个女孩儿站在一片生冷的英国风景中。其实,还有,女孩左侧的轮廓线外,若隐若现地画了两条水印般的阴影,于是,其实,这两个女孩也是站在一面巨大的布景墙前。又比如《左边》,貌似清纯、抒情和浪漫,但其实,蓝色裙子下,竟然有七只脚!匪夷所思是薛若哲作品深藏不露的机关,你可以在他的所有作品中看到和读到那些想像都难以企及的东西,如果你用心。

在这个展览中,他的大部分作品画的都是复数的形象,或者说是形象的复数,这个复数既可以理解为两个或多个相似的事物(人),也可以理解为某个事物(人)的两个或多个侧面,甚至是一分为二一分为无限。所以,薛若哲不仅仅在精心精致地描绘画面,也在精心精致地阐发思想。

总的来说,薛若哲在做一个可以被称之为是“观念绘画”的东西,观念也强,绘画也强,两强相遇却并不紧张, 而且相安无事,观念在血液里流淌,绘画于表面呈现。“去文学性”本来是观念艺术的特征之一,而薛若哲反其 道,他的文学性接近德国和俄国文学的思辨一脉,凝固而非流淌,内敛而不张扬,像是尚有余温的尸体,死 而不僵。薛若哲的绘画有很明的“手艺”痕迹,但不夸张,不那么炫技,不给人留下如何天才的感想和感受, 却与他的“观念”相得益彰。他画很多背影和侧影,未必有故事,更多地是呓语,是他和它们的对话,是它们之 间的对话。

低调的绘画,是我对薛若哲作品最初步最完整的印象。

Muted Painting
Huang Liaoyuan

Xue Ruozhe’s works are to see as well as to “read” for me.
When I see them, I see signs of cold, sharp, suspicious and unknowable. In addition, it is widely admitted that he paints well.

However, almost no one could discover the “secret” of his paintings if not being pointed out. Take Cancelled Landscape as an example. The painting seems to show two girls standing in cold, distanced British landscape. But this painting is more than that, beyond the two girls’ left outline, Ruozhe painted two watermark-like shadows vaguely. As a matter of fact, these two girls are also standing in front of a huge backdrop. Left-footed can be set as another example. It seems to be innocent, lyric and romantic at the first sight, but there are seven feet under the blue dress if you look again. Unthinkable is the secret of his paintings. If you try hard, you can see and read those unthinkable things beyond even imagination in all his works.

In this exhibition, most of his works are about plural figures or in another word, figures in plural forms. Being plural can be interpreted as two or more similar things or people, or two or more sides of a single thing or person, or even one entity been separated into two parts or infinite parts. Therefore, Ruozhe not only depicts figures but also expresses his ideas when creating whole-heartedly.

In a word, what Ruozhe has been trying to do can be called “Concept Painting”. at shows both concept and painting which are equally strong. But when putting these two strong factors together, what I feel is harmony, not tension. The concept is flowing in the blood of his works, and painting is the nature. “Non-narrative” was one of the key elements of conceptual art. But Ruozhe uses it reversely. His way of expressing narratives is close to German and Russian literary, stable but not flowing, low profile but not high profile, like a dead body that is still warm, just dead but not yet stiff. Ruozhe’s works have obvious signs of “using techniques”, but that is neither exaggerating nor showy, fitting well into his concept. Viewers would not feel how gifted he is when seeing his works. He paints backs and profiles without telling any stories most of the time. What he paints most are delirious and conversations between he himself and the images, or conversations between images themselves.

宁静的敏感

金昕

若哲的画和他的人极其相似,敏感中带有复杂的宁静,而在宁静当中又藏着复杂的表达,而最终这些表达又成为宁静的敏感。 他说:“我喜欢静止多过运动,喜欢将语义模糊,因为希望画里呈现出让人深吸一口气般凝视的感觉。” 这也是为什么在他画的人物中,多少会有些封闭,宁静的状态。

可以借用乌托邦和桃花源来形容他的作品。如若乌托邦是理念,桃花源是一种隐匿的现实,那么绘画之于若哲既非乌托邦也不是桃花源,而是一种介于两者之间的东西。一种将虚无的理念表达为现实而又超乎现实的东西。比如他的作品《白画林》中所描绘的树林完全是对于潜意识中树林的印象而非借助照片的复制,而后来他却在现实中遇到了和画面中几近完全相似的场景,这种现实与梦境交错的经验给他的作品增加了很多介乎真实与虚幻之间的感受。

然而在这么多艺术媒介之间独钟情于油画也是有独特的原因。他说他喜欢油画这个媒介是因为它是湿的,绘画的过程与人的动作,体温相连,整个绘画的过程如同创造一个与自己相关的生命,因而也使油画本身有了多重的可读性。

除去油画,对于版画、摄影以及实验艺术他都有极大的兴趣,摄影作品和绘画作品一样充满着宁静的美与优雅的敏感。这种敏感一部分来自于过去的生活曾经带给他的伤害与温暖,同时也包含着若哲对于这个世界的释然与希冀。

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