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展览时间： 2020-08-29 - 2020-10-16
展览城市： 广东 - 广州
展览机构： 学有缉熙
展览地址： 广东省广州市天河区黄埔大道西668号
策 展 人： 胡斌
参展人员： 魏青吉
展览介绍
前言
Preface
这段时间以来，我们一直在经历“意外”，以至于对“意外”已经不再意外。当然，所有的“意外”看似意外，或许又有其内在的逻辑在。以之来对应艺术家魏青吉的绘画，首先是缘于其作品中颇有些令人感到意外的图像组合。中国古代传统和社会主义传统的政治文化符号，以及西方消费社会的流行符号经常以出乎意料的方式进入到他的画面，颠覆了我们对于他所使用的具有悠久传承的水墨媒介的认知。其二是，他所采用的图像经过了自己的重组和篡改，所谓的“象”已经不在原本对应的“意义”之内，而是产生了意义的转化与延伸。
但如若细审之，魏青吉作品驳杂的图式以及混合了古今多重因素的技法语言又无不深具其内在的理路，它透示出的是一个艺术个体所遭遇的复杂多歧的成长历程、历史记忆以及世界认知。他那交叠着不同笔法和具有不同文化指向的符号，分明向我们呈现出基于一个支离破碎的“中体西用”的“体”而产生的语境的缠绕与隐秘力量的“绽放”。
本次展览所选择的作品主要是建基于中国传统文化符号的“革命”演绎。青松、梅花、瑞兽以及宝塔等，这些带有浓郁的传统文化气息的符号与“红色中国”联系起来，成为融入我们血液的另一种传统。但在这些以“红”为基调的作品中，却又映射出一种充盈于世俗社会的消费意味。它与西方，尤其是美国的流行影视文化产生某种暧昧不清的冲突与勾连。
而有意思的是，这种冲突与勾连还不只是纸面上的游戏，因为疫情的缘故，魏青吉滞留美国纽约，在一种肉体遭遇“隔离”却直面奔涌而来的消费广告的场域中，以其惯常而又更显异样的图绘方式去产生更直接的对话。个体因为这一“意外”的全球性事件而悬浮于一场社会大剧之中，展场的水墨“红色中国”与所谓资本主义的心脏之间遥相呼应。在这个信息传输的全球维度加剧与身体、国别界限森严并行，少数与多数、保守与激进以及种种多样化因素内部暗流涌动的时刻，一个经历了些许波折的展览意外地切入到这一时代之流中。
胡斌
2020年8月
Recently, we have been undergoing so many "surprises" that we are not shocked by them at all. However unexpected these "surprises" seem to be, they may happen out of certain internal logic. The paintings of Wei Qingji also are an example of the unexpected logic, with some surprising image combinations that make the audience wonder. Political and cultural symbols of ancient Chinese traditions and socialist traditions, together with popular symbols of the western consumer society, often appear in the artist's paintings in an extraordinary way, overturning our understanding of the tools and materials of the longstanding traditions of Chinese water and ink paintings. Moreover, as Wei's utilized images have been restructured and distorted, they are not limited to the initial connotations but to the transformative and extended ones.
But if we observe Wei's works carefully, we will find that apart from features like different forms of images and a mixture of ancient and modern painting techniques, they are impressively logical inside. As artistic entities, they reflect the complicated development, historic recollections, and global identification that are associated with them. By adopting different painting techniques and cultural symbols, the artist manages to show us vividly the "unleashing" of the mysterious power and the entanglement generated from "ti", namely "foundation" in Chinese, which is the basis of the fragmented "zhong ti xi yong" system, namely "Chinese learning as the foundation and western learning as the utility" in Chinese.
In this exhibition, the themed code of the selected works is "revolution", a traditional Chinese cultural symbol. Symbols with strong conventional Chinese characteristics such as pine trees, plum blossoms, auspicious mythological animals, and pagodas, are closely connected to the "Red China", integrating into our blood as another tradition. Despite the "red" codes, the consumption craze permeating in the society is also reflected in the artist's works. Such a cultural reflection is in liaison with and contradicts the West, especially American popular film and television culture, in an equivocal way.
More interestingly, the dispute and connection are not just a game of words. Due to the outbreak of the COVID-19 pandemic, the artist is stuck in New York. Although stuck at home physically, he encounters a flood of advertisements in through various medium, inspiring him to have more direct conversations through his paintings by means of his habitual bizarre painting style. Because of the "surprising" global event, the artist is hanging on a breakable thread - the social public health crisis; coincidentally, his water and ink themed exhibition is named "Red China", a distant contrast to New York, the heart of capitalism. At a time when the information transmission is accelerating in the world but the boundaries between human bodies and nations are rigorously tightening, when internal factors such as the minority and majority, conservatives and radicals, together with other diverse factors are deluging, this exhibition comes "unexpectedly" after some twists and turns.
Hu Bin
August 2020
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发表于 2020-8-25 13:10:51
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