他是我们的深渊

他是我们的深渊 He is our abyss.

艺术家Artist:邓箭今Deng Jianjin
策 展Curator:樊 林 Fan Lin

开幕Opening:2013.11.9, Sat., 20:00
展期Duration:2013.11.9-2014.1.5

主办:扉艺廊FEI GALLERY
地址:广州市越秀区农林下路五号亿达大厦G层 (地铁一号线东山口站C出口)
Address:Fei Gallery, G Floor, Estate Plaza, No.5, Nong Lin Xia Road, Guangzhou, China (Metro Exit C of Dongshankou Station Line 1)

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他是我们的深渊 He Is Our Abyss

文/樊林
Fan Lin
  
  邓箭今在油画创作中的实验,自始至终都在构筑自己的场域,那是一个令人拂之不去、欲罢不能的世界。有批评家将画面上的身体、姿态、图式解读为情欲、暴力、权力的隐喻与转译,不可否认,大多批评家带有社会学角度的眼光。作为90年代步入当代艺术圈的艺术家,邓箭今的确是在这个角度获得了解读,确定了意义。

  Deng Jianjin has been consistently creating his own domain by his experimental creation in oil paintings, which is a world that one could hardly resist its attraction and get absorbed into it. Some critics interpret the bodies, postures and patterns in his works as metaphors of lust, violence and power. Actually most of the critics look at his works from a sociological perspective. As an artist who stepped into the art circle in the 1990’s, it’s doubtless that Deng Jianjin obtained interpretation and significance for his works from this angle.

  以我的观察,邓箭今在自己的创作中,始终保持着独立的叙事方式,数十年间几乎未出现多种模式并存的状况。2009年个展“情·禁”前后,邓老师开始转向对去具象化叙述的探讨。画面依然是邓箭今式的“乱相”,但现实的层面、具体的因素渐渐被弱化、去除。新作之中,肖像式的面部、具体而微的细节,指向明确的动态,都被“规整”为偏“类型”化的男性、女性。当然,熟悉作品的人都能即时识别出这是邓箭今笔下的人物。

  Based on my observation, Deng Jianjin has always maintained his independent narrative method and almost never used multiple methods at the same time in decades. In 2009 during his “Lust . Suppression” exhibition, he began the exploration of non-representational narration. On the surface it is still his style of “world in chaos”, but the realistic aspect and concrete factors were gradually weakened and removed. In his recent works, the portrait like faces and fine details as well as movements with definite directions have all been “regulated” as “archetypes” of male and female. Of course, those who are familiar with his works can recognize these characters without hesitation – they must be painted by Deng Jianjin.

  这些面部结构相近,主要以眼睛表情的男女,在自我的关系和空间里,展现个体深藏的欲望,在得失、寻觅之间判断,迷惘。虚构的世界在我们眼前活起来,我们无法逃离,只能被卷入非事件的刺激中,不断地将自己的体验与不可抗拒的视觉力量和急迫逼人的寓意对接。

  The men and women, with similar facial features and various expressions through eyes, exhibit their deeply hidden desires in the relationships and space of their selves, while making judgments or getting lost in the game of gain or loss and constant seeking. The fictional world becomes so vivid that we can hardly escape but find ourselves caught up in the non-incidental stimulus, incessantly connecting our own experiences with the irresistible visual power and the imminent profound implications.

  正是以透彻中带着嘲讽、浮靡、炫耀的叙述,邓箭今将根植于头脑和心灵的疯狂,呈现为确实存在的人性的一部分。画面似乎永远不会出现直接的快乐,当它激起悲伤、恐惧、怜悯和无尽的遐想,关于艺术的那些问题——浮华的诱惑,自我认识的艰难,今生来世的问题——就都被他一一点到了。

  It is through his thorough and lucid narration, in a satirical, foppish and swanky way though, that Deng Jianjin reveals the insanity deeply rooted in men’s mind and soul, which are actually part of human nature. His work always seems to lack direct happiness; when it triggers sadness, fear, sympathy or infinite associations, those issues related to art – the lure of vanity, the barriers to self-knowledge, and the mystery of past and future lives – are all pointed out by him.

  这时候,我想到加缪说的“创造就是生活两次”,当我们被邓箭今的画面激发出痛苦的反响,当我们体会到没有出路,不必担忧害怕,整个世界被邓箭今形容成了荒谬的深渊。

  At this time, what Camus said “To create is to live twice” came to my mind. When bitter reflections were stimulated by his works in us and we found no way out, don’t worry; since the whole world is but an absurd abyss, as Deng Jianjin calls it.

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