造像——戴耘当代雕塑作品展

造像——戴耘当代雕塑作品展
Statue——Contemporary sculptures by Dai Yun

策展人:王林(四川美术学院教授,当代艺术界最具影响力的美术批评家之一)
开幕酒会:2012年9月22日15:00(星期六)
展期:2012年9月22日—12月29日
地点:广州扉艺廊

Curator: Wang Lin(Professor of the Sichuan Academy of Fine Arts,one of the most influential art critic in contemporary art circle)
Opening: 2012.9.22 Sat. 15:00
Duration:2012.9.22-2012.12.29
Venue: FEI Gallery


戴耘,中国著名的青年雕塑家。作品参加全国美展雕塑展、“冲突与选择:第二回当代青年雕塑家邀请展” “重新洗牌” “深圳/北京国际建筑双年展” “城市与雕塑的对话:2007上海国际雕塑年度展”、 2008“艺术北京”、“上海艺博会青年艺术家推荐展”、 “刘海粟美术馆年度雕塑提名展”、 “出境:广深港澳当代艺术展”、第二、三、四、五、七届“中国•宋庄当代艺术节”、“ 2008/2009北京798艺术节主题展”、第一、二届“中国雕塑大展”、“你西我东•当代艺术展”、 上海世博会“工业记忆” 国际雕塑展、“首届中国雕塑双年展”“去魅中国想象——中国当代艺术2011广州三年展项目展”、国家博物馆“中国百年雕塑大展”、2012上海静安“国际雕塑邀请展”等重要的展览。
多件作品被收录在《越界—中国先锋艺术1979—2004》、《新世纪中国当代艺术图鉴》(2000—2005年)、《中国雕塑》杂志第一期封面等重要专业文献杂志,并被美术馆、市政府及个人收藏。

Dai Yun, Chinese famous young sculptor, has been invited to many exhibitions as follows.
Chinese National Art Sculpture Exhibition; Conflict and Choice---The 2nd Contemporary International Sculpture Symposium; Architectural Biennial Shenzhen • Beijing; Dialogue Between Urbanization and Sculpture---International Sculpture Exhibition Shanghai 2007; Art Beijing 2008; Recommended Exhibition of Youth Artist of Shanghai Art EXPO; Nomination Exhibition of Sculpture of Liu Hai Su Museum; Departure---Contemporary Art Exhibition of Guangdong • Hong Kong • Macau; The 2nd 、3rd、4th、5th、7th China •Songzhuang Contemporary Art Festival; Beijing 798 Art Festival 2008&2009; The 1st、2nd China Sculpture Exhibition; You West I East---Contemporary Art Exhibition; Industrial Memories---Shanghai EXPO International Sculpture Exhibition; The 1st Chinese Biennial Sculpture Exhibition; 2011 Guangzhou Triennial Project Exhibition of Chinese Contemporary Art; China Centurial Sculpture Exhibition by National Museum of China; 2012 Shanghai International Sculpture Symposium.
Many of Dai Yun’s works have been collected by art museums, governments, collectors and magazines such as China Avant-grade Art 1979-2004, New Century Illustrated Handbook of Chinese Contemporary Art 2000-2005, Chinese Sculptures and so on.


记忆、物品与语言方式
——评戴耘雕塑创作

王林

戴耘创作可分为两个阶段。
第一个阶段是寻找与尝试。他做过与宣纸、水墨有关的装置作品,做过与历史语录有关的波普雕塑《铭文系列》,还做过名为“超女”、“电视英雄”和“Q行天下”的几座纪念碑。从这些作品可以看出,他对传统文化、历史资源和大众文化兼而有之的兴趣。这和他长在西安古城又身在深圳特区的经历有很大关系。作品不无闪光之处,但毕竟介入的热情大于语言探索,而批评言说又助长了创作热情。然而,戴耘并没有像很多年轻人那样,一有机会便尾随而去。这和他沉着镇定的性格、喜欢思考的习惯有关,更重要的是,他始终保留着挥之不去的历史记忆。正是这种内心的召唤,让艺术家在不断尝试中寻找真正属于自己的创作方向。
第二个阶段是从戴耘用砖头做雕塑开始的。这次尝试不同于其他尝试,对戴耘来说,他就像在草丛中发现了一条可以辨认并走远的路径。以砖为材料做作品,很多人尝试过,但大都浅尝辄止,难以深入。唯独戴耘一触即发且一发不可收拾。他前后做了四个系列的作品:一是生活物件,如罐头、沙发、洗衣机、汽车等,与都市文化联系,带有波普倾向;二是物种系列,与生物科技有关,因克隆、转基因变异的动物形象;三是古典人像,如菩萨像、力士像等等;四是杯瓶静物,因其静穆近于写生而自成一体。
和别人用砖不一样,戴耘只取其质而不重其形。同样是砌砖之法,但砖的长方形完全服从于造型需要而任意改变,以至作品细节可以模拟得非常逼真,如汽车的方向盘和佛像的衣纹装饰等。这里首先要解决的是拼接、切割和打磨的技术问题,其能工巧匠之“能”是令人惊奇和叹服的。其实观念之于方法,方法之于材料和技能,后者正是基础。戴耘毕竟是雕塑家,首先是手头功夫。而戴耘“砖雕”以其不可翻制因而不可复制的性质,使这种功夫成为其创作方法的突出特点。这对于那些因急功近利而心慌意乱、因心慌意乱而粗制滥造的江湖艺人,无疑是一个很好的教训。
戴耘对技能的深入挖掘,并不是炫技性的。其创作方法根源于深入骨髓的历史记忆,亦根源于他对雕塑本质的深刻理解。雕塑不同于装置的最大特点,是使用单纯材料所造成的长久性与永恒感。从此一意义上讲,雕塑是探讨物性最为本质也最为深入的艺术。古典艺术因模仿之故,以坚固质材造就审美对象,成就了伟大与崇高。现代雕塑要求展现质材自身的价值,以其空间构造倾向于抽象性。而当代雕塑受现成品观念和城市文化的影响,更注重物品的呈现。正是“物品”这一概念,连接着当代艺术关于质材、现成品、物性等上下文关系,也包含着都市、消费、大众等文化语境。如何在历史和当下的连接点上建立重塑物品的方法,这正是戴耘要解决的问题。一方面他采用青砖、红砖这种从古至今的建筑材料,保持雕塑质材的某种自然属性、历史属性和构造性、纪念性;另一方面他所塑造的又是通常易懂、随处可寻、司空见惯或世俗想象的事物。其间的矛盾通过不无反讽的精巧制作,转换为异质而又协调的作品。其陌生化处理的关键,在于材料和形象之间保持着特有的视觉张力。在这里,“物品”并不完全存在于现实的真实性之中,而是作为真实的现实性存在于作品之中。于是物品具有了当下、个体、此在的存在意义,物性被创造出来成为艺术作品最直接的现实。由此戴耘形成了自己言说物品、创造物性的语言方式,这是他从众多青年雕塑家中脱颖而出的根本原因。
最近又看到戴耘的作品,不再局限于单体或单组对象的塑造,而是以渐趋成熟的艺术语言,进一步介入现场所涉的空间、环境、生态与文脉。他似乎无意居留于形态的样式主义,这种自我开放的创作心态,必将为他日后的创作拓展出更多、新的可能性。
2011年8月23日
重庆黄桷坪桃花山侧
Memory, Object and Language Style
-- A Comment on Dai Yun’s Sculptural Works

Wang Lin

Dai Yun’s creation can be divided into two phases.
The first phase features searching and experimenting. He made installation works using rice-paper and ink, pop sculpture related to historical quotations and several monuments entitled , , . From the above works, his interest in traditional culture, historical resources as well as pop culture is evident, which owes much to his experiences in both his hometown, an ancient city Xian, and the city he currently inhabits, special economic zone Shenzhen. There are undoubtedly sparkling spots in these works while his passion to participate has obviously exceeded his exploration in language and moreover, critics and comments enhanced his creative passion. However, Dai Yun didn’t just follow the trend as soon as opportunity surfaces itself as most young people would do; instead, thanks to his prudent and composed temperament, proneness to thinking, and more importantly, the historical memories lingering deeply in him, he keeps looking for the creation direction that truly is his own through continuous attempts, following the call of his soul.
The second phase started with Dai Yun’s use of bricks as medium for his sculptures. This experiment is distinguished from all previous ones because to him, it’s like finding a recognizable path in dense bush that would lead far into the future. There have been many other artists making sculptures with bricks while most of them just dipped into it and failed to go further. But Dai Yun, with unleashed creative passion, made four series in a row: the first is objects in daily life such as cans, sofa, washing machine, cars, etc, related to urban culture and pop style; the second is species related to bio-technology, i.e., transmuted animals due to clone and transgene; the third is classical figures like Bodhisattva and Hercules; the fourth is still life, e.g., vessels which is very close to still life painting for its unique serene style.
Dai Yun’s choice of bricks is distinguished from that of other artists for what he takes into account is their quality instead of shape. Take bricklaying as an example, the quadrate shape of bricks can be subject to formative need and even the details can be very imitative of the original such as the steering wheel and smockings of the Buddha. The foremost technical problem involves splicing, cutting and polishing, the deftness of which has been amazingly manifested in Dai Yun’s works. Actually method is the basis of idea, just as much as material and skill are the basis of method. After all, Dai Yun is a sculptor, for whom handicraft is indispensable. The uncopiable nature of Dai Yun’s brick sculpture has become a conspicuous characteristic of his creative method, which sets a good example for the barnstormers who seek immediate interest and flutter about only to produce potboilers.
Dai Yun’s in-depth exploration of skill is not a show-off. His creative method is deeply rooted in both his ingrained historical memory and profound understanding of the nature of sculpture. The biggest feature that distinguishes sculpture from installation is the durability and perpetuity resulting from the use of single medium. In this sense, as an art form, sculpture explores the material property in a most essential and profound way. Imitation-based classical art has achieved grandness and loftiness by using sturdy and durable material to model aesthetic objects. While contemporary sculpture seeks to reveal the value of medium per se for its space structure tends to be abstract. Furthermore, under the influences of ready-made articles and urban culture, contemporary sculpture emphasizes on presentation of objects. It is the concept “article/object” that connects medium, ready-made article, material property, etc in the context of contemporary art, as well as urban, consumption and popular, etc in the cultural context. How to establish a method to remodel objects at the junction of historical and contemporary ages is exactly what Dai Yun needs to resolve. On the one hand, he uses flashed brick and red brick which have been building materials since ancient time so as to maintain certain natural and historical properties as well as constructiveness and commemorativeness; on the other hand, what he makes are actually ordinary objects that can be easily found in everyday life or mundane fantasy. Such paradox is transformed into works that feature harmonious heterogeneity through intricate skill in an ironical way. The key of the alienation treatment lies in the particularly maintained visual tension between medium and image. Here the “objects” don’t entirely exist in the actuality of reality, but exist in the works as actual reality. Therefore the objects are endowed with significance of being in the now and here with its individuality, which is the most immediate reality of the material property’s being created into artworks. In this way, Dai Yun developed his own language of presenting objects and creating material property, which is also the fundamental factor that distinguishes him from the numerous peer young sculptors.
Recently when I saw Dai Yun’s works again, I found they were no longer limited to single object or single group of objects. He has managed to use growingly mature artistic language to further involve in the space, environment, ecology and culture of the site. It seems it’s not his intention to stay in a certain pattern or form. Such open-mindedness will definitely expose him to more possibilities in his future creative endeavor.

Aug 23, 2011
Peach Hill, Huangjiaoping, Chongqing

推荐到豆瓣