Jonathan Goodman：邵泳——观的二元法

乔纳森·古德曼

诗人，

长期关注研究中国当代艺术的当代艺术评论家，

纽约普拉特大学教授。

居住在纽约但往返于中美国20年之久。

Jonathan Goodman

Jonathan goodman is an art writer based in new york.

For more than thirty years he has written about contemporary art-for such publications as art in america,the brooklyn rail,whitehot magazine,sculpture,and fronterad(an internet publication based in madrid).He currently teaches contemporary art writing and thesis essay writing at pratt institute in brooklyn. 

邵泳——观的二元法

文/乔纳森·古德曼

邵泳是一位于1997年毕业于西安美术学院的中青年画家。2002年，他前往北京，成为独立艺术家。在学术方面，邵泳亦有建树，他目前在西安美术学院负责水墨画研究。但是他的名声来源于他极高辨识度的两个迥异的风格：一个是黑暗到令人毛骨悚然的现实表现方式，由骷髅，光秃秃的树和奇异的主人公（如直立着的，愤怒的猪）组成。而另一种是更加写意和神秘的表现方式，其中包括了平面的颜色描绘，通常是彼此相邻的红色和蓝色，并在其中包含了隐隐可见却不知其意的柔和，卷曲的笔触。这些标记似乎并不代表任何特别的东西，但是它们与那些想象中恐怖电影一般的贫瘠，蜿蜒的山水景观形成了鲜明的对比。

 邵泳《山水国度之作明佛母》

68x136cm

纸本设色

2019

 邵泳《山水国度之作明佛母》

107x207cm

绢本水墨设色

2019

除了制造一个接近恐怖的某种威胁之外，这些山水景观并无告诉我们更多。《山水国度15（2018）》（整个展览名为“山水国度”）是由一群被半圆形黑白色景观包围着的猪组成，画面的背景是深蓝色的天空和枯萎的树木。上方是一片有着黑色乌云的雾霭和更多灰色的树木。这位抽象表现主义者在画面上撒下了一股瀑布，它倾斜在两条横条纹上，一条蓝一条黑。而这些猪聚集成一个帮派，并向邵泳的观者传达了一种未知的威胁。这是一个关于问题的隐喻，虽然我们不知道确切的意义。《山水国度9（2018）》就像展览中的其他作品一样是一副水墨画，它强烈得唤起过去的记忆，一个古典的白色的石雕马象半遮半掩的隐藏在阴暗的气氛中，醒目的枯树坐落在画面的右侧，而棕黄的暮色则占据了整个氛围并与动物形成鲜明的对比。同样，我们并不知道其意义，但它似乎与在当前一系列无处可去，没有希望的环境中艺术遗迹的屹立不倒有关。它可以被视为个人陈述，也可以被视为一个社会性的，也许它同时意味着两者。

邵泳《山水国度之一》

178x240cm

纸本水墨设色三联

2019

邵泳《山水国度之二》

138x280cm

纸本水墨设色四联

2019

上面所述的画作神秘且含糊不清，但是第二组画作在其坚决抽象和简单的平涂色彩里可以看出，邵泳在从西方抽象主义中寻找灵感。这种由直接的并排放置着的矩形和方形的平面色彩组成的极简，让我们想起了大约在一百年前在欧洲兴起的几何抽象的历史。每一个板块都有一块几乎看不见的黑色弯曲的笔触，这些笔触不能和任何可辨别的图案相关联。这些作品像是一个去定义非具象到底可以到达何种地步的练习，它们可以定义为邵泳创造了一个其自身表现力就足以吸引观众的世界，即使它们的意义完全令人捉摸不透。在《Mahamudra 4（2018）》中，一个有着卷曲笔触的蓝光闪闪的板块坐落在一个明亮的红色板块旁边。标题是指藏传佛教中一套重要的教义，而作为中国人，邵泳很明显的将他的兴趣延伸到了其他文化之中。这幅画所描绘的现实是隐匿的，不可知的，并且蕴含了巨大智慧。

邵泳《帝国时代》

47x67cm

绢本水墨设色

2019 

邵泳《帝国时代》局部

邵泳《帝国时代》局部 

邵泳关注的精神世界可能无法轻易地进入纽约切尔西区观众的认知，但这并不意味着他的意义消散了。深奥的意义，特别是在佛教中，隐藏在了日常生活甚至讽刺画的背后（如上述的猪主题画作所描绘的那样）。无论我们是否知道，世界都在与我们的思想和行动相结合，其后果导致了我们的信念开放或封闭。猪可能代表了消极的心态，而马可能代表了我们道路上尊严，但这很难说。也许这就是为什么邵泳采用抽象写意绘画，其坚定的当代性无处可去，最后又回到了画面本身。他似乎在说，如果艺术是我们唯一的东西，那就是我们拥有的一切。

邵泳《山水国度之四》

50x125cm

绢本水墨设色

2019

邵泳《山水国度之五》

50x125cm

绢本水墨设色

2019

邵泳《山水国度之三》

97x67cm

绢本水墨设色

2019

Shao Yong: A Double Way of Seeing

Jonathan Goodman

Shao Yong is a an earlymid-career Chinese painter who graduated from art school in Xi’an in 1997. In2002, he made his way to Beijing, where he became an independent artist. He hasmade some headway as an academic--he is currently in charge of ink painting inthe academy he studied at in Xi’an, but his reputation rests on the markedlydifferent two styles he is known for: a realistic manner, often dark to thepoint of being macabre, complete with skeletal, leafless trees and strangepersonages such as upright, angry hogs; and another other way of working, morelyrical but also mysterious, which consists of flat portrayals of color, oftenred and blue, that sit next to each other and contain within them brushy,curling strokes that are visible but hard to make sense of. These markings don’tseem to represent anything in particular. They also exist in extreme contrastto the barren, twilit landscapes that look like stills from a privatelyimagined horror film.

邵泳《山水国度》

125x50cm

绢本水墨设色

2019

The nighscapes don’t tell usmuch beyond establishing a certain menace bordering on horror. LandscapeKingdom 15(2018)--the entireshow is called “Landscape Kingdom”--consists of a group of standing pigssurrounded by a blackish-white, semicircular fame, with a dark-blue sky andleafless trees in the background. Above is a gray sky with dark clouds and moregray trees; abstract- expressionist drips cascade down the painting, where theyfall across two horizontal stripes--one blue and one black. The pigs amount toa mob and communicate an unknown threat to Yong’s audience. It is an allegoryof trouble, although we don’t know what the exact point means. LandscapeKingdom 9(2018), like therest of the works in the show an ink painting, is wonderfully evocative of thepast: a classical, white stone horse’s head and upper chest, half hidden by amurky atmosphere and the inevitable naked trees, sits in the right of thecomposition, while a brownish twilight takes over the ambience and contrastssharply with the animal. Again, we don’t know what this suggests, but it seemsto be about the persistence of an art legacy in the middle of a current set ofcircumstance that go nowhere, offering no hope. It can be read as a personalstatement, or as a social one--maybe it is meant as both.

 邵泳《山水国度之一》

115x58cm

绢本水墨设色

2018

The paintings described aboveare mysterious and vaguely troubling. But the second group of paintings,resolutely abstract and simple in their flat expanses of color, look to Westernabstraction for their inspiration. Composed of direct planes of color, inrectangles and squares that sit side by side, the very simplicity of what wesee makes us think of the history of geometric abstraction in Europe, whichbegan roughly a hundred years ago. Each of the panels has a barely discerniblemass of curving brush marks in black, which cannot be linked to anythingreadable as figuration. The works are an exercise in determining just howresolutely nonobjective the imagery can be, determined as Yong is to create aworld whose elements of physical expressiveness are interesting enough in theirown right to gain the interest of Yong’s audience, even if their meaning isentirely opaque. In Mahamudra 4(2018), a luminousblue panel, busy with curling brushstrokes, sits beside a bright red square.The title refers to an important set of teachings in Tibetan buddhism; whileYoung is Chinese, clearly his interest extends to other cultures. The realitythe painting portrays is hidden, unknowable, and of immense intelligence.

 邵泳《山水国度之三》

230x58cm

绢本水墨设色

2018 

 邵泳《山水国度之三》局部

邵泳《山水国度之三》局部

Yong is concerned withspiritual realities that may not find their way easily into the awareness ofhis audience in Chelsea in New York. But that does not mean his meaning islost. Esoteric meanings, in buddhism especially, hide behind everyday life oreven caricature (as happens in the pig painting described above). Whether weknow it or not, the world is acting in conjunction with our thoughts andactions, whose consequences lead to openings or closures in our beliefs. Thepigs may stand for negative mind, while the horse may represent the dignity ofour path, but it hard to say. Maybe that is why Yong includes the nonobjectivepaintings, whose determined contemporaneity leads nowhere but back to theimage. He seems to be saying that if art is the only thing we have, it iseverything we have.

 邵泳《山水国度之四》

115x58cm

绢本水墨设色

2018

 邵泳《山水国度之十一》

115x58cm

绢本水墨设色

2018

 邵泳《山水国度之十三》

115x58cm

绢本水墨设色

2018

​邵 泳

1973年生于陕西商州。

1997年毕业于西安美术学院中国画系。

2002年至北京开始独立艺术家的创作。

2008年《邵泳——水墨青花》中国画巡展。

2013年在北京当代艺术馆成立邵泳工作室。

2017年受邀担任西安中国画院当代水墨研究院院长。

曾在西安美术馆、烟台美术馆、

中国美术馆、今日美术馆、西安崔振宽美术馆

等数十个美术馆举办个展和参加联展多次。

2018年十月参加新西兰汉密尔顿怀卡托博物馆《不可磨灭——当代水墨邀请展》。

2019年二月在纽约切尔西画廊区Crossing Art举办《山水国度——邵泳当代水墨展》。

作品被纽约Crossing Art艺术基金会、

新西兰汉密尔顿怀卡托博物馆、

西安美术馆等数十家机构收藏。

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