长城上的幽灵与恋人(part 3)

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Action printing and nonsense 行为绘画与“毫无意义”

用他自己的话来描述这次长城艺术举动：行动本身的意义和它的结果一样重要。你可以在几乎所有的不平坦的物体表面拓印，而对长城这样宏伟的建筑来说，它的拓片从里到外给人以强烈的视觉和心理冲击，撼人心魄，它是艺术的堡垒。同时，他也想通过这种以体力搞创作的过程，来展现一种行为的艺术，籍此表达在任何历史过渡期，艺术其实是解决人的问题的过程。通过大量的耗费体力的工作而得到一个看似“毫无意义”的结果，这就是他想要寻找和表达的在社会转型期内的出路。
To use his own words about this Great Wall project; the action is just as important as the result of the work. You can use almost anything with an uneven surface to make a rubbing. Bringing something as magnificent as the Great Wall from outside to inside gives people a very strong visual and emotional impulse. This is shocking for people and is the stronghold of Art. At the same time through the motion of the physical work, he wants to create an action art manifestation, saying that Art is the process that should solve peoples problems during any transition period. He is looking for a way to go through this transformation by putting in a tremendous physical effort and creating a result that is 'nonsense'.

Beijing New Wave or Chinese Avant Garde 北京新浪潮/中国先锋派

徐冰是北京新浪潮的一部分。在欧洲和美国，大部分人因为90年代早期的同名展览而了解了 “中国先锋派” 这一代艺术家。徐冰因1989年3月的作品《天书》的创新性而广受赞誉。然而三个月后，也就是“六四风波”后，这部作品因表达“毫无意义”的艺术、或曰“荒谬”艺术而饱受责难。《鬼打墙》是另一部同样“荒谬“的作品，这部令人仰视的巨幅作品，就象它所取材的母体建筑――长城一样，具有压倒性的气势。拓片裱好以后，从此再没有在中国展出。
Xu Bing is part of the Beijing New Wave. In Europe and America most people know this generation of Chinese artist under the name China Avant Garde because of the exhibition by that name in the early nineties. As I already told you after the exhibition of 'A Book from the Sky' in March 1989 he was praised for his renewals. Then after three months that is after the June fourth events in Beijing the same work was condemned for being 'nonsense' art or nonsensical art. 'Ghosts pounding the Wall' is another nonsensical work and the scale of this work of Art is overwhelming, just as overwhelming as the original structure the project it was based on; The Great Wall. The rubbings are mounted in the Chinese way and have never been shown in China.

西方对他的作品解读甚多。有人说“鬼“这个词是一个政治词汇，依据是在文革中“鬼”被用来形容那些反革命（按：牛鬼蛇神），在当时这可是一桩极其糟糕的事情。西方的艺术批评家Britta Ericson把《鬼打墙》和学潮紧密的联系起来。她说，徐冰和他的作品跑到了西方，这件事本身就以徐无法预期的方式改变了其作品的含义。
In the West his work is open to all sorts of interpretation. I found someone saying that the word ghosts is a political statement because the word was used during the cultural revolution for counter-revolutionaries, which was a very bad thing to be at that time. The Western art-critic Britta Ericson places 'Ghosts pounding the Wall' in a heavy connection to the student uprising. Xu Bing and his work moving to the West, she says, altered the works meaning in ways Xu could not predict.

一些背景史料：徐冰的第一幅城墙拓片作品在1987年就完成了，很显然，它和1989年的事件毫无干系。87年的拓印根本就没有想过要做得这么庞大，但是，这一想法已经自此形成。 我想这一概念的形成引源于对绘画过程的终极所作的思考。1990年，徐冰在到美国后的一次采访中表露，他越来越趋向于在作品中挖掘它的政治内涵。他还说，想利用长城把异族挡在外面的企图，就象他的作品一样荒谬。
I have to put forward some historical facts about this. The first rubbing Xu made of the Wall was already done in 1987, and it is also obvious this had nothing to do with the 1989 events. The 1987 rubbing was by no means as big as this project, but the idea was already formed. I think the concept of the work was at that stage primarily concerned with the extremes of the printing process. In 1990 Xu Bing moved to America and in interviews he tends more and more to stretch the political meaning of his work. He also says that the intention of the Wall to keep strangers out is just as nonsensical as his own project.

也是在1990年，中国的艺术批评家尹吉男对《鬼打墙》提出批评，他说，由于这幅作品庞大的规模浪费了大量人力，再加上作品本身的荒谬意义，足可以引发暴力冲突。他的话勾勒出了《鬼打墙》的政治线条。我想我们无法判定到底是政治意味被预先有意的附加于作品，还是说后来的政治形势呼应了这部已完成的作品。事实上，90年代早期，不管是西方还是中国，艺术作品的政治意义总是与它的荒谬意义紧紧相随。
Also in 1990 in China the art-critic Yin Jinan criticises 'Ghosts pounding the Wall', saying that because of the scale and the waste of manpower and the nonsensical meaning this is a work of art that can stir violent uprising. By saying this he underlines the political meaning of 'Ghosts pounding the Wall'. I think it is impossible to say if the political meaning was intended beforehand or that the political situation sort of took over after the work was made. The fact remains that in the early nineties both in the West as in China the work carried a political meaning next to its nonsensical meaning.

我甚至在尹吉男的评论文字里看到了另外一层含义。尽管他批评了《鬼打墙》这部作品， 但是由于他绘声绘色的描述，以至于如果将批评的文字剔除，你会发现这几乎是整个中国对这部作品的最佳描绘。
I even suspect another layer in Yin Jinan's writing. Although he writes critical about 'Ghosts pounding the Wall' he descibes the project beautifully. So if you filter out the critical part you end up with the best discription of it available in China.

sting于 2004-02-25 15:50:11 发表在分类： 中
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