国家美术·展讯丨宋陵——瞌充梦东

艺术家：宋陵

策展人：刘畑

开幕：2019.5.18  16:00-19:00

展期：2019.5.18-6.17

地点：池社

主办：新世纪当代艺术基金会

2019年5月18日新世纪当代艺术基金会·池社，将推出“池社”成员第二场展览《瞌充梦东》——宋陵个展。

“瞌充梦东”是宋陵的一枚印章，语出杭州方言的发音，意为“半梦半醒、迷迷糊糊”。策展人刘畑在拜访宋陵的工作室时，于画面上偶然发现，进而取用为展览标题，并将其再次音译为“Catch the Muddle”。

大梦谁先觉？妙手偶得之。在这一刻，分不清是即将醒来还是即将入梦，分不清有些东西是渐渐远去，还是渐渐到来。而作品，不过是“妙手偶得”所留下的遗迹。

“池社”为新世纪当代艺术基金会联合创始人薛冰在上海西岸创办的艺术空间。“池社”名称源自张培力、耿建翌、王强和宋陵等艺术家在1986年创办的艺术团体名称，旨在提供艺术交流互动的平台，空间创办人也借此向艺术家致敬！

▲“瞌充梦东”展览外景图

▲“瞌充梦东”展览现场图

策展人:

“瞌充梦东”是艺术家宋陵的一枚印章，语出杭州方言的发音，描述人在半梦半醒之间的迷迷糊糊、晕晕沉沉。策展人刘畑在拜访宋陵工作室时，于画面一角无意间发现。

人们常谈论宋陵画中的“超现实”意味，下探梦境与潜意识，也正是当年超现实主义者的重要方法。“瞌充梦东”，是半梦半醒的时间，也是“创造”发生的空间，处在有意识和无意识之间、控制与失控之间。

▲宋陵《临摹系列》 40x40cm 纸本水墨 2017（有印章）

事实上，“超现实主义”在1980年代于艺术家的生命史中的出场，是作为对“现实主义”的抵抗。可是，早年的超现实主义者，却不乏对最终造就了“现实主义”的革命的热情。这其中无疑存在着复杂的折射和倒转。而这枚金石印章，与宋陵在画中，以“师法”的意味悉心采纳的超现实主义者们，一起提醒了我们：存在着一个水墨传统的方法和心态，在其中，“临摹”并不是“原创”的反义词，而是对“原创”的复活。

但“临摹”对于宋陵来说，还意味着“异化”。这体现为在物态上看似相反的两个进程：坚硬之物的融化，与柔软之物的固化。其内在的逻辑，均是由“异化”所带来的“异形”。这些异形环绕着我们，通向了展厅最深处占据整面大墙的画面，其上所描绘的，正是人和自我分离的时刻，人在醒着的时候，最为接近“瞌充梦东”的时刻（于“贤者时间”之前的瞬间）。这一切的环境，让空间两端的两组最为写实描摹的最日常物体，反衬成为了最异常的存在。

▲宋陵《临摹系列》74x74cm 纸本水墨 2017（有印章）

展览之中，所有画面的背景均为白色与黑色。这并不是简单的“色彩”，而是“色彩的极限”。它们作为背景，提示的是画面中的主体之出现的“无缘无故”，如何没有背景和原因。如同在梦醒之间遭遇的一切，都是突然的降临、启动、中断，它的始与终，具有彻底的开放性。

是故，取“瞌充梦东”为展览标题，并将其再次音译为“Catchthe Muddle”。大梦谁先觉？妙手偶得之。所谓“作品”，不过是“瞌充梦东”之际、“妙手偶得”之后，所留下的遗迹或证据而已。

▲宋陵《静物1号》 56x40cm 水墨纸本 2014

▲宋陵《静物2号》 56x40cm 水墨纸本 2014

Curator:

A SongLing’s seal prints the four-character idiom ‘Ke Chong MengDong'. It is from the pronunciation of a phrase of Hangzhou dialect, describinga state of “half-dream,half-awake”.When curator Liu Tian visited Song’s studio, he caught a glimpse of this seal at thecorner of a painting.

Peopleoften talk about a ‘surreal’ implication in Song Ling’s paintings,investigating dreams and subconsciousness, which were also significantapproaches of the back-then surrealists. ‘Ke Chong Meng Dong’ is a transitionaltemporality between sleep and wakefulness, a space where ‘creation’ takesplace. It lies in between consciousness and unconsciousness, in-control and out-of-control.

▲宋陵《器件》55 x40cm 纸本水墨 2015

Infact, the emergence of ‘surrealism’ in the life history of the artist in the1980s originated as a resistance to ‘realism’. However, the originalsurrealists did not actually lack the enthusiasm for the revolution thatultimately led to ‘realism’. There were undoubtedly complex refractions andreversals. Yet this epigraphic seal, together with the surrealists who werecarefully adopted in Song Ling’s paintings in the manner of ‘imitation’, remind us thatthere exist a methodology and mentality of traditional ink painting in which ‘imitation’ is not an antonymof ‘originality’, but rather a resurrection of it.

Butfor Song Ling, ‘imitation' also means ‘alienation’. This is registered in twoprocesses that seem to be contradictory in physical forms: the melting of hardobjects, and the solidification of soft objects. The inherent logic is the ‘aliens’brought about by ‘alienation’. There ‘aliens’ encircle us, lead us to the painting that covers thewhole wall in the deepest space of the exhibition hall. What is depicted hereis the moment when we are separated from ourselves, the moment closest to the ‘KeChong Meng Dong’ when we are awake (the moment right before ‘Kenja Time’). Thisoverall environment has changed the most realistic everyday objects at theeither end of the space into the most unusual existence.

▲宋陵《无题》 70x50cm 纸本水墨 2013年

Inthe exhibition, the backgrounds of all paintings are either white or black.These are not simple ‘colours’, but the ‘limits of colour’. As backgrounds, they suggest the ‘gratuitousappearance’ of the subject in the picture, without any context or reason. Thehappening and ending follow a sudden befalling, activation and disruption, asif what could be encountered during the hypnagogia, with complete openness.

▲宋陵《虚构系列》55x85cm 纸本水墨 2015

Thatbeing so, the English exhibition title 'Catch the Muddle' (Ke Chong Meng Dong) is are-transliterating of the transcribed dialect. ‘A mighty dream, who is to awake first?’ (from a poem of Luo Guanzhong) ‘A skilled hand,catch the artwork by chance’ (from a poem of DuFu). The so-called ART is nothing but the remains or evidence after the momentof ‘catch the muddle’, by chance.