
整体与观看
Gestalt and the Gaze
新朦胧主义系列展
Part of Neo-Mōrōism Exhibition Series
2019. 6.11 — 9.10
开幕时间 OPENING:
6.29 16:30
策展人:王舒野
Curator:Wang Shuye
参展艺术家:
Artists:
朱建忠
Zhu Jianzhong
王舒野
Wang Shuye
叶剑青
Ye Jianqing
田卫
Tian Wei

前言
王舒野
自“新朦胧主义”发起至今,其艺术追求并未被广泛正确理解。本展意欲推出较为简明的导向性理论框架,以期引发更深入的探讨,使新朦胧主义在理念上更加清晰。
首先新朦胧主义艺术家的探索要与以往朦胧视觉表现之目的不同,新朦胧主义是世界观和观看方式的深究(以往诸朦胧视觉表现的目的多停留于以含蓄隐喻的形式来诱发想象)。它既是对确定性世界观及其观看方式的颠覆,也是对其盲点的补充。只有使朦胧视觉表现与不确定性世界观的深挖相结合,才能导入更深刻的观看探究。如果从时空世界的整体角度来观看一切,会感悟到万物的区分变化皆不确定。反之,不确定性世界观的背后,隐藏着存在本身的整体立场,隐藏着整体的绝对性和永恒性。这种不确定性感知的深究,是在探索不随万物变化而变化的“超越性观看”。这是一种了解永恒存在的智慧性观照,截然不同于了解变化的事物的知识性认识。
绘画是观看方式的最直接呈现。通过排除或削减确定性、辩别性的物体表现,去掉或弱化人为的对象化、意义化、概念化、知识化世界观,引导人们跳脫区别认识的意识惯性,去感知非认识的绝对性世界。这里的“认识”是指用区分的目光去判断和识别事物,是相对区别化的思维意识加工,而整体的真实则是未经认识介入(也无法介入)的绝对性存在。所以说,认识性目光看到的是相对的、局部的、变化的真实,而非认识性目光看到的是绝对的、整体的、永恒的真实。
如此,朦胧的不确定性视觉表现,拥有了崭新的目的和理念。此艺术实践从根本上改变观念,重新建构感知系统,从而启发人们获得关于世界的不同往常的全新经验。
中国当代艺术的现状有目共睹,仍然没有脱离西方当代艺术的方法论。新朦胧主义的视觉艺术探索,发挥东方特有的精神思想和智慧体验,重新质疑现代社会的理性基础和既有感知方式的观念基础,实验构筑有突破性的艺术方法。
作为新朦胧主义命名者,还需补充一句,当初我在“朦胧”的前后加上了“新”和“主义”,也正是因为有上述新的目的和理念与方法。
本展的参展艺术家皆是历届新朦胧主义展的主要参与者,对“朦胧视觉表现”各有独自的“观”与“思”,拙笔尚难以触及,更全面而详细的深入介绍,还有待于在今后的讨论和活动中共同补示。
2019年孟夏于北京
Foreword
Wang Shuye
Extensive and adequate understanding of “Neo-Mōrōism” and its artistic aspirations has been lacking ever since the movement’s inception. This exhibition attempts to offer up a concise theoretical framework with which to maneuver in it, in the hope of sparking in-depth analysis and further clarifying the concepts underpinning Neo-Mōrōism.
First of all, our exploration of artists who fall under the moniker of Neo-Mōrōism must be set apart from the objectives of former Mōrō modes of visual expression. Neo-Mōrōism entails an emphasis on world views and modes of viewing, whereas the objective of previous Mōrō visual expressions remained largely confined to evoking the imagination by way of implicit metaphorical devices. Neo-Mōrōism subverts the viewing patterns of a deterministic world view, while also making up for the latter’s lacunae. Only by combining the visual expression of Mōrō with the deep-digging nature of a non-deterministic world view, can the matter of viewing be probed into more profoundly. If we view everything from the all-encompassing perspective of the spatio-temporal world, we perceive the uncertainty in all differentiation and variation of things. Conversely, hidden beneath a non-deterministic world view lies the holistic stance of existence itself, as well as a holistic absoluteness and immutability. This thorough, non-deterministic perception constitutes a “transcendent viewing” which remains constant despite the transformation of all things. It’s a wisdom-based perspective from which to understand our never-ending existence, and is wholly different from understanding the fickleness of things through intellectual cognition.
Painting is the most direct presentation of ways of seeing. By representing objects in such a way that it eliminates or reduces certainty and differentiation, attempts are made to get rid of or reduce artificial world views that involve objectification, attribution of meaning, conceptualization and intellectualization, and instead usher in an inert mental state that helps people cut loose from their diacritical understanding of things, and enables them to perceive the non-cognition-based, absolute world. The “cognition” referred to here, means using a differentiating gaze to size up and discern things, i.e. an ideological process of contrastive differentiation. The whole or gestalt, on the other hand, is an absolute existence which has not been interfered with by cognition (nor can it be). Hence, the cognitive gaze discerns the reality of that which is relative, local and in flux. The non-cognitive gaze, in turn, sees an absolute, holistic and everlasting reality.
In doing so, Mōrō’s non-deterministic visual representation is assigned brand-new objectives and concepts. The Neo-Mōrōist artistic praxis alters ideational concepts on a fundamental level, and reframes systems of perception, thus allowing us to receive new experiences pertaining to the world, different from those we’ve been accustomed to.
The current state of affairs of Chinese contemporary art is plain for all to see, and yet it still hasn’t been able to cast off the methodological yoke of Western contemporary art. Neo-Mōrōist explorations in the visual arts are geared towards giving full scope to oriental spiritual thought and wisdom-based experience. It involves calling into question the rational premise of modern society as well as the conceptual foundations of our existing modes of perception, while constructing breakthrough artistic methods through trial and error.
Having personally coined the term Neo-Mōrōism, I ought to include the following addendum. The reason I added the prefix ‘Neo’ and suffix ‘-ism’ to the word “Mōrō” at the time, was precisely because I had come up with the abovementioned new objectives, ideas and methods.
The artists featured in this exhibition are, without exception, all major participants of the previous Neo-Mōrōism exhibitions. They each have their own distinct ‘look’ and ‘thoughts’ on the visual expression that is ‘Mōrō’. In this, my opaque writing leaves room for one caveat: for a more comprehensive and detailed introduction to these artists and their works, we must rely on further elaboration provided by them in future discussions and events to come.
Beijing, first month of summer, 2019
展览现场

















展出作品
朱建忠
Zhu Jianzhong
▽

朱建忠 镜像 一 170x95cm 纸本水墨 2019

朱建忠 镜像 二 138x68cm 纸本水墨 2019

朱建忠 自在 二 68x138cm 纸本水墨 2019
王舒野
Wang Shuye
▽

王舒野 “下楼梯的裸女”的时空裸体 即 131 ...

王舒野 “下楼梯的裸女”的时空裸体 即 132 ...

王舒野 “下楼梯的裸女”的时空裸体 即 133 ...

「溪山行旅图」的时空裸体 · 即(127) ...

王舒野 “下楼梯的裸女”的时空裸体 即 123 ....

王舒野 “下楼梯的裸女”的时空裸体 即 123 ....
叶剑青
Ye Jianqing
▽

叶剑青 高云之外 460x200cm

叶剑青 渐上九霄 450x200cm 2019
田卫
Tian Wei
▽

田卫 六十甲子 A Cycle of sixty years
66x33cmx60 纸本水墨 2019
Tokyo Gallery+BTAP invites you to celebrate
即将展出丨《整体与观看》
参展艺术家:朱建忠,王舒野,叶剑青,田卫
2019.6.11(Tues)- 2019.9.10(Tues)
展会 | Art Basel in Basel
参展艺术家:Atsuko Tanaka,Sadamasa Motonaga,Ushio Shinohara,
Tomio Miki,Kishio Suga,Jiro,Takamatsu,Aiko Miyawaki,Nobuya Abe,
Park Seo-bo
2019.6.11(Tues)-6.16 (Sun)
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