{{sindex}}/{{bigImglist.length}}

ONLINE | 张林海：荒谬绝伦的“童话”剧

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

林大艺术中心将于2020年5月1日至5月31日线上呈现张林海新作展“童话”。如从造物主的视角看，“童话”是不该有年龄的限界。孩提时代的“童话”固然赋予了美好、善愿、祈求与希望的期待，相比成人世界里的“游戏”故事其实更精彩、更荒诞、更悖谬、更虚幻、更夸张、也更残酷与邪恶，其寓意最直接也最沉重。但最重要的是他们在这场世间真实的“童话”闹剧中——既是编导者也是表演者、既是施暴者也是受害者……历时多少岁月后，无论它其时是喜剧、悲剧抑或是闹剧，对后人而言都是一出出荒谬绝伦的“童话”剧，在人生的舞台它永远都是“正剧”。

Linda Gallery is pleased to present 'Fairy Tales', an online exhibition (1st - 31st May) that traces Zhang LinHai’s allegory in his latest completed series. Uncovering from the perspective of the Creator, fairy tales are timeless. The world of adulthood is in fact more exhilarating, absurd, embarrassing, delusive, exaggerated, and cruel. Ultimately, the world that we live in, where the protagonist becomes a choreographer and performer; a perpetrator and victim at the same time. After years of accumulation, this 'fairy tale' is an long lasting outcry that reflects a deeper meaning of the pathos.

———— 线上展厅 ————

Online Show

「ARTSY ONLINE VIEWING ROOM」

https://www.artsy.net/show/linda-gallery-2020-zhang-linhais-solo-exhibition-fairy-tale

（或直接点击作品图片跳转至小程序）

在张林海的心理原型中，有两个重要的特征，其一是对于神秘的、充满不可知的命运偶然性的恐惧、愤懑和质疑。其二是一种深深的孤独感，而这种性格孤独感的形成，既来源于其人生经历中“不知所起，不知所终”的、刻骨铭心般的终极痛苦;也来自于这种痛苦基础的过于个人性和传奇性，而无法形成一个可以向别人倾诉的基础。正如加西亚·马尔克斯1982年在诺贝尔文学奖颁奖典礼的演说中所指出的那样：“现实是如此匪夷所思，生活在其中的我们，无论诗人或乞丐，战士或歹徒，都无需太多想象力，最大的挑战是无法用常规之法使别人相信我们真实的生活……这就是我们孤独的症结所在。”在这里，马尔克斯试图要说明的是，用他人的标准来解释我们的现实，只会让我们变得越来越陌生，越来越拘束，越来越孤独。

至高无上的命运假借“偶然性”的托辞凶残地向一个无助的个体不断地露出它的獠牙，而更为凶险的是历史对命运频频施以无情的毁灭。正是在这一点上，张林海在个人经历和个体经验的基础上所体验到的这种深刻的孤独感，以及所表达出来的明确的质疑态度，才具有了广泛的社会时代性批判的价值。

童话系列 Fairytale series

布面油画 Oil on Canvas | 311x404cm

2019

在张林海近三十年的艺术创作中，他通过对于自身的身世经历和家族命运的真实感受，以及对于以他的童年成长环境为代表的中国广大农村真实的社会、文化的现状和历史性分析，并以此为原型，揭示出了在中国近现代历史中，民族的共同命运转折和精神磨难，进而再通过这种民族命运的这种炼狱式的现实场景的魔幻现实主义式的“剧场化”呈现，完成了他对于中国文化历史传统中的愚昧和保守，以及现实社会政治中的独裁和专制的批判。同时，对于那些处于时代浩劫和历史轮回中备受磨难和煎熬的芸芸众生，张林海在同情、悲悯，进而感同身受的同时，对于其与生俱来的集体无意识式的盲目、顺从、愚昧，进而成为专制帮凶的人性之恶，也展开了深入的揭示和批判。

*以上文字节选自吴鸿《灵魂剧场：张林海作品中的个人、社会、时代及历史性隐喻》（吴鸿，艺术批评家、策展人，艺术国际主编，宋庄当代艺术文献馆执行馆长，吉林艺术学院客座教授、研究生导师）

童话系列 Fairytale series

布面油画 Oil on Canvas | 155x200cm

2018

童话系列 Fairytale series

布面油画 Oil on Canvas | 170x200cm

2018

童话系列 Fairytale series

布面油画 Oil on Canvas | 170x200cm

2019

童话系列 Fairytale series

布面油画 Oil on Canvas | 170x200cm

2019

童话系列 Fairytale series

布面油画 Oil on Canvas | 311x404cm

2019

There are two important traits to zhang Linhai's psychological archetypes: one is terror, anger, and doubt in the face of the vicissitudes of a mysterious, unknows fate, and the other is a deep sense of loneliness. The loneliness comes from the extreme pain of his life experience, imprinted on his heart so deeply that he has no idea where it begins and ends, and from the fact that the basis for this pain is so personal and so extraordinary that no one can possibly empathize with it. As Gabriel García Márquez said when he accepted the Nobel Prize in Literature in 1982, "Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination, for our solitude." ["Gabriel García Márquez - Nobel Lecture," Nobel Prize.org, Nobel Media AB 2018, accessed September 25, 2018] Márquez tries to say that explaining our reality by others' standards will only make us more estranged, more confined, and more alone.

童话系列 Fairytale series

布面油画 Oil on Canvas | 100x100cm

2019

童话系列 Fairytale series

布面油画 Oil on Canvas | 100x100cm

2019

Fate uses chance as a pretext for savagely baring its teeth at helpless individuals, but what's more dangerous is history's merciless and repeated destruction of these individuals. The deep sense of loneliness and the clear questioning attitude that spring from Zhang Linhai's personal experiences have broad value as a critique of society and the times.

童话系列 Fairytale series

布面油画 Oil on Canvas | 51x61cm

2019

童话系列 Fairytale series

布面油画 Oil on Canvas | 51x61cm

2019

童话系列 Fairytale series

布面油画 Oil on Canvas | 51x61cm

2019

童话系列 Fairytale series

布面油画 Oil on Canvas | 51x61cm

2019

In Zhang’s nearly thirty years of makingart, he has engaged with his real feelings about his personal experience andhis family’s fate, as well as the historical analysis and social and culturalstatus quo of China’s vast rural areas, as represented by his childhood environment.With this as an archetype, he reveals the collective twists of fate and spiritualtorments in modern Chinese history. Through the theatrical, magical realist presentationof real scenes akin to purgatory, he criticizes the ignorance and conservatismin Chinese cultural history and traditions, as well as dictatorship andautocracy in current society and politics. At the same time, Zhang Linhai hassympathy and pity for all living things being tormented in the tumult of thetimes and the cycles of history, and even as he feels this sympathy, he hascontinued to reveal and criticize the innate blindness, submissiveness, andignorance of the collective unconscious, and the human evil that has become theaccomplice the autocracy.

*Theater of the Soul, The Individual, Society, Time, and Historical Metaphors in Zhang Linhai's Work（Wu Hong，Art critic,curator, editor-in-chief of Artintern.net, managing director of the SongzhuangContemporary Art Archive, and a guest professor and graduate advisor at jilinCollege of the Arts）

童话系列 Fairytale series

布面油画 Oil on Canvas | 120x150cm

2019

童话系列 Fairytale series

布面油画 Oil on Canvas | 120x150cm

2019

关于艺术家

张林海 Zhang Linhai

1963年生，1990年毕业于天津美术学院版画系

主要个展

2019，张林海个展，台北国际艺术博览会，林大艺术中心，台北；2017，张林海作品回顾展，兰境艺术中心，北京；2016 ，空间的剩宴，张林海个展 ‘沙盘系列’巡展第三站印尼国家美术馆雅加达印尼；2015，空间的剩宴，张林海个展 ‘沙盘系列’巡展第二站，新加坡MoCa美术馆，新加坡；2013，空间的剩宴，张林海个展‘沙盘系列’巡展首站，林大艺术中心，北京；2010，残阳，张林海作品展，少励画廊，香港；2008，怔，张林海作品展，北京今日美术馆，北京；2006，紫色＋回忆，系列，少励画廊，香港；2005，张林海，M KM 博物馆，都依斯堡，德国；2004，红耳朵＋天堂，系列，少励画廊，香港；2002，阳光灿烂，张林海个展，少励画廊，香港；2000，张林海油画展，史丹妮画廊，上海；1998，张林海作品展，翰墨画廊，北京；1982，张林海绘画展，涉县文化馆，涉县，河北

Born in Shanghai in 1963; Graduated from the Printmaking Department, Tianjing Academy of Fine Arts in 1990.

Selected Solo Exhibitions

2019， Zhang Linhai’s Solo Exhibition, Art Taipe, Linda Gallery, Taipei ；2017， Zhang linhai’s works Exhibition, Beijing；2016，The Leftover banquet – Zhang Linhai Solo exhibition, Museum Nasional Jakarta, Jakarta, Indonesia；2015，The Leftover banquet – Zhang Linhai Solo exhibition, MoCA@Loewen, Singapore；2013，The Leftover banquet – Zhang Linhai Solo exhibition, Linda Gallery, Beijing, China；2010，The Fading Sun, Schoeni Gallery, Hong Kong；2008， Stunned Speechless – Zhang Linhai’s Exhibition, Today Art Museum, Beijing；2006，Purple and Reminiscence Linhai Works Exhibition, Schoeni Art Gallery, Hong Kong, China；2005，Zhang Linhai, MKM Museum, Duisburg, Germany；2004， Red ears + Heaven series, Schoeni Gallery, Hong Kong, China；2002， Radiant Sunshine – The works of Zhang Linhai, Schoeni Art Gallery, Hong Kong；2000， Zhang Linhai’s Oil Painting exhibition, Stanley Art Gallery, Shanghai；1998， Zhang linhai’s Oil Painting Exhibition, Han MO Gallery, Beijing, China；1982，Zhang Linhai’s Paintings, Shexian Cultural Centers, Heibei.

关于林大艺术中心 About Linda Gallery

林大艺术中心成立于1990年，总部位于印度尼西亚雅加达，另有分部在北京和新加坡。林大艺术中心二十多年来致力于推广中国和东南亚当代艺术，并在艺术家、藏家和艺术机构之间建立具有国际视野的交流对话平台。同时，作为东南亚有影响力的当代艺术平台之一，持续不懈地将最具前瞻性及潜力的艺术家推荐给全世界的藏家及艺术机构。历年来多次和国际上知名的美术馆携手举办展览，并参加全球重要博览会，促进中国及东南亚艺术家与世界艺术舞台之间更为紧密、深广的交流。

Linda Gallery was established in 1990, with headquarters in Jakarta, Indonesia, and branch offices in Beijing and Singapore. Linda Gallery has promoted Chinese and Southeast Asian art for over 20 years, and has established an international platform of exchange for artists, collectors, and art institutions. At the same time, as one of the most influential art platforms in Southeast Asia, Linda Gallery continues to raise the profile of some of the most promising artists to esteemed collectors and art institutions. In recent years, Linda Gallery has jointly held numerous art exhibitions with famed museums and participated in many well-known art fairs within the region, drawing Chinese and Southeast Asian artists ever closer to an international dialogue.