「松」展览 | 谢南星的“明信片”系列绘画

谢南星，《明信片No. 6》，2015，布面油画， 220 x 220 cm
Xie Nanxing, Postcard No. 6, 2015, oil on canvas, 220 x 220 cm

谢南星（1970年生于重庆，现工作和居住于北京）是极具变革性的实验派画家，他总是在挑战着艺术教育中的那些传统的、看似已确立的成规。他对心理学颇有兴趣， 往往以心理学质疑的方式去质询表面背后的东西，从而达成他的艺术实践路径。

Xie Nanxing (b. 1970 in Chongqing, lives and works in Beijing, China) is a revolutionary and experimental painter, who always challenges tradition and the seemingly established rules of art education. He is interested in psychology and also approaches his practice with a psychologist’s line of questioning, inquiring into what is behind the surface.

谢南星，《明信片No. 5》，2015，布面油画，220 x 200 cm
Xie Nanxing, Postcard No. 5, 2015, oil on canvas, 220 x 200 cm

“明信片”系列涵盖11件作品，是有关“画布渗透”——艺术家将两层画布叠置在一起进行绘画，颜料从上层画布逐渐渗透下来，留有星星点点般的绘画痕迹——作为剩余物的研究。这一研究又源于艺术家更早的“三角关系逐渐移动”（2013年）系列作品——该系列讨论的是画中的画家、画中的模特，以及绘画三者之间的关系。

Xie Nanxing presents 3 paintings from his “Postcard” series which comprises eleven artworks and researches remnant materials by way of “canvas penetration.” In this series, the artist places two layers of canvas together and paints on them, allowing the paint to penetrate the upper layer to leave mottled traces of the painting on the canvas below. This research is rooted in the artist’s earlier series “Triangle Relations Gradually Changing” (2013), which explores the relationships in painting between the painter, model and painting.

“明信片”系列（2015年）则进一步将其和美协的风景写生计划进行关联并对这种形式主义、对风景的角色认定，任务的放弃和掩盖，沮丧的结局和一无所获进行情节式的探索。这个系列中艺术家对“画布渗透”技法——关于绘画渗透以及剩余物作为绘画的痕迹和最小单位，在视觉观看的游戏里对于信息缺损的想象对绘画的“污渍”理论的启示展开的复杂多向的研究。

The “Postcard” series (2015) continues to draw connections to the China Artists Association landscape painting project, further exploring this formalist definition of the landscape through a storyline of the abandonment and concealment of a task, a disheartening ending, and a fruitless effort. In this series, the artist’s “canvas penetration” technique treats the excess traces of seeping paint as the smallest unit in a multifaceted research on the imagination of the absence of information in visual games, and insights drawn from theories of “staining” in painting.

1999年第48届威尼斯双年展展览现场
Exhibition view of 48thVenice Biennale, 1998, Venice, Italy

1998 年之前以年轻人的身体和生活状态为刻画内容的作品往往被归纳在一种“青春残酷”的命名之下。尽管艺术家同意其作品中所刻意为之的戏剧性与悲剧感有关，但始终不认同将青春与残酷联系在一起是自己的本意 。“ 其实 ‘ 青春残酷 ’ 也只是批评家提出来的， 这么快就被归类了， 对艺术家来说确实比较冤枉。我最早开始画这种东西，与观众的参与和交流是有关系的，我当时想能不能画出一种特别让观众难受的画来， 让人打心眼里难受 ， 从而受到震动 。” 

——节选自卢迎华：《斑点、尘埃、 效果图、皮卡比亚、“破案笔记”、 味道、光、 声音及其他 ——谢南星的创作 》

Before 1998, young people’s bodies and scenes of their daily lives were often grouped under the ‘Youth Cruelty Painting’ moniker. Although the artist agrees that the purpose of the works is related to drama and tragedy, he never agreed that his intention was to link youth and cruelty. “Actually ‘Youth Cruelty Painting’ is just something put forward by the critics. To be so quickly lumped together like this is actually pretty unfair to the artists. When I first started to paint this kind of thing, I wanted to communicate and participate with the viewer. I wanted to see if I could paint something that made the viewer feel uncomfortable, upset psychologically, and shaken.”

Carol Yinghua Lu, “Spots, Dust, Renderings, Picabia, Case notes, Flavor, Light, Sound, and More—Xie Nanxing’s Creations”

谢南星，《无题No. 4》， 2003，布面油画，150 x 360 cm
Xie Nanxing, untitled No. 4, 2003, oil on canvas, 150 x 360 cm

2000 年后，艺术家专注于将液体、炉灶上的火焰、墙面上的光斑、走廊的尽头、吊灯等作为刻画的对象，尝试从中找到一种与戏剧化，心理体验有关的基本对象。从这个阶段开始，谢南星实际上已经开始设计“逃离绘画”，或者更确切地说“逃离图像”的路线了。

From 2000, the artist focused on liquids, the flame on a stove, a bit of light cast onto the wall, the end of a corridor, chandeliers etc. as depicted objects to try to find some kind of basic objects that connect with dramatic psychological experience. From this stage onwards, Xie Nanxing had actually already begun to plot his course to ‘escape from painting’ or more perhaps more accurately: ‘escape from the image’.

谢南星，《无题 (No. 1)》, 2006，布面油画，220 x 385 cm
Xie Nanxing, untitled (No. 1), 2006, oil on canvas, 220 x 385 cm

2007年第十二届卡塞尔文献展展览现场

Exhibition view of 2007 Kassel Ducumenta12, Germany

谢南星是关注实事的，但是在他的作品中却从来没有实事的影子，他的图像或是生活的局部、电视的反射，或是不可能存在的视觉环境，或是那些模糊不清的完全被遮蔽的图景。

煤气炉的火焰、电视的银屏、怀孕的男性、血痕、眼镜、虚化、抽象的画面，这些仿佛能构成一种语境，或是隐喻！我不得不怀疑谢南星是否在不断将他所关心的问题转换成作品中的某种线索。

——李振华：《止于二零零五 谢南星》

Xie Nanxing is concerned about reality, but this has no influence on his works; his images are living components, a reflection of TV, a visual environment that may not survive or those dim, unclear, completely shielded images.

Flames from a gas cooker, the TV’s silver screen, pregnant males, blood stains, glasses, vanity, abstract pictures: these seemingly build up a context, or a metaphor! I have to doubt whether Xie Nanxing isn’t constantly leaving clues to express his issues of concern through the creation of his works.

Li Zhenhua, “2005—Xie Nanxing”

《无题》系列

谢南星，《无题No. 2》， 2009，布面炭，油画，220 x 325 cm
Xie Nanxing, untitled No. 2, 2009, charcoal and oil on canvas, 220 x 325 cm

《无题(No. 1)(2009)和《无题(No. 3)》(2009) 将《白雪公主和七个小矮人》的童话绘制成了一个试图勾勒出一起凶案现场原貌的“破案笔记”，用世俗化的指称和带着戏虐、调侃和诅咒的语言，由实线、虚线连接起的貌似合理的关系网来构成对于这个经典童话故事的重新表述。而其中《无题(No.2)》(2009)首次局部运用了在画布上的画布作画的方法，在画布的中央放置一块尺寸接近画面面积一半的画布，在上面画了白雪公主和小矮人之后，将画布拿走，只有溢出画布的图像局部和渗透下来的依稀还可以辨别出图像原貌的斑驳，与艺术家围绕中央画面四周写下的文字:“她”(用箭头指向了白雪公主)、“养女与第二次奇迹”、“注意:多种乐器的区别”等，构成了画面的整 体。这些貌似有关、欲言又止、暧昧而含糊的文字意不在于提供理解作品中所要讲述的故事的通道，而在于截断更多的联想，把我们的注意力引向了绘画本身。

——节选自卢迎华：《斑点、尘埃、 效果图、皮卡比亚、“破案笔记”、 味道、光、 声音及其他 ——谢南星的创作 》

untitled (No. 1) (2009) and untitled (No. 3)  (2009), take the fairy tale of Snow White and sketch an outline for a murder scene’s original case notes. He uses nicknames, casual banter, humor, and profanity along with solid and dotted lines to connect a web of reasonable connections that reinvent the classic children’s fairy tale. untitled (No. 2) (2009) is the first time he used the method of painting onto the canvas over another canvas. In the center of the first canvas, he placed another canvas roughly half its size. He painted Snow White and the Seven Dwarves and then removed the smaller canvas. Only that which went outside the edges of the smaller canvas or penetrated through it identifies the remaining traces of the original image. This, along with the words written around the center: “Her” (with an arrow pointing to Snow White), “Adopted Daughter and Second Miracle”, “Note: the differences between different kinds of musical instruments” etc., form the body of the picture. These symbols seem related but stop before they tell too much, as the vague text is not intended to explain the story of what is happening. It is instead intended to prevent too detailed of an investigation into the narrative, thus channeling our imagination towards the actual painting itself.

Carol Yinghua Lu, “Spots, Dust, Renderings, Picabia, Case notes, Flavor, Light, Sound, and More—Xie Nanxing’s Creations”

《三角关系逐渐移动》系列和《肖像》系列

这个系列作品源自一次偶然阅读到“The Artist”这幅画，一次看画的误读和最终回到正剧的荒诞性。“Triangle”共用了5张画讨论了画家－模特儿－绘画之间的’’真实性’’的认识问题，当我看到“The Artist”这张画时并没有看到题目，这反而让我凝视画面，我看到了“Freud”被一个女裸体模特儿紧抱大腿，他犹豫地回头看她，画家将握笔的姿势凝固在空中，而画笔和未完成的画并不在他触手可及的身旁，那张画架上的未完的女模特儿画像好像有意识地远离了画家。这完全可以认为是模特儿布下的陷阱。为什么这么戏剧性？我发现这应该是讨论“真实性”问题，那个挽留画家的女人“希望”他回头观察’’她’’的真实性存在，而不让他只关注绘画里的“真实性”，我觉得这幅观念性绘画非常叙事化地告知了Freud有意在晚年生涯的哲学思考。我个人谨慎地将这个阅读理解为画家－参照物－表达参照物之间永恒的命题，在“Triangle”No.1，No.2，No.3，No.4我将这三者关系分为三个角色来表演这场绘画观念，而当我在完成No.5 的时候我发现“The Artist”这张画的题目并非我所想象，我完全误读了Freud本来的意图，最终我以他本来所想将这张画表现为画家酷爱的主题——异性宠爱。

The painting series Triangle Relations Gradually Changing Series (2013) was first inspired by my random encounter with Lucian Freud’s The Artist Surprised by a Naked Admirer (2005) as a reproduced image in a publication. While I had initially misread Freud’s intent behind the painting, during the process of making the Triangle series, I gradually approached a true perception of it.

Triangle consists of five paintings that explore issues of truthfulness between the painter, the model, and the painting. When I first saw The Artist, I did not notice its title; this allowed me to concentrate on the picture plane itself. I saw that Freud depicted himself hugging a naked female model by her legs; he was turned towards her, looking at her reluctantly, while his one arm was raised in air with a paintbrush in hand. Next the painter, an unfinished painting, sitting on an easel, was located at an unreachable distance from the painter. This unfinished painting portrayed the female model who seemed to be deliberately distancing herself from the painter. To me, this scene can be understood as a trap conspired by the model herself. What is the reason behind this drama? I realized that it was a matter of truthfulness—that the model holds the painter’s attention; she wishes that he observes her physical existence, instead of the reality of her as portrayed in his painting. I think this conceptual painting skillfully uses narrative to express Freud’s philosophical thinking in his later years. I personally understand the painting as addressing the classical relationship between painter-object-depiction. In Triangle No.1, No.2, No.3, and No.4, I explored this triangular relationship by assigning each party with a specific role. By the time I finished No.5, I realized that the true meaning of The Artist was different from what I had initially understood; I had completely misunderstood Freud’s intentions. I dedicated No.5 to Freud’s original idea of commenting on the painter’s adoration of the opposite sex.

谢南星，《肖像 No. 1》，2012，布面油画， 120 x 160 cm
Xie Nanxing, Portrait No. 1, 2012, oil on canvas, 120 x 160 cm

他对人物的刻画不同于惯常的描绘人物容貌的方式，而是通过一则故事、构图或者色彩来塑造人物性格。

He reconsidered the traditional portrait genre, depicting people not as it is usually done, by painting their appearance, but by illustrating their personality through a story, the composition, or through color.

谢南星个展“无题三种”麦勒画廊北京展览现场，2015
Exhibition view of Xie Nanxing’s solo exhibition “untitled: 3×” at Galerie Urs Meile Beijing, 2015

谢南星回避了任何描述性的，也许能给我们指明方向的标题。他宣称标题是无意义的，“因为我已经在我的作品里清楚地表达了我自己。” 换言之，当谈论他的绘画到底在探讨什么时，他唯一会提及的便是这些作品本身 。这一点凸显了作品的物质存在 。然而，与其他所有会把赋予意义的权力留给画作本身的画家相比，谢南星的作品异常的无趣。我之前几次提到过具象与抽象之间那模糊的张力，但是这里我们要面对一种新的不确定性，一种更复杂的不确定性。这些作品显示出了艺术创作的绘画性模式和概念性模式之间的暧昧关系。

——鲁斯·诺克：《态度与自律——关于谢南星的绘画伦理》

That Xie Nanxing shuns descriptive titles might provide us with a path forward. The artist claims that titles would be meaningless, “because I have expressed myself clearly through my paintings.” In other words, where his paintings are concerned, the only reference he admits to the paintings themselves. This underlines their material existence. However, in comparison to other painters who would similarly relegate all power of making meaning to the work itself, Xie Nanxing’s paintings are strangely dry. I’ve mentioned the equivocal tension between figuration and abstraction several times, but here we are confronted with a new indeterminacy, one even more complex: the paintings show an ambiguity between the painterly and the conceptual modes of artistic practice.

Ruth Noack,“Attitude and Discipline–Notes onXie Nanxing’s Painterly Ethics” 

《香料》系列

谢南星UCCA尤伦斯当代艺术中心个展“香料”展览现场，北京，2018
Exhibition view of Xie Nanxing’s solo exhibition “Spices” at UCCA Center for Contemporary Art, Beijing, China, 2018

谢南星，《香料 (No. 1)》, 2016，布面油画，220 x 300 cm
Xie Nanxing, Spices (No. 1), 2016, oil on canvas, 220 x 300 cm

在这些作品中，诸多的西方艺术史中的常见题材及典故、绘画大师笔法和经典构图形式被信手拈来，隐晦或模糊地引入画面；于是，启蒙的涵义被置于近几十年中国当代绘画界急速发展的语境中，表现为在迥异视觉历史语境之间摇摆的、真实而复杂的状态。此次展览不是一次梳理或辩解，更像一场恰逢其时的正名——艺术家将自己对西方古典传统执拗的“误读”与哥伦布将美洲树皮误认为印度香料视为对照。

In these works, common tropes and references from Western art history and techniques developed by old masters are deftly handled, obliquely or ambiguously brought onto the canvas. The enlightenment narrative that has undergirded contemporary painting in China throughout the past several decades of rapid development is expressed here as the confusion and complexity that lies between two vastly different visual and historical contexts. This exhibition is less a summary or an argument than a timely corrective: Xie Nanxing views his own stubborn “misreadings” of the Western classical tradition in the same vein as Columbus mistaking the tree bark he found in the Americas for Indian spices.

 关于艺术家 

谢南星，1970年生于重庆，现生活和工作在北京。谢南星是极具变革心的实验派画家，他总是在挑战着艺术教育中的那些传统的、看似已确立的成规。他对心理学颇有兴 趣， 往往以心理学质疑的方式去质询表面背后的东西，从而达成他的艺术实践路径。主要个展包括：Xie Nanxing: A Gift Like Kung Pao Chicken，Thomas Dane Gallery，英国伦敦 (2019)；谢南星：香料，尤伦斯当代艺术中心 (UCCA)，中国北京（2018）；无题三种， 麦勒画廊 北京-卢森，中国北京（2015）；谢南星绘画展，Kunstverein Hamburger Bahnhof，德国汉堡（2005）；绘画1999–2002，曼彻斯特画廊，英国曼彻斯特（2003）。重要群展包括：中国私语 Chinese Whispers - Recent Art from the Sigg Collection，MAK Museum für Angewandte Kunst，奥地利维也纳（2019）；PARADOXA，Museo d’Arte Moderna e Contemporanea - Casa Cavazzini，意大利乌迪内（2017）；永远的抽象——消逝 的整体与一种现代形式的显现，红砖美术馆，中国北京（2016）；第三届南京国际美术 展——“HISTORICODE：萧条与供给”， 百家湖美术馆，中国南京（2016）；单行道: 李文栋|魏兴业收藏展，OCAT西安馆，中国西安（2016）；新资本论——黄予收藏展（2007–2016），成都当代美术馆，中国成都（2016）; 非形象——叙事的运动，上海二十一世纪民生美术馆，中国上海（2015）；China 8，埃森弗柯望博物馆，杜伊斯堡勒姆布鲁克博物馆，盖尔森基兴美术馆，马尔市格拉斯卡腾雕塑博物馆，哈根 Osthaus美术馆， 雷克林豪森Kunsthalle，NRW Forum Düsseldorf，德国（2015）；新作展#1，OCT当代艺术中心（OCAT），中国深圳（2014）；第十二届卡塞尔文献展，德国卡塞尔（2007）；上海双年展，上海美术馆，中国上海（2000）；d’APERTutto， 第48届威尼斯双年展，意大利威尼斯（1999）。

Xie Nanxing was born in 1970 in Chongqing, Sichuan Province. He currently lives and works in Beijing,China. Xie Nanxing is a revolutionary and experimental painter, who always challenges tradition and the seemingly established rules of art education. He is interested in psychology and also approaches his practice with a psychologist’s line of questioning, inquiring into what is behind the surface. The artist’s selected solo exhibitions include: Xie Nanxing: A Gift Like Kung Pao Chicken, Thomas Dane Gallery, London, UK, 2019; Xie Nanxing: Spices, Ullens Center for Contemporary Art, Beijing, China, 2018; untitled: 3 ×, Galerie Urs Meile, Beijing, China, 2015; Xie Nanxing Paintings, Kunstverein Hamburger Bahnhof, Hamburg, Germany, 2005; Xie Nanxing. Paintings 1999-2002, Manchester Art Gallery, Manchester, UK, 2003. His selected group exhibitions include: Chinese Whispers 中国私语 - Recent Art from the Sigg Collection, MAK Museum für Angewandte Kunst, Vienna, Austria, 2019; PARADOXA, Museo d’Arte Moderna e Contemporanea - Casa Cavazzini, Udine, Italy, 2017; Permanent Abstraction: Epiphanies of a Modern Form in Escaped Totalities, Red Brick Art Museum, Beijing, China, 2016; The 3rd Nanjing International Art Festival – “HISTORICODE: Scarcity & Supply”, Baijia Lake Museum, Nanjing, China, 2016; Each to His Own: Li Wendong, Wei Xingye Collection Exhibition, OCAT Xi’an, Xi’an, China, 2016; New Capital Huang Yu Collection Exhibition (2007–2016), Museum of Contemporary Art Chengdu, Chengdu, China, 2016; Nonfigurative, Shanghai 21st Century Minsheng Art Museum, Shanghai, China, 2015; China 8, Museum Folkwang Essen, Lehmbruck Museum Duisburg, Kunstmuseum Gelsenkirchen, Skulpturenmuseum Glaskasten Marl, Osthaus Museum Hagen, Kunsthalle Recklinghausen, NRW Forum Düsseldorf, Germany, 2015; New Works #1, OCT Contemporary Art Terminal (OCAT), Shenzhen, China, 2014; Documenta XII, Kassel, Germany, 2007; Shanghai Biennial, Shanghai Art Museum, Shanghai, China, 2000; d’APERTutto, Venice Biennial, 48th International Art Exhibition of the City of Venice, Italy, 1999.

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