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

【美博美术馆】允许误读：马兆琳个展——物象独白

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

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

物象独白

| 文晓君

本次个展的主题是《允许误读》，以艺术家近几年创作的动物主题的作品为主。马兆琳的作品仿佛不经意涌上心头的内心感触，“就像抒情诗，关键不是文字的优美，而是情感的交融……”这种感受往往来自于艺术家内心的冲动和坚持。

马兆琳的作品没有宏大的叙事，也不谈概念，即使是大尺幅的创作，也在巨大的画面上呈现了对于具体物象的概括和成像，材料本身退隐到画面之后，庞大、孤独的气息，萦绕在作品之上。鹿、天鹅、豹子、老虎，这些或温顺或凶猛的动物，以写意的绘画语言重叠交织，或独立或交互，它们的面容无论温和还是凶猛，都不强烈。动物只是一种表象，诗意隐藏在表象之下，以符合当代人的审美需求和社会观照。

愉情似水 Gentle as water

纸本设色 Ink and color on paper

240x125cm

2021

一夜情 A night of deep feeling

纸本设色 Ink and color on paper

375x205cm

2021

德波有一个著名的观点，“在现代生产条件无所不在的社会里，生活本身展现为景观（spectacles）的庞大堆聚。直接存在的一切全都转化为一个表象（representation）。”芸芸众生，或者说观众，在少数人制造的景观中，处于无思考的全盘接收和等待接收的过程中，景观的在场是对社会本真的遮蔽，人们因为对景观的迷入丧失了对本真生活的渴望与要求。景观是一种深层的无形控制，它消解了主体的反抗和批判否定性，在景观的入迷之中，人只能单向度地默从。景观的本质是拒斥对话。

作为艺术家，马兆琳所做的是通过作品与观众对话、与世界对话，尽最大化的创造连接现实与艺术之间的那个可能性被打开与被预见的通道，在与社会现实保持同频的疼痛感和焦虑感之外，依然在试图输出更具丰富性的意识形态表达，诠释普通人看不到的更多世界。

康德认为，人的认识能力可以分为三个层次，感性、知性和理性。马兆琳用感性面对现象，用知性的逻辑来整理现象，追问本体的理性则隐藏在作品之后，是一种形而上的冲动，具有不附和潮流的优雅与诗意。她把经验寄托于视觉，站在开放的角度去分析自身的局限和潜力。艺术家在可供沉思的图景中，捕捉在物象和形态感受之间持续进行的变化，邀请观者体会有限画面之外的深远与无尽。

思想家诗人与流氓 Thinkers poets and hooligans

纸本设色 Ink and color on paper

32x27cm

2021

你的样子 What you look like

纸本设色 Ink and color on paper

40x55cm

2017

谜语 Riddles

纸本设色 Ink and color on paper

66×66cm

2020

彩虹屁 Rainbow fart

纸本设色 Ink and color on paper

97x170cm

喜舍 Sacrifice

纸本设色 Ink and color on paper

122x106cm

2020

Image Monologue

· Xiaojun

The theme of this solo exhibition is "allowing misreading", mainly based on the works of animal themes created by artists in recent years. Ma Zhaolin's works seem to inadvertently rush into the heart's feelings. "Like lyrics, thekey is not the beauty of words, but the blending of emotions." this feeling often comes from the impulsion and persistence of the artist's heart.

Ma Zhaolin's works have neither grand narration nor concept. Even the large scale creation shows the generalization and imaging of the specific objects in the hugepicture. After the material itself retreats to the picture, the huge and lonely breath lingers on the works. Deer, swans, leopards, tigers, these gentle or fierce animal animals are interwoven, or independent or interactive, with their freehand brushwork. Their faces are neither mild nor ferocious. The animal isjust a representation, with poetic concealment under the surface, which is inline with the aesthetic needs and social contemplation of the contemporary people.

赞歌 Hymn

纸本设色 Ink and color on paper

122x123cm

2020

在那遥远的地方 A far away place

纸本设色 Ink and color on paper

205x375cm

2021

Dobord has afamous point of view: "in a society where modern production conditions areubiquitous, life itself shows itself as a huge accumulation of landscapes. Everything that directly exists is transformed into a representation. "All living beings, or the audience, in the landscape created by a few people, are in the process of receiving and waiting for receiving without thinking. The presence of the landscape is a cover for the authenticity of society. People lose their desire and requirements for authentic life because of their fascination with the landscape. Landscape is a kind of deep invisible control, which dispels the subject's resistance and critical negativity. In the fog of landscape, people can only follow one-way. The essence of landscape is toreject dialogue.

As an artist, what Ma Zhaolin has done is to communicate with the audience and the world through her works to maximize the possibility of being opened and foreseenbetween reality and art. Besides the pain and anxiety of maintaining the samefrequency with the social reality, she is still trying to output more rich ideological expressions and interpret more worlds that ordinary people can't see .

Kant believed that human cognitive ability can be divided into three levels: sensibility, intellectuality and rationality. Ma Zhaolin uses sensibility to confront phenomena, uses the logic of knowledge to sort out phenomena, and inquiries about ontological rationality, which is hidden behind works. It is ametaphysical impulse, with grace and poetry which do not follow the trend. Sheputs her experience in vision and analyzes her limitations and potentials froman open perspective. In the contemplative picture, the artist captures the continuous changes between images and form feelings, and invites visitors to experience the profound and endless beyond the limited picture.