新氧艺O2art｜陈督兮个展「谷响」策展文章及展览现场
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陈督兮个展「谷响」展览现场
(注：策展人用较暗灯光和现场天光变化相结合，形成了观看作品的不同观感)
陈督兮个展「谷响」于2024年04月21日在新氧艺O2art 798空间开幕，展览将持续至2024年05月20日，欢迎大家前来观展。The Chen Duxi's solo exhibition "Rumbling Valley" has opened on April 21, 2024 at the O2art 798 space, The exhibition will last until May 20, 2024. Welcome to visit the exhibition.陈督兮绘画了植物与动物，比如蝴蝶兰、牛角河豚或甲虫。它们体量不庞大，古老，冷血。按照他的话来说，在绘画这些事物时，他头脑中想着春天发芽的谷物种子。芽竭力冲破土壤，发出呐喊。那是生命的奋发之声。他听来，震耳欲聋，风驰电掣，像一千口大钟在互相撞击。现在，那声响被充耳不闻，人们判定它微弱。督兮要唤醒发芽的一瞬的洪亮。他选取人类诞生之前已存在于世的物种，再将它们誊写在薄薄的绢本上。对于督兮而言，它们并不像一株搁在阳台上的摆件那样，是一个生活事实；也不是谷歌页面上一组涵盖物种体型特征和生命现象信息之总和。他看见的是他能看见的那一刻。那一刻并不是总向他显现。人们看见的东西是他们想看见的东西，是他们所意欲的东西。饿极了，需要食物，眼里就“只能看到”食物或者暗示着储藏食物的信号。“只能看到”意味着筛选掉了本来其他能看见的东西。这样一来，本来广阔而丰富的世界，与意欲者分离了。督兮只有在不是一位意欲者的时刻，才能看见他要画的物象。这意味着，他没有理由与他绘制的对象分离。浑厚的笔触勾勒着物的外形。《尔躬-紫色郁金香》（2023）中，花瓣包裹在粗的轮廓线内——工笔画“勾总筋”的技法，被他夸张使用，构成画面顿挫分明的节奏。轮廓线让人联想想起隋唐敦煌壁画对带状形式的使用。像两只手，线条捧起它内部的色彩、经络与毛刺，让它们不分崩离析。轮廓线激活了类似抚摸的触觉感官。绘画中，陈督兮一直在抚摸着什么。过分艳丽的花瓣，亮黄色的蕊像牙，露出来，他也抚摸。这抚摸是贪婪的，也是淫秽的，像竭力把自然创制的万千奥妙看个清楚的那类贪婪与淫秽。但只有旁观者才会质问他的贪婪与淫秽。因为他与他的绘画交合，没空理会这些叫人羞耻的、道德说教的字眼。吸引和接纳的过程中，欲望被淡忘，更不要提快乐不快乐。他画了一只铅笔海胆（《尔躬-海胆#3》，2024）。海胆的刺瘤散落，中间留下如工业零件般精巧的核。核缓慢地堕入画面中心的远方，刺瘤漂向观者。浮沉间，生命体几乎是不可及的：它飞散出的陌生的气息。事实上，这绘画参考的对象是化石，或者说，是逝去生物的痕迹。这说明，艺术家并不忌讳陌生的、甚至死的气息。《尔躬-睡莲》（2023）是一件富挑战性的作品。莲花的意象被赋予太多意义，以至于常被视作庸俗，中国的语境中尤甚。虽然致力于区别旧有印象，陈督兮并未使用主观化画面颜色的办法，让这朵花有所不同。他将绿叶处理得极度平面和装饰化，水纹涟漪——他曾一度将水作为工作主要攻克的对象——也近似于写意的口吻。局部的淡薄沉静衬托着红花，以及火舌般妖娆扭动的花蕊。画面整体视觉结构平衡，又呈现出情绪上的戏剧冲突。凭借于此，督兮抽离莲花积淀的象征意义，将它还原为向他显现的纯粹影像。美与丑，妖媚与高洁，活力与死灭，甚至善恶，都是事物的一些部分和一些状态，如果以其中的一部分去躲避它的另一部分，事物就不再完整。陈督兮绘画植物与动物，包罗它们矛盾的质素。眼睛看不见的东西，耳朵听不见的东西，或者说，人不对其有所渴求的东西，他也不曾放弃描画。整全地描绘生命，生命就不会沉默下去。 Chen Duxi paints plants and animals, including Phalaenopsis aphrodite, longhorn cowfish, and beetle. They are small, ancient, and cold-blooded. He claims that he thought about grain seeds budding in the spring as he painted these things. The buds struggle to break through the soil and yell. That is the sound of life's ambitious actions. To him, the sound is deafening in quick succession, like a thousand huge bells colliding with each other.
Nowadays, people turn a deaf ear to that sound and judge it weak. Duxi wants to reawaken the loudness at the moment of budding. He selected species that existed before humans and copied them onto thin silk scrolls. For Duxi, these things are not facts about everyday life like a display item on your balcony; neither are these the sum of all information you see after a Google search, like a species' appearances and biological facts. He saw the moment that his eyes opened. That moment did not always come to him. People see what they want to see, the things they desire. A famished person needs food and "only sees" food or signals that hint at food. "Only seeing" one thing means filtering out all the other things that could have been seen. In this way, the hitherto vast and rich world becomes detached from those who desire.Duxi only sees the objects he wants to paint when he no longer desires. This means that he has no reason to be detached from the objects he paints. The thick brushstrokes outline the shape of the object. In "The Order of Body: Purple Tulip" (2023), the petals are wrapped in thick outlines. He copiously uses technique of "outlining the main vein" as used in fine brushwork to create distinct rhythms. His contour lines are reminiscent of the ribbon-like forms in the Dunhuang murals created in the Sui and Tang dynasties. As if using two hands, the lines hold up the colors, veins, and burrs inside, keeping them together so they will not fall apart. The contours activate a tactile sense similar to caressing. In his painting, Chen Duxi always caresses things, both the overly bright petals and the bright yellow, teeth-like, exposed stamens exposed. The caress is greedy and immodest, as if he was greedily trying hard to see the myriad wonders created by nature. But only bystanders would censure his greed and immodesty. Because he was having intercourse with his painting, he had no time and interest to heed these shaming, moralistic words. In attraction and admission, desire is forgotten, and happiness or unhappiness becomes inconsequential.He drew a pencil urchin ("The Order of Body: Sea Urchin #3", 2024). The sea urchin's spiky nodules are scattered, leaving behind a core as delicate as a mechanical part. The core slowly sinks into the distance at the center of the picture, and the nodules float toward the viewer. In floating and sinking, the living object is almost unreachable; it exudes a smell of unfamiliarity. In fact, the painting is based on a fossil, in other words, traces of a dead being. This shows that the artist is averse to neither the odor of alienness nor even death. "The Order of Body: Water Lily" (2023) is a piece that challenges. The lotus's image, endowed with too many conventional meanings, is often seen as vulgar, especially in the Chinese art context. While trying to set his work apart from the traditional impression, Chen Duxi does not use subjective colors to make this flower different. He renders the green leaves extremely planar and decorative, and the ripples on the water, once the main subject that his works tackled, also gets expressed like freehand. The localized light coloring and tranquility contrast with the red flowers, particularly the stamens that twist seductively like a flame tip. The picture has a balanced visual structure but also shows dramatic emotional conflicts. With this, Duxi removes the symbolic meaning of the lotus, the historical accumulation over the years, and reduces it to a pure image that appears to him. Beauty and ugliness, charm and nobility, vitality and death, and even good and evil are all partial objects and states. If one presents one part of an object to dodge the other, the object is no longer complete. Chen Duxi paints plants and animals, embracing their contradictory qualities. He never gives up depicting things that are invisible to the eyes, inaudible to the ears, or, in other words, things that people do not desire. When life is depicted holistically, life no longer remains silent.展览现场 Exhibition Site
尔躬-白色百合 The Order Of Body-White Lily200x300cm 2024
尔躬-果实 The Order Of Body-Fruit
尔躬-雪松球果 The Order Of Body-Cedar Cones
尔躬-牛?河豚 The Order Of Body-Lactoria Cornuta
尔躬-章? The Order Of Body-Octopus
尔躬-大花蕙兰 The Order Of Body- Cymbidium Hybrid
尔躬-鬃狮蜥 The Order Of Body-Bearded Dragon
尔躬-鳄雀鳝头? The Order Of Body- Atractosteus Spatula
尔躬-罂粟 The Order Of Body-Papaver Somniferum
尔躬-嘉兰 The Order Of Body-Gloriosa Superba尔躬-短刃剑??化石 The Order Of Body-Fossils Of Short Bladed Saber Toothed Tiger尔躬-芙蓉葵 The Order Of Body-Hibiscus Moscheutos
尔躬-鳐? The Order Of Body-Ray
尔躬-银杏#3 The Order Of Body-Ginkgo #3Mineral pigment on gold foil paper
新氧艺O2art艺术空间于2018年建立新空间，长期经营与代理中生代当代职业艺术家，多次推出过独立策划的群展以及艺术家个展，涉及的艺术媒介包括绘画、雕塑、装置、摄影等。目前新氧艺O2art拥有位于北京朝阳798艺术区空间。新氧艺O2art会不断跟进当代艺术家的创作与事业发展，成为构建中国当代艺术生态中不可或缺的成员。O2art was established in 2018 and has been operating and representing contemporary professional artists from the Mesozoic era for a long time. It has independently curated many group exhibitions aswell as solo exhibitions, with artworks in various media including paintings, sculptures, installations, photography and so on. Now O2art is located in 798 Art Zone. O2art will continue to follow up artists’career and creation development, and become a strong part of China’s contemporaryart community.
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