TAG策展人说 | 林喬熙：无限变化的维度
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目前，西海美术馆正在展出青岛籍知名艺术家隋建国大型个展“跬步与徘徊：隋建国 1974-2024”。定位于当代艺术的西海美术馆植根青岛当地的文化环境，自开馆以来便关注在地性。此次展览是西海美术馆关注青岛籍艺术家项目的首场展览，在艺术家隋建国的家乡青岛呈现其从1974-2024年50年间的成长经历和发展轨迹，以本次大型的艺术家个案研究展示中国现当代雕塑艺术发展历史。策展人林喬熙（Joe Martin Lin-Hill）认为：“正如他几十年来呈现给我们的，在材料、尺度、色彩、质感、气质、主题和情感效果上的极度丰富与多样，隋建国作为艺术家的自我维度也从未停止过更新和生长，始终朝向不断变化的时代与环境敞开。不同的角色引领他走过不同的时代——一度是受到社会事件深刻影响的年轻教师、见证者和记录人，一度是思考和探究雕塑与存在、与人类经验关系的哲学沉思者。”
以下为策展人林喬熙（Joe Martin Lin-Hill）的前言全文
隋建国的五十年回顾展，以“无限变化的维度”为其英文标题，展现了一位不懈的艺术探索者和研究者的长期工作；他是一位善于运用和操控多种材料的高手，始终处于探索新材料的前沿；他是对中国历史文化怀有深深敬意的崇拜者；是一位关注当下现实、富于社会责任感的观察者和记录者；是一位深受学生喜爱的敬业教师；是一位深刻的思想者，专注于思考雕塑的本体论及其表现可能性；是一位在精神、伦理和日常实践中展现人文关怀的宽厚长者；也是一位来自青岛的普通人，但包括我在内的一些人将他视为我们这个时代伟大的艺术家之一。隋建国身兼多重身份，可能还有更多。他不竭的艺术动力正源于这些重叠的身份，为其复杂的共振和对话所激发。正如他几十年来呈现给我们的，在材料、尺度、色彩、质感、气质、主题和情感效果上的极度丰富与多样，隋建国作为艺术家的自我维度也从未停止过更新和生长，始终朝向不断变化的时代与环境敞开。不同的角色引领他走过不同的时代——一度是受到社会事件深刻影响的年轻教师、见证者和记录人，一度是思考和探究雕塑与存在、与人类经验关系的哲学沉思者。
正是由于隋建国在贯穿他职业生涯的种种身份之间保持了非凡和智慧的平衡，将艺术转化为日常生活的一部分，造就了他那些极为多元且精采、严谨而持续、感人至深和独一无二的创作。隋建国的艺术生涯中不乏经得起时间考验的标志性杰作——这些作品往往深刻并清晰地见证了它们的创作时刻和集体经验。我想到的有《地罣》（1992-94）、《衣钵》（1997-2005），以及接下来展出的《中国制造》标志系列作品（2004-08）。"
时间，像隋建国作品中的大多数线索一样，在艺术家的早期创作中即已闪现。但从2006年开始，它成为了最重要的主题之一。此后，隋建国的创作逐渐同当下的具体物事保持了一定距离，更多专注于自身对时间流逝的感知与思考。我们在展览中可以看到，从五彩玻璃钢“中山装”等令人联想到中国经济飞速发展时刻的、即时反应现实的作品，隋建国转向了每日重复且日常的仪式，如每天蘸取蓝色颜料一次（《时间的形状》，2006年至今）、每年在一个持续性目中添加一座钢铁立方体（《偏离17.5度》，2007年至今），或是随当天的身体与情绪状况、秉持着对偶然性信赖而信手捏制一小块粘土（《长桌》，2008年至今）。
隋建国，《偏离17.5度》沙盘模型
3D打印与微喷地图，2024年
四号展厅《时间的形状》，作品视频动图，2006 - 至今
“跬步与徘徊：隋建国 1974-2024”
四号展厅《时间的形状》展览现场
时间推动着这些雕塑作品的序列向前发展，并最终给它们画上一个句号；因此，它们在当下的维度依然保持着可以“无限变化”的状态。随着隋建国转向这些持续性项目的实践，时间的逻辑开始主宰并决定了其他具体事物的维度标准（高、宽、长）。正是因为艺术家的生命充满无限变化的，他所创造的作品也必须能够随同生命而演变不息。
“跬步与徘徊：隋建国 1974-2024”
五号展厅（悬厅）《长桌》展览现场
随着雕塑空间与时间在隋建国的艺术实践中愈发紧密地交织在一起，理解他创作的维度也随之增加。2008年，隋蒙住双眼，迫使自己从严谨训练留下的塑造习惯中解放出来，开始了“盲人肖像”系列；在材料的生命力与自己双手的相互激发中，他获得了新的洞察，更深刻地理解了雕塑的本质。成千上万次的重复动作，握、挤、捏，每一次都与材料在偶然的前提下合作，形成了独特的雕塑原型，这些作品在《长桌》上与《盲人肖像》原型并列，时间的推移使得桌子的长度得以不断延伸，艺术家探索原初雕塑行为的仪式也由此不断扩展下去。
“跬步与徘徊：隋建国 1974-2024”
五号展厅（悬厅）《盲人肖像》展览现场
这种简单创造行为的不断重复，随时间流逝，逐渐呈现出一种超越时间的特质。手掌心承托的那个“虚空”，作为泥土原型的起源之处，令隋建国为之着迷；空与缺席遂成为让理解与显现成为可能的关键前提。隋从“长桌”上选择泥塑原型，经过逐步提升的3D扫描与打印技术，将它们转化为树脂、铝、不锈钢、青铜与大理石等不同材质的完美雕塑，让艺术家的一握所打开的那个“可见虚空”呈现为精确忠实的、关于掌纹与指纹的生命图样。这些雕塑是时间独一无二的快照，每一件都仿佛在对我们讲述这些作品更深层的意义。在成千上万的模型中，选择哪些进行放大，并转化为更精细的雕塑，这对隋来说并不那么重要。选择最恰当的材料，将这些具体的形态以最高的精确度呈现出来，让“虚空”及其踪迹纤毫毕现，才是至关重要的。
正如无尽重复可以超越时间。隋建国作品中那些无限的变化和极度的丰富，超越了他自己掌纹和指纹的个别和具体性。他创造的雕塑原型和放大的作品不仅仅指向那个作为雕塑源头的“虚空”，更是每个人内在创造潜能的象征，以及对我们共同人性的昭示。隋的工作不仅仅为我们带来了一批卓越的艺术作品，更揭示给我们关于自身的世间存在之秘密及其蕴含的可能性。正如隋在本展最后一个展厅写下的话：“每个人都是自己生命形式的创造者”——这是艺术家对我们无限变化的未来所给出的，简单而深刻的领悟。Sui Jianguo’s fifty-year retrospective, Dimensions Indefinitely Variable in English, presents the work of a tireless searcher and researcher; a master manipulator of diverse materials consistently at the forefront of technological development; an appreciative acolyte of China’s rich cultural history; an engaged observer and artistic documentarian of contemporary society; a committed and beloved teacher of generations of students; a profound thinker who probes the expressive possibilities and ontology of sculpture; a generous humanist in spirit, ethic, and daily practice; a common man from Qingdao who some, including myself, regard as one of the great artists of our times.Sui is all these people and likely many more. His artistic output flows from these overlapping identities in productive internal dialogue. Like the variability in materials, scale, color, texture, tone, themes, and emotional affect across the artist’s decades of work, Sui’s own dimensions of self are variable, ever appropriate for the changing time and circumstance. Different personas led his journey through different passages – here the young teacher and documentarian profoundly moved by contemporary events, there the philosophical thinker grappling with sculptural form and its relation to human experience. It is the unique balance of Sui’s subtly evolving identities over the course of his career, lived daily through his life in art, that has produced an oeuvre of fascinating diversity, relentless rigor, affecting impact, and singular importance. His career is punctuated by the creation of several iconic masterpieces that will stand the test of time – specifically because they are such trenchant, legible testaments to collective experience and the moment of their creation. I am thinking of Earthly Forces (1992-94), Legacy Mantle (1997-2005), and the Made in China logo works (2004-08) that populate the initial exhibition galleries ahead.Time, like most threads in Sui’s oeuvre, finds its thematic origin in the artist’s early work, but it becomes a principal theme from 2006. Sui’s works thereafter gradually become less reflective of their own time of production and more focused on Sui’s own registration of time’s passing. We move away from the timeliness of candy-colored, fiberglass “Mao jacket” multiples during an unprecedented boomtime for the Chinese economy and towards the ritual of dipping a wire in paint day after day (The Shape of Time, 2006-present), annually adding a steel block to a lifelong project (17.5 Degrees (True Deviation), 2007-present), or simply squeezing another small lump of clay according to that day’s random rules of engagement (Long Table, 2008-present). Time drives the logic of these sculptural works forward and demarcates their eventual end; as such, their present dimensions remain “indefinitely variable.” Indeed, with Sui’s turn towards durational work, time’s logic begins to preside over other “standard” dimensions (h, w, l), as well, since these must also remain variable until the indefinite expanse of Sui’s life comes to its end. As time and sculptural space become increasingly intertwined in Sui’s artistic practice, additional dimensions of understanding follow. Sui works blindfolded in 2008 to liberate himself from his meticulous training and the Blind Portraits begin; he gains renewed insight into the lifeforce of materials in relationship to his hand and a deeper understanding of the essence of his sculptural work. Thousands of grips, squeezes, and pinches of clay – each one a unique sculptural model made in chance collaboration with the medium – follow the Blind Portrait models on the Long Table as the passage of time extends the table’s length to accommodate the ritualistic accrual of Sui’s primal investigations.Repetition of this simple creative act over such an extended period eventually approaches a quality of timelessness. The void within Sui’s palm, site of the small clay models’ origin, fascinates the artist; emptiness and absence emerge as entities critical to understand and make visible. Exquisite sculptures in resin, aluminum, stainless steel, bronze, and marble emerge from tiny forms selected from the Long Table, enlarged by successively improved 3D scanning and printing technologies that achieve ever higher degrees of topographical precision in the void-made-visible by the palmprints and fingerprints of Sui’s grasp. These sculptures are unique snapshots in time, each aspiring to communicate the deeper meaning of this body of work. It is of little importance which among the thousands Sui selects for enlargement and translation into more refined sculptures that again and again demonstrate this primal grasp of sculpture’s origin. But rendering each specific form in the appropriate medium with the highest degree of topographical precision is paramount.As repetition moves toward timelessness, so the infinite variation in Sui’s surface topographies supersedes the specificity of his own individual handprints. The sculptures and their enlargements become signifiers not simply of sculpture’s origin from the void, but of the creative potential naturally within each one of us and reminders of our common humanity. Sui’s work in this vein is not just another masterpiece series in the making – as future generations will recognize – but a model of being alive and engaged in the world. As Sui says in the last gallery of his retrospective, ‘Everyone is the Creator of Their Own Life Form’—a simple but profound insight for each of us in the indefinitely variable future.策展人介绍
摄影：黄少丽 晁启轩 徐贝蒂
?西海美术馆
开放时间
周二至周日 9:30-17:00
（16:30停止入场）
点击??二维码 即刻购票
单人单场门票 100元/张
有效期截至2025.2.28
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