文/ 陈珍福 Chen zhenfu
'It is sometimes so in life that we cannot muster up enough energy to speak to anyone of our anger!
Sitting on the sofa waiting for boiling water to make tea, under the lamplight, the place was very quiet. I recalled the idea that suddenly flashed when I took a shower just now, but it was still lingering around me. It was already two o 'clock in the morning, so we started to understand Lin Xuhui's art journey.
美院毕业的他,投入加工厂制作自己设计的铸蜡生产事业,这个老板和工人一起兢兢业业地奋斗着, 生意运转和锅炉房里一样热火朝天。吓死人了,锅炉可能随时会爆炸!故事总是这样的,开头难,后来成功了,又有太多感叹,叹息商海如战场,炎凉世态!可是曲折的内容总是从放弃和再选择才开始的。这一天,他像锅炉一样暴躁;那一天,他已经只身去了北京,投入他最坚定的艺术梦。是的,路上他的心一定在滴血,是个人活着,背后都有羁绊!我们也深知简约文字描述,无法替代一个人赤裸肉搏背后的孤独, 还有寻找灵魂的那份荣耀感。
He graduated from the Academy of Fine arts, put into the processing plant to make their own design of wax production business, the boss and workers together conscientious and conscientious struggle, business operation and boiler room as in full swing. I'm so scared! The boiler could explode at any moment! The story is always like this, difficult at the beginning, and then successful, there are too many sigh, sigh shang Hai such as battlefield, sordid world! But twists and turns of the content is always to give up and choose again just began. One day he was as fiery as a boiler; That day, he had gone to Beijing alone, into his most determined art dream. Yes, his heart must be bleeding on the road, is a person alive, there are fetters behind! We also know that simple text descriptions cannot replace the loneliness behind a man's naked hand-to-hand fight, and the glory of searching for his soul.
In the secret chamber of his work, as in the days when he had made his moulds, the flow and solidification of the candle fluid must have revealed to him the fate of the floating grass and the power of the strikers? He thinks human life is fragile! In contemplation... Instead, the picture freezes over the paint stacked in his work, the greasy, sticky substance that exudes an elusive death, filling our minds with Francis Bacon-style vampires clamoring; The white sofa constantly exhales a sense of ghastly suffocation, and a nervous and gaunt figure sits down and looks at all the audience, continuously, facing who is it? At this moment, our "story" is inspired by the "painterly" atmosphere created by the pictures. The sofa is not so much the absence of the host as the role of its incarnation, with the ruthlessness of the air, refusing to sit down.
As for the sofa installation landscape, it touches on the topic of viewing mechanism to some extent. We can still remember the silent moment of staring at each other in Abramovich's performance works, in which you and I become the relationship itself and mirror each other.
林旭辉 |《降临-教皇》NO.02 | 2021 | 布面综合材料 168(H)X90(W)X82(L)cm
是的,人们将在他的图像语言的阅读过程中找 到关于自我意识的投射。除了他自己努力寻找链接 那传统与当下艺术史逻辑隐秘的线,此次借机通过展览向大家提出新的社会参与感。他接受不了关于后现代主义盛行之下各种蒙太奇式的“后制品”(尼 古拉斯·布里奥),试图寻找破除那些依赖“知识编织”的绘画方向,以求能够抵抗关于消费主义逻辑中 各种剧演式短暂联结。
Yes, one will find a projection of self-awareness in his reading of the language of images. In addition to his own efforts to find the line linking the tradition and the current logic of art history, this exhibition takes the opportunity to propose a new sense of social participation to everyone. Unable to accept the "postproduction" of various montage under the prevalence of postmodernism (Nicolas Brio), he tried to find the direction of painting that broke away from those relying on "knowledge weaving", in order to resist the transient connection of various plays in the logic of consumerism.
为了缝合的绘画性的断裂感, 他的苦心探索,寄望中国绘画传统中的内在超越, 自求抵达“绝对精神”的诉求,他说,要相信贾克梅蒂和黄宾虹是不谋而合的。努力超越象征符号寓意, 而且是接近古典式的信仰。在这绘画与观念联结有如信息爆炸的洪流中,选择更为单纯的“观看”,这点内省显得尤为珍贵。(稍许停顿,“沙发时刻”准备着... 我们还在泡 茶,这一直是林旭辉和大家畅聊艺术的习惯。)
In order to suture the sense of fracture in painting, he painstakingly explored and hoped for the internal transcendence in Chinese painting tradition, seeking to reach the appeal of "absolute spirit". He said, we should believe that Giacometti and Huang Binhong happen to agree. Strive to go beyond symbolism and allegory, and to be close to classical faith. In the current of the connection between painting and concept like the explosion of information, the choice of more simple "watching", this point of introspection is particularly precious. (Pause, "Couch moment" ready... We are still making tea, which is Lin xuhui's habit of chatting about art.)
Living in Beijing, Lin Xuhui sometimes wandered around various exhibition sites, and sometimes went back to work as an ascetic monk in meditation, but his hands were covered with nail marks. Perhaps this is just the map of life that the artist subconsciously presents. Judging from the trail of his behavior, we might jokingly say that he is the artist facing the wall on the sofa.
可这样一来,我们又何尝不是被他扒的体无完肤!沙发的选择不是重在它的设计样式的文化指涉,但它作为某种符号与全球化日常生产机制的合谋却又残忍地昭示今天新自由主义经济下新中产阶层的境况: 疲倦的身体多少有些舒适;面对明天多少有些麻木!夜里教皇,双眼布满血丝,当老板了,害怕白夜之后没有天使的祈祷。好吧,让我们回到展厅里来,会一会这些关于降临系列的作品,猩红的《教皇》,要的就是权势腐坏那流脓包的黄!还有他说,白色最难画!我问为什么? 他说,画紫很怪,一定要取肉体上的淤青色。好家伙,这想法有点健康过头了。
But in this way, we have not been his pick all over! The choice of sofa is not a cultural reference to its design style, but its complicity as a symbol with the daily production mechanism of globalization is a cruel reminder of the condition of the new middle class in today's neoliberal economy: the tired body is somewhat comfortable; In the face of tomorrow how much some numb! The Pope of the night, his eyes bloodshot and boss, feared that there would be no angel's prayer after the white night. Well, let's go back to the gallery and take a look at the advent series, the scarlet Pope, for the puffy yellow of corrupting power! And he said white was the hardest thing to draw! I asked why? He said it was strange to draw purple, and that the bruises on the flesh must be blue. Boy, that's a little too healthy a thought.
White light, like the dawn of the doctor and patient, our souls are frightened! "White sofa" how so scary! And that's just how vulnerable people are.
这些“低限主义”的方块构成的绘画,似乎更是对培根绘画中密闭的空间色域进行抽离和延异,可是他又不展示各种多维的复杂结构,更多是复原或者刻意经营一种既瑰丽又灼热的寻常景象,瞧!那简单的“室内过道里”,十分诡异地诱惑着你把目光移向画外,因为画面视错觉的布局并引入几近粗暴的切割手法,令人感到局促,观者的“身体”不免有些失衡。当我们急切追问:被指引入的方向究竟是深渊还是逃生的出口? 这似乎是在做解密游戏,同时又惊讶于这是作为一个艺术家关于“风格迷宫”的巨大隐喻,在绘画的实验中 找到福柯全敞式监狱概念中的逃逸线。解锁下来的都是自己铸造的道具扩列,成为了围墙的符码。
These "minimalism" block paintings seem to be more of a separation and extension of the confined space gamut in Bacon's paintings, but he does not show a variety of multidimensional complex structures, more is to restore or deliberately manage a magnificent and scorching common scene, look! The simple "indoor corridor" is very eerily tempting you to move your eyes to the outside of the picture, because the layout of visual illusion and the introduction of almost rough cutting techniques, making people feel cramped, the "body" of the viewer is inevitably some imbalance. When we eagerly ask: is the direction being led into the abyss or escape the exit? This seems to be playing a game of deciphering, and at the same time surprised that it is a huge metaphor for an artist about the "labyrinth of style", finding the escape line in foucault's concept of a fully open prison in the experiment of painting. Unlock down are their own casting props to expand, become the code of the wall.
So far, we cannot simply sum up the exploration of Lin Xuhui's painting works as the reappearance or acceptance of "expressionism". To a large extent, we do not have the discourse background about the logic of western painting formalism. Even if he is tolerant and flat to accept the emotional brushwork of ordinary people's painting (which simply affects the physiological perception of ordinary viewers), he will put an end to others' viewing routines like this. Just like the present too many "abstract painting", just embarrassed to stop in the "freehand spirit" phenomenon in the myth of delirium. After careful consideration and communication, we believe that the significance of artistic cases lies in how to accurately embed them into the writing of history, so as to form effective dialogues across time and space.
林旭辉 |《202104》02 | 2021 | 布面油画 50(H)X40(W)cm
温州作为较早开放的商海之地,从最早的上海沙发引进,一直都是标志贵胄的特权,随着经济建设进 一步发展,带来是周边各种变化,阔绰一点的百姓之家也会如此拥有,这一点和潮汕之地都有相似之处, 贸易所带来财富象征必然改变身边的环境,具体到日常起居的处所,它深系一代中国家庭的命运共同体嬗变,器件作为成长的伴随物必然打上各种文化印迹;也许,正是他的生活的背景所塑造出来的审美记忆, 他的个人趣味更多倾向于慕古情节,随着他后来的艺术参与,似乎在艺术史文本图像中找到类似的经验模 型,比如西洋绘画中的宫廷风变奏,酷似场景移植再现(早年的绘画)。
Wenzhou, as an early commercial land, introduced from the earliest Sofa in Shanghai, has always been a sign of the privilege of nobles. With the further development of economic construction, it will bring all kinds of changes around, and rich people's homes will also have such a point, which is similar to the land of Chaoshan. The wealth brought by trade is bound to change the surrounding environment, especially the daily living place. It is deeply related to the evolution of the destiny community of a generation of Chinese families. As the accompaniments of growth, devices are bound to be marked with various cultural imprints. The background of his life, perhaps, created by the aesthetic memories, and his personal interest more inclined to ancient plot, participation, as he later art seems to find a similar experience in art history text image model, as in the court of the western painting wind variation, resembling a scenario transplantation (early paintings).
他喜欢笔触的层累,与其说是对 技法的探究,不如说是他个人对“包浆感”的留恋,他所塑造的墙面绘画手法有如砌筑行为,看那个迷人光 线!绘画千年来,有意思地方就在于对身体(手感)及视知觉统合尝试,在这点上他坚信绘画就是代替语 言的表述,色彩编织的句法一定程度是有象征内容的能指。只是我们在关照他的技法样式的缘起时,我们也许会发出这样的疑问,什么样的画法触动了他——关于画面内在修辞学是如何锻造?早在 2014 的时间他企图在肖像(朋友或亲人?)画,这一母题中找到直述他心中的郁结,他也不避讳地说来,可能和尹朝阳早期的那批绘画有关系,一种病痛和“伤感文学”的影子,艺术家总是在艺术史的各种误解之中找到属于自己的坐标,短暂的自足感似乎依稀能够触及风格之路,更抽象一点说,就是生命本质的追踪。
He likes the layers of brushwork, which is not so much the exploration of techniques as his personal nostalgia for "patching feeling". The wall painting techniques he shapes are like masonry behavior. Look at that charming light line! For thousands of years, the most interesting part of painting lies in the attempt to integrate the body (feel) and visual perception. In this regard, he firmly believes that painting is a substitute expression of language, and the syntax of color weaving is to some extent a signifier with symbolic content. But when we look at the origin of his style of technique, we may ask what kind of painting touches him -- how is the internal rhetoric of the picture forged? Back in 2014 he attempted to create a portrait (friend or relative?) Painting, a motif found in straight within his heart, he is not shy about speaking, may the batch of paintings, and early Yin a sickness and the shadow of the sentimental literature, artists in the art of all kinds of misunderstandings always find belongs to own coordinates, brief ZiZuGan faintly seems to be able to hit the road style, said a bit more abstract, is life the nature of the track .
We discussed all kinds of frame of reference that Yin's works in the mountains and rivers, is the same with the ancient for natural dialogue or ACTS to be materialized, the activation of his paints direct correspondence is the morale of the ink, if have reconstructed the braggart cultural order, so it can be attached a lot of construction significance, how to guess, of course, do not affect a good artists continue to internalize traditional paintings He must have known how to handle the context of such things. What we need is the concept of meta-painting in which the body grows naturally. The truth is simple, this time is more than ten years! The original art of youth is to take life in return.
林旭辉 |《未知－第六房间》 | 2016 | 布面油画 300(H)X250(W)cm
In the world of Advent, there are no oracles; There is only an invisible mission.