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劉煒 梵高的畫 複合媒材 木板 二〇〇九年作 Liu Wei b. 1965 Van Gogh's Painting Mixed media on wood Executed in 2009
香港
2023年10月08日 开拍
拍品描述
size:80 × 65 cm. 31 1/2 × 25 5/8 in.
款識 劉煒 Liu Wei 2009(上中) 出版 2009年,《一張紙兒 一塊板兒》,紅橋畫廊,上海,第52至53頁
Signed in Chinese, pinyin and dated on upper middle LITERATURE 2009, A Piece of Paper A Piece of Plywood, Red Bridge Gallery, Shanghai, p. 52-53
展覽 2009年9月10日至10月15日,「一張紙兒 一塊板兒」,紅橋畫廊,上海 來源 上海紅橋畫廊 現亞洲私人藏家直接購自上述來源 化腐朽為神奇的絢爛 劉煒筆下鮮活而頑趣的藝術生命 「畫畫必須要有感覺,要對得住自己的心。只有內心鮮活,才能保持創造力的鮮活,也才能使畫永遠鮮活。」 ——劉煒 經歷85新潮的崛起和89現代藝術大展的集體思辨,90年代後的中國當代藝術家,在經歷思想的蛻變、形式的轉換和現實層面的多重影響下,逐步實現了通往國際視野的飛躍。他們告別了過往對歷史、哲學和價值體系的探討,認識到「只有真實地面對自身的無可奈何以拯救自我」。嬉皮、自嘲式的個性話語,成為許多藝術家表達的嶄新窗口,以反思、調侃的姿態,回歸自我的現實狀態,將對社會、對自身的思考,隱喻在象徵性的藝術語言之中。作為90年代中國當代最重要的藝術形式——「政治波普」和「玩世現實主義」就此誕生,而歷經1993、1995年的威尼斯雙年展、1993年的「後89中國新藝術」巡迴展,及隔年的聖保羅雙年展,更令他們逐漸在國際舞台上大放異彩,廣獲西方關注。 而在其中,身為「玩世現實主義」的開創人和重要代表,曾參與上述一眾重要展事,並被譽為中國當代「最富才情」的藝術家劉煒,便以其天賦才華、一針見血的敏銳性和潑皮玩味的獨特姿態,在藝術的疆域中肆意挑戰著形式的種種邊界,以戲謔、挑逗般的形象刻寫,以看似腐朽的表現之筆,敘述著最為神奇的藝術魅力。 燃盡紅塵煙,別有洞天意 「禁止吸煙系列」開篇代表登埸 是次呈現的《禁止吸煙系列:我愛吸煙》(拍品編號53)一作,完成於劉煒創作生涯十分重要的1995年。該年他憑藉「你喜歡肉嗎」系列,在第46屆威尼斯雙年展中展陳於主展廳的核心位置,令其在國際藝壇一炮而紅。與此同時,他專注於自身創作語言的多元轉變,在入住北京宋莊後,從早期「革命家庭」系列成功中走出的他,開始以一種充滿糜爛式的表現語彙,打破傳統的「美學舒適點」,以模糊的肉體,關聯著慾望、情感、行為和人格的表述,暗喻著哲學的「本我」。在荒誕中返還一絲詩意的美,將對人性的深刻思索全然釋放。而其標誌性的「禁止吸煙」系列,便誕生於此一重要轉折階段,是次上拍的《禁止吸煙系列:我愛吸煙》便是這一系列的重要開篇代表。不同於此系列後期多以人物叼煙為形象的刻畫,此作在劉煒式的肉身語彙的基礎上,創意地結合了「Smoking(吸煙)」的文字書寫和骷髏標識,將肉粉色的人身置於寫意的風景之中,呈現消融於皮肉間,分散在煙雲林霧中,那「潰爛之處,艷若桃李」的美。 肉體與靈魂的不息書寫 在作品特為選取的灑金箋紙上,劉煒以多重的媒材與躍動之筆,創造出一處如霧似幻、金粉飛揚的驚奇之地,將觀者猛然拉入這煙嵐瀰漫的神秘之中。氤氳的紫彩正如霧靄般緩緩暈染佈散,在那天空的邊際,層層交疊的輕潤墨筆,寫就樹影婆娑的隱隱綽綽。隨著筆觸紛繁的乾濕交疊,那來自叢林深處的暗夜光芒亦漸次鋪展,照拂著畫中心的鮮紅肉身,彷彿是在灌木中點燃的一縷火焰,掠過重重枝頭,顯現出生生不息的姿態。 而若再一步走進這充滿變數的深邃畫境,便會發現,背景叢林上佈滿藝術家以箭頭、數字、中英文和符號的多重書寫,細碎流動的筆觸與畫中人那具流動感的身軀構成奇妙的呼應,彼此間若都存在著一種飄忽如意識流的特質,籠罩在充滿變數的煙霧中,而那無數的可能性便自此誕生。於是乎,畫中的主角置身在一個縱向坐標軸的中心,上下雙向的箭頭,正指引他展開的出路,若條條大路通羅馬,及那擁抱未來的開放心態。而在主角身側,一煙雲狀的骷髏標誌,如具17世紀巴洛克時期「虛空畫派」的生死隱喻,自下方金銀色的霧氣中幻化成形。展現生命與死亡如同一體二面的共存。而在骷髏的上下方,各書寫著「I like Smoking(我愛吸煙)」、「Smoking(吸煙)」、「No Smoking(禁止吸煙)」的文字。結合95年底北京市頒布的《公共場所禁止吸煙的規定》,作為一個多年來煙不離手的藝術人士,畫中人便如同他自身的投射倒影,而這些標語,便若是他對現實社會中標準性的反思及詰問。 在這片揉雜著浪漫、奇幻的風景之中,劉煒若刻畫著他內心的真實情景,暗夜中的螢光晦明,如同西班牙藝術家戈雅(Francisco José de Goya y?Lucientes)筆下《被施法的人(魔鬼之燈)》,以一盞燈的明滅來確定自我的生死。然而,在那極具張力的塗寫中,劉煒看似隨意、卻發乎內心的真誠之語,字字可見,那儘管迷惘、仍飽含靈魂的吶喊,亦聲聲入耳。強力表達他對外世喧囂浮華的嘲弄,卻也同時剖析著自我的肉體,以赤裸的肉身重新思索、出發、走向未來。而生與死,肉體與靈魂,人文與自然,在畫面中二元交織,彩與墨、文字與圖案,承載在那來自古代的灑金宣紙之上,在當代的書寫中,串聯起對生存本質的根本思考和關懷。而那腐朽中的絢爛,那置之死地而後生的璀璨,便在劉煒信手拈來的畫筆下,構成一道令人難以忘懷的藝術風景。 以破為立,入木刻寫的精神之像 劉煒以古寫今再創《梵高的畫》 自1989年畢業於中央美術學院版畫系後,劉煒的創作便一直聚焦於肖像主題,如早期具政治思辨的「革命家庭」系列,「人」是他一直感興趣的主題,而在2009年,他另闢蹊徑地打破一直以來在畫布和紙本上的發揮,回溯從學生時代便擅長的木刻,展現其又一藝術靈光。 在該年,他以其祟拜、別具精神性的藝術家梵高(Vincent van Gogh)之名作《郵差魯林》為藍本,以其巧思重新演繹,創作了1幅複合媒材木板和4幅紙上作品,命名為「梵高的畫」。在此系列作品中,他先選取一塊木板為材,經一筆筆的細緻雕刻,以最為精簡的線條,牢牢把握住原作主人公落腮大鬍的形象特點和郵差的身份特徵,高度還原了梵高之作。其後,他沿著木刻陽面的表層紋路,刷上印版用的油墨,如以傳統繪畫中的皴法般,呈現出道道分明的粗實線條,將人物的神態面貌深深印刻在作品之中。進而再以此木板為底版,印製4張版畫,並於印稿上分別描繪主人公4種不同的神態,構成系列之環。由余德耀基金會收藏的《梵高的畫2》即為系列中的第二件紙本之作。而是次上拍的《梵高的畫》(拍品編號52),即為該系列唯一,且最為珍貴的複合媒材木板之作,並為其中細節最豐富、構思最巧妙、形象最具特色之重要代表。 空即為色,重塑肖像的自由視野 事實上,梵高在「郵差」系列作品中,也於1888至1889年間先後創造了5幅油畫與2幅素描手稿,7件作品的構圖十分近似,但背景色彩和神態的刻畫卻大相徑庭,呈現截然不同的面貌,用以歌頌其人生中別具溫情的好友。劉煒該系列的創作與之形成有趣的呼應。完成「梵高的畫」系列紙上作品後,劉煒回到此件木板作品上,以油彩、水墨再添加更多細節。如背景可見劉煒式「潰爛處艷若桃李」的斑斕白花,正鋪陳於人物身後,並突破畫心擴展至畫框之上,若為花朵點亮生命力般延綿生長。而針對人物的面容,他出人意表地以「留白」處理。藉由這一獨到的表述,劉煒意在破除肖像畫的常規敘事,以刻意隱去的面容,擴展了畫面的想象空間,令觀者得以由外而內地去反思、投射畫中人的神情,並開放性地將之指涉為在人生中帶給你溫暖的每一個人。另一方面,劉煒進一步以頑趣的姿態,致敬克勒勒-米勒博物館的《郵差魯林的肖像》中梵高所隱含的心理表述,卻又在根本上破除了這種精神表達。在梵高的作品中,背景的白花紋飾和綠色調的清新美好,意在為畫中人增添容光,從而展現其愉悅歡欣的心理狀態。而劉煒大膽地以白彩作渲染,並一定程度地保留了原本木色和水墨的基調,令人物的輪廓在木刻和墨水的筆觸中在此更為突出,從而作出來自藝術家創作力的強大闡述,以材料本身的質地,成為觀眾解讀藝術的引路人。 應和著下方題寫的「梵高的畫」,作品恰如同一幀「以破為立的新式當代肖像」,在劉煒「我絕不容忍重複」的宣言下,打破梵高原本的敘事空間,而樹立起不受拘束、「空亦是色」的繽紛絢爛。而盤根錯節的無色花葉,正待畫外之人為之添色、發揮創造,筆觸隨心境而轉,一如那延展的雙腳和枝條,在畫框中翩翩起舞,訴說著以古寫今、再造乾坤的「奇思藝象」。
EXHIBITED 10 Sep – 15 Oct 2009, A Piece of Paper A Piece of Plywood, Red Bridge Gallery, Shanghai PROVENANCE Red Bridge Gallery, Shanghai Acquired directly by present private Asian collector from the above Transforming Decay into Splendid Wonders The Vivid and Playful Artistic Life under Liu Wei's Brushstrokes “Painting must have feeling, it must resonate with one's own heart. Only with a lively inner self can creativity remain alive, and only then can the painting always remain alive.” —— Liu Wei After experiencing the rise of the avant-garde in the 85 New Wave and the collective contemplation of the 1989 China/Avant Garde exhibition, Chinese contemporary artists in the 1990s gradually achieved a leap towards an international perspective, undergoing a transformation of thought, change in form, and multiple influences from reality. They bid farewell to their previous explorations of history, philosophy, and value systems, realising that “only by truly facing one's own helplessness can one save oneself.” Hippie and self-mocking expressions became a new window for many artists to express themselves, reflecting on and making fun of their own realities, metaphorically embedding their thoughts on society and themselves in symbolic artistic language. Thus, two of the most important art forms of 90s Chinese contemporary art, “Political Pop” and “Cynical Realism,” were born. The Venice Biennale in 1993 and 1995, the 1993 travelling exhibition China's New Art, Post-1989, and the following year's Sao Paulo Art Biennial gradually gained them attention and recognition in the international stage, receiving much attention from the West. Among them, Liu Wei, the pioneer and important representative of “Cynical Realism,” played a role in the above-mentioned important exhibitions and is honoured as the most talented artist in contemporary China. With his natural talent, keen insight, and playful and mischievous demeanour, he boldly challenges the boundaries of form in the field of art, portraying his most magical artistic charm using seemingly decayed expressions. In the Smoke of Mortal World, there Lies an Alternative Realm The No Smoking Series Opens the Scene The presented work, No Smoking Series: I like Smoking (Lot 53), was completed in 1995, a significant year in Liu Wei's artistic career. That year, with his Do You Like Meat? series, he was exhibited in the central position of the main exhibition hall at the 46th Venice Biennale, making him an instant sensation in the international art scene. At the same time, he focused on the diverse transformation of his own artistic language. After moving to Songzhuang town in Beijing and moving away from his successful early Revolutionary Family series, he began to break the boundaries of traditional “aesthetic comfort points” with a decadent expression, depicting a blurred body associated with desire, emotion, behaviour, and personality, metaphorically representing the philosophy of the “Id.” He returns a hint of poetic beauty in absurdity, fully expressing his profound contemplation of human nature. It is during this important turning point that his iconic No Smoking series was born, and the presented No Smoking Series: I like Smoking is an important representative of this series. Different from the later stage of the series that primarily depicted figures smoking, this work creatively combines the text “Smoking” with the skull symbol, placing the flesh-coloured figure in an expressive landscape. It presents the beauty of dissolution between the flesh, dispersed in a haze of smoke and fog, a beauty that is as splendid as a peach blossom amidst rot. The Continuous Writing of Body and Soul On the selected gold-flecked paper, Liu Wei uses multiple mediums and dynamic brush strokes to create a misty and magical place, with gold dust swirling in the air, pulling viewers into the mysterious atmosphere. The hazy purple colours gradually blend like mist, and in the distant sky, layers of delicate ink strokes create the swaying shadows of trees. As the brushstrokes intertwine, the faint night glow from the depths of the jungle gradually spreads, illuminating the bright red flesh at the centre of the painting like a flickering flame burning in the bushes, revealing an everlasting vitality. If you take another step into this intricate and variable painting, you will discover that the background jungle is filled with multiple writings by the artist, with arrows, numbers, Chinese and English characters, and symbols. The fragmented and flowing brushstrokes of the painting figures create a wonderful echo, as if both possess a fleeting stream of consciousness, shrouded in the variable smoke, giving birth to countless possibilities. Thus, the protagonist in the painting is situated in the centre of a vertical coordinate axis, with arrows pointing both up and down, guiding him towards the path he unfolds, as if all roads lead to Rome, embracing an open-minded attitude towards the future. Beside the protagonist, a skull symbol in the shape of smoke and clouds, reminiscent of the Baroque period “Vanitas” movement from the 17th century, metaphorically represents the coexistence of life and death. Above and below the skull, the words “I like Smoking”, “Smoking”, and “No Smoking” are written. In combination with the Beijing municipal regulations prohibiting smoking in public places enacted at the end of 1995, as an artist who has been smoking for many years, the protagonist in the painting becomes his own reflection, and these slogans reflect his reflection and questioning of the standardization of the real society. In this landscape mixed with romance and fantasy, Liu Wei depicts his innermost reality. The dim fluorescence in the dark night is like Francisco José de Goya y Lucientes' The Devil's Lamp, under the pen of the Spanish artist, using the flicker of a lamp to determine one's own life and death. However, within Liu Wei's intense writing, seemingly casual but sincere words can be seen, each containing a confused yet soulful cry. He powerfully expresses his mockery of the noisy and flashy external world while also dissecting his own body, rethinking, starting over, and moving towards the future with a naked flesh. Life and death, body and soul, humanity and nature intertwine in the picture, with colours and ink, words and patterns, carried on the gold-flecked paper from ancient times, connecting fundamental contemplation and care for the essence of existence. The brilliance in decay, the lustre born from being pushed to the brink of death, under Liu Wei's skilful brush, forms an unforgettable artistic landscape. To Break and Establish, the Embodiment of the Spirit Liu Wei's Recreation of Van Gogh's Painting Liu Wei's creative focus has been on portraiture since graduating from the Printmaking Department of the Central Academy of Fine Arts in 1989, such as the early politically speculative Revolutionary Family series. People have always been a subject that interests him. In 2009, he broke new ground by returning to woodcuts, which he excelled at since his student days, rather than working on canvas and paper, revealing another artistic inspiration. In that year, he took Vincent van Gogh, a worshiped and highly spiritual artist, as the basis for his work Portrait of the Postman Joseph Roulin, using his ingenious ideas to reinterpret it and created one composite medium wood panel and four paper works, named Van Gogh's Painting. In this series, he first selected a piece of wood and meticulously carved it to capture the distinctive features of the protagonist's cheeky beard and the postman's identity with concise lines, highly reproducing Van Gogh's original work. Then, he brushed ink on the surface lines of the woodcut, presenting distinct bold lines like traditional painting techniques, deeply imprinting the character's demeanour and appearance in the work. Using this wood panel as the base, he printed four prints, each depicting the protagonist in different expressions, forming a series. Van Gogh's Painting 2, collected by Yuz Foundation, is the second paper work in the series. The Van Gogh's Painting (Lot 52) being auctioned is the only and most precious mixed media wood panel in the series, and it is the most detailed, ingeniously conceived, and distinct representation. Form Is Emptiness, Reshaping the Portrait's Freedom of Vision In fact, Van Gogh also created five oil paintings and two sketch manuscripts in the Postman series between 1888 and 1889. The compositions of the seven works were very similar, but the depiction of background colours and expressions were vastly different, presenting completely different aspects, in order to celebrate the warm-hearted friends in his life. The creation of this series by Liu Wei forms an interesting echo with it. After completing the paper works of the Van Gogh's Painting series, Liu Wei returned to this wooden piece and added more details with oil paint and ink. The background displays Liu Wei's signature vibrant white flowers, arranged behind the figures and expanding beyond the frame, as if the flowers illuminate and grow with vitality. As for the facial features of the figures, he surprisingly left them as “blank spaces”. Through this unique expression, Liu Wei intends to break the conventions of portrait painting and expand the imaginative space of the artwork. It allows viewers to reflect and project the emotions of the characters from the outside, and openly refers to every person who brings warmth to one's life. On the other hand, Liu Wei further pays tribute to the psychological expression implicitly conveyed by Van Gogh's Portrait of the Postman Joseph Roulin at the Kr?ller-Müller Museum, while fundamentally breaking away from this spiritual expression. In Van Gogh's works, the white floral decorations in the background and the fresh and beautiful green tones aim to enhance the radiance of the figures, thus displaying their joyful and cheerful psychological state. Liu Wei daringly uses white hues for rendering, while to some extent preserving the original wood colour and ink tones. This makes the contours of the figures stand out more in the strokes of woodcut and ink, thereby making a powerful statement of artistic creation from the artist's creative force. With the texture of the materials itself, it becomes a guide for the audience to interpret the art. In response to the title “Van Gogh's Painting” written below, the artwork is like a “new style contemporary portrait that breaks to establishes” under Liu Wei's declaration of “I will never tolerate repetition”. It breaks Van Gogh's original narrative space and establishes a colourful and unrestricted “emptiness is also form”. The intertwined and colourless flowers and leaves await people outside the painting to add colours and unleash their creativity. The brushstrokes flow with the state of mind, just like the extending feet and branches, gracefully dancing within the frame, telling the story of “blue-sky thinking” that write about the past and recreate the universe.

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