深圳看展 |深圳美术馆新馆 盐田千春-颤动的灵魂(已闭展,多图)
来自: 毫无想法(人终有一死,先看会电视再说。)
盐田千春的个人巡展继上海之后,时隔一年半后来到深圳,成为内地第二个巡展的城市。艺术家在17年癌症复发后,仍保持极为高产的创作速度,到目前已累计展览三百八十余次,这次个展选在深圳美术馆新馆2F的4-7展厅。
深圳美术馆本身占地不算小,因为没去过上海的展览现场,对比上海龙美术馆的官方图片发现,龙美术馆的体量突出。盐田千春在采访中提到因为龙美术馆的层高很突出,布展成为不小的挑战。这次深圳美术馆展出的两个关键装置UNCERTAIN JOURNEY 未知的旅程 和IN SILENCE 沉默中,在不大的展厅里放置,如果遇到观众很多的情况下,就显得较为局促,观赏体验受到一定折损。艺术家白色系列的作品没有在这次展览中呈现,是一个遗憾, 毕竟红黑白是盐田千春展品重要的三原色。不过展览免费,加之能在珠三角看到高质量艺术家的作品,确实不能再多挑剔什么。以下简要介绍下这次盐田千春的个展。多图慎点。
进入展厅,可以看见bloomberg拍摄的艺术家介绍video。用20mins简要介绍了盐田千春的人生艺术经历。再经过一件青铜小雕塑和几幅盐田千川的小画,而后直径走入她最标志性的展品之一:UNCERTAIN JOURNEY 未知的旅程 2016,2023
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由无数线缠绕、纠结、扭曲、编织成巨大的红色线网,将五艘钢制小船联结在一起。线,作为盐田千春最着迷和重要的元素,将三维空间做切割转化和延长,拥有无尽的可塑性,聚集起矛盾又无限延伸开去,轻盈强韧,有尽无穷。观众置身展厅的任何角落都能生发独特的感受。庞大的线网没有源头和尽头,似乎暗含某种宇宙法则。
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在不同文化语境下,红色被赋予多面可阐释的空间。生发出蓬勃生命力的血液血管,牵连着命运脉搏的红线。张牙舞爪的鲜红亦能带出未知的可怖,联想到鲜血淋漓的献祭仪式。人置身于线的包裹,情绪随着脚步和目光流动,暧昧不明。此刻艺术家永恒的主题涌上心头:不确定的确定。第二次来到展厅,仔细观察了细节。天花板下方网格里的线尤其纠缠,多股缠绕成结,颜色深重似动脉不断往外输送血液,看得格外惊心。到此刻,才发觉是身处盐田千春的体内,每一根线都在呼吸吐纳。
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艺术家袒露的私人情感,倾注在作品里,或显或隐。从2000年开始,她反复使用床、烧毁的钢琴、衣服等种种旧物,去呼喊不在场的意象,扣响生命与宇宙的线索。
盐田千春早期的作品中已经带着生死时空的直观探索。废墟中将死未死的回忆化作灰烬,如同IN SILENCE 静默无声 里被烧毁的钢琴,艺术家童年的记忆再次加工,洗练重造。黑色的线纠缠出不可知的状态,宛如神秘肃穆的宇宙,寂静无声,喧哗不已。火舌亲吻过钢琴和座椅,留下黢黑和斑驳。残缺的状态奏响对逝去的幻想和追忆,唤醒不在场的在场。
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早期盐田千春黑色的作品多与床的元素有关,睡眠隔开了人和现实世界的连接,天马行空的梦里触碰到了广袤的宇宙。睡着与醒来如一次短暂的死亡和重生。浓得化不开的黑,不可知的睡梦编成网,一个介乎于生死之间的场域如:
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回到展览本身,在 UNCERTAIN JOURNEY 和 IN SILENCE 之间,墙面按照线性排序,悬挂着她从小到大的作品:从五岁时的花朵画作到1992年最后一副油画作品。后面展出的是她标志性展览装置的照片。
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盐田千春把关于肉与灵的关系思索融入她的作品中,病痛化疗的切身经验,使她感觉身体已分成无数个,所有都内化在她体内。一如她在日本名声大噪的作品:皮肤的记忆 MEMORY OF SKIN 2001 。泥水不断冲刷着巨大连衣裙,衣服堆叠着泥土的痕迹,永远不再是最初的模样。“裙子代表身体的缺席。不管冲淋多少遍,人的皮肤的记忆不可能被洗掉。”
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走过这部分,将会看见她的第三个装置作品:存在的状态 STATE OF BEING,坍缩、分离、吸纳,三种立体形态是她对宇宙的概括和生命的总结,很小的作品,用羊毛的线织就。很细腻,值得细看。
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“人生走到尽头,也许就溶入了宇宙。也许,从生到死,不是走向虛无,而是溶解;不是寂灭,而是浴入更广袤的存在。若果真如此,怕死则大可不必。死生一如。
When a human life reaches its prescribed lifespan, perhaps it dissolves into the universe. Perhaps death does not involve a transformation into nothingness and oblivion, but is merely a phenomenon of dissolution.
Going from life to death is not an extinguishment but a process of dissolving into something vaster. If this is the case, then there is no longer any need to be afraid of death. Both dying and living belong to the same dimension.”
盐田千春反复使用旧物大抵离不开对逝去的痴迷和依恋,展厅内第四个装置展品,CONNECTING SMALL MEMORIES 连接细微的记忆 2019,2023
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盐田千春收集来的小物件,桌椅板凳,衣服橱柜,锅碗瓢盆,每个物件背后凝结着某段旧时碎片,经由红线串联起活着的痕迹。
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“在我的一方天地里,有:老称盘、锈轮子、旧娃娃、石子儿、螺帽;房子模型,前东德的;七十多个小瓶子,前几天捡的….这些废品,我工作室里到处都是。它们和我同在。很意外;每一天,它们都触动我。
To have a secret place of one’sown: old weighing scales, rusty wheels, old dolls, stones, nuts, model houses from the former East Germany, and some seventy or so small bottles that I picked up the other day.
This is the sort of junk that fills my atelier.
These objects coexist with me, in my atelier.
Quite by accident, in the midst of the everyday, they continue to move me.”
经过IN SILENCE 后来到走廊,以图片、视频、手绘草图和小型展示品,呈现盐田千春的STAGE DESIGN,真是生命力和创造力都旺盛似火的艺术家。
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接着是展览的第五个装置作品,时空反射 REFLECTION OF SPACE AND TIME 2019,2023
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失去了主体的存在,强调了身体的缺席,呼应着不在场的在场。衣服是第二层皮肤,周遭的环境空间是第三层皮肤,推及开来,时间是第四层,皮肤的概念逐渐拓展。宇宙和时间成为皮肤的外壳,包裹着我们,冲刷多少遍都无法抹去留下的痕迹。
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第六个装置作品:内与外 INSIDE OUTSIDE 2019,2023
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柏林墙倒塌后的东德留下大量空无一人的房间。艺术家特别收集了上千扇窗户,堆成一座小山。穿过破碎玻璃窗,看向已是一片荒芜的照片。多少凭栏望乡的情绪,借由窗户投射出二十八年的悲欢离合。
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“柏林墙倒了三十多年了,到现在,这座城市仍然自我更新不断,每天有新面貌。在柏林的工地上看到这些废窗时,我开始想:它怎么就一分为二,长达二十八年之久?在柏林的这些德国人,过着怎样的生活,又作何感想?”
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开场的video有一句话,印象深刻:“故乡,哪里是故乡呢?”
We’re homeless.
最后压轴的是大型装置作品:积聚-寻找去处 ACCUMULATION-SEARCHING FOR THE DESTINATION
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四百多件行李箱由盐田千春从旧物市场收集,高低错落地悬挂在天花板上,部分装有马达装置的行李箱颤颤悠悠地晃动,如执念颇深的游魂,寻找不曾存在的终点。永不知疲倦,亦没有终点。原主人或已逝去,唯剩物件仍抖落出那些曾经的兴奋、失落、惊慌、悲伤与不舍的情绪。在场观者与被观物体之间能量又开始交换叠加,行李箱带着新的记忆走向未知。
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展览最后是几段对小学生的视频采访,关于对灵魂的思考。给予最后的思考,这也是盐田千春反复思考的:死亡的背后有什么?人类灵魂是否有终结?肉体和灵魂的分离,是人的终极命运与归宿吗?
在场与不在场,确定的不确定,双重对立又暧昧地并存于盐田千春的作品和思考。
越是逝去留下的记忆格外清晰,缺席成了全场的焦点。一如看不见没有实体的灵魂,从没被否认过。
船游向未知的旅途,带着一身的回忆,走到了归宿。
UNCERTAIN JOURNEY —— ACCUMULATION-SEARCHING FOR THE DESTINATION
回到体验感本身,在现场涌现的某种感动的情绪瞬间会被拥挤的人潮,不分性别年龄摆拍的观众,和毫无顾忌上手就摸拽的老中青少,消解得烟消云散。也是他们,给作品增加了某种“共创”(非积极意义)的奇观。当然如果没有触碰展品这块,也许艺术家本人可能会很感动,毕竟观众的喜欢如果不是发自内心又怎么会热衷留下身影呢?就姑且这么想吧。
注:以上带引号的内容,引用自现场展览官方文案。部分照片来源于 CHIHARU SHIOTA官方网站,https://www.chiharu-shiota.com
#人气创作计划#
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