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【上苑藝評之馬賽克】廖智新—97 days and nights
[2015-10-5 19:06:57]
【上苑藝評之馬賽克】廖智新—97 days and nights
譯：覃奕愷|Kyne
Everybody has stories. Some people write them, some people dream them, some people take them to their grave. Liao Zhi Xin paints his stories. “97 days and nights”, the length of time Zhixin spent at the Shangyuan Modern Art Museum residency program in Beijing, is a collection of his visually rich new narrative paintings.
每個人都有屬于他的故事。有的人寫下他的故事，有的人把故事寄托在夢里，有的人用一輩子去追求自己的故事。而廖智新畫出了屬于他的故事。 97個日日夜夜，是廖智新花在北京上苑藝術館駐館創作計劃上的時間，這也是他用豐富的視覺語言描述出來的故事。
《8月6日，12點45分》
《8月6日，12點45分》
Looking as Zhixin’s paintings is like watching some 1940’s Hollywood film noir where the action is expressed as much by the interplay of light and inky darkness as it is by the character actors. In “12:45, 6th August” (the titles of these paintings are the dates and times the canvases were worked on, or completed) a black silhouetted figure is crunched against the right side of the canvas, flashlight in hand. The edge of the figure is defined by the glow of light coming from behind a glass door, its blue latch momentarily caught in the beam of the flashlight. The set up could either be malevolent or mundane, a burglary or someone returning home late. “11th July Comeback” presents us with a figure adrift in some murky pond, and though blindfolded his hands are raised to repel the intense beam of light pointed at his face. The palish yellow white paint is scraped and pulled suggesting the fluidity of light blinding the scene. Edges of the figure in the penumbra are beautifully drawn, those in the intense light are almost indistinct. A small stroke of pink perfectly describes the ear poking below the blindfold. There appears to be reference to photographic sources in Liao’s paintings, but he is not interested in honoring that source with washy renderings. Liao is interested in paint and how the paint can carry the narrative. This places him firmly in the category of figurative painters that include Jerome Witkin, Lars Elling and Neo Rausch.
觀看廖智新的作品恍如鑒賞上世紀四十年代的好萊塢悲情片，其筆墨光影如此動情，是戲角淋漓盡致的表演。《8月6日，12點45分》（作品之名皆以畫作起筆或完成的時刻命名）畫面右側壓抑的黑色身影手里提著電筒，將掛著藍色鎖閂的玻璃門照亮的那一瞬間，光芒又照映出了他的輪廓。此景令人遐想，是入室行竊，還是回家太晚？《7月11日，回》展現了一個混濁池塘里的漂流者，即使眼睛已經被蒙蔽，他仍揮手抗拒著直射到臉上的強光。蒼白又泛黃的畫面被剮蹭被拉扯，暗示著場景中炫光的流向。半個身影的形象刻畫得甚是美妙，在強烈的光線下幾近虛無，眼罩下一撮粉紅色所點綴的小耳垂又把整個人物完美地立體化。廖智新的作品似乎取景于一系列實景照片，但他對無腦還原畫面效果這種行為并不感興趣。相比之下，令廖智新思考更多的是以何種繪畫的言語方式進行敘述。而這，使他在如美國藝術家杰羅姆.威特金，挪威藝術家拉爾斯.艾琳以及德國藝術家尼奧•羅施之流的（寓意畫派figurative painters）中據有一席之地。
“June11 – July 24 <studio>” is a multipanel train wreck. Literally. Three 160cm x 100cm panels form the central part of the narrative. Train cars upended and crumpled occupy the top right hand corner of the triptych, their steely grays emerging from an ominously gray sky, then dissolve into aggressive darkness. Two prone figures are bathed in a pool of light, a ribbon of red and white hazard tape snakes across the bottom, visually and figuratively tying the panels together. The hazard tape motif continues along the right hand outside edge of the painting, and is echoed on the left hand outside edge of a much smaller canvas set slightly apart to the right. This smaller 80cm x 100cm canvas is a post script of sorts. The light here is reversed. Two diminutive dark figures in dark uniforms lurk in the chaos and the box shape train cars glow in a morning light. The size difference and placement of the imagery forces the viewer to view them sequentially, as if a cinematic cut, or the gentle unrolling of a Chinese landscape scroll.
“6月11日- 7月24日《畫室》” 是一幅三聯的失事列車殘骸，可以從字面上理解。160cm X 100cm的三聯畫構成了敘事的主體。頂部可以看到，火車車廂被翻倒、擠壓折皺。充滿兇兆的灰暗天空賦予了它們灰鐵的顏色，而后融入了不安分的黑暗中。兩個倒下的人物被光籠罩，紅白相間的危險隔離帶如蛇一般穿過畫面底部，從形象到意向將三幅畫面連接起來。隔離帶仍在右側畫面之外延續著，與一旁稍小幅畫框的左側相呼應。這幅較小的80cm X 100cm作品也許是個故事的后記，光芒在此顛覆。兩個穿著黑色制服的矮小暗影潛伏在混沌中，車廂被晨光照耀著。詭異的對比和隱寓的畫面布置使觀眾們因此而駐足，仿佛這是個電影橋段，亦或是中國山水畫的幽幽展現。
There is a calligraphic ease to the way that Liao uses paint. The viscous trail of drips and the troweled and scraped areas of thick paint are done with spontaneity and control. The lines are drawn with an effortless ease that comes from the muscular memory of handling a brush from childhood writing lessons. In Liao Zhixin’s complex visual narratives there is no obvious moral tale, no guarantee for a happily ever after ending and the paint is the main protagonist.
廖智新選擇以畫緩心（緩心而畫），顏料滴滑而下的軌跡和厚重畫面的刮鏟，皆是有意為之又自然而然。輕松自在的線條來自手持筆刷時少兒筆畫課留下的揮手記憶。 在廖智新復雜的視覺敘事手法中，沒有任何道德說教，也不保證有什么幸福結局，只有畫面是主角。
馬賽克 Christopher Pelley
北京 Beijing 2015
作者簡介：
馬賽克（Christopher Pelley）出生于美國紐約，藝術家以及藝術評論家，生活在羅馬與北京。
上苑藝術館2014-2015駐館藝術家。現為上苑藝術館駐館畫家、跨界藝術批評專員。
“97-days and night ”廖智新在上苑的工作室開放展
主 題：在上苑的97個晝夜，發生的一些故事。
藝術家：廖智新
時 間：9月4-11日,
展覽地點：北京懷柔橋梓-上苑藝術館
主辦 單位：上苑藝術館
新聞發布Pressrelease：
上苑藝術館-官方網站, 文學藝術國際聯盟英文網站, 北京文藝網, 藝術數據網, 藝術國際網, 99藝術網, 雅昌藝術網, 當代藝術社區ART-BA-BA中國雕塑家網 新浪上苑官博, 中國美術家網, 卓克藝術網, 中國攝影網, 中國拍賣網, 當代藝術網, 中國搜索網, 中國當代藝術網
海報設計：毛頓
Everyone has stories. Some people write them, some people dream them, some people take them to their grave. Liao Zhixin paints his stories. 97 is the visually rich group of new narrative paintings Liao has completed during his time at the Shangyuan Modern Art Museum in Beijing.
Christopher Pelley 馬賽克
2015
今年對于廖智新來說是一個非常的年份，第一他面臨著研究生畢業，他將迎來他人生的新起點，為此他有很多功課要做。第二他參加了北京上苑藝術館的國際駐留計劃，到目前，他在藝術館創作交流已經97天了。
他今天的工作室開放展叫“97個晝夜”。在他駐館的97天里，他用他的視角與這里的中外藝術家交流以及完成自己的創作，他用他的作品述說自己的感受，我想這也是他即將走入社會的時候給自己的一個交代吧！
——肖毓方
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上苑 & 鳥巢－文學藝術國際聯盟（簡稱：國際文盟）
International Network of Literature and Art（INLA）
電話: 010-60635299 60635757
Website: http://www.inlac.cc/
http://www.sh-yinshua.com/
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