1的N次方：吳益文個(gè)展
The N Power of 1: Wu Yiwen’s Solo Exhibition
藝術(shù)家：吳益文
Artist: Wu Yiwen
展覽時(shí)間／Duration：2019.9.14～9.18
開(kāi)幕時(shí)間／Opening：2019.9.14, 15:00
主辦單位：上苑藝術(shù)館
地點(diǎn)／Location: 北京市懷柔區(qū)橋梓鎮(zhèn)沙峪口上苑藝術(shù)館
Shangyuan Art Museum, Qiaozi country, Huairou District, Beijing
媒體支持：庫(kù)藝術(shù) ART方程式
Media support: library ART ART equation
學(xué)術(shù)主持：李念奴
Academic host: Li Niannu
海報(bào)設(shè)計(jì)：孫玉坤
Poster design: Sun Yukun
前言：牟俊
Preface: Mou Jun
1的N次方，表示著N個(gè)1相乘之后的乘積，而“乘”是突破了“加”在一維線(xiàn)性上的量變關(guān)系，形成了質(zhì)的突破構(gòu)建出了二維的平面。在藝術(shù)家吳益文看來(lái)1是如同時(shí)空的奇點(diǎn)，是一切事物的最基本單位，它是世界原始的混沌狀態(tài)，至簡(jiǎn)至純。所以在吳益文的藝術(shù)作品中“1”是“點(diǎn)”，它的“加”是“線(xiàn)”，“乘”便是“面”，而無(wú)數(shù)的點(diǎn)、線(xiàn)、面相結(jié)合、膨脹、堆積便構(gòu)成了我們所處的這個(gè)三維世界。它是西方哲學(xué)理論中世界是統(tǒng)一的物質(zhì)的世界，也是中國(guó)傳統(tǒng)道家“道生一，一生二，二生三，三生萬(wàn)物”大道規(guī)律下的世界。在海德格爾《藝術(shù)作品的本源》中也認(rèn)為藝術(shù)作品建立了一個(gè)世界并制造大地，物便是作品的大地因素，創(chuàng)作是讓某物作為一個(gè)被生產(chǎn)的東西而出現(xiàn)，作品把物因素置入敞開(kāi)的領(lǐng)域中加以顯現(xiàn)。
本次展覽中的作品分為兩個(gè)系列，分別以超輕粘土和電子元件作為創(chuàng)作材料，這兩種材料載體本身都是人類(lèi)工業(yè)文明的產(chǎn)物。取之于自然中的物，是在人類(lèi)工業(yè)生產(chǎn)活動(dòng)中進(jìn)行了解構(gòu)和重構(gòu)，再解構(gòu)和再重構(gòu)后的不斷循環(huán)過(guò)程后，所幸存的物。在《詩(shī)人何為》等文中，海德格爾注意到了我們這個(gè)由技術(shù)所統(tǒng)治的時(shí)代，物早已變的畸形，成為可供計(jì)算的市場(chǎng)價(jià)值。電子元件系列作品中，洞洞板成為作品的載體，藝術(shù)家將自己被動(dòng)地置于材料板面的限制中，運(yùn)用每一個(gè)單獨(dú)的元件凝聚大量的時(shí)間，將其肆意的組合，在色彩上進(jìn)行了單純的色域處理，畫(huà)面給人的第一印像是極其冷靜的。但久而觀之過(guò)后，會(huì)發(fā)現(xiàn)在理性克制的畫(huà)面中充斥著藝術(shù)家對(duì)于自身藝術(shù)認(rèn)知的張狂和不拘一格的叛逆�；仡櫵囆g(shù)家之前的作品，他試圖不斷在理性中尋求無(wú)限的擴(kuò)張，創(chuàng)造屬于自己的世界。
超輕粘土最早于2007年誕生于德國(guó)，后廣泛運(yùn)用于全球的少兒藝術(shù)教育中。由于其廣大的市場(chǎng)普及度和輕便易塑的材料特質(zhì)，使得它被扣上了廉價(jià)、低幼、簡(jiǎn)便的帽子。而藝術(shù)家選擇這樣年輕低廉的材料，充分利用它的材料屬性，保持其密封狀態(tài)，一點(diǎn)點(diǎn)地撕開(kāi)外包裝，風(fēng)干，再撕開(kāi)一點(diǎn)，再風(fēng)干，如此往復(fù)。在長(zhǎng)達(dá)一個(gè)月的時(shí)間使之完全固化后，再進(jìn)行上色，一遍一遍的通過(guò)時(shí)間的介入，使作品呈現(xiàn)出新的不同于材料本身的金屬、水泥等材料的質(zhì)感，使其充滿(mǎn)例外的驚喜。正如格林伯格論新雕塑時(shí)所說(shuō)的，新雕塑提供了“物質(zhì)是無(wú)實(shí)體的、無(wú)重量的，只像一個(gè)幻象一樣存在”的幻覺(jué)一般。而幻覺(jué)便是賈德所說(shuō)的作品需要的最必要的因素“有趣”。超輕粘土所帶來(lái)的材料本身的輕便和作品所產(chǎn)生的厚重的幻覺(jué)之間的沖突，展現(xiàn)出近似童真的有趣。
海德格爾認(rèn)為“藝術(shù)作品遠(yuǎn)不只是物的因素，它還是某種別的什么。這種別的什么就是使藝術(shù)家成其為藝術(shù)家的東西”。而在我看來(lái)，吳益文的作品中，承載作品的“物”，便是無(wú)數(shù)的“1”，而“某種別的什么”便是薩特所描述的“各各他上空中那一道黃色的裂痕”，便是藝術(shù)家在人生中關(guān)于自我藝術(shù)追求的那個(gè)N次方，它代表了藝術(shù)家人生中所有的情緒，也塑造了藝術(shù)家自身的存在。
牟 俊
2019.09.09于重慶文理學(xué)院
The N power of 1 represents the product after the multiplication of N 1, and "multiplication" breaks through the quantitative relationship of "plus" on one-dimensional linearity, forming a qualitative breakthrough to build a two-dimensional plane. In the artist Wu Yiwen’s view, 1 is a singularity of the same time and space, and it is the most basic unit of everything. It is the primitive chaotic state of the world, and it is simple to pure. Therefore, in Wu Yiwen’s works of art, "1" is "point", its "plus" is "line", and "multiplication" is "plane". Countless points, lines, and planes combine, expand, and accumulate to form the three-dimensional world in which we live. It is a world in which the world is a unified material world in Western philosophical theories, and it is also a world under the laws of the traditional Taoist "one produce two, two produce three, three produce all things". In Heidegger’s "The Origin of Artistic Works," it is also believed that artistic works have established a world and created the earth. The object is the earth factor of the work. Creation is to make something appear as a product. The work puts the material factor into the open field to appear.
The works in this exhibition are divided into two series, which use ultra-light clay and electronic components as creative materials. Both of these materials are themselves products of human industrial civilization. The things taken from nature are the things that survived after the continuous cycle process of understanding and reconstruction, deconstruction and reconstruction in human industrial production activities. In "how poet to do" and other articles, Heidegger noticed that in our era ruled by technology, things have long become deformed and become market values that can be calculated. In the series of electronic components, the cave plate becomes the carrier of the work. The artist passively places himself in the limitation of the material plate surface, uses each individual element to condense a large amount of time, arbitrarily combines it, and carries out a simple color gamut on the color. Processing, The first image of the picture is extremely calm. However, after a long period of time, it will be found that the picture of rational restraint is full of artists ’arrogance and eclectic rebellion of their own artistic cognition. Looking back at the artist’s previous works, he tried to constantly seek unlimited expansion in reason and create his own world.
Ultralight clay was first born in Germany in 2007 and was widely used in children’s art education around the world. Due to its wide market popularity and the material characteristics of lightweight plastic, it has been labeled as cheap, low and simple. The artist chooses such a young and inexpensive material, making full use of its material properties, keeping it sealed, tearing apart the outer packaging bit by bit, drying, tearing a little bit, and drying again, so on. After a period of up to one month to completely solidify it, color it again and again. Through time intervention, the work presents a new texture of metal, cement, and other materials that are different from the material itself, making it full of exceptions. surprise. As Greenberg said about the new sculpture, the new sculpture provides the illusion that "matter is non-physical, weightless, and only exists like an illusion." The illusion is what Judd calls the most necessary "interesting." The conflict between the lightness of the material itself brought about by the ultra-light clay and the heavy illusion produced by the work shows that the approximate innocence is interesting.
Heidegger believes that "artistic works are far more than just things. It is something else. This other thing is what makes an artist an artist. " In my opinion, in Wu Yiwen’s works, the "things" that carry the works are countless "1", and "something else" is what Sartre described as "a yellow crack in the air.", It is the N power of the artist’s pursuit of self-art in life. It represents all the emotions in the artist’s life and also shapes the artist’s own existence.
Mou Jun
2019.09.09 at Chongqing University of Arts and Sciences
古巴塔(印度藝術(shù)家)：
當(dāng)我第一次看到吳益文先生個(gè)展的海報(bào)時(shí)，由于展覽的題目和海報(bào)的整體構(gòu)圖，我對(duì)他的展覽充滿(mǎn)好奇，并且滿(mǎn)懷期待。
幾天后，我終于成為他們中的一員參加了開(kāi)幕式，并參觀了他在北京上苑藝術(shù)館舉辦的第一個(gè)個(gè)展。展品包括雕塑和二維作品，它們都有著不同的風(fēng)格和創(chuàng)作過(guò)程，但同時(shí)我也意識(shí)到所有的作品都是相互關(guān)聯(lián)的，體現(xiàn)了藝術(shù)家的才能和創(chuàng)造力。
他的雕塑作品，用很普通的材料創(chuàng)造出非常簡(jiǎn)單而有力的形狀。這些雕塑作品有時(shí)讓我覺(jué)得像枕頭一樣柔軟，有時(shí)又讓我覺(jué)得像石頭一樣堅(jiān)硬，這都是因?yàn)樽髌返男螤睿约暗袼苌鲜褂玫你y色和金色在起作用。
吳益文先生的展覽最重要的一點(diǎn)是，他所有的作品都是按照展廳空間以及硬件條件精心安排的，把雕塑放在有白色底板的鏡子上，更顯得別出心裁。
另一方面，吳益文先生在他的三件二維作品中，運(yùn)用了大量小電子元件進(jìn)行創(chuàng)作，這讓我想起我的微型畫(huà)。
最后要說(shuō)的是，我感覺(jué)到吳益文先生非常享受他的創(chuàng)作過(guò)程。作為一個(gè)藝術(shù)家和創(chuàng)作者，他創(chuàng)造了令人驚嘆的作品。
Gupta, Shatrudhan K.
When i saw first time poster of Mr. Wu Yiwen’s solo exhibition, my curiosity became high to see his exhibition because of exhibition title and whole composition of the poster.
Finally, after few days i was one of them witness to attend the opening ceremony and visit his first solo exhibition at ShangYuan museum, Beijing.
Mr. Wu Yiwen have exhibited sculptures and paintings, both have different works of style and work process, but at the same time i realize all works have interconnected with each other and it shows artistic capability and creativity of an artist.
Mr. Wu Yiwen’s sculptures; he has created very simple and powerful form with basic materials. His Sculpture works sometimes feels me as softness as pillow and sometimes as hardness as stones. It’s because of form of the works and used of silver and golden color on the sculptures. And most important thing of Mr. Wu Yiwen’s exhibition that his all works spontaneous took place in exhibition hall according to their nature. Sculptures looks more rich on mirror with white space.
On the other hand, in his three works (two-dimensional works) Mr. Wuwen have used lot of small electronic elements for his creation; It’s feels me miniature paintings.
Finally, I can say that Mr. Wu Yiwen really enjoyed his works process and creating these amazing works as an artist and creator.
伊蓮娜（黑山 學(xué)者、藝術(shù)家）
在進(jìn)入?yún)且嫖乃囆g(shù)世界的那一刻，人們不禁要問(wèn)，我們?cè)谌粘Ｉ钪兴究找?jiàn)慣的東西，究竟有什么特別之處?
正是日常事物的普遍性使得形式如此強(qiáng)大，比如我們每天的生活內(nèi)容里充滿(mǎn)了重復(fù)性和統(tǒng)一性，比如許多細(xì)小的事物會(huì)組合在一起形成一個(gè)單位，被外部世界不斷深入地向內(nèi)塑造。我們的文明自有史以來(lái)，不斷地在兩種意識(shí)形態(tài)間轉(zhuǎn)換。其一是強(qiáng)調(diào)個(gè)體的價(jià)值，促進(jìn)個(gè)體性的發(fā)展，近乎建立個(gè)人崇拜主義；另一種是讓大眾幾乎失去任何個(gè)體意識(shí)，而僅僅成為整體的一部分。采用哪種形態(tài)取決于外部因素。
在吳益文的作品中，有兩個(gè)非常富有力量和超越感的概念，其中之一是具有獨(dú)一無(wú)二價(jià)值的個(gè)體，同時(shí)這種個(gè)體可以被無(wú)限次反復(fù)和映射。正是這一點(diǎn)，他的作品調(diào)動(dòng)了我們的思維模式。我們看待現(xiàn)實(shí)世界的方式，不但是作為單個(gè)細(xì)胞的個(gè)體表達(dá)，而且還是整個(gè)有機(jī)整體的一部分。同時(shí)，這個(gè)有機(jī)整體越大，越容易受到外部環(huán)境的影響，就越能讓我們感知到世界平衡的意義。那么我們?cè)趺磥?lái)實(shí)現(xiàn)平衡的黃金法則，是聽(tīng)之任之，還是調(diào)整這個(gè)鐘擺的左右晃動(dòng)。吳益文的作品正是在這方面進(jìn)行了探索，即“一”與“多”之間的平衡，以及創(chuàng)新(運(yùn)動(dòng))與反復(fù)(靜止)之間的互動(dòng)，是否施加金屬色，取決于強(qiáng)調(diào)個(gè)體元素的反復(fù)概念還是金屬的映射。
我們當(dāng)下的文明已經(jīng)完全被金屬包圍，從建筑工業(yè)、設(shè)計(jì)到太空旅行，要么作為一個(gè)保護(hù)表層，要么作為一個(gè)必要的結(jié)構(gòu)，要么作為一個(gè)完整的整體。在吳益文的黏土作品中，金屬色的使用讓人聯(lián)想到時(shí)間的瞬間凍結(jié)或靜止，思考這個(gè)世界不斷地在軟硬之間接受或抗拒、成型或重新塑造。同時(shí)，我們通過(guò)不斷控制和征服包圍我們的現(xiàn)實(shí)世界，加深對(duì)現(xiàn)實(shí)存在的深入認(rèn)知。我們被周?chē)囊磺兴诖蠖鄶?shù)情況下，我們看不見(jiàn)它，但可以感知到有只無(wú)形的手在牽引著文明向前發(fā)展，并深深地滲入我們的潛意識(shí)世界。探索和掌控這個(gè)世界的規(guī)律性，人類(lèi)智能的最普遍功能在于不斷地在生活中摸索、分類(lèi)和處理整個(gè)認(rèn)知體系。有時(shí)候這種分類(lèi)富有探索性，譬如各種不規(guī)則的形體，各種金屬的反射或漂移。
吳益文的那些電子元件作品，則喚起了我們對(duì)于數(shù)字時(shí)代的真實(shí)覺(jué)知，在無(wú)限使用0和1的邏輯舞蹈 中，我們見(jiàn)證了另一個(gè)有情眾生Ai的誕生。問(wèn)題是如何確立個(gè)體和大眾的實(shí)際意義和價(jià)值，我們作為這個(gè)星球的居民，看到數(shù)字科技在慢慢融入我們的生活，同時(shí)也強(qiáng)化了個(gè)體的存在價(jià)值，這使得部分和整體在進(jìn)行同步發(fā)展。最重要的是，在金屬性、反射性和時(shí)間性上，它的作品體現(xiàn)了古希臘人所說(shuō)的黃金法則。
Irina Ideas
Upon entering the world of art by Wu Yiwen, one wonders, what is it that is so special about the imprint of one of the most ubiquitous forms we observe in everyday life, and then we get the answer, in that very instant of asking.
It is the prevalence that makes this form so powerful, the repetition and uniformity as we face it every single day, the singularity of many tiny objects put together in a package to let itself be shaped by the outside. There is a very particular type of power and transcendence in the two concepts present in this collection, one is about a singularity, something that is unique, standing in its own glory and at the same time the repetition and reflection of that same object/subject infinite number of times.
Our Civilization through history alternated between the two ideals, one was to promote the individuality, almost to a point of building a cult of personality and the other, to make the masses unified in a common goal almost to the point of losing the individual sense and becoming a part of the substance whose shape is defined by the external factors. Exactly in this way Wu Yiwen’s work touches our thinking processes, the way we see reality both as an expression of an individual cell and a part of a whole organism, the larger the organism is, the more influence it gets from the external environment and then we wonder about the balance in the world. How do we achieve the golden mean, and do we stay there or do we proceed with the pendulum from one end to another.
Wu Yiwen is touching upon this very aspect, the balance between one and many and also the interaction between the innovation (movement) and repetition (stasis). The use of colour or absence of it is also communicating about these very same elements through reinforcing the idea of reflection through the use of metal. Our current civilization is soaked in metal from construction industry, design to the space travel, each and every one of them is covered in metal either as a shield or a necessary structure, an integrity that keeps the whole together. In these pieces the use of metal evokes of the frozen moment, the time standing still, wondering at the world as it gets shaped and reshaped in its softness and harshness, flexibility and resistance. Those are all the shades of our perception towards the existence, the reality that surrounds us that wants to dominate and surrender at the same time.
The fact that everything around us is packaged, in most cases with the invisible material, makes us think about the invisible hand that guides the civilization forward, it sinks deep into the subconscious mind and we can only think of patterns here and there that are made with these invisible elements. Wu Yiwen explores and dives deep into the world of patterns, the most universal form of intelligence functioning, as it navigates through life, classifying and sorting the full spectrum. Sometimes this sorting wants to be exploratory so it lives through the irregular shapes almost floats and gets reflected in the other world of metalic reflection, and other times Wu Yiwen’s art works, especially the ones on the wall evoke in me the representation of our digital reality, the infinite use of 0 and 1 as they are interlocked in the dance of calculation and expression as we witness the birth of another sentient being The AI. The question is how will our reality relfect upon an individual and many individuals when we have to think about another inhabitant of this planet, it is slowly integrating with our lives and our machines with the power to reinforce in us a unique individualism and also to make us a part of the organized and synchronized whole. The most important aspect is still in the air between all the metalic, reflective and timeless and it says something the Ancient Greek knew about: a Golden Means.
約書(shū)亞（英國(guó) 雕塑家）
當(dāng)我走進(jìn)上苑藝術(shù)館吳益文的展廳時(shí)，仿佛走進(jìn)一個(gè)精心安排、整潔有序的教室。他的雕塑作品放在一個(gè)個(gè)懸空的像書(shū)桌一樣的木架上，每件作品都有個(gè)性化的狀態(tài)，或起伏，或卷曲，或褶皺。它們被精心放置在一個(gè)個(gè)鏡像平臺(tái)上，每件作品都像擁有獨(dú)特造型的空氣袋。
墻壁上懸掛的三件電子元件作品非常簡(jiǎn)潔而有條理。它們像教室里的三位老師，兩位在前面指揮雕塑，后面一位則負(fù)責(zé)監(jiān)督每個(gè)人的位置。
吳益文的展覽，某種程度上實(shí)現(xiàn)了寧?kù)o與封閉結(jié)構(gòu)的混合感。
Josh Gibbs
When I see Wu Yiwen’s arrangement of works in the Shangyuan Library, I see a carefully ordered classroom formation of forms fixed exactly where they should be. The more structured, forthright paintings are the teachers - two at the front commanding the sculptures, one at the back overseeing the formation keeping everyone in place. The sculptures sit in a more individualised state, undulating, curling and crumpled on their allocated mirrored platforms, each with its own unique pattern of air pockets. A mixed sense of serenity and confined structure is somehow achieved.
車(chē)鄰（詩(shī)人，《新詩(shī)館》主編）
“1的N次方”就是“道”
我總是覺(jué)得吳益文兄有股舊時(shí)江南士人的文氣，這可能和他生長(zhǎng)的環(huán)境有關(guān)
吧。他生于浦江，且不說(shuō)浦江是被明太祖朱元璋譽(yù)為“開(kāi)國(guó)文臣之首”的宋濂的老家，還有諸如書(shū)畫(huà)、迎會(huì)、燈會(huì)、剪紙、竹根雕、亂彈等豐富多彩的地方文化�？傊涞孛耖g文化藝術(shù)花樣繁多，稍微有點(diǎn)心的人都免不了會(huì)受到這種濃烈的地域文藝氛圍感染，再加上青山環(huán)繞、小橋流水的地理環(huán)境，更易讓人滋生細(xì)膩情感，浮泛起文藝之氣。
當(dāng)然，光有環(huán)境是不夠的。我們一直都強(qiáng)調(diào)傳承，其實(shí)這是一個(gè)難題，從文化角度講，自1949年后種種運(yùn)動(dòng)下來(lái)文化傳承幾乎所剩無(wú)幾�，F(xiàn)在講大國(guó)復(fù)興，我想如果缺了文化上的復(fù)興，最后只能是不倫不類(lèi)的畸形吧。而這種復(fù)興肯定是不能單靠普通老百姓的文化自覺(jué)，他們忙于度日，哪有心思顧得上這些。所以復(fù)興就只能靠吳益文兄等，靠那些在文化藝術(shù)領(lǐng)域有創(chuàng)作自覺(jué)意識(shí)的人。
幸而能結(jié)識(shí)這樣的人，我認(rèn)為吳益文兄的心胸視野開(kāi)闊得很，平時(shí)和他交流相對(duì)多一些，文史哲甚至當(dāng)下的一些社會(huì)問(wèn)題我們會(huì)作一些簡(jiǎn)單探討。再加上他二十余年字斟句酌的寫(xiě)作和近十年媒體文字編輯的歷練，遂有幾本成書(shū)，這些都會(huì)讓他對(duì)藝術(shù)思考和創(chuàng)作更上一層樓。他可謂是書(shū)畫(huà)（這里的“畫(huà)”指代藝術(shù)創(chuàng)作）不分家，正合舊時(shí)江南文士的精神追求，不管物欲有多么橫流，總是守著那片屬于自己的精神領(lǐng)地。遺憾的是他不好酒，否則花前酌酒唱高歌，不亦快哉。不過(guò)飲酒有損健康，還是不做酒鬼的好！
回到他的藝術(shù)創(chuàng)作主題上，我一向主張文藝不分家，文給藝術(shù)視覺(jué)審美所帶來(lái)的影響不可估量。而他的這次展覽以“1的N次方”為主題，背后有他的文化視野支撐。我知道他對(duì)道家、禪宗、哲學(xué)都有所研究，這些研究很容易讓他的藝術(shù)創(chuàng)作融合古今，且水到渠成，一些作品甚至是數(shù)學(xué)和道家思想的融合。
1和０是計(jì)算機(jī)數(shù)碼儲(chǔ)存計(jì)算二進(jìn)制的基本單位，現(xiàn)在我們?cè)陔娔X和手機(jī)上看到的所有一切，其實(shí)都是由1和0兩個(gè)數(shù)組成，包括圖像視頻等，都是由無(wú)數(shù)個(gè)1和0的計(jì)算得來(lái)。
在我看來(lái)他這次個(gè)展“1的N次方”，應(yīng)該是借用了這個(gè)“1”的概念。而“1的N次方”本身屬于數(shù)學(xué)范疇，數(shù)學(xué)在古時(shí)為“術(shù)”，所以我把他的個(gè)展看作是道術(shù)的結(jié)合。數(shù)學(xué)是當(dāng)今科學(xué)技術(shù)發(fā)展中特別重要的因素，離了它，工業(yè)和信息領(lǐng)域很多都玩不轉(zhuǎn)。它代表一種客觀自然，一種邏輯理性，一種科學(xué)甚至是生產(chǎn)力。但如果只有這個(gè)的話(huà)，會(huì)顯得異常數(shù)碼化、機(jī)械化，缺乏人氣，更談不上什么道氣，畢竟這個(gè)社會(huì)是人的社會(huì)，而非物和機(jī)器的社會(huì)。而他的“1”是取自于自然之物，“1的N次方”就是一種重構(gòu)，且不斷循環(huán)累積，然后產(chǎn)生新的物，這暗合道家“一生二，而生三，三生萬(wàn)物”。
李念奴 （詩(shī)人，藝術(shù)家）
關(guān)于“1的n次方”的只言片語(yǔ)
從個(gè)人感覺(jué)出發(fā)，吳益文這兩個(gè)系列作品傾向于冷抽象。冷抽象作為藝術(shù)表現(xiàn)語(yǔ)言的一種形式，相較于其它形式而言，我認(rèn)為它更獨(dú)特，更微妙，也更不易駕馭和把握，它適合表達(dá)那些更超脫更深刻的情感和思想。無(wú)論作為一種藝術(shù)語(yǔ)言本身，還是它所表現(xiàn)的美，都更純粹，更直接，更客觀，更真實(shí)。它并不像一般人認(rèn)為的那樣玄虛和神秘，相反地，它更接近這個(gè)世界的本質(zhì)，某種程度上，也更接近我們?nèi)祟?lèi)生活的真相。
吳益文選擇了這樣一種方式來(lái)表達(dá)自我，表達(dá)他對(duì)這個(gè)世界的觀感和思索，我覺(jué)得，這一選擇本身已經(jīng)體現(xiàn)了他作為一名藝術(shù)家的品位和層次�？梢赃@樣說(shuō)，他已經(jīng)占據(jù)了一個(gè)可以俯視這個(gè)世界的高度和位置，他似乎已經(jīng)處于自己的心靈和精神之外，他成為一個(gè)安靜的旁觀者，拒絕深陷其中。他不動(dòng)聲色地進(jìn)行描述，發(fā)出追問(wèn)。他有時(shí)欲言又止，有時(shí)王顧左右而言它，但是他把他想表達(dá)的東西準(zhǔn)確地傳遞給了我們。特別難能可貴的是，他在無(wú)限接近的同時(shí)，又恰到好處地保持了一種距離感，而在這種距離感中，又能賦予和展現(xiàn)一些溫情。這些溫情似乎于不經(jīng)意間流露，卻總是能夠與觀者息息相通。我想，這正是吳益文對(duì)這個(gè)世界的善意和系念所在。畢竟，他不是冷酷的。他一直在暗示我們，即使在最無(wú)望之際，這個(gè)世界，人，還有希望。 但愿如此。我作如是觀。
牟俊(四川文理學(xué)院)
1的N次方，表示N個(gè)1相乘之后的乘積，而“乘”是突破了“加”在一維線(xiàn)性上的量變關(guān)系，形成了質(zhì)的突破構(gòu)建出了二維的平面。在藝術(shù)家吳益文看來(lái)1是如同時(shí)空的奇點(diǎn)，是一切事物的最基本單位，是世界原始的混沌狀態(tài)，至簡(jiǎn)至純。所以在吳益文的藝術(shù)作品中“1”是“點(diǎn)”，它的“加”是“線(xiàn)”，“乘”便是“面”，而無(wú)數(shù)的點(diǎn)、線(xiàn)、面相結(jié)合、膨脹、堆積,便構(gòu)成了我們所處的這個(gè)三維世界。它是西方哲學(xué)理論中世界是統(tǒng)一的物質(zhì)的世界，也是中國(guó)傳統(tǒng)道家“道生一，一生二，二生三，三生萬(wàn)物”大道規(guī)律下的世界。海德格爾在《藝術(shù)作品的本源》中也認(rèn)為,藝術(shù)作品建立了一個(gè)世界并制造大地，物便是作品的大地因素，創(chuàng)作是讓某物作為一個(gè)被生產(chǎn)的東西而出現(xiàn)，作品把物因素置入敞開(kāi)的領(lǐng)域中加以顯現(xiàn)。
本次展覽中的作品分為兩個(gè)系列，分別以超輕粘土和電子元件作為創(chuàng)作材料，這兩種材料載體本身都是人類(lèi)工業(yè)文明的產(chǎn)物。取之于自然中的物，是在人類(lèi)工業(yè)生產(chǎn)活動(dòng)中進(jìn)行了解構(gòu)和重構(gòu)，再解構(gòu)和再重構(gòu)后的不斷循環(huán)過(guò)程后，所幸存的物。在《詩(shī)人何為》等文中，海德格爾注意到了我們這個(gè)由技術(shù)所統(tǒng)治的時(shí)代，物早已變得畸形，成為可供計(jì)算的市場(chǎng)價(jià)值。電子元件系列作品中，洞洞板成為作品的載體，藝術(shù)家將自己被動(dòng)地置于材料板面的限制中，運(yùn)用每一個(gè)單獨(dú)的元件凝聚大量的時(shí)間，將其肆意地組合，在色彩上進(jìn)行了單純的色域處理，畫(huà)面給人的第一印象極其冷靜。但久而觀之，會(huì)發(fā)現(xiàn)在理性克制的畫(huà)面中，充斥著藝術(shù)家對(duì)于自身藝術(shù)認(rèn)知的張狂和不拘一格的叛逆。回顧藝術(shù)家之前的作品，他試圖不斷在理性中尋求無(wú)限的擴(kuò)張，創(chuàng)造屬于自己的世界。
超輕粘土最早于2007年誕生于德國(guó)，后廣泛運(yùn)用于全球的少兒藝術(shù)教育中。由于其廣大的市場(chǎng)普及度和輕便易塑的材料特質(zhì)，使得它被扣上了廉價(jià)、低幼、簡(jiǎn)便的帽子。而藝術(shù)家選擇這樣年輕低廉的材料，充分利用它的材料屬性，保持其密封狀態(tài)，一點(diǎn)點(diǎn)地撕開(kāi)外包裝，風(fēng)干，如此往復(fù)。在長(zhǎng)達(dá)數(shù)月時(shí)間使之完全固化后，再進(jìn)行上色，一遍一遍地通過(guò)時(shí)間的介入，使作品呈現(xiàn)出新的不同于材料本身的金屬材料質(zhì)感，充滿(mǎn)例外的驚喜。正如格林伯格論新雕塑時(shí)所說(shuō)的，新雕塑提供了“物質(zhì)是無(wú)實(shí)體的、無(wú)重量的，只像一個(gè)幻象一樣存在”的幻覺(jué)一般。而幻覺(jué)便是賈德所說(shuō)的作品需要的最必要的因素——“有趣”。超輕粘土所帶來(lái)的材料本身的輕便和作品所產(chǎn)生的厚重的幻覺(jué)之間的沖突，展現(xiàn)出近似童真的有趣。
海德格爾認(rèn)為“藝術(shù)作品遠(yuǎn)不只是物的因素，它還是某種別的什么。這種別的什么就是使藝術(shù)家成其為藝術(shù)家的東西”。而在我看來(lái)，吳益文的作品中，承載作品的“物”，便是無(wú)數(shù)的“1”，而“某種別的什么”便是薩特所描述的“各各他上空中那一道黃色的裂痕”，便是藝術(shù)家在人生中關(guān)于自我藝術(shù)追求的那個(gè)N次方，它代表了藝術(shù)家人生中所有的情緒，也塑造了藝術(shù)家自身的存在。
席拿(藝術(shù)家)
吳益文在個(gè)展“1的N次方”系列作品中，還原了他多重內(nèi)在的精神特質(zhì)。他將數(shù)字做最大化和最小化的藝術(shù)重構(gòu)，展示包涵萬(wàn)物之中的數(shù)理關(guān)系，以及隱匿其后的謎語(yǔ)，極靜無(wú)聲之中彰顯空間。無(wú)論多么宏大復(fù)雜的物質(zhì)結(jié)構(gòu)如何復(fù)制遞增，將1進(jìn)行代入后，其結(jié)果都將歸一。這就進(jìn)入了宗教和社會(huì)的主題，人與自然等等無(wú)限考量。萬(wàn)法歸一，數(shù)字的終極歸于美，而數(shù)字的究竟歸于禪。
他的作品從平面進(jìn)入三維，豐滿(mǎn)而又具體，內(nèi)化外化兼具，展示了創(chuàng)造原初新鮮活潑的玄機(jī)。
藝術(shù)家簡(jiǎn)介
吳益文，1971年生于浙江浦江，現(xiàn)居杭州、北京。學(xué)者、獨(dú)立藝術(shù)家。著有藝術(shù)史專(zhuān)著《非常中國(guó)繪畫(huà)史》《非常道——道教的演變及其對(duì)中國(guó)文藝的影響》。藝術(shù)實(shí)踐致力于世界文化語(yǔ)境下的藝術(shù)轉(zhuǎn)型，以工業(yè)文明、信息時(shí)代的全新審美感受，結(jié)合東方道家文化、禪宗思想與西方極少主義、波普藝術(shù)的精髓，形成兼具民族品格、時(shí)代氣息和國(guó)際視野的獨(dú)特藝術(shù)語(yǔ)言。作品先后參加布拉格中歐國(guó)際藝術(shù)雙年展、亞洲青年藝術(shù)家提名展、中法當(dāng)代藝術(shù)邀請(qǐng)展等學(xué)術(shù)展覽。
Artist’s Profile
Wu Yiwen, born in Pujiang, Zhejiang Province, currently lives in Hangzhou and Beijing. Scholar, independent artist. He is the author of the monograph “Unusual Chinese Painting History” and “Unusual Taoism-The Evolution of Taoism and Its Impact on Chinese Literature and Art.” The practice is dedicated to the world culture and art in the context of transformation, the industrial civilization in the information age a new aesthetic feelings, combined with Oriental Taoism Zen thought and the essence of western minimalism pop art, the formation of both national character period flavor unique painting language and the international field of vision. His works participated in Prague at the China Europe international art biennale, Chinese and French contemporary art invitational exhibition and other academic exhibitions.
