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Egon solo exhibition in Shangyuan Art Museum

[2017-8-19 17:21:02]

【現(xiàn)場】艾貢個(gè)展19日在上苑藝術(shù)館開幕

Egon solo exhibition in Shangyuan Art Museum

自序

我不可避免的行進(jìn)在路上，觸碰到一塊巨石，爬上去站在石頭上，發(fā)現(xiàn)石頭一直在變高。環(huán)視周圍我看到被地心吞噬著同時(shí)也被太陽吸引著的萬物。反方向的兩種死亡之力賦予了生命，生命本生也在消耗著生命。我在空間與時(shí)間的假象里是會懼怕這兩個(gè)假想的，渴望觸及空間與時(shí)間的輪廓，這種渴望又延展了更大的假象。自然地我開始很崇敬土石、流水、植物、動物……

無視生死是對生命真正的尊重。

這清晰的透明后，我看到我的腳、腿、軀干，看到我的心臟，看到我的頭、我的耳朵、我的鼻子、我的嘴巴，我終于看到了我的眼睛。是這些肉身的部位通過不停歇的工作與自身的更替，收集著我用來自我完整需要的能量，以完成我這個(gè)階段的獨(dú)立與抽離。我會變成一棵樹，一塊石頭……；我會變成所有的樹、所有的石頭……；我會變成一切，我會變成不知道有我的一切。我看到時(shí)間們與空間們不停的工作，就像我所有的感官一樣。

感知力工作總是有著多出我需要的。外在痕跡是從我兒童開始靠眼睛汲取能量的主要來源，無法選擇與避免的我會原路回流一些。

I inevitably walked on the road, touching a boulder, climbed up to stand on the stone and found the stone had been getting higher. Looking around, I saw all of the things that are being swallowed by the earth and attracted by the sun. The opposite direction of the two deaths of the power given to life, life is also consumption of life. I am in the space and the illusion of time, afraid of these two hypothetical states, eager to touch the outline of space and time. This desire has extended a greater illusion. Naturally I began to admire earth and rock, water, plants, animals ... ...

Ignoring life and death is a real respect for life.

After this clarity and transparency, I saw my feet, legs, torso, saw my heart, saw my head, my ears, my nose, my mouth, I finally saw my eyes. They are the parts of this flesh through endless work with their own regeneration, collecting the energy I use to self-complete. Need to complete my stage of independence and withdrawal. I will become a tree, a stone ... ... I will become all the trees, all the stones ... ... I will become everything, I will become something I do not know exists. I see that time and space are working endlessly, as are all of my senses.

Awareness always has more of what I need. The external traces are the main source of energy from my children who began to draw on their eyes, and I cannot choose to avoid the way I will return.、

Egon

布面丙烯 80×100cm 2017年（上苑藝術(shù)館收藏）

艾貢的抽象繪畫在我看來都是一種奧妙體驗(yàn)（費(fèi)洛姆）一種人的廣義超越。這種超越，要求對世界、對歷史以及對受世界和歷史約定的自我有一個(gè)否定的嘗試，進(jìn)而，從這否定中，將無我的、廣泛的愛的力量解放出來。這種奧妙體驗(yàn)只能通過詩或者視覺的符號才能表達(dá)出來，這大概也是作為一個(gè)畫家的艾貢詩寫的很好的原因。在一個(gè)情感匱乏、精神散漫的社會里，這種體驗(yàn)為人提供健康的規(guī)避和自我陶冶，與身邊的現(xiàn)實(shí)暫時(shí)絕緣，同時(shí)卻與更大的現(xiàn)實(shí)融為一體。讓人在一個(gè)情感上不健康的社會里，保持情感健康。在艾貢的抽象描繪里，你能體會出一種屬于孩子的質(zhì)樸和無邪。

馮彤

Egon’s abstract paintings, in my opinion, is a profound experience, a form of generalized transcendence. This transcendence portrayal requires an attempt in denial on the world, on history and the self, restrained by our society. Furthermore, it necessitates the liberation of universal power and love. It’s also Buddhist ideology: the opposite of parochial love from this denial. This profound experience can only be expressed through poetry or visual symbolism, which is also the reason Egon’s poetry is so impressive. In an emotionally scarcity, spiritually dispersed society, this experience provides healthy reflection and self-cultivation, temporary isolation from the reality of the surroundings, and is integrated with universal/general reality.For People in an emotional unhealthy society, to maintain emotional health. In the abstract depiction of Egon, you can experience a kind of simplicity and childlike innocence.

Feng Tong

紙上丙烯 40×50cm 2017年（上苑藝術(shù)館收藏）

聞艾貢將在上苑藝術(shù)館辦個(gè)展，很欣慰。與艾貢相識多年，那時(shí)他美院剛畢業(yè)，在宋莊建了工作室。一日，在一位畫家朋友的引薦下到了我工作室，聊了不少，又一起在門口的燒烤攤喝酒，沒多長時(shí)間，艾貢就跑到樹下吐酒，回桌后堅(jiān)持拜我為師，因初識，又不知其作品的美學(xué)理念是否與我臭味相投，故沒答應(yīng)。

后來他邀我去他工作室看畫，看得出他在求變、在痛苦中探索，這些我都經(jīng)歷過，要把學(xué)院灌輸?shù)哪欠N舊理念一口口地吐出來是需要時(shí)間和勇氣的。經(jīng)過三年的掙扎、奮斗，艾貢做到了！

去年冬天，艾貢又邀我去他的工作室，將他的畫統(tǒng)統(tǒng)看了一遍后，我為之一震，他終于找到了自己的視覺語言，值得喝三杯慶賀。席間他又提出拜我為師，我欣然接受，共同進(jìn)步。

Edvard Munch說:"一種藝術(shù)，若不因人敞開心靈的需要而掙扎降生，便不具有藝術(shù)的資格一一所有的藝術(shù)作品，包括音樂，都必須帶著藝術(shù)家的血流淌而出。"

我愿將這句話標(biāo)舉艾貢的作品。

趙孟君

2017.8.13於柏林