摘要:人可艺术中心宣布,“汉声个案研究:重新供奉——杨键作品展”将于9月27日至11月1日正式开展。作为“汉声个案研究”系列的第四次重要展览,本次展览汇聚中国当代诗画双绝艺术家杨键的百余件全新力作,以水墨为媒介,在现代化语境下搭建起传统与当代对话的精神桥梁。
人可艺术中心宣布,“汉声个案研究:重新供奉——杨键作品展”将于9月27日至11月1日正式开展。作为“汉声个案研究”系列的第四次重要展览,本次展览汇聚中国当代诗画双绝艺术家杨键的百余件全新力作,以水墨为媒介,在现代化语境下搭建起传统与当代对话的精神桥梁。
本次展览由人可艺术中心创始人何勇淼担任策展人,荷兰知名艺术史学者、美术评论家杨·劳伦斯·西思翎(Jan Laurens Siesling)出任学术主持,双强联袂为展览赋予深厚的学术底蕴与专业视野。开幕仪式定于9月27日15:00在人可艺术中心(杭州市中山北路1号)举行,届时将为观众揭开这场融合诗性哲思与水墨美学的艺术盛宴的神秘面纱。
艺术家杨键是汉语新诗领域的代表性人物,自上世纪八十年代起深耕诗歌创作,斩获刘丽安诗歌奖、柔刚诗歌奖、李叔同国际诗歌奖、华语文学传媒大奖年度诗人奖等多项重磅荣誉,著有《暮晚》《古桥头》《长江水》等多部诗集,其英文诗集更被推向国际舞台。千禧年后,杨键将创作维度延伸至水墨领域,凭借独特的艺术悟性与持续的实践探索,形成“诗画互文、意象相生”的鲜明风格,其作品被深圳关山月美术馆、白马寺释源美术馆、虞山当代美术馆等多家权威机构收藏,成为当代水墨艺术领域不可忽视的重要创作者。此次展览标题“重新供奉”源自杨键同名诗作,蕴含着艺术家对文化记忆的守护与精神价值的追寻。在物质主义盛行的当下,杨键以诗为魂、以墨为骨,通过作品呼吁主体性的重建,提出“真正的现代性不应以切断传统为代价,而需在回归中寻找超越”的深刻命题,为当代艺术发展提供了不同于主流叙事的思考向度。
展览核心展品聚焦杨键以“钵”与“芒鞋”为主题的全新创作系列。在杨·劳伦斯·西思翎的学术解读中,这两类器物虽常被关联至佛教文化,却并非传统宗教符号的简单复刻——杨键笔下的钵,是“赖以维生之钵”“艺术之钵”,象征着艺术家在金钱社会中坚守纯粹艺术理念的谦卑与执着;而芒鞋则是“行者”的精神载体,寄托着创作者“知晓来处、不问归途”的前行勇气,二者共同构成了对“艺术家在现代社会中的职责与使命”的视觉化论述。这些作品看似“永恒重复”,实则“千变万化”,每一件都是杨键对艺术本质的重新诠释,更是一场关于精神信仰的深度冥想。
从2011年“杨键的水墨”首展,到2023年在人可艺术中心举办的“金刚:杨键个展”,杨键的水墨创作始终以独特的哲思打动观众。此次“重新供奉”展览,既是对其近年艺术实践关键成果的集中呈现,也是“汉声个案研究”系列对当代艺术家个体探索的持续关注。作为“汉声展览”的发起人,策展人何勇淼表示,希望通过此次展览,让观众在杨键的水墨世界中感受传统文明的当代生命力,见证艺术如何在断裂处重建精神联结。 杨·劳伦斯·西思翎为展览书写学术文章《作为艺术家的杨键》(节选自即将出版的《杨键的艺术》),从国际视角为观众解读作品背后的文化意涵。9月27日起,杭州人可艺术中心将成为艺术爱好者、文化学者与诗歌拥趸的汇聚之地,共同见证这场兼具美学价值与思想深度的艺术盛会。
《作为艺术家的杨键》
文/杨·劳伦斯·西思翎【荷兰】
杨键选择钵和芒鞋作为创作主题,这两样物件将他的作品与佛教世界紧密相连,更准确地说,是与佛教僧侣的现实生活息息相关。钵和芒鞋象征着自甘清贫的美德,钵可以接纳他人的施舍,无论是零散的硬币还是一点粗茶淡饭,而托钵化缘的僧人则通过乞讨唤醒施者的慈悲之心,让人们领悟到财富的虚幻,并认可有人甘愿清贫只是为了他人的福祉,同时,芒鞋也是谦卑的象征,与僧侣的身份相得益彰,它以最简单的形式展现了朝圣者的疲惫,是沙土或沙石道路上可见的行走印记,它的磨损,既是行者生命消耗的投影,也表明了勇敢接受生命如朝圣的宣言。
中国评论家立即将杨键的钵和芒鞋解读为佛教生活方式的符号,并将此与画作的深层意蕴画家创作的立意联系起来,他们不经意间将杨键塑造成一位佛教徒,这虽非全然错误,但却超出了我们的讨论范围。于是,他们开始阐述佛教在古今中国的种种含义,而这恰恰是我们力图要避免的方法,必须明确的是,杨键的画作并非佛教艺术,它们不是如希腊东正教圣像那样的宗教图示,它们不是为寺庙而作,而是为艺术展览、收藏家的宅邸或博物馆而生,这并不意味着它们缺乏精神性,恰恰相反,它们深深植根于当代的精神观念之中。如果钵的意义在于宗教、信仰或哲学,那么一幅钵的画作的意义则在于艺术本身。画家是否信佛,在此并不重要。
然则,一个与佛教相关的联结却被忽视了,而它至关重要,这两种定义古代僧侣的物什,在画家或观众的眼中,或许能在当今社会象征性地指向艺术家,钵作为托钵僧的工具,芒鞋作为其行走的载体,实际上暗示了艺术家在现代社会中的职责、使命和角色。当僧侣及其神圣生活的誓言在这个社会中失去立足之地和可见性时,艺术家已接过这面理想主义的旗帜,艺术如同僧侣或祭司的天职,超越理性,艺术家默默接受不安定的生活(在金钱社会中,这简直是亵渎),向世界展示一种与主流相反的生活方式,展示倍受威胁的月球另一面,他们既无大用又可被替代,却依然令人敬畏或困惑,他们赢得了喝彩但却仍遭到父辈、长者和导师的拒斥。艺术家凭借纯粹的人性本能(尽管这种本能常被诟病),深知自己是守护神圣之火的人。那火炬在他们的心中燃烧。现代社会已找到方法将艺术(往往是以腐化的方式)同大金融体系融合,就像古代社会中寺院因积聚财富与权势变得强大,钵不外乎成为一幅冷嘲热讽的图景。在这个僧侣被太监和仆从取代的社会里,杨键以诗人的直觉,信任人心的根本诚实,他提倡回归纯粹的艺术理念,如同原初的佛陀所主张的那样,深知金钱这终极的欲望是腐蚀人类制度的毒瘤,正如寺院需要不断改革,艺术亦然,为此,这位艺术家凭借诗意的直觉和傲气,经过冥想与专注,选择钵作为自己创作的核心和象征主题。
艺术家杨键在无意中道出真谛:钵或饭碗,正是他的“赖以维生之钵”,是谦卑之钵,是艺术之钵,亦可称之为佛陀之钵。
杨键不仅以“托钵僧”的角色存在,更以“行者”的身份穿着芒鞋行走于世。在这个意义上,他知晓自己的来处,却不知去处在何方,但他依然前行,他了解远方,纵然尚未踏足,他敲响异乡的门扉,门自会为他敞开,只因他是艺术家。世界不知他从何而来,但只要他展现技艺的精髓、线索的奥秘与未解之谜,世人便不惧怕也不在意。在破碎理想的孤儿时代,艺术岂非我们仅存的奥秘么?对所有人而言,艺术家或许是福音的传递者,而福音总有普世的回响,他的朴实技艺能让他辗转各地,在每个村落,他都能找到倾听的耳朵与伸出的援手,他是无名之神的仆人。
通过不断描绘钵和芒鞋这些永恒重复却又千变万化的器物,杨键展开了一场关于艺术的冥想,一场关于艺术家角色的视觉论述,正如每位僧人的最高使命是重新定义其信仰的神灵和圣徒(哪怕只是在祈祷文中移动一个逗号或句号),艺术家也在每件作品中重新诠释艺术的本质。
(陈子弘 译)
——本文节选自西思翎《杨键的艺术》(即将出版)
Yang Jian, Painter
Jan Laurens Siesling
Yang Jian has chosen as his subject matter the alms bowl and the pair of sandals, objects that link the paintings inevitably to the world of Buddhism, or, more precisely, the concrete world of the Buddhist monk. Bowl and sandal have in common the virtue of self-chosen poverty. The bowl can receive alms in the form of pennies and dimes, or rice for a sober meal. By begging, the monk ignites the sense of generosity in the giver, the sense of the vanity of riches, and the recognition that some accept poverty for the well-being of the other. The straw sandals are on their side the shoes of utmost modesty, as well behooved to monks. Sandals in their simplicity show weariness and fatigue of the pilgrim; they are the visible symbols of travel and trek on sandy or rocky roads; their wearing out are projections of the wearing out of the wearer, but also of the courage to accept life as a pilgrimage.
Chinese commentators have immediately translated Yang Jian’s bowls and sandals as signifiers of the Buddhist life style, and connected this honorably to the meaning of the paintings, the meaning for the painter. They inadvertently make Yang Jian a Buddhist himself, which is not necessarily erroneous, but in fact out of the field of our vision. Consequently, they write out their ideas on Buddhism in old or new China. This now is a method we will try to avoid. Let me state this clearly: Yang’s paintings and drawings are not Buddhist, they are not religious art, as are for instance icons in the Greek Orthodox Church. They are not destined to a temple, but to an art exhibit; to a collector’s mansion; to a museum. It does not mean that they are not spiritual. On the contrary, they are involved with the spiritual notions of our time. If the meaning of an alms bowl is to be found in the realm of a religion, a devotion, or a philosophy, the meaning of the painting of an alms bowl is to be found in art. If the artist is a Buddhist, or not, is here of little relevance.
However, a connection to the Buddhist religion that is relevant, and that seems to have been overlooked so far, is this: the two typical objects defining the monk of old, may well, in the painter’s or the observer’s vision, symbolically refer, in our time and our society, to the artist. The bowl as the mendicant’s tool, the slippers as the mendicant’s vehicle, suggest in fact an interesting association with the duty, task, role, in short, the place of the artist in the modern model of a society. While monks, and their vows of a sacred life, have lost their place and visibility in that society, artists have taken over the banner of this idiosyncratic idealism. Art is a vocation, like priesthood or monkhood, beyond reason. Artists accept a life of insecurity (utter blasphemy in the money society) without complaining; they show to the world a life opposed to this world, the other side of our threatened moon. They are useless and replaceable, but not less objects of awe and incomprehension, of applause and nonetheless subject to refusal by fathers and uncles and teachers. Artists know, by a purely human but decried instinct, that they are the ones who preserve the sacred fire. That torch is burning in their heart. Today the society, modern society, has found ways to integrate (often to corrupt) art into the big financial system, just like monasteries became rich and powerful in older societies, of which the alms bowl became, at best, a cynical illustration. In this society, where monks have been replaced by eunuchs and lackeys, Yang Jian, listening to his instinct as a poet, trusted the fundamental honesty of the human heart. He proposes a return to a purified idea of art, more like the original Buddha would have it, aware of the fact that money, that ultimate desire, is the rot in every human institution. And just like the monasteries had to be constantly reformed, so art. To accomplish that, this artist, with the arrogance of his poetic intuition, after contemplation and concentration, chose the alms bowl as the central and symbolic theme of his endeavors.
Unconsciously, Yang Jian the artist had spoken right: the alms bowl or the rice bowl was his “potboiler”, the pot of modesty, the pot of art, also said the pot of Buddha.
Not only in his role as the essential mendicant, also as the essential traveler in his slippers is the artist in his role of the contemporary monk. In this sense: he knows where he is from, not where he is going, but he goes. He knows about far-out places without having been there yet. He knocks on foreign doors and they will open because he is an artist. The world doesn’t know where he is from, but doesn’t fear or care if only he shows knowledge of the skills and the clues and the mysteries. Isn’t art the only mystery that is left to us, orphans of broken ideals? To all, the artist might be the bringer of good news and good news has universal resonance. His modest craft will provide him a living in every town; and in every village, he will find a listening ear and a willing hand. He is the servant of an unknown god.
By painting earthen or metal pots and straw slippers, endlessly the same, though always differently, Yang Jian delivers a meditation on art and a visual discourse on the role of the artist. And just like for every monk the highest task is to redefine the gods and saints of the religion he preaches, be it by replacing a comma and a dot in his prayer, the artist in his every work, redefines the essence of art.
(Excerpts from a book by Jan Laurens Siesling, forthcoming)
艺术家简介
杨键,1967年生,现居安徽马鞍山。杨键是汉语新诗代表性诗人之一。上世纪八十年代开始诗歌创作,曾获刘丽安诗歌奖、柔刚诗歌奖、李叔同国际诗歌奖、华语文学传媒大奖年度诗人奖等。著有诗集《暮晚》、《古桥头》、《惭愧》、《哭庙》、《杨键诗选》、《长江水》等;英文诗集 Long River (Tinfish Press, 2018), Green Mountain (The University of Hawaii Press, 2020)。在绘画领域,杨键自千禧年初开始精研水墨,自成一家,前所未有。通过创作探讨人生的本质,追求内在的超越与道心的回归。作品被深圳关山月美术馆、白马寺释源美术馆、虞山当代美术馆、南京先锋书店、北京太和艺术空间等多个民营美术馆和机构收藏。
汉声重构人。
杨 键 水 墨 个 展
2024
意不在此:杨键作品展,尚合院,宁波
2023
看向内里的眼睛,尚林美术馆,宁波;
金刚:杨键个展,人可艺术中心,杭州;
旦暮之间·杨键水墨作品展,现在艺术沙龙,滨州
2022
悬空,先锋矿坑书店,南京;沉重的飞翔,和光同尘艺术馆,无锡
2021
芒鞋与钵,白马寺释源美术馆,洛阳
2018
悲与空,现在美术馆, 滨州
2015
寒山,虞山当代美术馆,常熟
2014
冷山水,关山月美术馆,深圳
2013
道之容颜,今日美术馆,北京
2011
杨键的水墨,艺事后素美术馆,南京
杨 键 水 墨 群 展
2024
尚未生成的汉声——中国当代水墨【上篇】,人可艺术中心,杭州
2023
当代中国水墨大展“心魂书写——当代水墨艺术的重启”,厦门超旷美术馆;
随时间而来的诗意——写作者的视觉转换,白夜花神诗空间,成都
2020
艺术深圳,深圳会展中心6号馆,深圳
2019
转换:从新文人画到新人文画——董欣宾、卞雪松、朱建忠、杨键四人展,虞山当代美术馆,常熟;
2019
艺术深圳,深圳会展中心6号馆,深圳;
墨与物——第二届水墨双年展,武汉美术馆
2018
灵性的回归——中国当代诗人绘画巡回展,北京中华世纪坛;
自由的尺度——中国当代水墨走向欧洲,意大利卡萨雷斯博物馆;
2018艺术深圳,深圳会展中心6号馆,深圳;
尘尽光生,星云文教馆美术馆,上海;
生生——洪凌、杨键艺术联展,大地美术馆,合肥
仰而思之——岛子、申伟光、杨键三人展,虞山当代美术馆,常熟
蔑视与叹息,虞山当代美术馆,常熟;
新人文画五人展,虞山当代美术馆,常熟
2015
虚薄之境——对画:山水与风景,上海明圆美术馆,上海;
峨眉当代艺术论坛 “黑白进化论”展,峨眉山;
第二届南京国际美展水墨主题展,南京国际展览中心,南京;
大运河国际诗歌节暨当代诗人书画展,西泠画廊,杭州
2014
上海新水墨艺术大展,上海多伦现代美术馆,上海
学术主持简介
杨·劳伦斯·西思翎(Jan Laurens Siesling),艺术史学者、美术评论家、译者、小说和诗歌作家。生于荷兰,曾居法国,现居美国。阿姆斯特丹自由大学艺术史博士,初留校任助理教授,后任美国雪城大学副教授、南密西西比大学美术馆馆长。他的研究涉及凡·高、伦勃朗等欧洲艺术名家。曾以自由艺术学者身份供职于法国、瑞士多家地方博物馆。同时从事艺术评论,为新锐美术家编撰画册和专著。近年来多次受邀在中国多地演讲,在2018年获首届徐玉诺诗歌奖·翻译奖。
策展人简介
人可艺术中心创始人,艺术总监,艺术家,收藏家。
汉声展览发起人。
来源:人可艺术