展讯
时空彼岸：余学民个人作品展
策展人：高远
主办机构：成都蓝顶美术馆
鸣谢：成都彭州宏徳学校 成都艺原美术馆 榭栅服飾
展览时间：2024年8月3日—8月19日
展览开幕：2024年8月3日 15:00
展览地点：成都蓝顶美术馆 2号厅
“时空彼岸”——余学民的跨文化图像志
文/高远
历史学界与文化理论中所谓的多元文化主义（Multiculturalism），是为了保存某种文化的原有属性，不被其他文化所同化或者造成某种文化一家独大的局面。由于其承认文化边界的存在且容易导致强化文化边界的作用，在近30年间，这种说法已经逐渐被跨文化主义（Transculturalism）所取代。它承认文化和民族的“杂交性”，要旨在于突破文化的边界，而不是筑起文化间的藩篱。
历史上，寻找并实践这种跨文化主题的艺术家构成了艺术史中独特而具有文化价值的一环。从17、18世纪洛可可艺术中布歇等画家的“中国风”（Chinoiserie）绘画，到19世纪梵高所谓的“日本风”（Japonaiserie），艺术家们把东方异域的想象表现在画布、器物甚至建筑和园林中，出现了一些既不中国也不西方的杂交产物，如画中怪异的宝塔、人物怪异的发饰和容貌等。这些意象有些是文化误读的痕迹，有些是挪用经典图式的结果。后来的艺术家把这种跨文化误读和挪用当作创作观念，来表现跨文化主题。从安格尔笔下的土耳其浴室和德拉克罗瓦描绘的阿尔及利亚妇女，绘画对于“东方”的异域想象和重构跃然画面；到后印象派高更画中的塔希提（Tahiti）女性及其信仰象征，一种欧洲对东方及更遥远的大洋深处文明的想象和体验，籍由图像的方式构成了一种跨文化的“时空体”（chronotope，巴赫金，1981）。
这些图像处理的前辈艺术家深刻影响了当代艺术家的图像处理方式。从美国当代画家大卫·萨利（David Salle）混杂的图像志，到马琳·杜马斯（Marlene Dumas）笔下常见的黑人女性；从徐震嫁接的中西方经典雕塑的异质呈现，到苍鑫作品中多宗教信仰体系的融合，都可以视作艺术家的跨文化图像实践。艺术家余学民在2017年之后的作品通过类似超现实主义与图像绘画的拼贴，将中国传统图像与西方经典图像并置组合，如中国古代力士、罗汉塑像与古希腊、古罗马雕塑的并置，西方经典雕塑与中国传统建筑的混搭等，都是艺术家对于古今中外图像资源的重新整合与深入思考的产物。其实早在2013年，这些跨文化意象已经出现在余学民的绘画作品中，在艺术家的《碎镜》系列作品中，想象与现实、异域与本土之间的时空交织就成为余学民作品的主要特征。
图像理论中的图-底关系一直都是学术讨论的关键问题，在余学民的很多作品中，图像与图像背景构成了新的句法关系：艺术家通过图像背景的剥离，将本具有强烈文化属性和符号化的图像悬置在未知的时空中，或放置于异质的文化语境中，从而加强了图像的超现实感和时空错乱感。在跨文化的图像语法中，图像的强度至关重要。在风格上的模仿往往无济于事——艺术家的手是绘画图像强度的直接作用力，但如果被过度智性思考左右的手描绘出的图像，往往就会表现出矫揉造作的样式，失去图像应有的强度。而余学民的图像重构在突出手绘的基础上，有意突出涂绘的惯性从而削弱图式的风格化特征，再将强烈的冲突性赋予图像：将魏晋隋唐石窟造像与古罗马、希腊化雕塑并置、将欧洲古典戏剧人物和中国传统力士罗汉像并置、将中国古建空间与欧洲古典雕像并置。艺术家不单单是将这些形象简单地并置处理，而是融入了深层的文化忧思。我们注意到余学民很多作品中的意象往往是残缺的、不完整的，甚至是支离破碎的，这恰恰就是艺术家对于文化遗产被毁灭与破坏、艺术经典被亵渎、被忽视的命运的思考，也是对文化发展的历史和现实不确定性的忧虑。
历史文献与图像的关系在很多当代艺术家的实践中占有重要的地位。比利时当代画家卢克·图伊曼斯（Luc Tuymans）常常通过对历史图像文献的剪切再利用，使图像文献参与到一幅绘画诞生的过程中，从而产生一种时空的错乱感。余学民的《勋章》同样利用了历史照片与绘画图像的关系，将揉皱的艺术家父亲老照片与同样揉皱的金箔银箔构成的当代背景结合起来，仿佛历史的错位，又好似时空的褶皱，出现在艺术家的个人史及国家历史的缝隙之中；进而将真实的历史图像文献纳入到当代绘画图像创制中。
图像与现实的界限越发模糊是当代图像生产和消费的特点之一，余学民以地质纪年命名的系列以及“爱琴海”系列作品中，现实场景或日常什物总是伴随着古代雕像和历史文物的意象一同出现。这种图像处理方式拉近了图像与现实的关联，打破了现实与历史图像的界限。同时通过场景与空间的错位关系，加强了图像世界的荒诞感和疏离感。而画中反复出现的各类文化载体生成的物象也都随着图像背景的错位而变得残缺不全，这种图像的建构方式恰恰与今天绘画中流行的平滑光鲜的风格形成鲜明对照。正如余学民《碎镜》系列作品的表现性风格：破碎的、错位的，重叠的、模糊的、异质的、杂交的、穿越的；以这些定语修饰的图像，成为余学民的跨文化图像志的方法论，也代表了今天图像世界面对的基本问题。
今天，人们从无所不在的屏幕中寻找图像的真实，但是找到的往往是虚拟世界的碎片。余学民的作品通过绘画和装置的方式重构了虚拟世界的彼岸，反复以“虚拟”的图像志唤醒视觉中的“真实”；以跨文化时空重构的方式再一次诠释了绘画虚拟的价值，同时也反思了数字化生产的图像和虚拟体验的泛滥。
‘Beyond Time and Space’-Yu Xuemin's Trans-Cultural Iconography
Gao Yuan
Multiculturalism, as it is called in history and cultural theory, is an attempt to preserve the original attributes of a certain culture from being assimilated by other cultures or to create a situation in which a certain culture is dominant. Because it recognises the existence of cultural boundaries and tends to reinforce them, it has been gradually replaced in the last 30 years by transculturalism. It recognises the ‘hybridity’ of cultures and peoples, and aims to break down cultural boundaries rather than build barriers between them.
Historically, artists who have sought out and practised this trans-cultural theme have formed a unique and culturally valuable part of art history. From the ‘Chinoiserie’ paintings of 17th and 18th century Rococo artists such as Boucher, to Van Gogh's ‘Japonaiserie’ in the 19th century, artists expressed their exotic oriental imagery on canvases, objects, and even in buildings and gardens, resulting in hybrid products that were neither Chinese nor Western, such as strange pagodas in the paintings, and strange hair and looks of the characters.
Some of this imagery is the trace of cultural misinterpretation, and some is the result of appropriating classical iconography. Later artists took this trans-cultural misinterpretation and appropriation as a creative concept to express trans-cultural themes. From the Turkish baths in Jean Auguste Dominique Ingres's paintings and the Algerian women in Delacroix's paintings, the exotic imagery and reconstruction of the ‘Orient’ in paintings jumped out of the screen; to the Tahiti women and their symbols of faith in the paintings of Gauguin in the Post-Impressionist period, an European imagination and experience of civilisations in the East and further afield in the middle of the ocean, constituted by means of images a cross-cultural ‘chronotope’ (Bakhtin, 1981).
These image-processing predecessors have profoundly influenced the way contemporary artists deal with images. From contemporary American painter David Salle's hybridised iconography to Marlene Dumas' black women in her paintings; from Xu Zhen's heterogeneous rendering of classic Chinese and Western sculptures to the fusion of multi-religious belief systems in Cang Xin's works, all can be seen as the artist's trans-cultural iconographic practice. Artist Yu Xuemin's works after 2017 juxtapose and combine traditional Chinese images with classic Western images through a collage similar to surrealism and pictorial painting, such as the juxtaposition of ancient Chinese statues of Nio and Arhat with ancient Greek and Roman sculptures, and the mixing and matching of classic Western sculptures with traditional Chinese architecture, all of which are the product of the artist's reintegration and in-depth thinking about ancient and modern Chinese and foreign image resources. In fact, as early as 2013, these trans-cultural images have already appeared in Yu Xuemin's paintings, and in the artist's series of Broken Mirror, the temporal and spatial intertwining between imagination and reality, and between the exotic and the local, has become the main feature of Yu Xuemin's works.
The figure-ground relationship in picture theory has always been a key issue in academic discussions, and in many of Yu Xuemin's works, the image and the image background constitute a new syntactic relationship: through the stripping away of the image background, the artist suspends the image, which is originally strong in cultural attributes and symbolism, in an unknown space-time, or places it in heterogeneous cultural contexts, thus strengthening the surreal sense of the image and the sense of temporal and spatial dislocation. In the trans-cultural grammar of images, the intensity of the image is crucial. Stylistic imitation is often unhelpful - the artist's hand is the direct force behind the intensity of a painted image, but an image depicted by a hand swayed by overly intellectual thinking tends to display a contrived style and loses the intensity that the image deserves. Yu Xuemin's image reconstruction, on the basis of highlighting hand-painting, intentionally highlights the inertia of painting thus weakening the stylised features of the schema, and then gives the image a strong clash: juxtaposing the Wei, Jin, Sui, and Tang dynasty grottoes statues with the ancient Roman and Hellenistic sculptures, juxtaposing the European classical theatre characters with the Chinese traditional statues of the Nio, Arhat, and juxtaposing the Chinese ancient architectural space with the classical statues of Europe. The artist does not simply juxtapose these images, but incorporates deep cultural concerns. We notice that the imagery in many of Yu Xuemin's works is often mutilated, incomplete, or even fragmented, which is precisely the artist's reflection on the destiny of cultural heritage being destroyed and damaged, and art classics being desecrated and neglected, as well as his concern for the uncertainty of the history and reality of cultural development.
The relationship between historical documents and images occupies an important place in the practice of many contemporary artists. Contemporary Belgian painter Luc Tuymans often makes use of historical image documents by cutting and reusing them, so that the image documents are involved in the process of the birth of a painting, thus generating a sense of temporal and spatial dislocation. Yu Xuemin's Medallion also utilises the relationship between historical photographs and painting images, combining crumpled old photographs of the artist's father with the contemporary background made up of equally crumpled gold and silver foils, as if a dislocation of history, or a fold in time and space, which appeared in the gaps between the artist's personal history and the country's history; and in turn, incorporating real historical pictorial documents into the creation of images for contemporary paintings.
The blurring of the boundaries between image and reality is one of the characteristics of contemporary image production and consumption. In Yu Xuemin's series named after geological periods and the ‘Aegean Sea’ series, real scenes or daily objects always appear together with the imagery of ancient statues and historical relics. This kind of image processing brings the connection between images and reality closer, and breaks the boundary between reality and historical images. At the same time, the dislocation of the scene and space enhances the sense of absurdity and alienation of the image world. The recurring objects generated by various cultural carriers in the paintings also become fragmented with the dislocation of the background of the images, and this way of constructing images precisely contrasts with the smooth and glossy style popular in today's paintings. Just like the expressive style of Yu Xuemin's ‘Broken Mirror’ series: broken, dislocated, overlapping, blurred, heterogeneous, hybridised, and traversed; images modified with these qualifiers have become the methodology of Yu Xuemin's trans-cultural iconography, and also represent the basic problems faced by today's image world.
Nowadays, people look for the reality of images from the ubiquitous screen, but what they find are often fragments of the virtual world. Yu Xuemin's works reconstruct the other side of the virtual world through paintings and installations, repeatedly awakening the ‘reality’ of vision through ‘virtual’ iconography; interpreting the value of virtual paintings in a trans-cultural temporal and spatial reconstruction, and at the same time reflecting on the importance of the digital production of images and virtual experiences. At the same time, it also reflects on the proliferation of digitally produced images and virtual experiences.
艺术家简历
余学⺠
生于西藏拉萨
职业艺术家
中国壁画协会会员
现工作于北京/成都两地
Yu Xuemin
Born in Tibet
Professional Artist
Member of china fresco Association
Now Working in Beijing and Chengdu
个展
Solo Exhibition
2024时空彼岸：余学民个人作品展 /成都 蓝顶美术馆
2024 Beyond Time And Space:Yu Xuemin‘s Art Works Exhibition / Chengdu Blue Roof Museum2021 图像转场：余学民作品展（2011—2021）/北京 798朗空美术馆
2021 Image Transition : Yu Xueming Works Exhibition / Beijing 798Langkong Art Museum
2017 “精神的表象”个展/798凤凰含章艺术中⼼/北京.中国
2017 "The Representation of Spirit"Solo Exhibition /798 Phoenix Chapter Art Center/Beijing.China
联展
Group Exhibition
2024中国新水墨画院画家作品展，北京/中国
2024Exhibition of works of painters of Chinese New Ink Painting Academy, Beijing/China
2023鸟巢文化中心国潮艺术节作品展，北京/中国
2023Exhibition of Bird’s Nest traditional trend Art festival , Beijing/China
2023冉起上海国际艺术博览会，上海/中国，新加坡，阿布扎比/阿联酋，
2023，Affordable Art Fail Shanghai Exhibition Center,Shanghai/China,Singapore,Abu Dhabi/The United Arab Emirates
2023“仪式动力”，上海/中国
2023Ritualdynamik，Shanghai/China
2022生机——亚投行青年艺术家优秀作品展，北京/中国
2022Blooming & Thriving--- AIIB Best Youth Artists' Artworks Exhibition, Beijing/China
2019 “美国当代艺术家展”⾥⼠满/美国
2019 “The United States ContemporaryArtists Exhibition”Richmond / USA
2018 “维州半岛亚洲艺术联展”弗吉尼亚/美国
2018 “Transposition-Aaian Cultures”Virginia/USA
2017 “中国当代油画邀请展” 弗吉尼亚/美国
2017 "China Contemporary Oil Painting Invitational Exhibition"Virginia / USA
2017 ⼀带⼀路“中国油画⻢来⻄亚⼤展” 吉隆坡/⻢来⻄亚
2017 Belt andRoadInitiative "Chinese Malaysia oil painting exhibition", Kuala Lumpur / Malaysia
2016 798 艺术区凤凰含章艺术中⼼“观看之道” 北京/中国
2016 798 Art District Phoenix chapter Art Center "Watch The Way"Beijing / China
2013 “微关系”当代艺术展/刘海粟美术馆/上海
2013 "Micro Relationship"Contemporary Art Exhibition /Liu Haisu Art Museum/Shanghai
2013 “意⼤利⽂化部当代艺术邀请展”罗⻢⽂化处美术馆/意⼤利罗⻢
2013 “Italy Culture Ministry Contemporary Art Invitation Exhibition”Rome Culture Department ArtMuseum / Italy Rome
2013 “第27届亚洲国际艺术展”查达蒙当代艺术中⼼/泰国曼⾕
2013 “Twenty-Seventh Asia International Art Exhibition”Contemporary Art Center/Thailand Bangkok
2013 中央美术学院综合材料展/中央美术学院/北京
2013 China Central Academy of Fine Arts Comprehensive Materials Exhibition / China Central Academy of Fine Arts /Beijing
2012 春季沙⻰展/四川⼤学美术馆/成都
2012 spring Salon Exhibition / Sichuan University Art Museum/ Chengdu
2011 “理想国”当代艺术联展/⻢奈艺术空间/北京
2011 "Utopia"Contemporary Art Exhibition / MANET Art Space /Beijing
Collections
2013 “碎镜”/100 X 80cm/布⾯油画/中国⼴东美术馆(国家⼀级美术馆)收藏
2013 “Broken Miror”/100 X 80cm/Oil on canvas/China Guangdong Museum of Art (national-level museum)
2017 “室外⻛景”/50 X 60cm/布⾯油画/美国私⼈收藏
2017 “Outdoor landscape”/50 X 60cm/Outdoor landscape/USA Private Collection
2017 “⽩垩纪系列”/100 X 80cm/布⾯油画/美国“LINDA MATNEY GALLERY收藏
2017 “A Series of The Cretaceous Period”/100 X 80cm/Outdoor landscape/USA“
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