“叙事”归来

发布时间：2019-06-19 00:08

【摘要】：“叙事”一直贯穿中西美术史中,以宗教、历史题材创作为至尊主流。经过现代主义的否定之后,叙事变成了一件多余的事儿,连本雅明也认为叙事艺术已“变成某种古代的遗风”,并把这归结为现代社会人的交流能力的丧失和经验的贬值。然而,人是叙事的动物,一种“新的叙事学”无处不在的添充在电影、MTV、卡通、笑话、电视广告、心理分析、社会调查、哲学例证、法律公案中……叙事性绘画也从以“革命”为主题的主流意识形态的背影中,获得一次积极而重大的转折。区别于上世纪90年代以泼皮调侃形像为主的日常性绘画,新一代的年轻艺术家以一种更复杂的,暧昧的,矛盾的,充满智性的私人化的方式建立了新的言说系统。他们拒绝为叙事建立一个具有稳定意义和连贯性的前后逻辑,而是以一种不合理的,血统混杂的,暧昧不清的,丧失自我的方式探讨道德、伦理、性、社会、生存经验、情感等问题。他们拿来古典绘画中旧的“元素”,运用一种抽象的结合方式构成新的“句法”,联接成充满谬误、费解和断裂的新的“语境”。他们由“元叙事”向充满创造力的“小叙事”转变,真实生活中被忽略了的细微的粗鄙之物被重新感知,成功地从熟谙的语境和记忆中解放出来,获得了一种崭新的异质意味。“叙事”终于在众说纷纭的“后现代”的“观念艺术”的舞台上粉墨登场,再度归来。针对如何选择图像,如何处理叙事的情节与时间性,以及如何表达等具体的实践性问题,我邀请了三位正在这方面探索的年轻艺术家来一起探讨这个话题。
[Abstract]:Narration has been running through the history of Chinese and Western art, with religion and historical themes as the dominant mainstream. After the negation of modernism, narration has become an superfluous matter. Even Benjamin believes that narrative art has "become some kind of ancient legacy", which is attributed to the loss of human communication ability and the depreciation of experience in modern society. However, man is a narrative animal, a kind of "new narratology" everywhere in movies, MTV, cartoons, jokes, TV advertising, psychoanalysis, social investigation, philosophical examples, legal cases. Narrative painting also obtains a positive and important turning point from the reflection of the mainstream ideology with the theme of revolution. Different from the daily painting in the 1990s, which is dominated by peeling and teasing images, a new generation of young artists has established a new speech system in a more complex, ambiguous, contradictory and intelligent private way. They refuse to establish a stable and coherent pre-and post-logic for narration, but explore moral, ethical, sexual, social, survival experience, emotion and other issues in an unreasonable, mixed, ambiguous and self-lost way. They bring in the old "elements" in classical painting and use an abstract combination to form a new "syntax", which is connected into a new "context" full of fallacies, puzzles and breaks. They changed from "meta-narrative" to "small narrative" full of creativity. The subtle vulgarity neglected in real life was reperceived, successfully liberated from the familiar context and memory, and a new heterogeneous meaning was obtained. Narrative finally appeared on the stage of postmodern concept art and returned again. In view of the practical problems such as how to choose images, how to deal with the plot and timing of narration, and how to express themselves, I invited three young artists who are exploring in this field to discuss this topic together.
【作者单位】：《美苑》
【分类号】：J204

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