为上海天线空间韩冰个展 (2013年9月27日- 2013年11月10日)所写
韩冰的画面笔触斑驳,一面是得心应手的表现主义,另一面渗透数码画面的微妙质感:精准输出现实造型世界的信息,象素块的组织规则、棱角,和偶发误差.
12: 36: 02 (2011)
“数据化的世界像个舞台,”韩冰在帕森学院的研究生毕业论文中论述道:绘画的语法成为转译;寻得的图像—无论是想象投射还是现实偶遇—往往更意义深刻.本雅明所论的灵光通过复制转译直至无法溯源,却更加熠熠生辉.
相较2010-2011年间那些用鲜明冷色调处理,光线幽微奇特的室内空间—如影院、剧场、乐队排练现场,最近的画面则看起来更为晦涩.画中景观往往造成困惑,却又毫不陌生.韩冰曾引用Gerhard Richter 1973年在访谈中对风景的阐释: “landscape is simply inhuman, and all the rest is simply projection.”(风景并无人情,其余的一切仅仅是投射.)十九世纪浪漫主义艺术迷恋自然景物莫测而非理性的力量,而当下的景观—糅杂建筑、自然碎片、城市构架的风景所激发想象的则属于社会心理,幽闭而瑰丽.
Meeting (2013)
独特的时地性中蕴含着结构的永恒.圆形会议室高处巨大的藻井,空无一人却产生压迫感;void(2013)系列中巴罗克式装潢剧场中心是层次分明却故意细节模糊的舞台布景.石青半圆幕布后不同程度的绿,可用作森林或者乡村场景的剧目,而观者心知肚明的人造布景在韩冰的笔触下却呈现出密林般的拟态.笔触本身更令画面可疑而诱人—本属于靠后层次的淡绿色悄悄流淌到舞台最前端.丛林深处蜜柚色的空荡远景像是老式电视机关机屏幕一刹般的平淡直线.虚空最具引发个人想象投射的潜力,就如void #2中森林地面上的水泥台与几何凹陷的痕迹.画面最前方类似显示器故障般的色块,令人想起2011年一系列在琴键上飞舞的手的特写;又像对比色卡聚合并清点着周围所用的颜色种类.
Void #1 (2013)
在韩冰的绘画语法中,空是最为充盈的.
充盈很直接地来自周遭所见,情感,乃至记忆,再由想象发酵.具体的蛛丝马迹可能是2011年看到的玛格丽特展上,被墙纸替代的红丝绒帷幕,纽约路边脚手架上贴出的展览公告,或是伦敦的Lisson画廊由Tony Fretton设计的空间.在Bush (2013)中,韩冰将画廊建筑原本冷灰冰蓝的一角折射出更广而微妙的色谱,微微仰视的角度望进落地窗,画廊内部在强光中变成漆黑背景,唯一可见巨大的球状灌木被纤细的外部建筑结构从正中纵贯剖开.这个略有些超现实的画面来自韩冰亲自面对建筑物时的突发臆想—如果把惯见的景观植物植入画廊空间会有怎样的怪诞、顺理成章的效果?这丛植物的景观属性,被观看,被定义的方式又如何被置换?无论如何,这个突发的图像在她脑海中挥之不去,最终成为想象投射、设计出的空间装置.与那些用聪明机巧安排视觉蛊惑的超现实作品不同,它们仅仅忠于韩冰自己的困惑,并在这个意义上邀请观众代入.
Bush (2013)
对于任何一个真正意义上的绘画者来说,尺寸大小往往意味着天壤之别.韩冰的小尺幅在抽象和现实的造型世界中摆荡.Landscape(2013)中半抽象的背景之上又被切割划分出更小的半抽象画面,最初源自一位朋友贴在脚手架上的展览海报.海报中背描绘的景与衬在其背后的景开启了循环往复的映照与矛盾,而临时架起的钢管结构成为自然而然的游移框架.
landscape #1 (2013)
“什么更加可靠: 注视的目光,镜头,教育,或是记忆?”不辅佐任何理论,不说明任何现象,没有明确的指向,却有确凿的关联.来自童年阅读翻译文学的经历,youtube上纪录片定格中背景的墙纸,跟图像一样无法刨根问底的复杂体会,来自2004~2011的央美和2011~2013的帕森,来自Ed Ruscha、Rachel Whiteread、Luc Tuymans等等对她有着这样那样启发的艺术家.来自对图像本身(及其时地性)珍贵而敏锐的执念;由清晰剥落,又在斑斑驳驳中建立起整体.
Excerpt translated for Han Bing‘s solo exhibition wall text:
The intriguingly layered surfaces that typify Han Bing’s paintings are essentially two-fold: half confidently-executed expressionism, half informed by the subtle sensibility of digital imagery, mediated by the texture, hard-edge, and occasional glitches of the pixel. “The digital world is a stage,” argues Han Bing in her MFA thesis for Parsons the New School for Design: the artistic language has become that of “translating,” and in this sense the found imagery—either imaginative projection or encountered in reality—often prove to be more profound. Walter Benjamin’s notion of the “aura” has only gathered patina through mass productions that render the original untraceable.
Since the years of 2010 and 2011, there has been a series of paintings that feature artificially lit interiors—movie theaters, stages, and orchestra rehearsals, often treated in bright, cool hues. The more recent paintings on view in this exhibition, in comparison, might appear more obscure in subject matter, yet the scenes presented, while sure to induce bafflement, should not appear unfamiliar. Han Bing frequently refers to an observation made by the painter Gerhard Richter in a 1973 interview: “Landscape is simply inhuman; and all the rest is simply projection.” If for the 19th century Romanticism that projection lies in a fascination with nature’s unpredictable, untamed, and irrational wonder, our contemporary landscape, one that fuses architecture, fragments of nature, and urban structure, inspires imaginations that belong to the realm of socially-constructed psyche: claustrophobic yet kaleidoscopically fantastic.
—-excerpted from The Observing Painting, written and translated by Xin Wang
Theater (2013)
All images courtesy of Han Bing. Learn more about the artist here: http://www.binghanart.com/
所有图片版权来自韩冰。韩冰艺术家网站：http://www.binghanart.com/
xin wang 