白盒子现场 | 中国前卫乌托邦主义者们共同构建的理想“家”

理想“家”群展现场  2022.9.23-2022.11.26

The scene of House of Utopianism group exhibition

理想“家”：抽象艺术——渴望乌托邦的视觉图像，于2022年9月23日在北京798艺术区白盒子艺术馆开幕。此次展览汇集了6位艺术家——陈文骥、冯良鸿、洪浩、李向阳、马树青、谭平，建构了现代性乌托邦视觉图像。艺术家们通过对材料、媒介、维度、色彩等角度进行深度探索寻找属于自己的乌托邦道路。此次集合了种种抽象观念的理想“家”，以最纯粹的形式呈现出对于现代性乌托邦的批判性思考。这些中国-前卫乌托邦主义者（Chinese-Avantgarde Utopians）的抽象艺术尝试去拨开抽象与生活之间的迷雾。在他们的作品中，展现了一种隐匿于日常、挣脱惯性思维的自我意识。

理想“家”: 抽象艺术 —渴望乌托邦的视觉图像

House of Utopianism: Abstract Art, an iconographic depiction of aspirations for Utopia

（节选）

文/李章旭

By LEE Janguk

抽象艺术、艺术的抽象性早在艺术的始源中形成胚胎，是艺术史中被传承下来的主要基因。艺术史进入20世纪，与其说艺术发明了抽象艺术，不如说是创造了“抽象艺术”这一词汇，即抽象艺术并不是人为创造出来的新概念，而是在其固有概念的基础上，赋予它新的名字，使其渐渐浮出水面公开于世。同柏拉图（Plato）的《斐利布篇》（Philebus）中提到的一样，通过以呈现“其本身作为其本质”建立在美学层面上的形式正当性，成为现代艺术的典范。“为艺术而艺术”（L’Art Pour L’Art）的艺术，为了明确自身社会性与历史脉络，设定“其本身作为其本质”的美的表象成为必要的一环，而这一切都能够与“乌托邦”联系在一起。在特定社会与时代背景下的乌托邦景象，即乌托邦主义（Utopianism），而当乌托邦主义的表象以特定样貌被创造出来为前提时，才能够进入以下议论中。

Abstract art or abstractness of art has been conceived(胚胎) long since the origin(始原), being passed down(傳承) as the main gene through the history of art. What art invented in the 20th century was the name ‘abstract art’ rather than the genre itself. In other words, abstract art is not a newly created concept. It can be defined as a concept that emerged on the surface of art history by naming what originally existed. As Plato mentions in 『Philebus』, abstract art emerged as an epitome of contemporary art in a form of securing aesthetic legitimacy "as its own nature." In order to reveal the social and historical context of ‘L'Art Pour L'Art,’ it is necessary to set up a general representation of beauty "as its own nature" which can directly lead to ‘utopia.’ Discussions can be drawn on the premise that utopianism, or utopianism, creates its representation in a specific shape, which is the vision of a specific society and era. Discussions can be drawn on the premise that the vision of a utopia, in other words, utopianism of a specific society and era is created in a specific figure.

（左）陈文骥《半》  铝塑板上油画 58x43.8cm 2017

(Left) CHEN Wenji, Half,  Oil on aluminum panel 58x43.8cm 2017

（中）陈文骥《上中下》  铝塑板上油画 136.5x80cm 2017

(Middle) CHEN Wenji, Up Middle Down,  Oil on aluminum panel 136.5x80cm 2017

（右）陈文骥《剩》  铝塑板上油画 98.5 x18cm 2017

(Right) CHEN Wenji, Remaining,  Oil on aluminum panel 98.5x18cm 2017

（左）冯良鸿《知秋 22-31》  布面油画 150x150cm 2022

(Left) FENG Lianghong, Perceive autumn 22-31,  Oil on canvas 150x150cm 2022

（中）冯良鸿《黄 22-1》  布面油画 150x150cm 2022

(Middle) FENG Lianghong, Yellow 22-1,  Oil on canvas 150x150cm 2022

（右）冯良鸿《红与绿 22-21》  布面油画 150x150cm 2022

(Right) FENG Lianghong, Red and green 22-21,  Oil on canvas 150x150cm 2022

如果说基督教的乐园是乌托邦的缩影，柏拉图的《共和国》（约公元前360年）则是首例描写现实中乌托邦的书籍，而后来由托马斯·莫尔的小说继承。乌托邦的文学性描写在约18世纪末开始，出现在具体的社会理论中，随之被众人讨论。在了解之所以乌托邦空间能够走出虚拟世界时，我们可以发现“法国大革命”与“新大陆的发现”是使它成为可能的变数，深入其中，甚至还可以了解到近代市民社会的形成以及工业革命。随着将乌托邦成为可能的社会性、技术性手段可视化，乌托邦也随之来到现实。与此同时，在19世纪末，乌托邦文学重新得到活力。尤其，以人物为了躲避现实而逃往理想乡的旅行小说为主。在绘画作品中，描绘乐园的作品有保罗·高更（Paul Gauguin）的《塔希提》（Tahiti），以及亨利·马蒂斯（Henri Matisse）的作品《奢华、宁静、欢乐》（Luxe, calme et volupté）（1904-05）。随着20世纪来临，历史积淀下来的乌托邦概念与计划一并压缩在这一时代被人们实验，就像前苏联将这些实际运用在现实社会中一样。相对其他而言，通过“现代性（modernity）”这一契机，更加凸显了各自担当角色的状态。从新事物、当代性事物中发现异常的“现代性（modernity）”神话走向现代乌托邦主义，我们可以说，这一切来自“人类一直以来渴望的乌托邦来到眼前”的信念当中。

If Christian paradise is the epitome of transcendental utopia, Plato's 『The Republic(共和國)』 (360 BC) is the first example of describing a utopia in reality, which then leads to Thomas More's novel. Afterwards, utopia, which was mainly described literary, began to be discussed in the concrete social theory of the late eighteenth century. Utopia's space has gradually moved from virtual to reality, and the variables that made this possible include the discovery of the New World, the French Revolution, which lead to the formation of modern civil society and the industrial revolution. As the social and technical means of enabling utopia actualities, utopia becomes reality. Accordingly, utopian literature also revitalizes from the end of the 19th century. In particular, many travel novels seeking to escape to utopia are written, the painted versions of these are Paul Gaugin’s Tahiti paintings and Henri Matisse's <Luxe, calme et volupté> (1904-05) depicting paradise. Thus, the concepts and ideas of utopia, which were accumulated in the 20th century, are comprehensively experimented and applied to real society as in the former Soviet Union. It takes the form of an adaptation through an opportunity known as 'modernity' first and foremost. The belief that the utopia which humanity has dreamed of has arrived in its eyes, the myth of modernity which has found idealism in contemporaneity and modernity has risen to modern utopia.

抽象艺术正是现代乌托邦主义（Utopianism）的例子，它从新事物中发现艺术的异常，因此也可以称之为典型的前卫主义（Avant-gardism）。抽象艺术家通过各自不同的方式向观众展现世界中不同的视角，而这一切，仿佛是由多个脉络一同编绘出来的当代乌托邦主义地图。抽象艺术的历史与乌托邦中所包含的复杂概念的层次，它们通过相互反应、冲突，揭示了乌托邦的历史。

Abstract art is an example of this modern utopianism, a characteristic of avant-gardism which reveals the ideals of art in novelty. Abstract artists have proposed a new way of seeing the world in different ways, a map of contemporary utopia created in different contexts. Consequently, the history of abstract art reveals the history of utopia, achieved by reacting and colliding with one another with the level of complex concepts implicit in utopia.

洪浩《四季2019之二》  灰尘 画布 160x160cm 2020

HONG Hao, The Seasons 2019 II,  Canvas dust 160x160cm 2020

洪浩《四季2019之二》  日记 2020

HONG Hao, The Seasons 2019 II,  Diary 2020

（左）李向阳《墨点的方向》  布面丙烯 水墨 拼贴 120x120cm 2017

(Left) LI Xiangyang, The direction of the ink dot,  Acrylic on canvas ink collage 120x120cm 2017

（右）李向阳《身体的力》  布面丙烯 水墨 拼贴 120x120cm 2017

(Right) LI Xiangyang, Physical force,  Acrylic on canvas ink collage 120x120cm 2017

创造与现实截然不同空间的抽象艺术，成为恰好能够容纳乌托邦的容器。尤其以现代样式发明出来的抽象艺术，成为实现以现代性为轴形成的多种不同意识形态，以及它们各自所展望的不同乌托邦主义式画面的最好的工具。随着20世纪落下帷幕，20世纪艺术发明的抽象艺术便开始面临着危机。现代性（Modernity）渐渐失去人们的信任，紧接着来到了后现代时代，一切现代（Modern）的事物，即关于以新的意识形态为基底建立的新社会的未来展望，以及在将这一切融合的新形式下，抽象变得毫无意义。即使如此，虽然抽象艺术正面临着危机，我们也不能说抽象艺术已经消失，因为更多作为抽象艺术的例子依旧被人们陆续发现。

Abstract art, which creates a completely different space from reality, has become a bowl suited to another world, utopia. In particular, abstract art invented as a modern style has been a good tool to reproduce different ideologies formed around modernity and different utopian visions they see. However, at the end of the 20th century, abstract art invented by 20th century art also confronted crisis. When the so-called postmodern era, where modernity lost its foundation of trust, everything modern, every new ideology, or vision of a new society based on it, or an abstraction of it as a new form of containing it seemed meaningless. However, although abstract art is faced with such a crisis, it cannot be said that it has disappeared, because above all, examples that seem like abstract art are still visible.

就像乌托邦主义计划排除现实生活中的人一样，抽象艺术一直以来否定事物的形象；就像乌托邦的叙述着重于描写永恒的理想社会一样，抽象艺术的修辞（Rhetoric）也朝着“为艺术而艺术”的极点前进。就像乌托邦尚未到来一样，抽象艺术也面临着挑战；就像对乌托邦的渴望没有一丝消减，抽象艺术改变其样貌依旧存在于艺术史中，而这一切并非偶然。乌托邦不是作为具体现实存在，而是作为“抽象图像”存在，又或许抽象艺术正是乌托邦的地图。

Abstract art has denied the form of things, much like utopian planning has excluded real people. Moreover, just as Utopia's stories were centered on the representation of a permanent ideal society, the rhetoric of abstract art was also dedicated to ‘art for art.’ However, abstract art is also in question, just as utopia did not occur, and in the same way that the desire for utopia has not grown cold, abstract art remains in the history of art by altering its appearance. All this is not a coincidence because utopia is not a concrete reality but an "abstract image" and hence abstract art is a map of utopia.

（左）马树青《凹凸2022-1》  矿物色粉丙烯媒介剂亚麻布面 43x43cm 2022

(Left) MA Shuqing, Concave-Convex 2022-1,  Mineral color powder Propylene mediator Linen cloth surface 43x43cm 2022

（右）马树青《凹凸2022-2》  矿物色粉丙烯媒介剂亚麻布面 43x43cm 2022

(Right) MA Shuqing, Concave-Convex 2022-2,  Mineral color powder Propylene mediator Linen cloth surface 43x43cm 2022

（左）马树青《凹凸2022-3》  矿物色粉丙烯媒介剂亚麻布面 43x43cm 2022

(Left) MA Shuqing, Concave-Convex 2022-3,  Mineral color powder Propylene mediator Linen cloth surface 43x43cm 2022

（右）马树青《凹凸2022-4》  矿物色粉丙烯媒介剂亚麻布面 43x43cm 2022

(Right) MA Shuqing, Concave-Convex 2022-4,  Mineral color powder Propylene mediator Linen cloth surface 43x43cm 2022

谭平《无题》  丙烯绘画 200x300cm 2015

TAN Ping, Untitled,  Acrylic on canvas 200x300cm 2015

中国-前卫乌托邦主义者从20世纪下半叶至今，以名为抽象的形式与构造为基础，在固有母国主义（Vernacularism）的表现内容、精神与时代背景下，寻找属于自己的乌托邦道路。如今，同他们一起体验本次展览。通过带有“任何艺术都离不开人类活动的生活整体性”的自我意识为初衷的本次展览，以仅认可纯粹形式的现代主义的人生，试图让早已从生活中抽离出来的抽象艺术重新扎根于生活。此外，在本次展览中，或将发现存在试图将现代主义之后出现的新言论等，通过视觉图像的方式来观察的意图。

This exhibition attempts to join the Chinese-Avantgarde Utopians who have pursued their own utopia, from the form and structure of abstraction to unique vernacular expression, mind, and circumstances of the time from the late twentieth century to the present day, and is based on the awareness that "no art can be separated from the totality of life as long as it is a human activity" and attempts to plant abstract art which was wiped out from life by modernism that recognizes only the pure form. Moreover, this exhibition shows that the intent is to examine the new discourses that emerged after modernism as a visual icon.

现场嘉宾

艺术家冯良鸿、策展人李章旭、艺术家马树青、洪浩、陈文骥，孙永增馆长在现场

展览回顾

Exhibition Review