泛亞洲視點 —關(guān)于張可欣的新藝術(shù)
黃 篤
張可欣是一位長期在海外活動的中國藝術(shù)家，他游牧式的生活修煉了個人的精神意志，既能面對當(dāng)代變化多端的復(fù)雜世界榮辱不驚，又能沉靜下來專心自己的藝術(shù)，并逐漸完善和確立了鮮明的個人藝術(shù)風(fēng)格。
張可欣的藝術(shù)表現(xiàn)出一種新波普的語言，沒有一個規(guī)定性的約束，既接納了擴(kuò)張性、凌亂性、混雜性、不確定性的動力，又模糊了高級與低級的區(qū)分，還揉雜了商業(yè)、流行和廣告的語匯，甚至解構(gòu)了傳統(tǒng)的中國文化資源。如果說經(jīng)典波普藝術(shù)具有一種平穩(wěn)的語言系統(tǒng)，那么新波普則是一種混雜的語言方式，他的作品里就蘊(yùn)涵著這種新波普的語言，不論是裝置，還是繪畫，他的藝術(shù)都保持其內(nèi)在的語言邏輯。他的這種新波普除了沿用經(jīng)典波普之外還融入了庸俗的東西，即把那種越軌的東西或不被正統(tǒng)文化所承認(rèn)的東西帶入藝術(shù)范疇。那么，在這個意義上，經(jīng)典波普藝術(shù)并不具他的那種經(jīng)驗——他的作品中一種別樣的風(fēng)格，即充滿泛亞洲的圖像和語言，構(gòu)成了“泛亞新波普”的顯著特征。他的這種泛亞洲視點是基于個人像一個文化游牧者的經(jīng)驗，因為游牧性的藝術(shù)是與正統(tǒng)的、主流的藝術(shù)相對立的，它處于一個沒有邊界的游離狀態(tài)，是不確定的，是沒法被編制的，是難以約束的，它不斷摧毀確定的邊界。這也就是游牧藝術(shù)最具破壞力和最具顛覆力之處，更體現(xiàn)了藝術(shù)的張力。
正是由于張可欣的游牧經(jīng)驗才使他的藝術(shù)不僅在技術(shù)美學(xué)上大膽使用顏色和圖像，而且還在思想上從泛亞洲的視角審視、分析和表現(xiàn)亞洲內(nèi)部動態(tài)的混亂和混雜，并牢牢把握住亞洲處于動蕩、不安、焦慮、欲望的文化表征。盡管張可欣從微觀方法出發(fā)來處理每一件來自不同視覺資源的作品，
其骨架則是中國古代的營造法式，但是被藝術(shù)家打散或者說被解構(gòu)的傳統(tǒng)，也就是說，它們是藝術(shù)
家經(jīng)過過濾、壓縮、塑造之后重新整合而成的新的視覺語言。這種獨特的視覺語言不僅生動再現(xiàn)了在普世價值觀下新舊觀念的更替，傳統(tǒng)與現(xiàn)代的廝磨，人性與獸性的搏斗，而且深刻解析了亞洲混雜的現(xiàn)代性——雜交、混亂、極權(quán)主義、不確定性、現(xiàn)代化、傳統(tǒng)、宗教。落后、時尚等社會特征。
藝術(shù)家的神圣性在于他能站在更高之上表達(dá)立場。這種立場則體現(xiàn)在藝術(shù)家既能敏銳洞察到復(fù)雜現(xiàn)實的變化，又能對此做出理性的分析。我們在張可欣的作品中能感受到他對某些社會文化問題的思考和解析，即通過借用世俗的語言和解構(gòu)世俗的語言去追問和批判世俗世界。
2009年2月2日（星期一）于北京
?
A Pan-Asian Perspective – the New Art of Zhang KeXin
Zhang KeXin is a Chinese artist who has lived abroad for many years. His nomadic lifestyle has molded his spirit and his will, making it possible for him to face this ever changing and more complicated world without sacrificing his individual artistic style – all the while maintaining his focus and demeanor thus allowing him to perfect his distinct manner of creation.
Zhang KeXin’s art speaks a language of Neo-Pop Art – a language with no fixed grammar – a language that is non-deterministic, both expansive and chaotic – a language that blurs the distinctions between high and low class, mixing the vocabulary of commerce, fashion, and advertising – a language which at times deconstructs traditional Chinese cultural constructs. Were we to say that classical Pop Art possesses a steady system of language, then we would say also that Neo-Pop Art possesses a language which is a mixture – this mixture being displayed in Zhang KeXin’s works. Whether in his installations or his paintings - the inner logic of his artistic language is evident. His Neo-Pop Art mixes the aberrant and vulgar together with the styles of classical Pop Art – bringing the culturally unorthodox into the art world. Thus his art exhibits what classical Pop Art does not – a unique experience and style – a style full of “Pan Asian” images and languages – and constituting the remarkable characters of his “Pan Asian Neo Pop Art”. This unique viewpoint has developed over time as his experience as a cultural nomad has broadened. His nomadic artistic style is diametrically opposed to an orthodox style of mainline art. His style is in a constant state of dissociation – with no borders, no controls, and no limitations. There is nothing fixed and certain in his work – which is precisely the character of nomadic art – at times destructive and subversive – yet displaying the tractability and adaptability of art.
It is precisely his nomadic experience that gives Zhang KeXin the ability to audaciously utilize
colors and images in his esthetic and technique – an ability to survey, analyze and display the chaos and instability inside the movements of the new Asia - from a “Pan Asian” point of view. He is able then to firmly seize the cultural tokens of Asia, which are simultaneously turbulent, anxious, uneasy and full of desire. Although developing each work from different visual resources in microcosm, Zhang KeXin’s works exhibit a structure rooted in ancient China - Chinese Construction Rules - yet this tradition is deconstructed by the artist. Stated differently, he takes different traditional elements, then filters, compresses, and molds them into an amalgam, creating his own new visual language. This unique visual language not only vividly recreates a general sense of worth - the subrogation of old and new concepts, the friction between tradition and modernity, the grapple between what’s human and brutal, but it also deeply resolves the mixed modernity in the new Asia - hybridization, chaos, totalitarianism, non-determinacy, modernization, tradition, religion, old and new fashion - the social fabric of our time.
The sanctity of an artist lies in his ability to air his points of view on a grander stage. This ability is grounded in the artist’s capacity to incisively penetrate the changes in a new complicated reality and then reasonably analyze these changes. We are able to sense in his works the thinking done and analysis made by Zhang KeXin of many modern social and cultural issues. We are able to perceive his manner of questioning and criticizing a profane world with one language – a language both mundane and deconstructing.
Huang Du
Monday 2nd,February,2009, Beijing