文/柳力 Liu Li

 

疾如風，徐如林，侵掠如火，不动如山。 風、林、火、山——这句出自《孙子兵法》的四字诀分别代表行军时的四种状态，其整体语义所展现的是一种惊人的耐力与非凡的意志掌控力，四种字形在视觉上体现出一种有如钢铁般的制式却包揽无穷的范畴，这其中封存了速度、力、广延性、蓄势能、事物对空间的填充与在场、温度、质量以及万事万物的罗网关系等——正如蒋正根与周洋明在画布上所留下的艰苦卓绝的、枯禅般的印记，它们日复一日、年复一年所贮藏的能量汇聚成一个温润与静谧、肃杀与虚无共构交织的空间。其中“風·林”是指在速度上用心经营、断除鲁莽而取谋略，“火·山”是在动与静之间进行任意的瞬间切换的机能。这一主题不仅比喻作品创作过程中那种有如行军般的意志状态，也代表艺术家无论时间和环境如何改变都不动摇本心，誓必将携此道勇往直前的决心。本次展览将主要展出两位艺术家近年来的最新创作，同时也将对两人的作品分别进行时间线性的梳理，并集中呈现来进行对照、比较。

Wind, Trees, Fire and Hill -- this four character formula from Sun Tzu's art of war represents the four states of marching respectively. Its overall semantics shows an amazing endurance and extraordinary will control. The four glyphs visually reflect a category that is like an iron law but embraces infinity, which encapsulates speed, force, ductility, potential energy The filling and presence of things in space, temperature, quality and the network relationship of everything -- just like the arduous and dry Zen like marks left by Jiang zhenggen and Zhou Yangming on the canvas, their stored energy day after day and year after year converges into a space intertwined with warmth and tranquility, killing and nothingness. Among them, "wind - Trees" refers to the careful operation and strategy in speed, and "fire - hill" refers to the function of arbitrary instantaneous switching between dynamic and static. This theme is not only a metaphor for the will state like marching in the process of creating works, but also represents the artist's determination to move forward bravely regardless of how time and environment change. This exhibition will mainly display the latest creations of the two artists in recent years. At the same time, it will also sort out the works of the two artists in a time linear manner, and present them intensively for comparison and comparison.

 

决定事物本质的并非结果而在于过程，而一个在形体表象上相同的过程应该被视为一种结果，因为它的动因可能截然不同。正如蒋正根的“点苔”与周洋明的修持念珠般的枯笔那样，从一个结果性的静止、固定的画面来看，永远只有反复出现的几乎无需技巧的单向笔触——物理上的分析最终止步于层叠的层数、落笔的轻重缓急与间隙大小的区别。这些努力都无助于理解它们各自所是的终极，而必须寻求一种远距的直观，找到一个极佳的观测点来感受那个大于局部之和的整体，再依次刨除孤立静止的分析、感官经验以及理性的鉴赏意图，这时或就会听到海水冲刷巨石的声音——这是蒋正根的柔性精神质感与周洋明作品中强韧有力的强调意志的重量感相碰撞而产生的。两位艺术家使用几乎全然一致的创作方式却给出的是截然不同的两个世界：蒋正根有如植物苔迹般的笔法所达到的柔和效果具有某种生长性，蓝色的轻盈与漂浮的质感也营造了一种虚极而静的效果，这都得益于他经营整体空间的构建所达到的极致；周洋明则在一笔一划中聚精会神，如同在静默无声中吸取日月精华的灵石，其每一笔触都脱离整体画面而独立存在，这其中不存在任何虚空或不虚的概念，亦没有进行实体空间构建的概念或目的，而正是从这一无意识的、真空妙有般的意念中，相悖地涌现出了厚重。

What determines the essence of things is not the result, but the process, and a process that is the same in physical appearance should be regarded as a result, because its motives may be different. Just like Jiang zhenggen's "moss" and Zhou Yangming's Rosary dry pen, from a result static and fixed picture, there will always be only repeated one-way strokes that almost need no skills - physical analysis finally stops at the difference between the number of layers stacked, the priorities of writing and the size of gap. These efforts are not conducive to understanding their respective ultimate, but must seek a long-distance intuition, find an excellent observation point to feel the whole greater than the sum of parts, and then eliminate isolated and static analysis, sensory experience and rational appreciation intention in turn, At this time, you may hear the sound of sea water scouring boulders - this is caused by the collision between Jiang zhenggen's flexible spiritual texture and Zhou Yangming's strong sense of weight emphasizing will in his works. The two artists use almost identical creative methods, but they give two different worlds: the soft effect achieved by Jiang zhenggen's handwriting like plant moss has a certain growth, and the lightness and floating texture of blue also create a virtual and static effect, which is due to the perfection of his overall space construction; Zhou Yangming is concentrating in a stroke, like Lingshi, who absorbs the essence of the sun and the moon in silent silence. Each stroke is separated from the overall picture and exists independently. There is no concept of emptiness or emptiness, nor the concept or purpose of constructing the entity space. Paradoxically, weight emerged.

 

“积简而繁，繁极而简”作为一种方式似乎与中国独特的历史文化经验有着紧密相关性，无论从繁复的建筑雕刻、迂回婉转的政交策略或是语言文字、禅宗及老庄哲学中都可窥一角，或许正是这种历史基因的熵增在西方现代思潮的刺激下促成了90年代那场集体性的实验创作的爆发，当时有不同的艺术家以各种不同的角度和理由切入到这种实验中来，手工复制、修性、情感力和疗愈、意义的消解、自律与欲望克制等都成为这种具有时间累积性艺术的原始注脚，无论其最初动机如何，它们后来的发展都一致摆脱了诸如表现性、极简构成、材料与符号等八五时期的一切对西方思潮的借鉴，并展现出亚洲艺术的独特可能性。时光如梭，30年来社会发展的剧变与消费主义浪潮洗刷了曾经纯粹激昂的形而上学空气，艺术家们对艺术与市场的理解也随之发生剧变并由此影响着各自的创作方向，在一个即便最真诚的艺术也亟需靠伪装一种香甜外表才能凑效的时代，蒋正根与周洋明以其不合时宜的坚守保留了时代尚存的真灼与远大，他们的作品无需装扮便天然有着与潮流视觉相抵抗的静若泰山的力量，无论是置于安静展厅还是在喧嚣嘈杂环境中都不减其震慑人心的气场——在未来，这种修性的艺术未尝不可与当下新潮文化进行有机融合与对话，将不同时代的基因中多元的、互相矛盾的部分揉和并催生变异，使得一种新的关于文艺的激活与再造的机制成为可能。

As a way, it seems to be closely related to China's unique historical and cultural experience. It can be seen from the complex architectural carving, circuitous and tactful political communication strategy, language, Zen and Lao Zhuang philosophy, Perhaps it was the entropy increase of this historical gene that led to the outbreak of collective experimental creation in the 1990s under the stimulation of western modern thought. At that time, different artists cut into this kind of experiment with various angles and reasons, manual reproduction, cultivation, emotional power and healing, resolution of meaning Self discipline and desire restraint have become the original footnotes of this time cumulative art. Regardless of their initial motivation, their subsequent development has consistently got rid of all the references to western thoughts in the Eighth Five Year Plan period, such as expressiveness, minimalist composition, materials and symbols, and demonstrated the unique possibility of Asian art. Time flies. Over the past 30 years, the upheaval of social development and the wave of consumerism have washed away the once pure and passionate metaphysical air. Artists' understanding of art and market has also changed dramatically, which has affected their creative direction. In an era when even the most sincere art needs to disguise a sweet appearance to work, With their untimely persistence, Jiang zhenggen and Zhou Yangming retain the true brightness and grandeur of the times. Their works naturally have the power of resisting the trend vision without dressing up. Whether they are placed in a quiet exhibition hall or in a noisy environment, they will not reduce their shocking aura - in the future, This cultivated art may organically integrate and dialogue with the current trendy culture, mix the diverse and contradictory parts of the genes of different times and give birth to variation, making it possible for a new mechanism for the activation and reconstruction of literature and art.