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采访对象:段元元/Interviewed: Duan yuanyuan

采访对象:段元元

采访时间:2007118日上午

采访地点:于广州维他命创意空间

 

关系 relationship connect have anything to do with has to do with 18

现实 realistic reality realism 11

社会 society social 10

有意思 fun 6

思考 reflection 6

生活 life 5

想象 imagination 5

意义 meaningless 5

个人 personal 3

媒介 medium 4

方式 way 6

塑料花 plastic flower 2

垃圾 trash 2

自己 self own 19

 

中国 Chinese China 9

西方 Western 3

卖画 selling works sell painting sales works sell 12

身份 social status 3

开玩笑 pranks joke 5

不一样 different differently 6

chickens 6

 

 

Q:与观众沟通

A:通过画面的展示,可能对我来说是比较合适的一种方法。我的画面可能不是很好看,可能技巧不是很高,可能会引起别人反感——这种“反感”就已经是一种触动了。我觉得画面说得太了就没有什么意思了,它应该是比较个人私密的,但是你还是要和周围发生关系,你还是要别人走进你的画面,比如画大白菜,观众面对这些东西会比较容易走进去。我肯定不会只顾自己,不会像是写了一篇日记,然后把它起来,因为是艺术

Q:你觉得艺术市场对你的创作有没有什么影响?。

A:市场肯定对一些艺术家有很大冲击,当然也不能说是完全不好的,但画家卖画肯定对他们是有影响艺术家当然很好,关键是艺术家在卖画热潮中,在“市场”很好的时候,是否还能保持住自己艺术向前冲的状态?是否还能坚持自己当初的艺术理想?它肯定是双刃剑,有好处也有坏处。就我自己而言,当然偶尔也卖画,但目前对我来讲最重要的还是怎样把画画好,怎样在艺术上有发展。虽然绘画有很多局限性,但我觉得还是有很多尝试的余地,还是有潜力可以挖。

Q:你觉得现在很多展览上的作品跟市场方面有什么关系吗?

A:现在很多展览背后都有很多操作,都是为了卖画收藏,以前我不太清楚,现在我慢慢观察就可以看出来,我后来就不大喜欢参加这种展览了,兴趣不大,当然也不排除一些的展览——一些学术价值比较高的展览,这些就可以参加。

Q:艺术作品价值

A:就是要跟当下生存状况有关,对它有所思考,不管用什么媒介,但要从自己角度来发出自己的声音。我的画好像很多人看不懂不喜欢,其实我的画是很明白的,只是我没有说得太而已,它就像是通过打比喻开玩笑的比较间接的方法,图式上不是很传统的技法,有时像是坏画之类的,有点乱七八糟破破烂烂的。我比较注重想象力,不是很现实主义地表现一些东西,而是喜欢加些想象进去,就是瞎编乱造,很多东西掺杂在一起,有些想象力,有些开玩笑,有些一本正经,都是有可能的,但我可能是很有礼貌地在开玩笑,我把大白菜这些元素放在一起——画面还是不能说得太清楚,可能这些神秘的东西才是它有意思的东西所在。我觉得关注现实的方法很多,它不是说你直接地从身边周遭中拿过来用,比如说我画空中小姐,她也算是生活中的现实,只是我加了一些想象进去,比如把她放在一种很荒诞的环境中或放在旁边,我觉得画画这种东西还是比较一点的好,而不是很实在很直接的“现实主义”,我看到很多艺术家,往往喜欢把自己的东西做成雕塑,但我觉得画面是的,把它做成雕塑就会显得太实在了,那毫意义。这两年我画了很多关于的东西,因为我觉得它比较,到处拉屎、到处乱跑,而且现在很多东西都可以引伸地叫做“”,它的含义很多。我觉得这就是对现实的一种关注,手法可以很多,发现现实方式不重要,关键是怎样来做作品。现在很多艺术家做的东西感觉题材宏大、很尖锐,其实也跟社会没有很大的关系,有的只是很表面关系

Q:艺术家的角色。

A:我觉得现在艺术家的角色应该是一个很普通工作者,就是把自己的工作做好就行了,这不是说你卖画卖得多好,而是说你怎样从自己的角度出发去把作品做好和怎样去关注生活艺术家现在肯定充当不了一个社会的什么使命,如果自我感觉还好,就是感觉这个工种还比较,不用天天干脏活,还有点身份,还受人尊敬,经常出席一些大小会议,但其实很多作品都是垃圾,而且其实很多人还不知道自己是在生产垃圾,还感觉自己有身份。我觉得艺术家和别人不一样是很重要的,现在很多人做作品都差不多,这样就意思不大了。因为扫地也可以扫得跟别人不一样,做裁缝也可以将衣服做得和别人不一样,而艺术家作为普通工作者,也可以画跟别人不一样,从不同的角度做一些比较有意思的东西,我觉得这个很重要,如果只是天天去重复画一些东西,对我来说意义不大

Q:你对中国当代艺术的关键性印象是什么?

A:很,像个塑料花,颜色很鲜艳花枝招展表面堂皇,其实实质没有生命力。我觉得它可以不必像,但它要对社会有点实质性的作用,就是要实在一点。现在大家都比较浮躁,比较看重表面的东西,这跟社会状况是有关系的。但我觉得还是有余地可以做,可能在这种趁乱打劫的情况下反而会有一些的作品出现,这些年来中国当代艺术还是出现了一定程度上的活力,这给中国乱糟糟的状况提供了很多方式可能性

 

Interviewed: Duan yuanyuan

Time: Morning, Jan. 18, 2007

Location: Vitamin Creative Space, Guangzhou

 

 

关系 relationship connect have anything to do with has to do with 18

现实 realistic reality realism 11

社会 society social 10

有意思 fun 6

思考 reflection 6

生活 life 5

想象 imagination 5

意义 meaningless 5

个人 personal 3

媒介 medium 4

方式 way 6

塑料花 plastic flower 2

垃圾 trash 2

自己 self own 19

 

中国 Chinese China 9

西方 Western 3

卖画 selling works sell painting sales works sell 12

身份 social status 3

开玩笑 pranks joke 5

不一样 different differently 6

chickens 6

 

 

Source of keywords:

 

 

Q: How to communicate with the audience through painting?

 

A: (I communicate) through the painting, which is probably a more suitable way for me. My paintings may not be pretty, my technique may not be superb, and may even trigger repulsion from people, which is already a kind of touch. If we spell out everything in the painting, then it is no longer interesting. It should be more personal and private, yet you still have to connect with your surroundings; and you still want people to walk into your painting. Like painting chickens, cabbage, etc. , people can walk into these paintings more easily. Certainly I’m not self-centered, not like keeping a diary and locking it up, because it’s art.

 

Q: Does the art market have any influence on your art?

 

A: Surely the market has great impact on certain artists, and it’s not all bad. But painters selling works would certainly influence them. It’s certainly a good thing for an artist to be rich, but the point is can he hold on to his own artistic ideals and keep thrusting forward among this sales craze in this good market period? No doubt it’s a double-edged sword, with pros and cons. For myself, of course I sell paintings once in a while, but most important for me at this present moment is how to paint well, how to make progress artistically. Despite the limitations of painting, I feel there’s still much room for attempt and much potential left to be exploited.

 

Q: What kind of connection do you think are the works shown at exhibitions and the market?

 

A: A lot of exhibitions nowadays are heavily manipulated behind the scene. It’s all about sales and collection. I didn’t know much about this before, but later I gradually figured it out through observation. I came to dislike participating in such shows. I don’t have much interest in them; but of course I don’t reject shows entirely – some of the shows have higher academic values which I’m willing to participate in.

 

Q: How do you value the art works?

 

A: It has to be related to the present condition of existence. There has to be some reflection on it. It doesn’t matter which medium you use, as long as you speak your own voice from your own perspective. It seems that a lot of people don’t understand my paintings and don’t like them. In fact, my paintings are quite clear. It’s just that I didn’t spell everything out directly. It’s done through more indirect ways like metaphors and pranks. I don’t follow traditional techniques in format; sometimes it’s like bad paintings – a bit disarrayed, tattered. I concentrate more on imagination, not the kind of realistic expression, but with lots of imagination mixed in, making stuff up, mixing stuff in – some imagination power, some puns and pranks, some serious stuff. Anything is possible. But I joke with politeness; I put the elements like chickens and cabbage together – you can’t spell things out in your paintings; and these mysterious parts may be where the fun lies. There are different ways of concerning reality; and it doesn’t have to be a direct borrowing. For instance, I paint airline stewardesses, who are part of the reality of life; but I add some imagination to it, like I would put them in an absurd context or next to chicken. I think painting would do better if it was less concrete, away from the solid, direct “realism.” I see many painters enjoy turning their own works into sculpture; but I feel that painting is something void, and turning it into sculpture makes it too concrete, and thus meaningless. In the past two years I have painted a lot of works about chickens, because I think they are dirty, they shit everywhere and run all over the places; plus nowadays a lot of things can be called “chicken” (e.g.”Ji (Chicken)” in Mandarin, homophonic with ” Ji (Prostitutes)”) by extension; the word has different connotations. I think that is a kind of concerning reality, and there are lots of different ways of doing it. It’s not important how you discover the reality; the vital part is how you make your piece. Many artists nowadays produce works with grand, acute subjects, which in fact might not have anything to do with the society, or it might have a superficial relationship with the society at best.

 

Q: What’s the role of the artist?

 

A: The role of the artist now should be a very ordinary laborer. Just do your own work well and that’s enough. It doesn’t mean how well your works sell, but how well you produce good works from your own point of view, and how well you care for life. The artist today surely cannot fulfill any social mission. If he feels good about himself, it means he feels the profession is not too bad – you don’t have to dirty your hands, and you enjoy some sort of social status; you’re well respected, and you show up at big and small conferences. But in fact a lot of art works are just trash, and many people do not realize they are producing trash, and feel great about their social status instead. I believe, for an artists, it’s important to be different from others. Many people now produce similar works, and that’s just meaningless. Even sweeping floor can be done differently from others; a tailor can make dresses different from others. And the artist, as an ordinary laborer, could very well paint differently from other people – paint more interesting stuff from a different angle, which I think is important. Repeating the same thing everyday simply makes no sense to me.

 

Q: What’s your key impression of contemporary art in China?

 

A: It’s quite empty, like plastic flowers bright colors, nicely dressed up, impressive on the surface, but no life energy inside. I think it doesn’t have to be like flowers; it should have some practical function to the society. In other words, should have more contents. People today are impulsive and inpatient; they value what’s only superficial – which has to do with the current social state. But I think there is still space for work; perhaps some good works might appear in this atmosphere of looting in turmoil. I must say that in the past several years there has appeared a certain degree of energy in the contemporary Chinese art, which provided various ways and possibilities to the messy confusion in [this country] China.

 

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