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艺术图书 >> 油画雕塑 >> 2005杨冕眼中的“标准” >> 2005杨冕眼中的“标准”


标准之谜

连载:2005杨冕眼中的“标准”
作者:杨冕 
出版社联系方式:其他 电话:

  李旭 Li Xu
  2006年2月28日写于上海
  eb 28, 2006 in Shanghai
  1.与“标准”有关的若干联想
  标准的诞生,可能起源于欲望,起源于人类对比较和评价的需要,进一步说,也可能起源于对思考和判断的偷懒。因为复杂的智力活动不是每个人都能够轻松介入的游戏,那么制订一种比较简单甚至比较弱智的方法,让所有人都能够踏进一个没有门槛的入口,才是现实主义的选择。
  “标准的”肯定不是“特殊的”,因而也一定不会是“有特色的”,身高体重最标准的人肯定不是篮球运动员,也不会是侏儒。你如果想做个“标准的人”,就必须放弃自我,割舍个性,淡化所有别致的要求,因为标准所力图呈现的是一种不上不下、不温不火的中间状态。
“标准的”肯定不是“有趣的”,因而也一定不是“耐人寻味的”,因为标准企图树立的就是价值取向方面的定论,没有什么可以商量的余地,也不应该令人产生太多情感和智力波动,想追求标准,就应该把所有怀疑抛开,一心一意、简简单单地学会接受。
  有多少种评价要求,这个世界上的标准就得有多少种,但标准多了,综合起来就必然会产生冲突。当一个男人在父母的面前是儿子,在妻子的面前是丈夫,在子女的面前是父亲,在上司的面前是下属,在学生的面前是老师,在税收部门面前是纳税人的时候,他同时扮演的诸多角色就不可能同时完美,那么他还是不是一个好人?
  树立标准,似乎是最完美的解决问题之道,但标准所提供的内容,却似乎是常人难于企及甚至永远无法达到的,因为人类的欲望永远在变化,标准因而也永远处在变化之中。颇具讽刺意味的事实是,尽管标准为人类的困惑尽量提供出各种解决方案,但人类却注定要为标准的存在而伤透脑筋。没有标准寸步难行,有了标准却也无所适从。一方面是因为客观标准太多而每个个体所能够适应的项目太有限;另一方面是因为人类作为造物主的杰出作品,从根本上就具有强烈的反标准化倾向。

  2.“美的标准”—杨冕的思考
  从杨冕的作品中,我们可以比较直接地看出他对两类题材的痴迷:“美女”和“新房”,或者也可以表述为“美好的容貌”与“美好的居所”,而这两类题材也正是当下传媒最热衷的话题。从他作品中已经充分表现过的对象来看,他所呈现出的,是一种“标准”的“美”。
对“美”的评说与追求,是人类的本能,说得远一点儿,这与伊甸园里面亚当和夏娃往身上披挂的树叶有关。但“美”与“标准”是一对相互矛盾的概念,经常貌合神离,有时甚至水火不相容。如今,现代的趣味在颠覆着传统央帝国”的幻觉,认认真真地学习一切西方标准以利自身的富强,但这种盲目的“拿来”已经使当代人逐步丧失了民族自信心和文化自豪感,时至今日,我们看到的许多关于“美”的标准其实都直接来源于西方。
  中国当代艺术同样面临着东西方标准的激烈碰撞问题,当下中国人日常生活的文化属性是非常令人疑惑的,这也使得艺术家们不自觉地站在“源于生活、低于生活”的立场上去让自己的艺术附庸日常经验,在这种貌似原创的作品生产过程中,评判的标准和思考的权利早就拱手相让了,所以我们可以看到的现实是自身标准的缺失和所谓“国际标准”的大行其道。
  杨冕作品中所呈现出的“美丽标准”,可能只是现实生活中诸多“标准”的沧海一粟,但他通过对“美女”和“豪宅”的集中表现,一览无余地展示了这个特殊年代兴旺与困惑并存的真实状况。

  4.“标准”之谜
  杨冕在从事其视觉艺术创作的同时并没有试图去做一个哲学家,但他多年来的主题运行轨迹令人信服地说明了他的文化批判倾向。他假借时尚的外衣揶揄时尚,运用繁荣的表象质疑繁荣,有时正话反说,有时反话正说,那些看似光鲜的“美女”和“豪宅”,其实只不过是这种智力游戏棋盘上一枚枚乏味的棋子而已。
  但对于“标准”的讨论,杨冕迄今为止的态度仍然是以排除法原则来进行的,他只呈现出讽喻的对象,而从不试图去正面建立他所推崇的标准内容。不过,可以设想的是,10年或20年后,当大量堆积如山的“过时时尚”图像再次出现在观看者面前之时,相信一切都会不言自明的。建构一座反世俗倾向的“塔特林纪念碑”(*注),并不是杨冕的梦想,他所试图展示的,是我们这一代人为虚无的梦想所付出的无聊代价。时光流转,所有标准终将随风而逝,一个时代的信条在另一个时代要么被彻底淡忘,要么成为千古笑谈。
  归根结底,“标准”对于身处当今纷乱时代的芸芸众生来说仍然是个谜,一个重要标准的诞生过程其实充满谜团,试图对某些标准进行现实检验的努力也将会深陷谜局。制订标准的原始动机,本来是为了企及永恒甚至“放诸四海而皆准”,但最后标准自身恰恰成为最脆弱易变的因素。正如上帝在以自身标准创造了人类之后才最终发现,任何标准其实都是不可靠的,于是他把人类逐出了伊甸园。
  注:
  符拉基米尔·塔特林(Vladimir Tatlin,1895—1956), 俄国构成主义的奠基者,其代表作《第三国际纪念碑模型》, 造型模仿《圣经》中的“巴别塔”(通天塔)。

  1.Some Ideas Associated with ’Standard’
  The birth of standard may come from desires and the demands for people to compare and evaluate. Furthermore, it may come from people’s being lazy to think and to evaluate. Since complex intelligence activities are not the easy games for everyone to participate, then it is more practicad to draw up an easier or even somehow foolish way for everyone who could get into entrance without a doorsill.
   ’Standard’ can never be ’special’, nor ’characteristic’. A man with standard height and weight must not be a basketball player or a dwarf. If you want to be a ’standard’ person, you have to abandon your selfhood and personality, fading out every special demand, because what the standard tries to present is a middle state at a stable level.
’Standard’ can never be ’interesting’, nor ’thought-provoking’, because what the standard tries to establish is a conclusion about value orientation. There’s nothing could be discussed, nor any emotion or intelligence be raised. One should accept everything simply and absorbedly without any doubts if he wants to pursue the standard.  
  How many evaluation demands there are in the world, how many standards there will be. However, confliction would be produced when multiple standards being integrated. For a man, when being a son of parents, a husband of wife, a father of children, an employee to boss, a teacher to students and a taxpayer to tax department, he could not be that perfect when he has to play all the roles at the same time, then is he a good person?
  It seems that to establish standards is a perfect solution to such problems. However, the content that the standard provides   is probably a goal that is hard or impossible for normal people to achieve. People’s desires changes all the time, so does   the standard. Ironically, although standard provides all kinds of solutions to people’s confusions, people are doomed to be more confused by the standard. The fact is that people can not go further without standards, and however they don’t know how to go on with standards. The reasons might be two: In one hand, compared with the great number of objective standards, the items adaptive for individuals are limited. On the other hand, being the perfect work by the god, human have the original strong tendency against standardization.

  2. Standard of Beauty--Yang Mian’s Thoughts
  We can tell directly that Yang Mian is addicted to two themes from his art works: ’Beauties’ and ’New House’, or they could be described as ’beautiful appearance’ and ’good living place’. They are meanwhile the hottest themes for currant media. In Yang Mian’s artworks, what he presents to the fullest is a kind of ’ standard beauty’. ’
  It is a human nature to judge and pursue beauty. It can trace back to the time which has something to do with the leaves worn on Adam and Eva in Eden. However, ’beauty’ and ’standard’ is a couple of contrary concepts, different always or even incompatible sometimes. Currently, modern taste is overthrowing traditional aesthetics; western standards are dominating eastern judgments. In Yang Mian’s recent works, we see single aesthetics and the tendency to be a consistent standard. Originally, the ’beauty’ ought not to be ’standardized’, however Yang Mian uses his special patience, showing the great numbers of standardized popular images persuasively in front of us.
  It shows seemingly that Yang Mian is singing the praise of the bright and brilliant consumption era by enlarging a great sensory enjoyment scene. However, when facing a large quantities of gorgeous, empty and neat house and smile, the visitors may smell a rat by their own hunch: should this be the final ending their peer unconsciousness is dying for?
Yang Mian started to pay attention to the dissimilar contemporary aesthetics problem from the late 90’s. From the commercial advertisements’ taste for beauties to the new established residence zone with over-decorated shapes, he repeated his themes with greasy and tawdry colors tirelessly. However from quantitative changes to qualitative changes, his discuss about the ’standard of beauty’ has been changed a lot for the recent 10 years. Those images with thousands of forms are now being covered with a same coloring mode. Those stars and luxuurious houses are becoming tiring, ironical and doubtful attitude is emerging from the back of such gorgeous and bright surface.

  3.The ’Cultural Standard’ of Chinese Contemporary Art
  Being the largest developing country of the world, China is experiencing the unprecedented profound changes. The confusion and losing of all kinds of standard has become the most serious cultural problem at present. The internationalization of visual elements and the vulgarization of the standards for aesthetics are spreading around us. The disregard of identity and original creation makes the entertainment to replace culture in most social spaces. Moreover, the shameless activities of copying and plagiarizing become reasonable.
Chinese contemporary art develops along with the Chinese reform and open policies. From early 1980s to now, corresponding thoughts and artworks witness every important social change. Meanwhile, every movement on the stage of international art affects China directly or indirectly .
  A big country is unnecessarily a strong country. The standard of being a strong country is not piles of real golden, silver, firm boats or sharp guns. In this one and a half centuries after Opium War, Chinese started to abandon the illusion of ’Central Empire’, learning all western standards earnestly to strengthen ourselves. However, such blind ’bringing’ has made people lose their nation confidence and pride in their own culture. For now, most standards of ’beauty’ that we see are directly from the west.
  Chinese contemporary art face the same problem that eastern standards collided with western ones. The attribute of culture on which Chinese people’s daily life reflects is so confusing that the artists creations, standards of judgment and rights for thinking have already been surrendered. Hence what we see in the real life is the lack of our own standards and the prosperity of suchC’international standards’.have to define their art on daily experience in the position of ’from life and lower than life’. In such progress of seeming original creations, standards of judgment and rights for thinking have already been surrendered. Hence what we see in the real life is the lack of our own standards and the prosperity of suchC’international standards’.
  The ’standard of beauty’ that Yang Mian’s works represents might be a drop in the ocean of great number of ’standards’ in true life. However, such focusing representation on ’Beauties’ and ’Luxurious Houses’ shows a real state of all flourish and confusion being coexistent in this special time.

  4. The Secret of ’Standard’
  Yang Mian doesn’t try to be a philosopher while in his visual art creation. However the movements trace of his theme convincingly states his tendency to culture criticism. He wears the fashion clothes to ridicule fashion itself, uses the prosperous appearance to question prosperity. He doesn’t often take what he presents at face value. The ’Beauties’ and ’Luxurious Houses’ that seem to be bright, in fact are just dull pieces on the chessboard in this intelligence game.
  However, the attitude that Yang Mian has for the discussion of ’standards’ is still complying with an excluding principle. He only represents the object to be satiric without trying to establish the content of standards he agrees. Though, what we could imagine is that after a decade or two, when piles of ’out-of-date fashion’ images to be presented in front of the people again, everything will be clarified without a word. To establish a ’Tatlin Monument’* against the common customs is not Yang Mian’s dream, what he tries to represent is the useless cost that we have paid for our nihility dreams. All standards will be gone with the wind as time goes by. The creed of one era will be completely forgotten in another era, or become an eternal joke.
  In a conclusion, the ’standard’ is still a secret for human beings nowadays. The birth progress of an important standard is full of secrets, so is the test efforts to examine some standards. The original motive to establish a standard was hoping the standards could be eternal or even suitable for any occasion anywhere. Though in the end, it has become that the standard itself to be the most weak and changeable element. When the God finally found that every standard is unreliable after creating the human beings with his own standards, he drove the human beings out of Eden.

  *Note:
  ladimir Tatlin(1895-1956), the founder of Constructivism in Russia, his famous artwork of ’The Model of Communist International Monument’ imitated the Babel (a heaven-reaching tower) in the Bible.

                         文章来源:《2005杨冕眼中的“标准”》

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目录
【2005杨冕眼中的“标准”】
·关于影像绘画
·标准之谜
·2005年 杨冕眼中的“标准”之一 丹尼儿
·2005年 杨冕眼中的“标准”之一 张静初
·2005年 杨冕眼中的“标准”之一 范冰冰
·2005年 杨冕眼中的“标准”之一 林志玲
·2005年 杨冕眼中的“标准”之一 陈好
【2005美丽“标准”】
【2004杨冕眼中的“标准”】
【2004美丽“标准”】
【2003杨冕眼中的“标准”】
【给个理由先】
【如果你能理解蒙娜丽莎在笑什么,那我就能知道她们在想什么】
【美好标准】
【杨冕的中国当代艺术奖金评语】
【流行文化与个人话语——从杨冕的创作谈起】
【简历】
【与中国当代社会同步的有“标准”的审美 杨冕访谈录】

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