内容提要
差异与异样
——写在“视差展前”
顾丞峰
世间万物和谐相生，这本是中外哲人所期冀的至臻境地，然而世界并不完满，差异无处不在，差异首先由视觉而生，由视觉触及感觉，由感觉深入内心，从这个意义上说，所有差异乃至异样也正是和谐的内涵。
在认可艺术应享受人生的人看来，艺术是一种视觉的飨宴；在坚信艺术是表现冲突者看来，艺术是一种视觉的角力。
力自何出？除艺术品形式给视觉感官带来的张力外，更重要的是形与形、物与物，物与非物、人与非人之间的角力。
其实，无论现代主义追求形与色的变化，还是后现代观念艺术对思想的表达，它们共同的特点都试图通过对差异的追求完成艺术的可能性。
于是，一面是展示日常视觉经验的差异，一面是通过展开异样来提示日常中的危境，这就构成了沂硬钣展的主题词。
李象群的《我们走在大路上》一如既往地坚持了他所熟稔的写实语言，语言的日常和细微的异样构成了李象群雕塑通常的张力，对细微的异样感受和传达正是他一贯发力之处。
松泌作品显然更符合此次展览主题，无论《不治愈》的注射器还是他的变形桌与椅的组合，由变异带来的惊悸仿佛幽魂般逡巡着，显然有一只无形之手在主宰着冥冥众生。由物的萎顿软化，可想而知其使用者主体精神已经被压缩到何等地步。
崔宪基则向我们展示了另一种视觉差异蜒书法汉字像瀑布般溢出画框冲决而出，人们的视觉被倾覆涨满蜒汉字的表意符号形成庞杂的紊乱，倾泻而下，视觉符号连缀着天与地，但它们已无法表意，只是构成了天地间熵的充斥。
费俊的《变形记》是将最丰富而直接的变形通过影像展示给人们，这种千姿百态的变形在电脑技术普及的今天并不难办到，现实中我们只能看到他人活生生的嘴脸变化，看不到的是自己变化的嘴脸。
蔡志松的《印》像一个魔方，印是个人权利的表征，但个人的含义其实也很暧昧蜒究竟是清楚的个人，还是模糊的他者，我们不能分辨。权利被赋予给个人，而个人却又是模糊的。相比之下，他的《玫瑰》更为脆弱，弱不禁风但又摇曳诱惑；《门神》虽然在形体上不乏坚实，但在精神上却永远匍匐着。
薛承林的《祭忆》制造了另一种差异：四通八达的高速公路和路上塞满玩具模型，它们出现在一个完全不可能的场合，作者是对儿时无忧无虑的祭奠，但选择现代化作为对比背景却又耐人寻味。
如果说对比，姜杰的婴儿与猪崽的死亡状态是最缺少反差的，这是一种令人心悸的粘连。生命是如此的脆弱，看着那层薄如纸的皮肤，仿佛脑后一束冷风袭来，生命的凋谢不可怕，可怕的是对凋谢的漠视。
陈小文的作品显然更加个人感觉化，出自男人的女性感觉和感觉中的女性交织，显然，梦的游历似乎是作者更钟爱的题材。
我们在这些作品中看到了差异和由差异导致的变异，世界之大无奇不有，但在艺术家过滤而挑剔的眼光中，和谐必须被重新组合，世界被插入变异乃至异化。虽说世界并不因为艺术家们的异想天开变得更美好，但起码，人们会有机会再次重新审视他们所熟悉的环境，那成为了一个陌生的周围，人们先是用自己的眼睛，然后是用自己的心灵。
2008年秋于金陵露痕屋草
Differences & Unusualness
By Gu Chengfeng
Everything in the world living in harmony is the ideal situation that all of the Chinese and foreign philosophers have expected. However, the world is not perfect, and there exists difference everywhere. The difference is first sensed by vision, and then extended to the feeling, and finally into the deep heart through the feeling. In this sense, all differences and even unusualness is just the connotation of harmony.
For those who recognize art as an enjoyment of life, art is a visual feast; and for those who firmly believe that art is a reflection of the conflicts, art is a visual wrestle.
Where does the force come from? In addition to the tension brought out by the artworks’forms in the visual sense, more importantly, there is a wrestle between shape and shape, material and material, non-material and material, non-human and material.
In fact, whether the pursuit of the changes in color and shape in modernism, or the expression of ideas of the post-modern conceptual art, their common characteristics are trying to achieve the completion of art through the pursuit of differences.
As a result, on one way it displays the difference of the day-to-day visual experiences; on another it hints the danger of the daily life through the unusualness. And this constitutes the subject of the different perspective Exhibition.
Li Xiangqun’ We are Walking on the Road adheres to his familiar realistic language as always. The commonness of the language and the unusualness of the subtleness constitute the usual tension of Li Xiangqun’ sculptures. The unusual feelings and expressions of the subtleness is consistently where he exerts the force.
The works by Song Mi is clearly more in line with the theme of the exhibition, no matter the syringe or the combination of the transformable desks and chairs. The palpitation from fear brought about by the mutation prowls like a ghost, and clearly indicates that there is an invisible hand dominating all the beings. From the shrinking and softening of the materials, we can imagine what degree the user’ spirit has been compressed to.
Cui Xianji;s artworks show us another visual difference--the Chinese calligraphic characters are overflowing from the picture frame like a waterfall, and people's vision was filled with the falling-out -- the expressive symbols of Chinese characters have formed a great and complex disorder, pouring down, and the visual symbols connect the heaven with the earth, yet without any meaning, which only constitutes the congestion of the entropy between heaven and earth.
Fei Jun’ the metamorphosis shows people the richest and most direct deformation through the images. It is not difficult to make out the various deformations today when the computer technology is so popular. And in reality we can only see the animated changes of other people’ faces, but cannot see the changing faces of our own.
Cai Zhisong’ Seals is like a magic cube. Seal is a representation of the individual rights, but the meaning of the individual is ambiguous--we could hardly tell whether it is clear individuals or vague others. The rights are entitled to individuals, but the individuals are ambiguous. By contrast, his Rose is much more vulnerable, fragile, but wavering with temptation; while in his Door God, yet solid in body, the spirit is always creeping.
Xue Chenglin's Oblivious Childhood has created another difference: the highways and roads extending in all directions are full of toy models, which appear in a completely impossible occasion. The writer is to hold a memorial ceremony for the carefree childhood, but the choice of the modernization as a contrast background affords a deep thought.
As to the contrast, Jiang Jie’ death state of the human baby and baby pig most lacks of contrast, which is a frightening adhesion to the heart. Life is so fragile, looking at the skin as thin as a paper, it seems that there is cold wind hitting from behind. The withering of life is not terrible, what is terrible is the indifference to such a withering.
Chen Xiaowen's works are clearly more personal, from the mingling of the men’ female feelings and the women in the feeling. Obviously, the traveling of the dream seems to be the author’ more favored subject.
From these works we see the differences and the variation caused by the differences and nothing is strange in the world as it is so big. But in the artists?selective and critical eyes, harmony must be recombined, and the world has been inserted with variation and even mutation. Although the world cannot become better just because of the artists?whimsicality, but at least, people will have a chance to re-examine their familiar environment, which has become a strange surrounding, again first with their own eyes, and then by their own heart.
Written in the fall of 2008
At the House of Jingling Luhenwu
（文章来源：《视差》）
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