L 李津

如何用猪鼻闻到人生的滋味

苏童

李津称他走的道路,是一条家常主义的道路。

艺术家讲究造型,很少有人像李津这样,如此大大咧咧蹲下来,摆个随意的蹲姿,告诉我们,我不擅长思考,我家常。

如果这不是一种闪避,便是一种承担。在我看来,有一些承担确实蹲着为宜。很多无畏或勇气,也都是在某种闪避的姿势中被识别出来的。

谈论李津,有必要收拢那些所谓宽广与深邃的口径,把嘴巴变小,试着从创作出发,抵达创作本身。或者我们干脆承认,李津的创作,难以寻找任何非家常的话题。我们只能诚实并且谨慎地探讨,一个以传统的中国笔墨为生的艺术家,今天如何经营他的笔墨。

“前人的笔墨是文化的积累,也是负担。”李津在他的“家常主义”一文中曾经如此感叹。很多艺术家其实都面临同样的困境,感恩中国画伟大的历史之光,被这光所笼罩,所滋养,却不甘心做这光的奴隶,因此,他们面临的功课,其实是如何卸除传统的负担,成为新时代的发光体。

李津的笔墨是去诗意化的,甚至是反智的。它们大多指向饮食男女,是仿日记,记录私生活的流水账,是穿衣服或不穿衣服的自画像。他所谓的家常主义,貌似不属于普罗大众,是“我自己的家常”。 仔细看,李津所有作品中最精彩的,都是“我自己”的形象。很多时候,“我”与美女美食在一起,我不是在享乐,便是在去享乐的路上。我不在享受美色,便在享用美食,或者,食色一并享用。李津的作品中有随心所欲的画外音:食色即性!食色即生活!食色即主义!食色即艺术!怎么样?你们认为怎么样?这画外音是淘气的,放肆的,恶作剧风格的,但它也有宣言式的严肃和尖锐,充满革命者的勇气。细细分析,这其实是一张深思熟虑的路线图,从“传统”的肩头跳下,钻过“传统”的胯下,从而绕过“传统”庞大而沉重的身体。这条路线取少舍多,不要山水松林,不要渔翁牧童,不要花卉禽鸟,传统规定的“诗意”必然是要被颠覆的。李津对水墨的革命,大概就是从所谓的“诗意”开始的。李津的水墨主题,其实是“我自己”。它是私人化的,纪实性的,更是鲜润的,活色生香的,因为忠实于自己,自我贬抑,或自我炫耀,其色彩线条无比生动,会稍息,也会裸奔。李津是那种执意描绘气味的画家。食物的气味,女人的气味,更重要的是他自己的气味,它们闻起来怎么样?你可以有自己的选项,无论有多少选项,我请大家注意,不要忽略那种“疲惫”的气味。

那种疲惫的气味难以名状,隐隐地让人心动,或者,干脆是让人心酸。它从饮食男女欢乐或茫然的肉体上散发,穿越肉体本身,让精神裸露,我们看到,肉体还在高歌,而精神困倦了。这不是画中男女的处境,也许恰恰是大众的处境。现代人的肉体与精神,往往是分离的,这样的分离,已经被大多数人所适应。不必强行为它辩护为它升华,更不必为此哀悼,关注这样的分离,其实是关注了自由。而自由,其实是“家常主义”的心理基础和道德基础,自由之所以称之为自由,是因为自由的轨迹不分方向,从某种意义上说,所有艺术的轨迹,都是沿着自由的轨迹前行。

我总是被李津作品中男主人公的仿猪鼻所吸引。不知为什么,我不仅把它视为一个视觉符号,还愿意把它理解为一个精致的隐喻,揶揄的,自嘲的,还有一丝傲慢的幽默感:看吧,看我的鼻子,我用猪鼻闻到了人生的滋味。

 

 

Li Jin: How to Pig-Nose the Flavors of Life

By Su Tong

 

The road Li Jin took, as claimed by himself, could be called “HOMELISM”.

Artists tend to obtain a gesture. And, none would act like Li Jin who would just squat down and make a casual pose, as if he was trying to say, “I am not good at pondering, and I am homely.”

If that is not a gesture of shunning, it must be a pose of shouldering. In my opinion, though, some responsibilities are better to shoulder squatting down. As is often the case, audacity and courage are sometimes identified in the disguise of a shunning gesture.

When talking about Li Jin, one shall not use those broad or profound words. Instead, we shall try to start with the production of the works. Or, we might as well admit that Li’s works are all about homely things. What we could do is discuss with fidelity how an artist would manage his ink today while he has been feeding on the traditional Chinese ink for life.

“Works of former artists are both cultural deposit and cross to bear”, exclaimed by Li in his article-Homelism. Many artists are having the same problem. While enjoying the rich culture relic of the Chinese painting and the nourishment under the halo of history, they don’t actually settle for being a slave to these values. Therefore, their priority shall be to discard the cross of traditions and to be themselves in the new era.

Works of Li are de-poetized or sometimes absurd. His works which mainly focus on the dining people are the dairy-like daybook of daily life or the casual portrait with or without clothes. The HOMELISM that he advocates seems not belongs to the general public but himself. To dig a little deeper, one might see that the most splendid part of Li’s works are the image of “self”. More often than not, “I” am dining with delicious food and beautiful women; “I” am enjoying myself or on the road to joy; or “I” am appreciating the beauties or tasting the food, or doing both at the same time. We could read between his inks that Li tries to tell that “I believe food and beauty are natural; they are part of life; they are creed; and they are art. What do you think?” Although this voiceover seems naughty, licentious and mischievous; it does contain the proclaiming solemnity and the acute and progressive courage. In essence, Li has jumped down from the shoulder of “tradition”, drilled through and gone around the weighty body of tradition. No mountains or waters, pines or woods; no fishermen or cowboys; and no flowers or birds. These traditional images of Chinese painting are overthrown the revolution Li has brought about probably starts with these “images”. the subject of his works is “self”. They are personal, practical and vivid. And, because they are faithful to himself or self-depreciating, his colors and ink lines are lifelike as if they could breathe and run. Li is a painter keen to the smells, such as smell of food, woman, and more importantly the smell of himself. As for what the smells are, you could have your own answers. Yet no matter what your choices are, don’t neglect the smell of his “fatigue”.

That smell of “fatigue” is hard to define, and it is exciting or rather saddening. The smell comes from the joyful dining characters or the vague bodies, transcends the physical body and reveals the spirits. As we might see, the body is singing high, yet they are wearing the look of fatigue. This is actually not the situation of those characters in the drawing, but the situation with the general public. People nowadays tend to have their bodies and Spirit separated. And, people has become accustomed to this separation. We need not argue for it, nor upgrade for it, or even mourn for it.We shall pay attention to it because it means paying attention to freedom. And, freedom is actually the psychological and moral foundation of HOMELISM. Freedom lives to its name because of its variable tracks. In a sense, all the artistic tracks are proceed of the tracks of freedom.

I am always amused by the pig-like nose of the male characters in Li’s works. Somehow, I see it as a visual symbol and assume it as a delicate metaphor, teasy and self-deprecating with an arrogant sense of humor. Look!Look at my nose!I am using it to nose the flavors of life.