M 马六明

马六明

所有的具象叙述都在于对人的形象的展示及冒犯。马六明和他的绘画的演变让我们看到从现实主义向强大的后观念主义的转变。松弛的画面、火焰和火炬,是对待生活的简约主义方式。这里,没有任何可以援引的参照,没有任何已知的说法。

这些画面主要的一个特点,是有距离的具象,产生于严格的、内心的探索。不仅蒙克和他的“呐喊”,任何一个当代的艺术家,在表述存在性的象征上面,都没有走得这么远。实际上,马六明超越了这一点,因为他省略了背景,向我们打开了普世的、提升的道路。

也许应当解释一下这个现象之所以有效的原因。他游刃在相反的两极,游刃在最多和最少之间。这在第一部分的绘画上有所表现,通过倒置的语言,内部的分割,使这样的假设具有了可信度:真相并不存在于从敌意的世界反馈给我们的有删节的图像中,而是在内心的、重新找回的和谐中。第二部分绘画,只剩下一种简洁的、无性的具象表达,集中在具象本身,竖向的、椭圆形的、伸长的主体。

关于身份的鲜明的标识和编码被混合、遮挡,融合成一条变形的动力线,与他变成女人的双性人时期相呼应。马六明被人认识,是因为他的女性本我“芬•马六明”和他的行为艺术。他用埋伏在永恒生命体中的因素激活了绘画。

通常的做法是,通过寻找艺术家走过的历程和迹象,确定或消弱他的最新创作中的演进关系。而对于马六明,一个复杂而才能多样的艺术家,我们应当避免任何仓促的简单化。

同样一个马六明,他可以光脚在长城上行走,也可以封闭自己很多小时,很多天,沉浸到内心的寂静中,从这个世界、这个消费社会隐遁,同自然元素合二为一,同宇宙融为一体。他的行为艺术是对我们人类命运的表述和见证,他通过表演让人们反思,而他是表演的形象和载体,是放大镜和变形镜。

他的最新绘画的图像浓烈而变形,同他之前的行为艺术有一种微妙的一致性。图像引起的呼应远远超过画面上画笔的痕迹。这种深度的视觉引起我们的兴趣。

马六明是怎样成功地让我们惊奇的?

他大量使用黑色,以加强光线的阻力,并不可思议地突出生命体的中心位置。不定型的构思用独特的表述涵盖了开始与结束。满眼的黑色是生命和虚无的反面,是空间和时间,也是无限。

这个装置艺术的隐喻打开了一条通道,让我们重回无法记忆的生命的源头,并告诉我们,能量和物质是一个不可分的整体,它构成了我们自身。如果我们继续类比下去,这个背景让我们想到黑洞、非存在,以及造物的奥秘。 

他的象征性来源于中国的形而上学思想,避开了各种民俗的戏剧化或平淡无味的常识。

在流畅的叙述中,这一切都被充分地表达。

他的绘画,除了与作品有关的中心思想,没有任何多余的东西。绘画表现的是狭小与充盈,是没有任何审美约束的形而上的记忆。

符号的传输集中在一条竖的线上。这条竖线扩大了感觉的深度,包括声音、标记、调色板,以及其它构成现实的能量。

这种对生命空间的处理方法消除了地点和时间的局限,结果就是迫使我们进行敏锐的观察,捕捉到光圈勾画出的神秘的信息。

在这些聪明的关照下,马六明让我们省查自己。 

失重状态下,带着难以形容的观察世界源头的眼睛,我们看到了构成我们的东西,这个被我们遗忘的重要的东西,处在偶然和无价值物质之间。

艺术家在这个独特的层面上触动我们,他强调我们的共性,忽略了社会体系,创造出一种新型的肖像画。无生机的和有机的,光线和无穷,将色素语言的含义,变成了火和光晕,这就是超越自己时的绘画的行动。

面对这些画面,出现了情感的交流。无法避开这个生命的寓意,它让我们想到事物的源头、过去和将来。

它勾画出的是恒常的谱系。

如果说两条竖线平行地处于画面的中间位置,那么它们分别是女性和男性,他们同样地孤独,然后拥抱同一个命运:生育并繁衍人类。

观察者眼中看到的是,马六明用这些矩阵形的绘画创造出一种新体裁,肌肤的见证——面孔,变得深不可测,并重新界定了神化人类的说法。

有关这一点,艺术家向我们证明,绘画没有死,它具有更新语义的能量,让我们看到并阐释可见与不可见,物质与非物质。

通过这种新的生命形态的表现,马六明改变了具象过程,并创造出画面的肖像画,它将会成为一种类型,一种参照。

塞尔日•朗兹内

All the figurative narration consists either in representation or transgression of the human form. With his pictorial mutations, Ma Liuming leads us from realism to powerful post-conceptualism. This distended imagery, flame and torch, is minimalist’s approach to the life. At this point, no reference can be quoted, or repeated. 

One of the essential properties of these images is that it has a figurative distance, an issue of rigorous and intimate research. Neither Munch with his Scream nor any contemporary artist was also far from the transcription of existential symbolism. As a matter of fact, ma Liuming exceeds it, since he makes the context abstracted in order to open up the way for the universal and the elevation. 

It should be explained, however, what makes the phenomenon effective. He performs on the two opposite poles, the most and the least, which is expressed in a reversed divided language in his premier paintings. It substantiates the hypothesis that the truth was not in the truncated image returned from the hostile world to us, but in the interior harmony rediscovered. 

For the seconds, there is only a figurative formulation left, which is elliptical and asexual. And there he concentrates on the essential, which is vertical, oblong and stretched out.

The distinctive signs and codes of an identity are mixed, hidden, and merged into a line of anamorphic force, which creates a resonance with his periods of transformation in to his double femininity. Ma Liuming, known for his mutations into the feminine ego, “Fen-Ma Liuming”, and his performances, revitalizes the painting with the talent entities of the eternal living.

The common method is to validate or invalidate the relationship of the development in his recent works by searching for the traces and trajectories of the artist. Yet, for Ma Liuming, a complex artist with multiple talents, we should avoid any hasty simplification.

Ma Liuming, who marches barefoot on the Great Wall of China, can not only isolate himself for hours and days, but also impregnate himself to internal silence. He also can exclude himself from the world and this consuming society, and in relation to the natural elements, unite himself with the universe. His performances start from the formulations and evidences on the state of human race. And through them he induces people to meditate their existence, and there he is the image and vector, the magnifier and the distorting mirror. His recent works of intense and distorted images have subtle coherence with his previous performances. They transport an echo beyond the sedimentary trace left on the canvas. It is this vision of profoundness that draws questions for us. 

How does Ma Liuming succeed in surprising us?

He uses the pre-eminence of black in order to accentuate the resistance of light and improbable centrality of the living. The shapelessness in gestation is included in his terms from start to finish. Therefore, the presented black would be the antithesis of the life, the nihility. However they also time-space, which is the infinity.

This plastic metaphor is an opening, which returns us to the immemorial beginning of life and recalls us that the energy and the material are a couple inseparable from all our constituents. If we are to prolong this analogy, from the foundation we will recall the black holes, the nonexistence, and the mystery of the creation. His symbolism is originated from the Chinese metaphysics, which avoids all the folklore theatricalization or the platitude of common sense. All is expressed and claimed in this fluid narration.

His works, that have emptied out all the redundancies and things that are not essential to the mental territory of the work, organize the cramped and the plain into a meta-memory, which is liberated from all the aesthetic diktat. 

The coded transmission is concentrated on a line of vertical paintings, which amplifies in his profound sensory organs, sounds, signs, palette and other energies which constitute his reality. 

The corollary of this treatment of the living space, which abolishes connections to the space and time, is that it forces us to stare with acuteness in order to understand the mystique of his message sketched by the iris of the camera lens. 

Ma Liuming makes us travel within ourselves into the intelligences we are observing now. 

In weightless condition, the ineffable eyes scrutinizing into the source of the world will enlighten us through the constituents or ourselves, or bring us to these essentials which we have forgotten by both contingency and futile materiality. 

At this level of singularity, the artist raises a question for us. He abstracts from the social structure and creates a novel iconography, insisting that it can unite us. The inert and the organic, the light and the infinite, transcend the semantic charge of the pigments to fire and aura which is an act of advance in painting itself.

Facing these images, an exchange of affect intervenes. It is impossible to escape from this allegory of the living which returns us to the origin of what it is, what it was, and what it will be.

This allegory traces the genealogy of permanence. 

If two vertical lines inscribe their parallelism to the center of the canvas, it is the feminine and the masculine that accompany the same solitude before mating each other by destiny; the procreation and the transmission of the species.

What is imposed here to the eyes of observers is that Ma Liuming with these matrix paintings comes to signify a genre, which puts into abyss of the figure. It is a testimony of flesh, which redefines the order of defied discourse on humanity. In terms of this, the artist administers to us the proof that the painting is not dead, and is an energy which has the power both to renew its semantics and to make us forget seeing and interpreting the visible and the invisible, the material and the immaterial.

With such novel biomorphic formulation, Ma Liuming modifies the figurative process which is to become a reference or archetype by creating an iconography of the image.  

Serge Lenczner

在90年代初期的北京东村,马六明开创了对他日后艺术发展影响深远的行为艺术。这使他备受注目:长城上的行走;在他进行行为艺术时,现场观众走上舞台,坐在他因预先服用安眠药而昏昏欲睡的裸体旁边,与之合影;为了将无名山峰增高一米,十位艺术家赤裸的重迭着他们的躯体。2004年,一件重要的插曲加强了马六明的信念与自我认同:他的儿子诞生了。儿子的诞生激发他在油画创作上的新风格,漆黑的油画布上用一条正中央直线般的裂缝分割了画面,那裂缝并非空的,而是用画取代了,像是Lucio Fontana的油画,但是那画像则是艺术家自己的脸或他儿子的身体。即使我们站在画作前专注的观看,也不能立即察觉出来那到底是什么,这些作品可说深具概念性,因为我们能看到的只是眼睛和柔软的嘴唇,“变形”竟是如此极致的呈现。触发他的这种转变,来源于生育是一种生命和希望的象征,如同一丝曙光照亮了逆境中的无尽黑暗。

 

在近期的作品中,马六明仍是以他的儿子为主角。如果我们从画的正前方角度观赏,是一种非常扭曲变形的呈现,十分困难去辨认,但是如果从正上方往下看,就可以较清楚的看出他儿子的形象来。马六明认为“当一个孩子第一次睁开他的眼睛观察这个世界,在我看来,他获得的印象应该是朦胧模糊的,而且,他看到的景象应该近似一条线”。艺术评论家William Y. Wu认为,在中国艺术家中,这种抽象的构成是与众不同的,像是承继于“立体主义”而来的“平面主义”。这个表现倾向对马六明来说,“几乎就是在一个最基础和最原始的一度空间上,或说一条线上,阐释出作品的主角”。终于,在最新的创作尝试中,他的儿子变成了山水画,其身体曲线令人联想到那些淹没在烟雾及霭气中的山。

自古以来,每个伟大的作品,都是艺术家回归到生命本质后所创,找回自己的根源是必须的,同时,透过一种漫长且自然的进程将其流传给下一代,马六明的画作将人类繁衍及生命不朽非常诗意的升华在隐喻中。尽管,马六明并不直接说些什么,只是暗示,这种风格更像是典型的东方人作派,但是他所绘画的灵魂深处与黑色眼睛已然做出了自我的表述。透过暗喻和提示,他与我们沟通交流,而且从画作上流露出来的情感冲击着所有看画的人,变化无常却又具有凝聚力,这也正是大家喜爱他的原因。