表现性|预告 | 「書寫 & 表现」国际当代艺术邀请展( 二 ) 时代|表现性|国际|艺术|环境

今天，我们拥有艺术资讯在数量上远远超出前人，拥有网络时代的宽泛与简便。无论是最新考古的发现，科学探索揭示的宇宙秘境，地球环境气候变化，国家及国家之间的危机事件等等，都在认知层面上反向挖掘拓展人类的心理空间，心理心象的象象环生，足以生长成为书写艺术的表现空间。当人类从实用性出发的科技生产力为人类制造一间漂亮的物的房屋时，艺术的使命是创造另一间神奇的房屋，以呈现人类历史中精神史或心灵史的一面。因此重提书写艺术的命题，即是站在物化的对立面，由艺术执行这项非功利的任务。那么对艺术家而言，书写的目的已不是重复功能性书写的路径，而是审视与判断，从最初的象形文字到完全物化的印刷体，从早先的日书、帛书的文字图形记事到电脑化的符号图像，文字与符号改变了颜面，书写的呈现将会是一种新的表现，因艺术家个体的不同，表现的方式千差万别，但摆脱了实用性指向的书写总会导向内心，呈现个体在其所在时代感知的心理事件，由艺术化的心理事件的串合，汇成时代的心灵叙事。
这个展览，试图重新审视与探索书写艺术神奇的有效性，以应E.H.贡布里希论证的艺术目标：“再次为人类竟能用形、线、影、色呈现那些被我们称为‘图画’的视觉现实的神秘幻象而感到惊奇。 ”书写蕴含的魅力与表现力无远弗界，因它从致敬文字的源头，参与当代性艺术创作，当能获得更加丰富的表现力与持久的生命力。
2022/3/2于广州
Handwriting and Expression
Preface of International Contemporary Art Invitation Exhibition
Jichang LIN
In different periods, the possible and impossible coexist in art, which constitutes the art history. Such connotation comes from a belief summarized by Heinrich W?lfflin.
In the contemporary era and in the future, artists may face a more complex and magic environment. In front of some alerts on and facts about something that cannot be achieved, and under the pressure from existing overall art, including the art of all nations and art of the world, former art and art in progress, and pressure from accomplished new and old masters of art, why some achievements can still be made? Because we are in a good time node and spatial location, we have abundant material resources and information, and complex mental experience in a world featuring constant changes in which everything withers and flourishes. All of these constitute our “advantages” in engagement in contemporary art as these are not available to predecessors. Therefore, we firmly believe that there is no end to art, and art is always on the way.
When we are willing to believe that true artists are those people featuring poetic quality and brave enough to steal fire like Prometheus, the new page on the art history will not be stale and boring. In an era of capital and material, it’s possible to be antagonistic to mediocrity and construct another wonderful and mythical house, which is called by Plato as “an artificial dream created for sobers”. Please embrace the secret encouragement, as we see the brightness that may be brought by art among disasters of the world and enjoy the happiness brought by artistic creation.
In previous description of the art history which has enough right of speech, China and western countries have their respective achievements and glories. Comparing the artistic pattern generated from link-to-link logic chains of the western art history and the subtle evolution forms revealed from the closed loop of sequence of thoughts of traditional Chinese art history, the description of the two systems represents the difference between the western logic and oriental metaphysics. Due to the obviously different art forms, the dialogue seems still tortuous and difficult, although the Chinese art has closely and luckily contacted with the western art in the past forty years. When we set previous art forms as the past and only look at the original expression of the art language, it’s easy for us to find that “handwriting” can be deemed as the starting point of humanity’s artistic behaviors and a common approach which lasts even to now. From copy of scriptures and documents to aesthetic handwriting, human beings deliver their feelings to each other in the long handwriting journey.