杨小彦 ▏一路向南「方少华·石磊·李邦耀·杨国辛」手稿浅析

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文／杨小彦

九十年代初，对于广州当代艺术来说，有一件事现在看来是很重要的，那就是从武汉南下了一批当代艺术家，他们进驻华南师范大学美术系（今天的华师美术学院），不仅给当代艺术带来与本地不同的观念与风格，而且还极大地活跃了本地气氛，推动了广州当代艺术的发展。尤其重要的是，他们的身份首先是老师，长年在美术教育的第一线工作，十几年下来，带出了一批卓有成绩的本地的当代艺术家，成为广州地区当代艺术重要组成部分，发挥着日益显要的作用。

左起（按姓氏笔画顺序排列）：方少华、石磊、李邦耀、杨国辛

Fang Shaohua · Shi Lei · Li Bangyao · Yang Guoxin

当年南下的艺术家有尚扬、李邦耀、刘子建，稍后过来的则有杨国辛、方少华、石磊。不久，尚扬北上，到首都师范大学美术学院任教，刘子建南下深圳，成为深圳大学艺术学院教授，剩下的四位，则一直在华师美院任教至今，形成了有别于广州美术学院当代艺术教育的另一支重要力量。在他们所带出的学生中，目前相当活跃、且颇有知名度的分别有江衡、孙晓枫、李景湖、柯济鹏、汪凌诸人。

《中国地图》纸本 2018年方少华石磊李邦耀杨国辛杨小彦

"Map of China" , paper, in 2018, Fang Shaohua, Shi Lei,

Li Bangyao, Yang Guoxin and Yang Xiaoyan

“首届九十年代艺术双年展” 大合照 1992年广州

photo taken at ”The first 90s Art Biennale Exhibition of Guangzhou" 1992

我一向以为，九十年代以来的中国当代艺术，存在着一种或可称之为“湖北现象”，作为九省通衢、南来北往的湖北武汉，在当代艺术领域，三十年来的确出了不少公认的大家，对中国乃至世界都产生了重大的影响。不仅本地当代艺术家辈出，而且，一些重要的外来艺术家，也是在武汉成就了他们的艺术，其中最著名的就有王广义，他那已经进入艺术史的“政治波普”就是九十年代初在武汉开始创作的，其时王广义是武汉一所大学的艺术老师，刚从广东珠海来到此地。艺术史学者探讨王广义的“政治波普”的起源时，发现当年武汉就存在着类似的潮流，比如至今仍在坚持这一风格的魏光庆，他的艺术被人称为“文化波普”。尽管，今天不管是艺术家本人还是研究这一段历史的学者，已经不再坚持用“波普”这样一个风格定义的词汇去形容当年的运动，但其中所彰显的那种反对绘画性和表现性的明确倾向，希望把画面图像处理成符号，以传达抽象的观念的做法，已然成为中国当代艺术的一种明显的方式。

《琅琊草与画架上的琅琊草与人》、《三个女人》手稿 1985年李邦耀

paper manuscripts of series "Langya Grass with the Painting Langya Grass and Man on Easel" and "Three Women",

1985, Li Bangyao

这次觀空间展出的四位武汉籍艺术家，方少华、石磊、李邦耀和杨国辛，就是当年从武汉南下并扎根广州的，从总体倾向来说，他们南下之时已经各自有了比较成熟的风格，且已参与当代艺术的各种展览当中，成为当代艺术界活跃的人物，所以，他们南下，势必把这样一种气氛也带到了当代艺术不无边缘的广州艺术界。

《遗产》之一草图纸本 1993年杨国辛

Sketches of "Heritage" - No.1 , paper, 1993, Yang Guoxin

可能也是这个原因，他们栖身在高校，从事艺术教育，除了私人交往，和本地艺术界上层一直缺乏主动的联系，处于某种被本地隔绝的状态之中，这反倒让他们一直能够保持某种独立性，通过不间断的探索，以及通过课堂，把一种当代的观念，包括方法论和创作经验，缓慢地渗透进南方的艺术界，产生了潜在的影响，并随着时间的推移，其影响也日益具有社会效应，以至形成了广州当代艺术的另一个中心。这是有目共睹的事实。

《进入程序》系列纸本手稿 1993年杨国辛

paper manuscripts of series "Entering Program", 1993, Yang Guoxin

这一次展出四人手稿，我觉得这是一个机会，观众可以通过他们的一些草图以及半成品，探讨其中所呈现的观念性的内容，了解他们对于当代艺术的一些理解，以及对当下的艺术运动所做的贡献。

《INDOORS》布鲁塞尔ODRADEK驻地项目展览方案手稿

2017年李邦耀

"INDOORS" manuscript of project for the exhibition at Odradek Space in Brussels, 2017, Li Bangyao

从实践来说，李邦耀和石磊最为多变，在南下的岁月中，他们的风格几经变化，发展出今天的面貌。其中，李邦耀在经过几次的风格反复之后，把对物品的感受与对物性的表达合成整体，彻底去除所有残留在画面上的表现手法，让图像成为一种叙述的符号，述说着包围我们生活的日常物件。这一特点，尤其是他在创作中的思考与变化，在手稿中保留得相当完整。

《飞系列》纸本手稿 2007年石磊

paper manuscripts of series "FLY", 2007, Shi Lei

《飞系列》纸本素描 39x40cm 2007年石磊

paper manuscripts of series "FLY", 2007, Shi Lei

石磊是一个在风格上不拘于一格的人，材料上也做多种实验，除了油画以外，在雕塑、铜版、石版方面都有所尝试，最近甚至把兴趣放到了水墨上面。不过，在多种手法不断尝试的外表之下，石磊在观念上倒是保持了一种一以贯之的态度，他似乎天生对于超现实有独到的见解，总是在各种不同形象的嫁接上自由拌合，以期创作出意外的效果。这一点也充分呈现在他的手稿中，那种思维的活跃与放纵，随时捕捉梦境般的想象的能力，即使在草图阶段也鲜明地表现了出来。

《好果子》系列纸本手稿 2001年杨国辛

paper manuscript of series "Good Fruit", 2001, Yang Guoxin

《江南石》陶瓷装置系列纸本手稿 2016年杨国辛

paper manuscript of the ceramic installation "Jiangnan Stones", 2016, Yang Guoxin

严格来说，杨国辛是一个从事多种媒介的艺术家，我甚至认为他主要是一个媒介艺术家，而不拘泥于现成的手法。他一直在努力打破画种的分类习惯，从来不对自己早年已经熟练掌握的油画手法有丝毫怜惜，以期让技法能够维持下去，这一点和他的年龄极不相符。按照一般的情形看，像杨国辛这样出生在五十年代早期的艺术家，很难想象会突进到完全崭新的多媒介领域。比如，杨国辛最近就一直在用电脑绘画软件去工作，他不断地感慨，在人工智能发展的今天，曾经的手工绘制能力又有什么值得自豪？当电脑轻而易举地达成所有人都想要的风格与效果时，手工的神话就彻底破产了。正因为这个原因，杨国辛不愿意自己是一个手工艺人，他是录相艺术家、电脑绘制艺术家、视频艺术家、摄影家、油画家、陶瓷家，总的来说，他是一个典型的观念艺术家，一个媒介艺术家，从来没有一种分类为对他产生障碍，对他来说，所有这一切都是自然而然的，和是否年长丝毫没有关系。他的这种多媒介的反复实验，同样在手稿中体现得很充分。

《胸有成竹》手稿 5号信封 2012年方少华

manuscript of "Realm of Form As Emptiness", envelope no.5, 2012, Fang Shaohua

《胸有成竹》纸本手稿 2013年方少华

paper manuscript of "Realm of Form As Emptiness", 2013, Fang Shaohua

《胸有成竹-红竹-2》纸本彩稿 2013年方少华

paper coloured manuscript of "Realm of Form As Emptiness - red bamboo-2", 2013, Fang Shaohua

方少华是一个早熟的艺术家，手感相当好，绘制能力一早就在武汉美术界众口皆碑。他早年的“雨伞系列”，除了观念上的创新外，其中所呈现的表现性力量，引起了同行的由衷赞叹。即使今天，他的素描仍然是精确而简洁的，显然受到了法国晚期古典主义的熏陶。有意思的是，方少华从来没有炫耀这一点，更没有让自己的艺术停留在这一层面上，而是很早就开始观念性的探索。他毫不犹豫地打破绘画的平面性，抽取其中的涂抹与表现的成份，把女人体的身体作为表达的媒介，通过一个颜料覆盖人体的全过程，既把它转化为平面绘画，又转变成摄影和录相，同时，本身又是一个行为的过程，把几种不同的媒介同时在一个对象身上，在一件作品中完整地表达出来，让本来的一件作品，在过程中分裂成“摄影”、“录相”“行为”和“绘画”这样几种完全不同的形式，事实上，当一件作品同时具备如此之多的媒介与分类之后，本身不具有一种潜在的颠覆性，把所有涉及过的媒介来一次总的突破。从这一点看，方少华的意义正在于对“过程”的“观念化演绎”，也就是说，媒介只是他的中介而已，而不是他的目的，他的目的是要把一个过程彻底地观念化。从这一点看，方少华是一个以过程为对象的观念艺术家，他既让作品随意分裂成不同的表达样式，同时又通过对观念的表达消解这些个样式，从而实现了对过程这一时间的重新定义。

《胸有成竹-金竹-2》纸本手稿 2013年方少华

paper coloured manuscript of "Realm of Form As Emptiness - golden bamboo-2", 2013, Fang Shaohua

《胸有成竹》金竹手稿扇面 2013年方少华

manuscript of "Realm of Form As Emptiness" - golden bamboo on folding fan, 2013, Fang Shaohua

我曾经在某处说过，艺术家的草图是一部隐藏的艺术史，或者是一部初始的艺术史，从中可以窥见到起步阶段的思想，以及观念成形的全过程。我想这一次人们可以通过他们四人的手稿而意识到我所说的问题，从而寻找到另外一条深入艺术家内心的路径，以加深我们对于艺术的认知。

《夜珠江——飞禽走兽》纸本手稿 2007年石磊

sketch manuscript of "The Pearl River at Night - birds and animals", 2007, Shi Lei

显然，如前所述，他们四人是教授，几十年桃李满天下，培养了不少优秀的学生，其中一些已经成长为独立的艺术家。由于他们南下的时候已经坚定了对于当代艺术的信念，所以，在教学中他们可以说一开始就打破传统的美术教育体系。他们的手稿同样可以让人们见到在这一方面的痕迹。只是，他们的当代艺术的教育体系不是这一次展览的主题，我希望将来如果有机会的话，倒是应该把这做为主题，探讨观念教育的可能性。这个影响，尤其对于改写广州当代艺术的格局，其实是起了重大作用的。

2018.2.1 温哥华

《室内》系列手稿李邦耀

manuscripts of series "INDOORS", Li Bangyao

一路向南

「方少华·石磊·李邦耀·杨国辛」手稿研究展

ALL THE WAY SOUTH

Manuscript Exhibition of

Fang Shaohua · Shi Lei · Li Bangyao · Yang Guoxin

策展人/ Curator

杨小彦 Yang Xiaoyan

学术主持/ Academic Chair

皮道坚 Pi Daojian

学术研讨会 / Symposia

2018年3月30日 14:30

March 30rd, 2018 14：30pm

展览开幕 / Opening Ceremony

2018年3月30日 17:30

March 30rd, 2018 17：30pm

展览时间 / Exhibition Time

2018年3月30日—2018年6月24日

March 30rd, 2018 — May 24th, 2018

主办单位 / Organizer

觀空间

JUSTART SPACE

国家当代艺术档案库华南中心

Southern Center Of National Archlves Of Contemporary Art

华南师范大学美术学院

SCNU, School of Fine Arts

展览地址 / Exhibition Location

广州天河广园东路中森食博汇D区一楼觀空间

1F, D zone, Gourmet100,

Guangyuan East Road, Tianhe District, Guangzhou

支持媒体 / Supporting Media

雅昌艺术、国家美术、凤凰艺术、

艺术当代、收藏拍卖、新浪当代艺术、

绝对艺术、腾讯大粤艺术、画廊杂志、

典藏、广东广播电视台、广州日报、

新快报、网易艺术、艺厘米

All The Way South

Manuscript exhibition of

Fang Shaohua, Shi Lei, Li Bangyao and Yang Guoxin

In the early nineties, for the contemporaryart of Guangzhou, there was an event which seen by now is very important, thatis a group of contemporary artists came to the south fromWuhanand enteredthe art department of the South China Normal University (now the South ChinaNormal University, School of Fine Arts), which not only brought contemporary art with idea and style differentfrom the local one but also greatly activated the local atmosphere and promotedthe development of contemporary art of Guangzhou. What’s more, their firstidentity is teacher, working for a long time in the front line of education,and over the past ten years a number of outstanding local contemporary artistshave been brought out, becoming an important part of contemporary art atGuangzhou and playing an increasingly important role. Among the artists came tothe south there were Shang Yang, Li Bangyao, Liu Zijian, and later, YangGuoxin, Fang Shaohua, Shi Lei. Soon after that, Shang Yang went to the north toteach in the College of Fine Arts of Capital Normal University and Liu Zijianwent to Shenzhen to teach in the College of art of Shenzhen University. The remainingfour artists teach in the South China Normal University Academy of Fine Artsuntil now, becoming another important force for the education of contemporaryart different from the Guangzhou Academy of Fine Arts. Among their students,Jiang Heng, Sun Xiaofeng, Li Jinghu, Ke Jipeng and Wang Ling are now quiteactive and well known.

I always think that in Chinese contemporary art since the nineties, thereis a phenomenon that can be called “Hubei Phenomenon”. As an important provincethat connects the north and south of China, in the field of contemporary art,Hubei has many recognized artists in the past 30 years, which exerted a greatinfluence on China and even the world. Not only the local artists but also someimportant artists coming from other places, among which the most famous one isWang Guangyi. His “Political Pop” already in the art history, was created atWuhan in the early nineties, when he came from Zhuhai to be art teacher in oneof the universities at Wuhan. When theart historians are exploring the origin of Wang Guangyi’s “Political Pop”, theyfound that the similar trends have already existed at Wuhan at that time, suchas the style of Wei Guangqing whose art is called “Cultural Pop”. Though theartists themselves and the historians no longer insist to use “pop” , a word ofdefined style, to describe the movement of that time, the obvious tendency ofanti-painting and expressiveness and the hope to make pictures and images intosymbols to convey abstract ideas have already become an obvious method ofChinese contemporary art.

The four artists of this exhibition, Fang Shaohua, Shi Lei, Li Bangyaoand Yang Guoxin, are from Wuhan and came to the south settling down atGuangzhou. In general, when they came to the south, they had their maturestyles and already participated various exhibitions of contemporary art, havingbecome active figures in the field of contemporary art. Therefore, theirarrival to the south has brought this atmosphere to the contemporary art ofGuangzhou. Maybe also for this reason, they engage in art education and apartfrom some private contacts lack of active contacts with the upper echelons oflocal art and in a certain state of isolation, while that's why they have beenable to keep some kind of independence. Through uninterrupted explorations andclasses, they let a contemporary concept, including methodology and creativeexperience, slowly penetrate into the art world of the south, having apotential impact. As time goes on, its influence also has increasingly socialeffect, so as to form another center of contemporary art at Guangzhou. All thisis an obvious fact.

This manuscript exhibition of the four artists I think is an opportunity.Through some manuscripts and semi-finished works, the audiences can explore theconceptual content presented in them and know about their understanding of thecontemporary art and their contribution to the present art movement.

Practically talking, Li Bangyao and Shi Lei are more changeable thatduring their time in the south their styles have already had several changesand then developed to today’s aspect. After some changes, Li Bangyao integratedthe feelings of the goods and the physical expressions, and completely removedall the expressive techniques that remain on the pictures, letting the imagesbecome narrative symbols and describing the everyday objects that encircle ourlives. This characteristic, especially the thoughts and changes in hiscreations, is quite complete in the manuscripts. Shi Lei is not limited to onestyle and also has various experiments on materials. In addition to painting,he has also tried sculpture, copper printmaking, lithograph, and recently evenChinese ink. However, under the appearance of these various and continuousattempts, Shi Lei keeps a consistent attitude in ideas and seems to be bornwith a unique view of surrealism, that always free to mix various grafts ofdifferent images in order to create an unexpected effect. Also this is fullyshown in his manuscripts. The activity and indulgence of mind, and the abilityto capture dreamlike imagination at any time, are clearly shown even in thesketch stage. Strictly speaking, Yang Guoxin is an artist who works with manykinds of media. I even think that he is mainly a media artist, not limited tothe ready-made techniques. He’s always working hard on breaking theclassification habit of painting and never feels pity for the oil paintingskills already mastered. This is inconsistent to his age. Usually for theartists like Yang Guoxin born in the early fifties, it's difficult to imaginethe entering into a completely new and multimedia field. For example, recentlyYang Guoxin is always working with computer painting software and constantlyfeeling that in the development of artificial intelligence what the handdrawing ability can be proud of? When computer can easily reach the styles andeffects desired by everyone, the myth of hand-making is completely bankrupt.For this reason, Yang Guoxin doesn’t want himself to be a handicraftsman, he’svideo artist, computer painting artist, photographer, oil painting artist,ceramic maker, in general, he is a typical conceptual artist, a media artist.There has never been a classification as an obstacle to him. For him, all ofthis is natural and has nothing to do with age. His repeated experiments ofmultimedia are also completely shown in his manuscripts. Fang Shaohua is aprecocious artist, whose feeling of hand is quite good and whose ability todraw was already widely acclaimed in the art world at Wuhan. Besides theconcept innovation, the expressive force in his early "umbrellaseries", had brought him heartfelt admiration from other artists. Eventoday, his sketches are still accurate and concise, obviously influenced by thelate French classicism. It’s interesting that he has never shown off this factnor let his art stay on this level, but started the conceptual exploration. Hedoesn’t hesitate to break the planarity of painting, extracting the compositionof paint and expression and using the body of woman as an expressive media.Through the whole process of covering the body with pigments, it’s converted tobe planarized painting, then photography and video. It’s also a process ofbehavior, putting several different media at the same time in one subject,expressing completely in one artwork, and letting a piece of artwork split intoseveral completely different forms during the process, "photography","video", "behavior" and "painting". In fact, whena piece of artwork has so many media and classification at the same time, itdoesn’t have a potential subversive, but a total breakthrough of all the mediainvolved. From this point of view, Fang Shaohua's meaning is in the"conceptual deduction" of "process", that is to say, mediais just his medium not his purpose, while his purpose is to thoroughlyconceptualize a process. From this point of view, Fang Shaohua is a conceptualartist who takes process as object, who not only allows his works to be splitinto different expression styles, but also dispels these styles by expressingideas, realizing the redefinition of process.

Once I saidsomewhere that the sketches of artistsare a hiddenart history, or an initial art history, from which we cansee the thoughts of the start stage and the whole process of the idea forming.I think this time through their manuscripts audiences can realize what I’mtalking about and can find another way to go deep into the heart of the artistsand deepen our understanding of art.

Obviously, as mentioned before, they are allprofessors and during these several ten years have trained many excellentstudents, some of which have already grown into independent artists. As they’ve already strengthened their faith incontemporary art when they went to the south, in teaching we can say that theybroke the traditional art education system at the very beginning. We can alsosee the trace of this aspect from their manuscripts. But their educationalsystem of contemporary art is not the theme of this exhibition. I hope that ifthere is a chance in the future, we should take this as theme and explore thepossibility of concept education. This effect has played a major role inrewriting the pattern of contemporary art at Guangzhou.

2018/02/1 at Vancouver

— END —

往期回顾：

新觀点 ▏无言的能指：王清丽“分离的秘密公园”与 Eric Owen Moss 的建筑

觀赏者 ▏王清丽“女性视角”的超性别意识维度

剧透社 ▏觀空间JUSTART SPACE 2018将会有哪些展览？

觀赏者 ▏对话江衡

觀赏者 ▏访杨国辛工作室

觀空间位于广州天河区，始创于2015年12月，是由广东创艺基金和中森集团联合创办的当代艺术空间。空间秉承“观型、观心、观道”的东方哲学理念，以当代艺术发展为主轴，紧密结合东方人文思想与当下国际艺术风潮，是华南地区最具规模和实力的有机艺术平台之一。

Justart Space is a contemporary art gallery which located at Tianhe District of Guangzhou and co-founded by Guangdong Justart Cultural Investment Fund and Goumet100Group at December, 2015. Justart Space focuses on oriental philosophical essences, and with the emphasis on artist’s spirit and ideas. Besides, Justart Space is committed to promoting the new development of Chinese contemporary art, and leading the progress of contemporary art in south China.