<一棵松——郭工个展>
NUOART诚挚邀请您参加”一棵松——郭工个展“ 开幕式。
NUOART cordially invites you to the opening of "PINE-Guo Gong Solo Exhibition".
郭工的装置作品的动人之处，来自一种与艺术史截然不同的逻辑体系，来自对整个世界，艺术作品，以及艺术家与它们的关系的重新感知。我们当然可以从“中国传统”或“东方智慧”中找到这种逻辑体系的依据，但实际上，他的作品并不仅仅具备“当代化的中国传统”这一简单的属性。在“一棵树”和“天下”这两件作品中，我们可以看到，他通过对作品的提纯，将所有思考压缩在最可见的纯净形式中。这种“纯净”并不是“极简主义”所追求的纯净，而是让所有关于创作的思考与感受在作品诞生的最后时刻“归零”，使作品不仅具备“多译性”，更具备了一种“多感知性”。作品打动的不是观者的观感与思考，而是观者的“心性”，也就是个体内在世界的整体状态。作品形式的纯度——而不是复杂程度——使自身具备了一种跨越文化界限和解释系统的传递能力。由此，作品从创作到它的传递方式，都重新回到了一种高级的直觉状态。这种直觉是一种对未知的直观，以及对艺术家精神状态的视觉呈现，这也正是艺术的崇高之处。
装置艺术，以及更广泛层面的所谓“新媒体艺术”，从诞生开始，它们本身所固有的能量，有很大一部分都来自对另一个既成的能量体系——也就是艺术史体系——的打破和扭转；用通常的方式来说，在于对传统艺术的反思与批判。从本质上来看，这种批判其实是一种对传统以“批判”为名的依附，这也导致我们常常用文学化的方式去观看所谓新媒体作品。其后果，就是“新媒体”艺术在今天已经进入一种单一的逻辑，以及在这一逻辑中对艺术史，观念，解释系统，文献，或者跨学科方法的依附，以及模式化的创新，并最终带来整个“当代艺术”对这种实际上不断重复的创新所产生的“厌食症”心理。郭工的作品正在为新媒体艺术寻找一种更为永恒的能量之源。他也在为我们提供一种早已被遗忘的观看方式，这不是充满诺言的创新，而是浪漫的回归。
The touching power in Guo Gong's artworks is from a particular logic system based on his perception on the world, the arts, and their relationship with himself as an artist. This system is totally different from that in art history. We can certainly find its clues from the frequently mentioned “Chinese cultural tradition” or “oriental wisdom ”, but his works contain much more than a simple “contemporized tradition”. In his works “A Tree” and “Land under the Heaven”, we can see he has condensed all his apperceptions and inspirations into the purified visible forms through a struggling process of refinement. This “purification” is not to be understood under the logic of minimalism. It's a kind of “returning to zero” of his thoughts in the last moment of the birth of his works. Thus the works have been endowed not only with “polysemy”, but also with “multi-perceptions”. What they touch is not only the sensibility and thoughts of the audience, but more deeply, their “quality of the heart”, which is the general condition of the inner world. The works' degree of pureness – instead of their degree of complexity – decides their ability of transmission across the border of cultures or systems of interpretations. The most important point is, these works have returned to a status of advanced intuition. This intuition is a direct view into the unknown and a visual representation of the spiritual conditions of the artist. This is also where the arts find their place in the sublime.
The indigenous energy of installation arts, and also of the more general new medias arts, is mostly absorbed during a process of destruction of another system of energy, which is the long existing and commonly accepted art history. Speaking in another way, the new arts today is mostly built upon the reflection and critic upon the arts before. This kind of new arts is in fact a kind of attachment of tradition – in the name of “rebel” – leading the arts to a corner where they can only be interpreted literally. As a result, the new arts today have been absorbed by a single logic where the arts can only be attached to conception, interpretation, document, or different disciplines such as sociology or new technologies. The arts created in these ways have become repetitions in a fixed innovative pattern, and created the contemporary “anorexia” of the repeated innovations. Guo Gong is trying to find a more eternal source of energy for the new arts. He provides us with a long forgotten way of seeing, it's not about innovations with full of promises, but a romantic return.
NUOART cordially invites you to the opening of "PINE-Guo Gong Solo Exhibition".
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郭工的装置作品的动人之处，来自一种与艺术史截然不同的逻辑体系，来自对整个世界，艺术作品，以及艺术家与它们的关系的重新感知。我们当然可以从“中国传统”或“东方智慧”中找到这种逻辑体系的依据，但实际上，他的作品并不仅仅具备“当代化的中国传统”这一简单的属性。在“一棵树”和“天下”这两件作品中，我们可以看到，他通过对作品的提纯，将所有思考压缩在最可见的纯净形式中。这种“纯净”并不是“极简主义”所追求的纯净，而是让所有关于创作的思考与感受在作品诞生的最后时刻“归零”，使作品不仅具备“多译性”，更具备了一种“多感知性”。作品打动的不是观者的观感与思考，而是观者的“心性”，也就是个体内在世界的整体状态。作品形式的纯度——而不是复杂程度——使自身具备了一种跨越文化界限和解释系统的传递能力。由此，作品从创作到它的传递方式，都重新回到了一种高级的直觉状态。这种直觉是一种对未知的直观，以及对艺术家精神状态的视觉呈现，这也正是艺术的崇高之处。
装置艺术，以及更广泛层面的所谓“新媒体艺术”，从诞生开始，它们本身所固有的能量，有很大一部分都来自对另一个既成的能量体系——也就是艺术史体系——的打破和扭转；用通常的方式来说，在于对传统艺术的反思与批判。从本质上来看，这种批判其实是一种对传统以“批判”为名的依附，这也导致我们常常用文学化的方式去观看所谓新媒体作品。其后果，就是“新媒体”艺术在今天已经进入一种单一的逻辑，以及在这一逻辑中对艺术史，观念，解释系统，文献，或者跨学科方法的依附，以及模式化的创新，并最终带来整个“当代艺术”对这种实际上不断重复的创新所产生的“厌食症”心理。郭工的作品正在为新媒体艺术寻找一种更为永恒的能量之源。他也在为我们提供一种早已被遗忘的观看方式，这不是充满诺言的创新，而是浪漫的回归。
The touching power in Guo Gong's artworks is from a particular logic system based on his perception on the world, the arts, and their relationship with himself as an artist. This system is totally different from that in art history. We can certainly find its clues from the frequently mentioned “Chinese cultural tradition” or “oriental wisdom ”, but his works contain much more than a simple “contemporized tradition”. In his works “A Tree” and “Land under the Heaven”, we can see he has condensed all his apperceptions and inspirations into the purified visible forms through a struggling process of refinement. This “purification” is not to be understood under the logic of minimalism. It's a kind of “returning to zero” of his thoughts in the last moment of the birth of his works. Thus the works have been endowed not only with “polysemy”, but also with “multi-perceptions”. What they touch is not only the sensibility and thoughts of the audience, but more deeply, their “quality of the heart”, which is the general condition of the inner world. The works' degree of pureness – instead of their degree of complexity – decides their ability of transmission across the border of cultures or systems of interpretations. The most important point is, these works have returned to a status of advanced intuition. This intuition is a direct view into the unknown and a visual representation of the spiritual conditions of the artist. This is also where the arts find their place in the sublime.
The indigenous energy of installation arts, and also of the more general new medias arts, is mostly absorbed during a process of destruction of another system of energy, which is the long existing and commonly accepted art history. Speaking in another way, the new arts today is mostly built upon the reflection and critic upon the arts before. This kind of new arts is in fact a kind of attachment of tradition – in the name of “rebel” – leading the arts to a corner where they can only be interpreted literally. As a result, the new arts today have been absorbed by a single logic where the arts can only be attached to conception, interpretation, document, or different disciplines such as sociology or new technologies. The arts created in these ways have become repetitions in a fixed innovative pattern, and created the contemporary “anorexia” of the repeated innovations. Guo Gong is trying to find a more eternal source of energy for the new arts. He provides us with a long forgotten way of seeing, it's not about innovations with full of promises, but a romantic return.
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