◇ 文 |胡 婷 圖 |受訪者提供

跨界傅榆翔

◇ 文 |胡 婷 圖 |受訪者提供

傅榆翔

Fu Yuxiang

1963年生于中國重慶，跨界藝術(shù)家，詩人，重慶畫院專職藝術(shù)家，公共藝術(shù)推動者。在第57屆威尼斯雙年展上，媒體這樣評價他和他的作品：“中國最有意思和想法的藝術(shù)家之一，威尼斯雙年展最重要的十大作品之一，中國新一代最有趣的藝術(shù)家之一?！彼群蟛邉澣毡緰|京美術(shù)館第33-35屆海外國際藝術(shù)邀請展等大型展覽，獲亞洲藝術(shù)節(jié)中美著名藝術(shù)家聯(lián)展“最佳當(dāng)代油畫”杰出成就獎等諸多獎項(xiàng)。born in Chongqing, China in 1963, is a versatile artist, poet,full-time painter in Chongqing Art Museum, and advocate of Public Art. At the 57th La Biennale di Venezia, Fu earned the fame as "one of the most interesting and minded artists of the new generation of Chinese”, and his exhibition “one of the top ten works on the Biennale”. He was the curator of the 33th-35th Japan AJAC Exhibition held by Tokyo Metropolitan Art Museum,and was awarded by the Asian Art Festival the “Best Contemporary Oil Painting” and “Outstanding Achievement”.

當(dāng)?shù)貢r間2017年5月14日，距重慶8000多公里的意大利水城威尼斯。那天，圣馬力諾與中國的友誼計(jì)劃項(xiàng)目正如火如荼進(jìn)行著，這個友誼計(jì)劃項(xiàng)目帶著重慶元素——中國（重慶）當(dāng)代藝術(shù)家傅榆翔以圣瑪力諾特邀國際藝術(shù)家身份，出席意大利威尼斯第57屆雙年展。

此時的威尼斯雙年展上，還進(jìn)行著另一場“穿越”。“外星人”的意外到訪，引起了世界各地游客和威尼斯當(dāng)?shù)鼐用竦年P(guān)注與欣喜。這些 “外星人”，來自傅榆翔的雕塑作品《移民外星人》?！兑泼裢庑侨恕泛透鶕?jù)重慶典故創(chuàng)作的《青獅白象的記憶片段》，都成為這次威尼斯雙年展上眾多媒體的頭版頭條。

本次雙年展傅榆翔還帶去了油畫、水墨作品參展。類似的跨界藝術(shù)創(chuàng)作，被他調(diào)侃為藝術(shù)界的“鐵人三項(xiàng)”。回溯這位60后藝術(shù)家的藝術(shù)生涯，他所說的，恰如其分。

May 14, 2017(local time), in Venice, an Italian city more than 8,000 kilometers away from Chongqing, China, Fu Yuxiang, the Chinese contemporary artist, was specially invited by the Republic of San Marino as the international artist to attend the 57thLa Biennale diVenezia, which implies the Friendship Project between the two countries are growing vigorously.

At the Biennale, a platoon of “aliens” attracted the attention of visitors from all over the world and of the local residents. They are sculptures presented by Fu Yuxiang, entitled Migrant Aliens, which, with Memories of Azure Lion and White Elephant,another sculpture based on Chongqing allusion, hit the headlines of variousmedia in this Biennale.

At the Biennal, Fu also exhibited his oil painting and ink painting, and he bantered such versatile creation as “triathlon” in Arts. Looking back to his career, one can tell that it is the case.

從銅版畫開始Starting with copperplate etching

不同于大多數(shù)藝術(shù)家將生活的體驗(yàn)和豐富內(nèi)心世界傾注于作品，傅榆翔極少關(guān)注“自我”，這在他的詩歌、油畫、雕塑中都有集中體現(xiàn)。

“藝術(shù)家對時代有一種特殊的思考角度，我做作品幾乎都沒有關(guān)于我個人化的記憶和關(guān)系。我畫油畫更多是他者或各種動物，做雕塑也是關(guān)于外星人與人類之間的未知與可能，以及關(guān)于死亡與復(fù)活的生成關(guān)系?！备涤芟杼龟悾@使他的畫作有一種魔幻又現(xiàn)實(shí)的存在。

這種“大格局”的思考，源于傅榆翔少年時代的文學(xué)啟蒙。16歲，當(dāng)他第一次看到但丁《神曲》中的銅版畫及14行詩中的精美插圖時，很是震撼，萌生創(chuàng)作詩歌的沖動。第一次閱讀康斯坦丁?帕烏夫托夫斯基的《金薔薇》，其俄國文學(xué)獨(dú)有的悲壯情懷，對世界和人類命運(yùn)的獨(dú)立思考，奠定了他未來藝術(shù)創(chuàng)作的基調(diào)，也對他日后的文學(xué)、繪畫生涯產(chǎn)生指引作用——繪畫、文學(xué)、詩歌是沒法“分家”的。

1984年，傅榆翔開始詩歌創(chuàng)作。對他來說，詩歌和繪畫是一種類似于共生的關(guān)系：“詩歌和繪畫是互補(bǔ)。當(dāng)我在寫一首詩時，我會想，這首詩，以畫的形式呈現(xiàn)應(yīng)該是怎么樣；當(dāng)我完成一幅畫時，這幅畫也相應(yīng)地應(yīng)該有一首對應(yīng)的詩?！?/p>

不得不回到2013年。那年，傅榆翔在廣州53美術(shù)館舉行他人生中的第12個個展——全息現(xiàn)場。第一次，他將他的繪畫和詩歌同場展出。 “在中國，詩歌繪畫出自同一個藝術(shù)家、詩人之手，傅榆翔是惟一，也是第一個跨界藝術(shù)家?！睆V州53美術(shù)館策展人胡震如是評價。

Unlike most artists devoting personal life experience and thoughts into creation, Fu rarely pays attention to "himself", which can be intensively found in his poetry, oil painting and sculpture.

"Artists all have their own way of thinking about the times, but I do not put my personal memories or something related to my works. My oil paintings focus more on others or animals, and sculptures are also about the unknown and the possible between aliens and humans, or the relation between death and resurrection,which,”Fu added, “makes my painting a magical and realistic existence.”

This pattern of thinking is derived from the literature enlightenment in his juvenile. When fi rst seeing he copperplate etching in Dante’sDivine Comedy and the fi ne illustrations inthe Sonnetsat the age of 16, he marveled at those works and developed the idea of writing poems. And after reading Konstantin Paustovsky’s ( 康斯坦丁?帕烏夫托夫斯基)The Golden Rose, what he perceived in this Russian literature the unique solemn and stirring feelings and independent reflection on theworld and human destiny, had laid the tone for his future creation and also gave guidance to his literature and painting career that painting, literature and poetry can not be separated.

Fu began to write poems in 1984. For him, there was a symbiotic relationship between poetry and painting: "poetry and painting are complementary. When I write a poem, I will think how to present the same scene by painting; and When I fi nish painting, I want to write a poem for it.”

Then in 2013, Fu held the 12thsolo exhibition –Holographical Scene in Guangzhou 53 Art Museum where he exhibited his paintings and poems together for the fi rst time.Hu Zhen, a curator, said "Fu Yuxiang is the only artist who is good at creating poem and painting,and the fi rst trans-disciplinary artist in China.”

關(guān)起門折磨自己Exploring alone

在藝術(shù)這條路上，藝術(shù)家們豐富敏感的內(nèi)心世界，讓他們擁有比普通人對周遭事物更多的情感體驗(yàn)。同時，他們也是痛苦的。這種痛苦，更多的是源于孤獨(dú)、不被認(rèn)可的內(nèi)心世界。

傅榆翔借助“超現(xiàn)實(shí)主義”，試圖尋找人類社會與動物世界借助“超現(xiàn)實(shí)”的精神自動主義,在看似荒誕的視覺關(guān)系中，導(dǎo)入一種既魔幻又現(xiàn)實(shí)的存在。這種魔幻的背后，是必須忍受的孤獨(dú)。藝術(shù)家們通常的解決方式，是關(guān)起門來折磨自己。赫爾曼?黑塞以孤獨(dú)、漂泊、隱忍的方式尋求那只為自己而存在的荒原狼。對于信奉苦行的傅榆翔來說 ，這不失為一個好辦法。

黃桷坪501藝術(shù)基地， 每天早上九點(diǎn)前，傅榆翔必須出門，下午5點(diǎn)才回到家，周末也是如此，妻子和女兒常去探班，稱他為“勞?！薄６涤芟枵f，這不是行業(yè)，是愛好。這是他每天需要釋放、實(shí)現(xiàn)自己的一種方式。久而久之，這成為一種應(yīng)該——應(yīng)該畫草圖、應(yīng)該閱讀……連續(xù)五六年，傅榆翔就一直這樣走著他的朝圣之路。在黃桷坪四川美術(shù)學(xué)院坦克庫，傅榆翔舉辦了他人生中的第一個個展——《天空沒有回音》。

其實(shí)，嚴(yán)格意義上說，說傅榆翔在作品中不帶入的“自我”情感表達(dá)是不準(zhǔn)確的。創(chuàng)作中，傅榆翔帶入一種關(guān)于生物整體性的思考，一種關(guān)于人類集體的記憶。這種記憶，和自身的體驗(yàn)是分不開的。

傅榆翔講了個故事：“2004年，一天晚上，在朝天門，我路過一家羊肉餐館，餐館門口栓了一只羊。我路過時，那只羊?qū)χ移疵亟校夷芨惺艿竭@只羊想讓我救他，我很感傷，可是如果我買回去又沒有辦法養(yǎng)，從那以后，那只羊的叫聲一直回蕩在我的腦海中?！鄙飶?qiáng)大的求生本能震撼著傅榆翔。那以后，他畫作中基本上都是動物作為主題。

無論是《通靈的鸚鵡看著用手機(jī)的猴子》中滑稽的一幕，還是油畫《后伊甸園》中宇航員和動物同框所帶來的時間空間的錯位，都帶著自己獨(dú)特的思考，傅榆翔始終關(guān)注和描繪人類及其它動物處在混沌卻又逼真的不同場域，以更高的維度來思考，全域性地反思人類自身。

Artists always have rich and sensitive inner world,so that they are more emotional than the ordinary to the surroundings. While they are also su ff ering from painsdue to the loneliness that their inner world is unacceptable.

Based on Surrealism, Fu tried to build up a magical and realistic existence in a seemingly absurd visual relation between human society and animal world from a Surrealist Automatism perspective. Looking for such a magical existence, Fu has to endure the loneliness which for most artists is to be reconciled by exploring alone.For example, Hermann Hesse(赫爾曼?黑塞) experienced lonely, wandering and forbearing life and fi nally found his own Steppenwolf.So to Fu who believes in asceticism, exploring alone is a good way to endure loneliness.

Every morning Fu goes to 501 Artistic Base (in HuangjuepingChongqing ) before 9 a.m. and comes back at 5 p.m. His wife and daughter often go to visit him and call him "model worker". However, Fu does not consider it a job but a hobby, a way to releases and recognizes himself. Gradually, it becomes a willingness -a willingness to sketch and read. After 6 years of his art pilgrimage, Fu fi nally held his fi rst solo exhibition - "No Answer from the Sky" in the Tank Loft of Sichuan Fine Arts Institute.

In fact, it is not accurate to say that Fu rarely pays attention to "self" in his creation, because he introduces a comprehensive thinking perspective on being, a collective memory of humankind, which can not be formed without personal experience.

Fu told a story: "one night in 2004, when I passed a lamb restaurant in Chaotianmen, a sheep tied to the door was desperately bleating at me. I was very sad, because I knew that the sheep was asking for help but I could not answer the needs. Since then, the sheep's bleat constantly echoedin my mind. " Fu was strongly moved by the life instinct. After that, his paintings almost focus on animals.

From Fu’s paintings, such as the funny scene in Psychic Parrot Is Watching The Monkey Who Is Using A Phone (《通靈的鸚鵡看著用手機(jī)的猴子》) or the space dislocation in The Garden of Post-Eden (《后伊甸園),one can fi nd his independent and comprehensive re fl ection on humankind from a higher level perspective by intensively presenting human and animals in chaotic but realistic scenes.

一滴水不干涸的辦法是讓它流向大海A drop of water will fl ow into the sea

有藝術(shù)評論家評論，傅榆翔的創(chuàng)作，通過繪畫在平面的二維視象中試圖尋找人類社會與動物世界借助“超現(xiàn)實(shí)”的精神自動主義在看似荒誕的視覺關(guān)系中揭示“物種”之間某種聯(lián)系。他筆下的動物已經(jīng)被“人格化”地導(dǎo)入一種既魔幻又現(xiàn)實(shí)的存在之中，從那個時候起，傅榆翔的作品就已經(jīng)建立了借助想象的荒誕去思辨人的生存以及不同物種靈性秩序的課題。

雕塑是繪畫的火炬。 “如果說繪畫讓我欣喜，那么雕塑則是讓我狂喜?！备涤芟鑼Φ袼艿膱?zhí)著可見一斑。

“怎樣讓一滴水不干涸？讓它流向大海。”雕塑是傅榆翔創(chuàng)作的轉(zhuǎn)折點(diǎn)，水到渠成，大半生藝術(shù)的積淀就像水，流淌到了這個地方，是自然而然的， “我覺得我該做雕塑，就像當(dāng)初我覺得我該畫水墨了，應(yīng)該寫詩了?！?/p>

裝置雕塑作品《移民外星人》從東方去到西方，用東方人的全球視野和格局，普查了一次地球人類文明抽離了種族、國家、信仰、社會、文化和當(dāng)下普遍的陣痛和焦慮。傅榆翔的雕塑作品延續(xù)了他繪畫的造型方法，但著眼點(diǎn)已經(jīng)不是薩爾瓦多?達(dá)利（Salvador Dali）式的那種20世紀(jì)通過記憶與夢境的“荒誕化”所揭示的人類潛意識的世界，而是21世紀(jì)人類生存所面臨的最為直接的“現(xiàn)實(shí)問題”——“物種生存”。

從“生命物種”到“文化物種”，再到“星際物種”所構(gòu)成的“物種生存”的遞進(jìn)和疊合，這個復(fù)雜交錯的“問題鏈”，或許就是傅榆翔試圖通過雕塑的“超現(xiàn)實(shí)”手法所要指向的最為現(xiàn)實(shí)性的“現(xiàn)實(shí)主題”。

Some art critics reckon that Fu’s painting has revealed certain relation between species in a seemingly absurd vision, presenting human society and animal world from a Surrealist Automatism perspective. In his works, animals are personalized, being a magical and realistic existence. From that time, based on absurdimagination, Fu’s creation focuses on human existence and the spiritual order of species.

Sculpture is the fl are of painting. "If painting makes me happy, then sculpturemakes me ecstatic."what Fu said has proved his dedication to sculpture.

Actually, sculpture is the turning point of Fu's career. As a drop will fi nally fl ows into the sea, his talents in art will fi nally help him open up new creative fi eld."I think I should turn to sculpture now, just like I thought I would try ink painting or I would write a poem”, Fu said.

From the global vision and thinking pattern of oriental world, the sculptureMigrant Aliens is a census of a human civilization of the earth on race, country, faith,society, culture and the current problems and anxiety.Fu’s sculpture inherits the modeling method in painting,but unlike Salvador Dali(薩爾瓦多?達(dá)利) who tried to reveal the subconscious mind of human by absurdly expressed memories and dreams in a method adopted in the last century, Fu focuses on species existence, the most immediate and realistic problem in the 21st century.

Biological species, cultural species and alien species constitute the intricate “problem chain” of species existence, which is perhaps the real theme that Fu wants his surreal sculpture to express.

Fu Yuxiang, a Versatile Artist

Article | Hu Ting Pictures | Interviewee