古戏台的震撼

文/孙振华

陈志光属于特立独行,不按规距出牌的那种人。他的作品总是给人出乎意料的感觉,当你看到他的某种作品的时候,你很难预测他的下一个会是什么?

他最早的雕塑作品是那批蚂蚁,说明了他起步时的低姿态。蚂蚁们表达了作者一种对微小、琐屑的关注。一种最常见,同时也是最不引人注目的微小生物,一旦获得超常尺度的放大,会给人一种意向不到的效果。当然,明晃晃的不锈钢,仍然掩饰不住他肆意逆反的念头和一种近乎恶作剧的心理。大家知道,由于在城市雕塑中的滥用,不锈钢成为一种危险的,不被看好的雕塑材料,而陈志光由此开始,一直乐此不疲地采用不锈钢材料,特别是采用镜面的效果,这似乎带有一种刻意挑战的意味。

那群不锈钢的大蚂蚁参加了一些重要的展览以后,在2005年的上海“雕塑百年”的展览中,一批不锈钢锻造的演奏古乐的古装女子出现了。由动物向人物,特别是古装人物的转化,增强了陈志光作品的人文性。现代的材料和古装的人物,二者形成极大反差;作品的趣味也由蚂蚁的那种波普式的好玩,转向了具有历史感的内容。

2006年10月,陈志光精心制作的“古戏台”在宋庄隆重登场,动物、人物都消失了,只有“物”还存在。这又是一个意向不到,古戏台的出现标志着陈志光创作的一个转折。如果说,他前面的那些作品还有试探、过渡的性质。古戏台让他在材料、观念以及他个人的经历、趣味之间找到了一种对应关系,同时,他的作品也因此更加充满了厚度。

古戏台让人有震撼的感觉。

首先是复制的力量,它让人们产生对近乎是无所不能的复制技术的可怕的感觉。在一个技术的,充满了工具理性的时代,复制的力量成为一种可触可摸,既真实,又虚假的现实。对一个真实的古建筑用不锈钢材料的原样复制,代表了作者内心的那种孤注一掷的狂热和做到极致的凶狠。

面对这个巨大的让人震撼的金属复制品,让人产生一种相当复杂的感受:它是真实的,又是怪异的;作为现实的物质材料,它离我们的感觉如此之近;作为材料转化所产生的离间效果,又让我们感觉它是如此之远和令人恍惚迷离……。

震撼当然也来自细节,它的每一个细部,因为经过精心的锻造而变得丰富,这些带有历史体温和现场感的细节,一旦经过材料的转化,又变得冷冰冰的,它又让你断然抛弃关于回望历史时的那种怀古的幽情和感伤,去直面眼前不带任何表情的材料理性。

然而,它真的就是一个仿古的,经过了材料转化的戏台。它的尺度关系和游离于原型和仿制品之间的关系一经成立,它真的可以成为一个“新的,又是旧的;技术的,又是历史的”特殊场景,它可以通过容纳真实演员的表演,延续它的历史,让历史和现实;模型和复制;生活和艺术;真实和虚构……在这里获得重新编码,并产生种种的想像空间和阐释的可能。

一个好的艺术作品总是这样的,它要面对许多历史的、文化的、社会的问题;但是它的切入方式却不是非此即彼,那样的简单和一目了然。一个历经沧桑的古戏台为我们敞开了它存在的意义;选择现代材料对古戏台进行复制出来的金属古戏台,又赋予它了一层意义;而复制后的金属古戏台面对当代生活的延伸,使它不同于其它的雕塑作品,它成为一个奇特的存在。它是可以进入的,可以表演的,它在亦真亦幻中满足我们对于历史的想像。

然而,它究竟只是一个虚拟的“古戏台”,一个让我们震撼的“古戏台”。

The Ancient Stage — A Great Shock.

Chen zhiguang is a principled person with independent thinking and actions, he never plays his cards in a normal way. His works are always surprising and attractive. When you have the first sight at one of his works, it’s hard to anticipate his next works.

The groups of the ants are his earliest sculptural works which indicated his low profile of initiation. The ants show his concern with the tiny trifle things. Once the tiny creature, the commonest and the most noteless ants, were amplified to a monster size and then an unexpected effect came into being. And, of course, the shining stainless steel can not hide his willful rebelling ideas and somewhat tricksy psychology. As it is well-known that the misuse of the stainless steel in the city sculpture has turned this kind of material into a dangerous and futureless one. But started from the ants, Chen zhiguang has been using the stainless steel as the sculptural material focusing on seeking the mirror surface effect, which seems to convey a deliberate challenge.

That group of stainless steel giant ants joined some important exhibitions and later in 2005 in Shanghai’s Hundred Years of Sculpture Exhibition, a new group of stainless steel forged ancient girls in a Band appeared. The humanism has been strengthened in Chen’s works, symbolized by the transform from animals to persons, especially to ancient figures. Modern material and ancient figures formed an extreme contrast ; the work turned the sculptor’s interest from the Pop style of ants to the history contents.

In October, 2006, the elaborate Ancient Stage created by Chen zhiguang ceremonially exhibited in Songzhuang, the elements of animals and figures disappeared but “matter” existed. This is another shock, which indicates a turning point of Chen’s creation. His former works can be regarded as an exploring transition stage and then Ancient Stage helps him to find out a corresponding relationship among materials, creative ideas, personal experience and interest which thickened his works.

Ancient Stage makes the people have a feeling of shock.

Firstly, it’s the force from copying that makes the people have a feeling of the omnipotent technology of copying. In an era filled with technology and instrumental ration, the force of copying is touchable and it mixes reality with virtuality. The copy of a real ancient architecture based on the original shape indicated the sculptor’s inner enthusiasm and extreme fierceness in hard working.

Facing the giant shocking metal reproduction, we can have a very complicated feeling: it’s real and weird; it’s closed to us as real material but it’s far away from us because of its disuniting effect caused by the material transform, which often puzzles us.

Shock also comes from the details of Ancient Stage. Every part of it has become enrichment for its elaborate forging. The details with body temperature of history and presence become icy after the transform of materials, which urge us to cast away the mediate on the past to face the feelingless material ration.

But, it is really an archaized material-transformed stage. Once the relationship among the size and the dissociation of the prototype and mimic has been set up, it truly could be a special “ new and old, technical and historical” scene. It can continue its history by containing authentic actors performance, and it can recode history and realism, model and duplication, life and art, reality and virtuality, causing different kinds of imaginary space and illustrating possibilities.

A good work of art should always be such a piece that it has to face many historical, cultural and social problems. But the way of its cut-in is not as simple and obvious as an either-or one. An ancient stage that experienced many changes shows us its significance of existence, and the metal stage copied by modern material endowed it with a further significance. A duplicated stage faces the extending of modern life, which makes it a fancy existence. It is a stage that the people can enter and perform on it. It is also a stage that satisfy our imaginary to history in a fantastic and authentic way.

But after all, it’s only a virtual Ancient Stage, an Ancient Stage which shocked us.