图像,媒体,信息,消费,广告……是避世者的地狱,他们诅咒着逃亡,致力于消逝或行将消逝的坏旧情节的表达,营造自己艺术的象牙塔;却是入世者的天堂,他们开怀的接受,敏锐的体会,以独特的切入点,做出了一些作品,不是很成熟,绝对很都市.艺术就在身边!
我选择公共图像的原因是,作为最大众化的符号,一但与隐私结合在一起,它会出现什么样的效果?
陈海创作手记
当今“开放”时代的架上艺术，“反叛”已不是什么新鲜玩意，风险越来越小。无怪乎反叛程度上的“比凶斗狠”成了哗众取宠的法门，越来越多在往日上不得台面的元素开始冲击着的大众视线，越来越多的艺术作品开始不断挑战着人们的心理承受力和道德伦理底线。而在这些裹挟着污秽的摧枯拉朽般的蹂虐之下，整个社会似乎越来越“抗击打”，各种底线也在不断下潜，有些在从前能因此动了刀子的咒骂在如今已经成了语气助词……架上艺术行走于开放的江湖，不可能再以封闭的姿态独善其身，必然需要用开放的胸怀接纳那些理论上不宜于显现“架上”的当下亚元素。从何角度审视，如何取其精华，理应成为艺术家和批评家共同关注艺术当下性的一个重要的切入点。
初次看到画家陈海的作品是在我第二次踏入深圳22艺术区时，他的画着实吸引了我的注意力。在他的画中可以明显看到来自于影像、ＡＶ文化的影响，许多用CCTV的话说就是“很那个”的元素符号暗藏在画面之中，包括充满性暗示的“绳缚艺术”、施虐与受虐、挤压与反挤压等等，甚至还包括有些不可理喻的内容。如何理解陈海的作品其实是一个仁者见仁，淫者见淫的过程，在看似纯粹追求视觉刺激的画面之下其实还存在着画家对社会深层次的反思与批判。
在《甘霖》、《升旗》和《崛起》几幅作品中有着比较明显的政治符号，例如飘扬的旗帜和破浪的潜水艇。代表着被动与柔弱的女性形象在假、大、空的承诺、鼓吹和欺骗之下的白日飞升、无药自high。在颜面被洒下不是甘霖的“液体”之后仍痴心追随，一种禁锢与枷锁中的形象被以荒淫的戏谑描绘而出。
在陈海的很多幅作品中都出现了防毒面具这个符号，画中女主角采取的这种防御措施与其慵懒放纵的神情姿态构成了强烈的反差，不禁让人疑惑究竟哪一面才是真实，或许，连画中人自己也不明白。在如今这个倾向于“物化”女性，“商品化”美色的社会，套在社会价值标准的枷锁中的女性，面对这些漂浮在空气中的物欲诱惑时，恐怕连防毒面具也抵挡不了。
然而陈海对现实的批判并没有停留在此，而是更深一层挖掘这种枷锁是从何时套在了人们身上。在画家《青春》系列作品中，充满活力的学生少女，带着稚气未脱的笑容，穿着学生装，却配上了丝袜和高跟鞋。或以张狂的姿态踩在代表着传统文化的青花大鱼缸上，或跳着自得其乐的舞蹈，或一脸不屑地按首挺胸。“这些”是为什么呢？伴随着消费文化的大举入侵，享乐至上已经成为了小小孩们认为无可厚非的价值标准。但相对于掌握着社会绝大多数财富和权力并且心智成熟、老谋深算的大人们，他们在事实上是处于弱势地位的。这样的前提导致的结果必然是可悲的——青春成了消费文化的牺牲品，天真无邪的美丽过早的被龌龊的成人趣味加工销售。同时这种结果也是可怕的，当这些正当青春年少的孩子们已经效果逆来顺受，而将套在身上脚上的枷锁镣铐当作美丽的项链吊坠时，前文提到的意识形态与社会价值标准枷锁注定将无法打破。受到隐性虐待的少年必将在自己能力范围内发泄自己的施虐欲，《初试威力》中的少女面无表情地换上了一只高跟鞋，狠狠地踏入了一只不堪一击且无力反抗的香蕉……
青涩的少女，血红的女鞋，张狂的四肢，戴枷的舞者，这一切画家着力表现的鲜活生命的扭曲形象，拷问社会，同时又以放大“错位”而释放的张力击打着人们的视觉神经，
令人以各自差异的视角，关注那青春变异的血色之花。
The Opening Easel Art, Dancers With Shackles
Comments on Chen Hai’s Series of Oil Painting the Youth
Yang Weimin
The Easel Art in the open times, “rebellion” isn’t something new, and its risk is getting lower and lower. There is no wonder that the competition on the degree of betraying becomes the most effective way to attract the eye balls. More and more elements which cannot be open in old times are rushing into the sight of the public; more and more art works begin to challenge the bottom line of people’s psychological endurance and moral. However, under the rush with dirty stuff the society becomes more tolerant. All kinds of bottom lines are getting lower. The curses which used to be the cause of a fighting have become modal particles. Easel Art is more and more popular, and then it can not be separate from others and begins to accept those sub-elements which can not be shown in the Easel Art publicly. The thoughts on how to judge it and how to take advantage of it become an important point for the artist and critics.
The first time that I saw Chen Hai’s work is when I came to the 22 Art District in Shenzhen for the second time. His works do attract me which reflect the impact from the video and AV culture. In CCTV’s words, there are some elements which can not talk publicly in the picture, including “rope art”, sadomasochism, Extrusion and anti-extrusion, which are full of sex indication, even something beyond understanding. Different people have different opinions on his works. There are his thoughts and critics about the society in the deeper level behind the pictures which seem to pursuit visual stimulation.
In some works such as the timely rain, raising the flag and grow up, apparently, there are political symbols. For example, the aflutter flag and submarine represent the passive and weak female images are lost in the false, big and empty promises. When the face is watered by the liquid which is not the timely rain, they still will to follow. Then an image of durance and shackles is shown jokingly.
In many of Chen Hai’s works, the gas mask is used as a symbol. There is sharp contrast between the way of actress to defend and her lazy gesture .The audiences can not tell which aspect is the truth, so can the actress either. In a society which tend to merchandise woman and merchandise the beauty, when the woman who are trapped by the social values and facing the lure, it is impossible to resist even with the gas mask.
However, Chen Hai’s critics do not stop here, but to explore deeper that when people ware trapped. In the youth series, the girl with smile dressed in the student uniform, but stockings and high-heel shoes. She stands on the fish tank which represents the traditional culture with exaggerated gesture, enjoying herself by dancing, and her face is full of contempt. Why? Along with the invasion of consuming culture, enjoyment first has become the undebatable value of children. But compared with the tricky adults who posses the majority of fortune and power, they are in the weak side. The result is pathetic—youth becomes the scarification of consuming culture. The innocent beauty is processed and sold by disgusting adult fun too early. At the same time, the effects are terrible; the blooming children have get use to suffer. When shackles on their feet are worn as a beautiful necklace, the ideology and social value will not be able to break out. The abused youth will vent in their capacity. In the works Try Prowess, the girl steps on a fragile banana severely by a high heel without expression…….
The painter paints innocent girls, red shoes, insolent limbs, and dancers with shackles, which show a distorted image of life to society. The malposition in his works impacts people’s vision, so that people can focus on the youthful blooded flower with their own view.
【编辑：海英】
