被“戏剧化”了的个人历史记忆


被“戏剧化”了的个人历史记忆

/栗宪庭

 

何杰的画总与记忆尤其对历史中公共事件的记忆有关,并通过对记忆形象的表达中,寻找这种形象与现实之间的隐喻。早期“的那批公共建筑系列作品中,画幅超大,建筑及其建筑环境中的花坛、树木等形象,都被他塑造得强悍而无情,粗粝的笔触,厚重堆塑的颜料,以及灰暗的色彩,让画面充满一种‘霸道’的意味。”“我猜想何杰是第一次到北方工业重镇沈阳来学习和生活的,对于生长在多山多水秀美环境中的他来说,北方这些苏式公共建筑之多和体量之大,一定给他带来强烈的视觉冲击。”或者说,他是借这些意识形态的建筑,表达他幼年时期对 “英雄式”“集体主义”那种“强悍”的感觉。2012年,何杰把画面的题材转到个人经历,“作者把生活记忆,过去与未来的想象,在漂浮的现实和未来想象之间,建立起一个沉重而动荡不安的意象。”

 

今年的《永痕》系列,在题材上重新回到对公共事件记忆的表达中。这批作品最突出的语言方式,是通过把意识形态化的场景作“戏剧”或“舞台”化处理,让记忆中场景和今天的现实之间产生一种隐喻的关联。如《我们唱歌,我们跳舞》,选材前苏联歌剧入画,框架式的舞台,在画面中被画成带古典画框的画面,场景像一个宫廷里的巨大房间,房间有很多门,除了跳舞唱歌的场面,与欢乐人群无关的人们,似乎在旁边的门中进进出出。古典“画中画”是典型的苏联式戏剧情节性绘画,在这个“画中画”中,作者营造了一种充满诡异的气氛——让人们在唱歌跳舞的时候,暗示着与我们的社会主义现实和美学有雷同之处——华丽的背后充满了危险。为了加强这种与今天现实的隐喻关联,作者把古典戏剧情节性绘画,放进一个似乎是某个空间或者场景中,再来一束不知何处的“灯光”,加强了作品的“戏剧”或者“舞台”化感觉。这件作品从苏联歌剧舞台变成带框子“画中画”,再放进不知何处的空间和场景中,到一束不知何处的灯光,让这幅作品有种多层“戏中戏”的诡异感觉。《国宴》一样是首先采用“古典绘画”的方式,把宴会放置到“画中画”中,似是宴会大厅的墙面,又似乎是把国宴放置到不知何处的室外河岸边。国宴场面恢宏和华丽,但安静得给人一种不安,尤其是画面大面积猩红色的地毯处理,让画面隐藏着不祥的征兆。同样画面把国宴这个画中画放置到不知何处的空间和场景中,同样一束舞台化的灯光。《永远向前》画的是前苏联经典少先队形象;《英雄归来》画的是前苏联卫星登上月球,欢迎宇航员回到地面的场景。还有《收租院》等等,这个系列的作品,几乎每幅画都采用多层“画中画”和“戏剧”、“舞台”感觉的方式,把个人的历史记忆变成一种充满戏剧化的场景。

 

何杰在叙述《远方的来信》时说“以前在北方上学的时候,收到家里或者朋友来信,对拆信时心情激动的印象很深刻,早期电影的片段,给我同样的感觉。”所以,何杰选择的画面或者场景或者事件,重要的不是叙述事件或者场景,而是表达与记忆相关联的某种感觉。其他画面中的公共事件和场景,同样不是在记述公共事件和场景,也是在表达与个人记忆有关联的感觉,才使何杰把那些重大事件和场景变成一种具有“戏剧化”的场景,并且把这些以往的“戏剧”,通过“画中画”放置到今天的空间里,隐喻着今天现实同样挥之不去的戏剧化感觉。

2014/3/16


Dramatized Individually Historical Memory

Li Xianting

 

He Jie’s artworks always have connection with memory, especially public event in history. Through expressing image of memory, he explored the metaphor between the image and reality. “Among those public architectural series in his earlier times, the large-scaled paintings with the images of buildings, the parterre and trees, were been established to be doughty and merciless; owning to the crude brushwork, the heavy pigment and dark color, which makes paintings reveal an overbearing atmosphere.” “I guess that it was first time for He to come to Shen Yang, an industrial city in the north of China for studying and living. The great amount of and huge buildings must bring him a visual shock strongly, because He might get used to live in an environment with magnificent and beautiful surroundings.” Or he just displayed his sensation of overbearingness of “heroism” and “Collectivism” via ideological architecture. In 2012, He transferred his artistic topic to personal experience. “The artist created an over-loaded and turbulent impression by living memory, the imagination of past and future, and the relationship between floating fact and the vision of future.”

 

This year, in terms of the series of “Forever Mark,” it seemed to return back to the performance of public events memory. The most outstanding approach is the dramatization and stage of ideological scene that leads to a metaphorical link between recollective episodes and present truth. For example, of “Shall we sing, shall we dance,” selecting the topic of Soviet opera and restricted stage, the painting in the picture is a scene with classic frame. The scene is like a huge room in a palace, having a lot of doors in the room. Besides dancing and singing, those people who seem to have nothing to do with joy go in and out the door continuously. The classic “painting in painting” (PIP) is typical Soviet dramatized paintings. In the PIP we discussed there, He established a bizarre perception—— people’s singing and dancing implied that our socialist reality and aesthetics have identities in some way; that is, danger is concealed inside splendor. In order to enhance the metaphorical link with present truth, He placed the classic dramatized painting into a space or a view with a beam of “light” from nowhere. Thanks to the action, the feeling of drama and stage became stronger. A PIP having Soviet opera stage and frame and was put into an unknown area and view with a beam of light generated a sense of bizarre of multi-layered “play within a play.” State Banquet”also used the methods of “classic paintings” initially that placed the banquet into PIP. It looked like the wall of banquet hall; meanwhile, the banquet was at the river, a unfamiliar outdoor site. In contrast to the grand and marvelous view of the banquet, the tranquility made people feel uncertain. Moreover, the demonstration of large scarlet carpet showed unfortunate sign. Yet, similarly, He put the painting in an unknown space and view with a spot light. “Moving Forward” illustrated the image Soviet teenager; “Return of Hero” was Soviet satellite launching the moon, and the astronaut was welcomed to back to the ground. In addition, “Rent collection courtyard” and other works of the series conducted the technique of multi-layered “PIP” and stage-like way to transform personal memory toward history into a dramatic scene.

 

According to He’s description of Reading a Letter From Far Far away, “when studying in the north of China, I would receive letters from family and friends. While opening letters, the exciting feeling was remarkable. And some fragment of ancient film gave me the same feeling.” As a result, regarding pictures, views and events He chose, what is crucial does not outline an event or a scene; instead, it conveys a sensation being associated with memory. Correspondingly, in terms of other public episodes and scenes, it does not record them. Actually, it is a expression of sensation being related with personal memory. Due to the purpose, He turned significant events and scenes into dramatized pictures. Additionally, placing the past “drama” in the present space by PIP implied that the present reality could still not get rid of dramatization.

March 16, 2014