从“卡通一代”到“动漫美学”看江衡的艺术之道_艺术家资讯_雅昌新闻www.9992019.com

动漫美学的第四点特征,是一种动用大量的财力、人力、物力,跨领域互动协作所形成「异类合成(heterogeneity)」的新美学。有别于传统的艺术创作,动漫美学的艺术制作,往往需要团队的整合,以及专业分工的多重交迭的合作,跨领域的产业整合,是动漫美学艺术的特殊现象。近年来,江衡跨越绘画、雕塑、动画三个领域的创作,更进一步将他从上一世纪末的卡通一代推向新世纪的动漫美学。

The first time I raised the concept of Animamix aesthetics was at the
exhibition Fictitious Love at Taipei Museum of Contemporary Art in 2004.
So far, Animamix has seen more than a dozen versions and Jiang Heng has
been invited to participate in relevant exhibitions on several
occasions. In 2006, in a special article published at Shanghai Museum of
Contemporary Art, I formally put forward the English word I had coined
earlier: Animamix (Animation+Comics), which denotes an aesthetic
attitude. Animamix are not animation plus comics per se. It has four
basic traits.

From the Cartoon Generation to Animamix

笔者我第一次提出动漫新美学的概念,是在台北当代艺术馆2004年举办的《虚拟的爱》大展,至今已经做了十几个版本了,也数度邀请江衡参展。2006年笔者在上海当代艺术馆出版的专辑文章正式提出本人自创的英文字Animamix(Animation+Comics),指的是一种审美的态度,动漫美学并非动画、漫画的本身,其具有四种基本特征:

Victoria Lu

The second feature of Animamix refers to the miraculous and fickle
narrative texts in the art works, which endows the images with a
poignant sense of description, and renders the images an expressive
visual language. The personified creations that pervade the cartoon and
animation works, plus the narration of a matching language or texts,
naturally give rise to twisted or exaggerated esthetics. From his
earlier Scattered Objects to the current Butterfly Flutters series,
symbols such as apples, flowers, butterflies, thighs, high-heels,
pistols and pills, constitute a metaphorical story. Influenced by the
colorful lights that fill up the age of digital media, Jiang Hengs
canvases are graced with ornate colors and exhibit the third trait of
Animamix, i.e. an extremely new and colorful visual experience generated
by colorful light of the digital media.

大学毕业后江衡步入他的创作第二阶段,开始以商业社会的消费现象为焦点。他的《卡通与美女》和《美女鱼》系列之中,人物的表情逐渐广告化、商标化,反映商品广告带给消费者在视觉上和心理方面的赏心悦目和满足。《玩物猪》和《消费时代的景观》系列作品中,画面体现了商业社会里的真实场景,以一种幽默的、滑稽的拟人化手法,揭开现实生活中的真相和隐私,喻示商业时代即消费的时代。

The fourth characteristic of Animamix is that it is a new form of
aesthetics attributable to the combination of a wealth of capital,
human, and material resources, and multidisciplinary interactive
collaboration (heterogeneity). It differs from traditional artistic
endeavors in that it often requires the integration of teamwork, and the
multiple superposition and cooperation of specific professional labor.
Heterogeneity isa unique feature of Animamix. In recent years, the
artist is engaged in paintings, sculptures and Animamix and has in so
doing pushed the cartoon-generation from the close of last century into
the new century of Animamix.

早在上一世纪90年代初,卡通一代运动的领军者黄一翰,在偶然的机会下去了深圳,当时那儿是中国改革开放的唯一窗口,很多新潮的事物都从那里登陆中国,黄一翰接触到一个青年群体,他们正热衷于玩电脑、游戏机,这些多数属于中产阶级的新一代年轻人,成长于中国改革开放以来工商业快速发展的年代,从小受到卡通文化的影响,他们以全新的方式认知这个世界。

首先是大众流行文化中大量多样化的动漫美学形式的形像,都围绕着对青春的崇拜。追求理想化的青春美,不仅是动画、卡通、漫画里虚拟角色塑造的问题,这种对青春的崇拜,在大众流行文化中如浪潮般推进的大量、多样化,而且永远不会衰老的形体,已经影响了现实人生,成为当今人们追求实现人工理想美的主要心理因素。这种对青春不老的形像的集体记忆,在潜移默化当中,形成了21世纪新世代所崇尚的青春美学,不仅在创作上形成巨大的影响,更深刻地影响了整个时代普罗大众的审美观念。江衡广告化、商标化的美女,基本上也都是这些青春永不老的形象。

The Animamix that the author proposes is oriented towards the growing
aesthetic trend, and is derived from gradual shift in plebeian taste
around the world in the past centuries; it is an integration of
individual artistic styles from many generations, which has naturally
come into fruition as the epochal aesthetics of the 21st century. Comic
strips, cartoons and animations have developed to a stage when they can
be independently categorized as aesthetic standpoints and have been
widely popularized into every field. Under the bombardment of the media,
it has become an emblem linking youths at every corner of the world, and
is no longer a collective memory or recognition monopolized by a single
era or a single community. It is more like an expression of individual
pursuit, a way of relaying the spiritual prowess of will and a way to
unleash the emulation and recreation of imagination.

动漫美学的第二点特征是艺术作品中,那些充满了奇异和多变化的叙事文本,赋予图像一种强烈的叙述性,使得图像本身成为了表达的视觉语言。卡通、动漫作品里面,拟人化的造型,以及搭配的语言或文字的叙事性,自然形成了扭曲或夸张的变形美学。从稍早的《散落的物品》,到目前的《蝴蝶飞飞》系列,苹果、花朵、蝴蝶、鱼、大腿、高跟鞋、手枪、药丸等符号,建构起隐喻式的故事内容。受到电子媒体时代空间里充满了彩光的影响,江衡画面上的绚丽色彩,显示了动漫美学的第三点特征,是由电子媒体的彩光所形成一种极为新颖的五彩缤纷的视觉经验。

A Graduate from South China Normal University, Jiang Heng is reckoned to
be one of the most representative artists of the Cartoon Generation
rising into prominence in Guangzhou.

After graduation from university, Jiang Heng went into phase two of his
artistic career and started focusing on the phenomena of consumption in
a commercial society. In his series Cartoon and Beauty and Beauty –
Fish, the facial expressions of the depicted characters gradually start
to show resemblance with advertisement and trademarks, demonstrating the
visual and physiological gratification and consolation the consumers
derive from consumer products advertisement. In his Pet Pig and
Landscape in the age of Consumption series, the canvases display real
scenes in a consumer society, with a jocular, ironic personification,
revealing the truth and secrets in realistic life and equating the age
of commerce with that of consumption.

As the emergence of the cartoon-generation almost coincided time-wise
with that of gaudy art, which was put forward by the artistic community
in North China, some art critics associated Jiang Hengs work with gaudy
art. However, as Jiang Heng is accustomed to gauging some specific
traits in contemporary Chinese art with his own sentiments, he has
fragmented all kinds of traditional cultural patterns before assuming
some kind of comic and satirical stance, with which to highlight the
exaggerated and bizarre side of daily life. His early works have in them
marks and traces of academy education; also can be gleaned from them are
the influences upon his generation of western expressionist techniques
and surrealist compositions. Game Series was a perfect reflection of the
aesthetics of the time the work was created, with the canvas filled with
appropriated themes and scenes of game machines, when what it wanted to
depict was the facial expressions of the men.

出身于广州华南师范大学的江衡,被视为在广州崛起的卡通一代中最具代表性的艺术家之一。

由于卡通一代出现的时候,和北方艺坛提出的艳俗艺术几乎属于同一个年代,所以也有评论家将江衡的作品和艳俗艺术产生联想。但是,江衡习以个人的情结去审视中国现代文化中的某些具体特征,他将各种传统文化样式打成碎片,然后以类似喜剧的反讽姿态,来突显日常生活中夸张与荒诞的一面。他早期的作品看得出学院教育的斧凿痕迹,也看得到西方表现主义技法和超现实主义构图对那一代人的影响。《游戏系列》的创作正反映了当时的审美趋向,整个画面借用了玩游戏机的主题和场景,但是真正要表现却是人物的表情。

As early as in the beginning of the 1990s, Huang Yihan, spearhead of the
Cartoon Generation movement, went by chance to Shenzhen, which was then
the only window of China in the countrys reform and opening-up. Many
things new were ushered into China from Shenzhen. Huang Yihan came into
contact with a young community, which was obsessed with computers and
game machines. Most of those people were of middle-class background and
the latest generation, growing up under the influence of cartoon
culture, in the age of rapid business and commercial development, as
China opened up to the rest of the world. Therefore, they saw the world
in a brand new way.

A Reflection of Jiang Hengs Artistic Pursuit

江衡的创作风格和题材一直在变化之中,而动漫美学的艺术是一种记录我们在虚拟实境中,所创造第三人生的艺术,也同时是存在于所有电子媒体和数字世界的第四维空间。动漫美学世代所显现青春、美丽、天真、纯洁、敏感、脆弱、虚幻、梦幻般的呓语,和早先的卡通一代和艳俗艺术已经拉开距离,江衡从过去走向未来,是他个人与时俱进的审美生活手记,也是这个时代众人所无法回避的流行时尚风格。

Jiang Hengs artistic style and motif have been changing and shifting
without cease. The art of Animamix is to document the art we create in a
virtual environment, and to document the fourth dimensional space that
exists in the digital media and world. The age of Animamix, in
presenting youth, beauty, innocence, purity, sensitivity, fragility,
illusion and dreamlike raving, has distanced itself from the earlier
cartoon-generation and gaudy art. The artist has made his transition
from the past to the future. Animamix is his aesthetic way of keeping
pace with the advancing time. It is also an unavoidable vogue style of
the age.

回到广州,黄一瀚带领一批出生于1970年代的年轻艺术家、作家、诗人、音乐家,经常在广州美术学院聚会,江衡当时便是其中的一员。黄一瀚在1992年提出卡通一代的论述,他认为1970年代出生的卡通一代,和中国电视时代、卡通大众流行文化与商品经济同步成长。卡通一代在中国艺术发展的历史上第一次提出了新新人类卡通一代概念的社会艺术实践活动,除了在审美倾向方面,他们共同接受了动漫文化的洗礼,其实,卡通一代的艺术家各有不同的生活背景、不同的视角、不同的生存态度、不同的艺术体验和历练,他们在面对中国社会的演变和个人生存的课题时,他们的反应和表现方式往往存在相当的差异性。

First of all, many diversified Animamix-style images in pop culture are
about the adoration of youth. It is in pursuit of idealized beauty of
youth; it is not only about the creation of imaginary characters in
animations, cartoons or comic strips, but also about the worship of
youth. Pushing like tidal waves a quantity of diverse ageless bodies in
pop culture has already influenced real life, making the pursuit of
artificial beauty the main psychological concern of the people. The
collective memory of ageless youth gradually and imperceptibly shapes
the youth aesthetics of the 21st century, enormously influencing
artistic creation but also profoundly influencing the popular aesthetic
philosophy of the entire age. The advertisement- and trademark-like
beauties in principle retain the visual features of agelessness and
never-withering youth.

笔者提出的动漫美学,是针对当今日益增长的审美倾向,来自于数百年来各国历史中庶民文化的渐变,和历代艺术家个人风格的归整,到了21世纪自然形成的时代美学观。漫画、卡通、动画发展成可以独立归类的审美立场,如今已经普及到各种领域,在传媒一波接连一波的烘炒下,已经深化为世界各地青少年之间彼此沟通的符码,而不仅仅是一个时代或一个族群所垄断的集体记忆与认同而已,却更像是个人追求表现、传达意念或发挥想象力的模拟和再创造的沟通途径。

When he returned to Guangzhou, Huang Yihang led a group of 1970s-born
young artists, writers, poets, musicians, with whom he often met at
Guangzhou Academy of Fine Arts. Jiang Hen was one of the participants.
In 1992, Huang Yihai raised the notion of cartoon generation, thinking
that this 1970s-born cartoon-generation developed in parallel with the
age of TV in China, with cartoon and pop culture as well as with the
market economy. In the history of Chinese art development, the
Cartoon-generation for the first time put forward the concept of brand
new cartoon-generations social artistic experimentation. In addition to
aesthetics, they all accept the baptism of Animamix. In fact, as
cartoon-generation artists vary in their background, viewing angle,
attitude towards life and survival, artistic experience and career, they
exhibit widely divergent responses to the societal evolution in China
and to individual life experiences.

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