作者: 商 勇
我第一次看到何金安的画是在秦淮河边的一个小画廊,展览的名字叫“午夜伤花”,当时正值南方潮湿的初冬,薄雾笼罩在秦淮河上,河畔杨柳暧昧不明,鬼魅一般的雾霭凝固在水面上,似乎粘连着千年的脂粉和抽泣。何金安的画面上,欲望横陈的下半身或是敏感疏离的脸孔,涂抹流淌着“体液”还是血液?旧痛新伤交割成一组组蜷缩和痉挛,画面有点“脏”,有点“不洁”,甚至有些“猥亵”;在狂暴的鞭打与揉捏之后,又是含情脉脉的细语呢喃……
当时,我正打算策划一个主题为“情人”的展览,大致浏览完他的画作之后,我向他发出了邀请,我觉得他属于那种雄性激素颇浓的画家,可能会得罪大部分的女性观众,但他的成立显然离不开这种带点宣泄的表达。事实上,他的表达已为得到普遍的认可而作了许多妥协和修正,这些妥协更像获取猎物之前的宁静埋伏,但时间久了会使他慢慢消磨了自信而变得越来越“面”——这正是我所担心的,如果他的勃起硬度一再被一群“知书达礼”的“阴冷者”所嘲讽,他是否会收敛了他的激情,而故作文质彬彬地在这十里秦淮上吟风弄月?
我第二次见到何金安时,感觉他的变化颇大。他没有了当初的自信和肯定,并不断重复着在南京这样一个书画传统积淀极厚的城市,画油画是如何的艰难。他所说的确是大多数画坛新人必须面对的现实,就目前而言,南京的画廊和经理人只将目光投向一茬茬不断冒头的国画新人,却少有人对油画和当代艺术表现出更多的兴趣。和大多数“80后”的画家不同,何金安已是一个四岁女孩的父亲,他不可能像多数“80后”那样,挂着一脸“我还小”的任性,不紧不慢地等待自己的艺术达到“老熟”再待价而沽,他是要养家糊口的人,而不是怀揣着艺术梦在父母的赞助下耗散青春光阴的大多数。现实是残酷的,他珍惜着每个展示自己的机会。但没有外力的扶持,一个年轻画家几乎很难有出头的机会。南京这地界上,而今已少有人具有民国时人的侠骨热肠,很少有人愿意不带偏见地向一个尚未露出苗头的年轻人伸出援手。除非你傍掂了一个艺术江湖上的袍哥,前提是必须与之趣味相投。何金安似乎不具备这样的条件,他要不自我阉割了等待招安,要不自己做自己的大哥。
第三次看到何金安的画是在他江心洲的画室。他的画室在江边的一个以前用于扎钢材的大厂房里。铁皮屋顶放大了外面的风声雨声,漏风的四壁渗进潮湿的江风和巨轮的汽笛声,使他如身居扁舟飘摇江心的渔人。他的床头贴满妻子女儿的相片,母女二人是幸福和满足的。他说她们一个月来岛上看他一次。
我看到了何金安的新作。他的这批新作品无疑在语言上显得更干净更纯净,画面的图式似乎也经过了精心的设计,但确实缺少了当初的激情,画面的人物犹如一个充气娃娃,是没有生命的塑料制品,她甚至连造作都谈不上,她太遥远了,遥远得没有体温,没有气息,甚至没有了信息……我真想对何金安说一句,你的艺术情人已远去了。
绘画语言可以在反复的加减纠错中走向纯粹和彻底,图式也可以在精心的设计下夺人眼球,材质的熟悉和掌控在多次修正和调整中必然能摸索出个人化的经验,惟有激情和自信,倘若失去再要找回是何其不易?好在何金安并非真的萎了,他只是在别人的期待和劝导下隐藏自己,用他的话说就是变得“更含蓄”。我估摸他实际是压抑自我,也是压抑激情。努力“含蓄”的结果有两个:要不就是彻底蔫了,要不就是不加节制的歇斯底里的暴发。这两种结果对绘画都是一种伤害,因为激情也是矿脉,有节制的开采会受用不尽,灾难性的喷发必然导致提前枯竭。何金安需要的是自信和彻底,也需要智性的自我思考。
何金安的画面上喜欢使用桃红柳绿两种颜色,这两种色用坏了可能极俗,我所知道的喜欢使用这两种颜色的画家都是荷尔蒙浓度很大的画家,比如刘海粟,比如周春芽。何金安似乎也属于这一类型,我主张他不必扭曲自己迎合众人,画自己,其实才是正通,也才能真正体会绘画的幸福和张狂。
打量过所有大小作品后,我对何金安的一批“风景”充满期待。这三件作品显然没有完成,但我似乎看出一种苗头:粗暴冰冷的三角钢梁切断了一片潮湿模糊的江上风景,这正是他当下视觉经验的典型写照。江心洲,这个半开放状态的小岛,她以质朴村姑般的坦诚和温情接纳着一批批拮据的艺术学子们,同时工业化的开发浪潮使她日益变得像城里人一样精明;多年来,许多穷困潦倒的艺术家都是从江心洲迈出第一步,他们在这里生活、创作与说着土话的菜农们打成一片,但无一例外,那些画家在成功之后都悄悄搬走了……何金安有一天也会搬离江心洲,但这段视觉记忆必然会显影为他这段人生经历的底片。
商 勇 (艺术批评家 艺术学博士)
Midnight flower Jiangxinzhou injury
He Jinan I first saw the paintings in the Qin Huai River in a small side gallery, the exhibition named "Midnight injury Flower", was when the southern wet early winter, mist shrouded in the Qin Huai River, the riverside willow ambiguous, ghosts generally mist freezing on the water, it seems that adhesion of the millennium, cosmetics and sobbing. He Jinan of the screen, desire lounging on the lower body or face alienation sensitive, smearing flowing "fluid" or blood? Old pain, curled up into a set of new injury settlement and spasm, the picture a bit "dirty" little "dirty" and even some "obscene"; whipping and kneading in the wild after he was lovingly whisper whisper ... ...
At that time, I was planning to plan a theme of "Valentine", an exhibition of his paintings generally finished browsing, I sent him an invitation, I think he is quite strong that androgen painter, may offend the majority of women audience, but he obviously can not do without the establishment of the expression of such a little catharsis. In fact, his expression has been widely recognized and made many compromises and amendments, which compromise access to prey, like the quiet before the ambush, but over time will kill him slowly become more and more self-confidence " side "- that is what I worry that if the hardness of his erection again and again by a group of" notices over ceremony "and" cold person "by the mockery, he restrained his passion would be, and pretending to be gentle in this miles Qinhuai on Yinfengnongyue?
The second time I saw He Jinan, the feeling of his considerable change. He had no self-confidence and positive, and keep repeating the traditional painting and calligraphy in Nanjing, a city has accumulated thick, oil painting how difficult. He said most of the painting is indeed a new reality we must face, for now, Nanjing, galleries and managers only sights crop of new crop continue to take hold of the painting, but few paintings and contemporary art on show more interest. And most of the "80" after the artist is different He Jinan is a year-old girl's father, he could not, like most "80" after it, wearing a look of "I'm still young," the willful, hurry to wait his art to "mature" re up for sale, he is to be breadwinners, not carries the art of dream dissipated youth under the auspices of the parents of most of the time. The reality is cruel, and he treasured every opportunity to show their. But there is no external force of the support, a young artist hardly have opportunities to climb. Nanjing, the boundaries on who today are few people who have the chivalrous when the Republic of heat intestine, very few people are willing to without prejudice to the young people a helping hand not showing symptoms. Unless you are an arts lakes beside Dian's Paoge, the prerequisite is with similar interests and tastes. He Jinan does not seem to have such conditions, if he do not self-castration had to wait for amnesty, or else do what his older brother.
He Jinan third time to see the paintings in his studio alluvion. His riverside studio in a former steel makers for the bar room. Tin Roof amplified wind rain outside, moist air leakage penetrated the walls of the wheel river wind and whistle, make him as occupying the middle of the river fisherman boat sway. His bed covered with photos of his wife and daughter, mother and daughter are happy and satisfied. He said they see him once a month on the island.
saw He Jinan's new works. No doubt these new works of his language appears in cleaner more pure schematic picture appears have been carefully designed, but it does lack the original passion, the picture is like an inflatable doll characters are lifeless plastic products, she even acted and out of the question, she was too far away, far away have no temperature, no breath, not even the information ... ... I wish I could say on the He Jinan, your art lover has gone.
Painting repeated addition and subtraction, the language can be pure and complete correction in the trend, schema can also be under the careful design of multidirectional, intended familiarity and control of materials in several amendments and adjustments necessary to figure out a personalized experience, Only passion and self-confidence, if the loss is too difficult then to get back? Fortunately He Jinan wilt not really, and he was just under the persuasion of others to hide their expectations and, in his words is becoming "more restraint." I reckon he is actually self-repression is suppressed passion. To "subtle" results are two: either the complete listless, and either the uncontrolled outbreaks of hysteria. Both paintings are a kind of injury results, because passion is the veins, moderate mining will ever been, inevitably lead to premature catastrophic eruption dried up. He Jinan need is confidence and complete also requires self-thinking intellectual.
He Jinan's screen Liulv prefer to use two colors, pink, two color may be very popular with the bad, I know like to use two colors of artists are great artists hormone levels, such as Liu Haisu, such as Zhou bud. He Jinan seem to fall into this category, I suggest that he does not cater to everyone twisted themselves, draw their own, in fact, is looking for, we really appreciate paintings of well-being and insolent.
Looked over all size of the works, I am He Jinan group of "landscape" is full of expectations. These three works clearly not complete, but I seem to see a kind of signs: gross cold steel beam cut off a triangular fuzzy wet river scenery, this is typical of his portrayal of contemporary visual experience. Alluvion, this semi-open state of the island, to simple country girls like her frankness and warmth to accept the constraints of art groups of students were at the same time the wave of industrialization in the development of her becoming as sophisticated as the city people; years Many artists are from impoverished alluvion first step, where they live, create and vegetable growers who spoke dialect mix, but without exception, after the success of those artists have quietly moved in a day ... ... He Jinan will be removed from Jiangxinzhou, but this is bound to develop visual memory of his life experiences during the film.
Shang Yong (art critic, Dr. Art)