細節
Collection of Kathy and Lawrence Schiller 的部份拍賣收益將會捐助予「動物亞洲」

祁志龍
中國女孩
油彩 畫布
1997年作

來源
美國 洛杉磯 私人收藏
美國 洛杉磯 Marc Richards畫廊
現藏者購自上述畫廊

展覽
1997-1998年「8+8-1:15當代藝術家油畫選集」少勵畫廊 香港 中國

出版
1997年《8+8-1:15當代藝術家油畫選集》少勵畫廊 香港 中國 (圖版,第36-38頁)


中國當代藝術在後八九出現一波「政治波普」的藝術風潮,其中代表藝術家包括有王廣義、祁志龍、俸正杰等,以波普藝術的樣式,挪用商業符號,結合上社會主義中充滿政治意味的圖騰,表現一種幽默、荒誕、具反諷性的藝術意味。祁志龍《消費形象 No. 37》(Lot 1652)系列,也是這個藝術風潮中的作品。祁志龍在1990年初談到創作緣起,提到︰「看到街頭報攤書店最為流行的兩樣東西 – 毛澤東與美女 – 拼在一起」,讓他意會到充斥於日常生活之中是「理想主義」和「商業主義」的糾結和荒謬並置。商業主義日漸瓦解、取代原來的政治性意識形態,成為新一波的意識形態,主導人們的思考、規範了美感的形式,這是祁志龍等後八九藝術家感受到最深刻的「現實」和「真實」,也是他們最想談論的主題元素。於是祁志龍就「在意識形態、商業化、物化等三個方面尋求藝術今天的方向」,把社會流行的形象︰美女、鮮花、毛澤東畫像共治一爐。原來代表了嚴肅政治情境的「毛像」,被抽離原來的政治語境,被放在盛開的花蕃之中,配襯著搔首弄姿、性感豔麗的「廣告美女」。美女媚俗笑容和姿態,代表的是「一切均可物化」、「一切均可消費」的商品消費主義;和「毛像」所代表的嚴肅政治理想對比,既相異又相同,展現「理想主義」和「商業主義」的巨大反差和荒謬的相類性,而這種荒謬並置又正正是中國改革當下文化情境的最直接呈現。《中國女孩》(Lot 1592及1647)是祁志龍2000年前後開始進行的新系列,仍然沿用了「政治波普」的創作理念,把政治圖騰及商業元素並置,商業女郎穿上紅衛兵的裝束,政治大同的樂觀消弭為商業式、勾引消費意欲的笑容,象徵了理想主義年代向物質主義年代的過渡。表現手法上,刻意選取媚俗但在商業廣告盛行不衰的女性形象,也是一種無個人色彩的選擇,從主觀剔除了時間、歷史、記憶等概念,只著眼於一種社會情境的深刻探究和呈現,從主題到表達形式都是摹仿商品消費主義的原則來進行,作品深具反思及反諷的意味。
來源
From the Collection of Kathy and Lawrence Schiller from Southern California, USA
A portion of the sale proceeds will be donated to Animals Asia on behalf of Mr. & Mrs. Schiller
Private Collection, Los Angeles, USA
Marc Richards Gallery, Los Angeles, USA
出版
Schoeni Art Gallery Ltd., 8+8-1: Selected Paintings by 15 Contemporary Artists, Hong Kong, China, 1997 (illustrated, pp. 36-38).
展覽
Hong Kong, China, Schoeni Art Gallery, 8+8-1: Selected Paintings by 15 Contemporary Artists, 1997-1998.

登入
瀏覽狀況報告

拍品專文

After 1989 the Chinese art scene was hectic with the "Political Pop" movement, represented by the leading artists such as Wang Guangyi, Qi Zhilong and Feng Zhengjie, who contrive, through pop art stylings, to bring a sense of humor, absurdity and irony to the use of commercial symbols and socialist totems of political implications. Qi Zhilong's series of Consumer Icons No. 37 (Lot 1652) is the product of this wave. Qi , reflecting on the origins of the series, commented on "the two most popular images, Mao Zedong and beautiful women, paired side by side ubiquitously in newsstands and bookstores", a phenomenon that evoked his revelation that our daily lives are indeed filled with the absurd entanglemen of idealism and commercialism. Day by day, commercialism vanquishes political ideologies, becoming the new dominating force that determines how people think and perceive beauty. These are the "reality" and "truth" that the post-1989 artists like Qi Zhilong became impressed by and became the theme these artists strived to convey. Qi, therefore, "sought after the direction of modern art through ideology, commercialism and materialization", and condensed into one those fashionable images of beautiful ladies, flowers, and the portraits of Mao Zedong. By portraying the Chairman against blossoming flowers and the,sexy and flirtatious "pinup girl", the solemn political context embedded in the Mao portraits is severed. The kitschy smile and gesture of the girl tell of the way how "everything can be materialized" and "nothing is not a consumer good". Contrasted with the Mao portraits that deliver political ideology, we can find both similarities and differences in them, which are exactly the great disparity and the farcical semblance between idealism and commercialism. This farce coupling, however, is the most direct representation of the cultural landscape of today's reforming China. The Chinese Girls (Lot 1592 & Lot 1647) series is the new project Qi launched after 2000. Here political totems and commercial elements are again juxtaposed; the pinup girl in "Red Guard" military garb transforms the auspicious political collectivism into materialistic smiles that tempt consumption. It symbolizes the transition from idealism to materialism. In his expression and the purposive choice of the female image, there is a gimmickry that never loses its commercial appeal, is not in the least individualistic, and serves to eliminate such subjective concepts of time, history and memory with its deep exploration and reflection of the social context. From its theme to its way of expression, this work holds on to the principle of commercialism, and displays a satiric implication that calls for cogitation.

更多來自 亞洲當代藝術 日間拍賣

查看全部
查看全部