細節
方力鈞
1995 No. 5
油彩 畫布
1993-1995年作
簽名:方力鈞

來源
現藏家於1999年直接購自藝術家本人

方力鈞在作品中融入空虛的情感、粗野的幽默,不斷透過1990年代的中國人集體心理,探討人類處境,呈現出烏托邦理想與現實的距離,因此奠定了自己在「玩世現實主義」的先驅地位。

在這如此壯觀的一套六件木刻版畫的《1999.6.1》 (Lot 1323)中 ,方力鈞最為人所知禿頭男人形象在怒濤中爭扎。其中因著抗議、或痛苦、或恐懼、或憤怒而吶喊的人們,在形象上令人想起文宣圖象。畫中不同大小的群眾如站在講壇上,振臂高呼。在此作中,方力鈞表現了他對材質的掌握,有力的單色調佈局及線條的簡約。在以往的畫作中,方力鈞筆下人物的情緒都是疏離的,渴望著逃走和滅亡,然而這幅畫作終於把他這份情緒具體化。題目的模糊性及場景的不定性,加強了畫作內含的諷刺力,並令人深思人心的底蘊。

1989年的天安門事件過後,全中國瀰漫著虛無主義,空虛、無助的氛圍迅速蔓延。在《1995 No.5》(Lot 1324) 一作中,泳者的命運在這洪潮之中載浮載沉,是泳是溺,方力鈞卻又故意不明白展現。他筆下的汪洋,表達了國際壓力之下的自我釋放。但同時,水亦是變一個幻莫測的因素,以此加強了方氏作品的冷嘲熱諷,提出了一道對未來具諷刺性、不定的希望。

來源
Acquired directly from the artist by the present owner in 1999

拍品專文

Fang establishes himself as the forefather of Cynical Realism, a movement marked by philosophical mix of emotional ennui and rogue humour, with his relentless probing into the human condition with motifs that signify the collective psyche of China in the 1990s that shows tension between the utopian vision and reality.

The monumental set of six woodcuts 1999.6.1 (Lot 1323) features Fang's most recognizable motif of the shaved-headed men that are in a powerful continuous motion form of a surging wave. With figures shouting in protest or in agony, fear or anger, the format recalls the heightened drama of a propaganda image, with a crowd of different sized heads staring out from the image as if stacked up on a grandstand, their fists jutting into the air. Fang demonstrates his obvious proficiency in the medium, understanding in dynamic monochromatic composition and efficiency of line in this monumental work. Whereas in the past Fang painted figures whose emotional disposition was one of alienation, desiring both escape and annihilation, here finally is a material vision of that emotional urge. The thematic ambivalence and the indistinct setting further highlight the cynicism that is deeply buried in the content and call for the recognition of the human condition and psyche.

After the Tiananmen Incident of 1989, the nation was hit with nihilism of ideology, which developed rapidly into a sense of ennui and helplessness. In 1995 No. 5(Lot 1324) the fate of the swimmer is uncertain in this wave of emotions - whether they are to emerge or submerge, drown or swim is deliberately left ambiguous. Fang's oceans express a sense of self-liberation from internationalized repression. Yet at the same time, water becomes a time-varying factor that strengthens roguish satire in the artist's works, voicing an ironic, indeterminate utopian hope for the future.

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