《2009张可欣个展》展览概念

　　张可欣的艺术创作或者是从全球文化与传统文化的对比之中，或者是经济价值与艺术态度的关系之中找到自己的艺术观点。

　　不可否认，我们处于经济、文化全球化的趋势之中，张可欣也处于这一动态之中，尤其是他几十年的海外艺术生涯，使他在多元的文化背景之下引发了对历史的思考，对现代化神话的质疑。如大部分当代艺术家一样，张可欣在绘画和雕塑这两种传统艺术形式之外，也使用了包括装置、行为、影像、新媒体等多元形式作为载体。但他的特别之处在于在看待整个现象时，将意象重新打乱又重叠，在他的作品中融合了消费观念、族群文化、民族性格和当代生活模式等多重元素，使如此丰富纷繁、熟悉且陌生，接近又游离的图示释放出一种强烈的能量。

　　在面对传统时，张可欣对《李明仲营造法式》一书产生了浓厚的兴趣。张可欣在谈及这部分创作时说“在我为之痴迷之刻，也意外爆发了创作灵感，重新激发了我已麻木了的艺术创作灵性”。于是有了后来的《中国营造法式》系列作品。在中国传统意蕴的笼罩下，营造出了一个充斥着卡通形象、品牌商标、文化碎片、流行符号、明星凡人组成的世界。

　　此次“對畫空間”展示的10多件《中国营造法式》系列作品是张可欣自2007年以来的新作。作品以其对当下诸多社会现象的戏拟，延展了系列作品里中国古典建筑与当代社会的“对接”。系列作品中的《新城圣庙》和《斗拱申遗图》追悼作古的“中国传统”与“中国样式”。似乎欧、美、日、业已形成的潮流，将会毫不例外地淹没中国。系列作品中的《欲望的期待》、《亚洲好莱坞》及《我的奥运梦-水立方》更是从流行文化现象入手，以强大的视觉冲突，展现了一幅当代文明图卷。如艺术家张可欣本人所说,他在热处理这些‘混作’图像符号时，不仅是在画面上再造罗列，而是以调弄手法予以幽默的嫁接，力求将当代人类精神信仰与物质欲望，东方文化与西方文化交融的误区及不谐和性等矛盾问题，表现得更凸显，更有争议性，抑或谴责和批判。似乎这个“混作”方案为其视觉艺术创作才能的实施，艺术上的一个游戏。这一实验性艺术工程实际上已完全剥离了具体学科的范畴，从而进入到社会学及人性关怀的广阔天地。

　　對畫空間（Dialogue Space）2009年1月10日

　　Exhibition Concept of “2009 Solo Exhibition of Zhang KeXin”

　　The concept of Zhang KeXin’s art is dually based on the contrast between a globalized culture and the traditional culture and the relationship between commercial value and artistic attitude.

　　Undeniably, we all, together with the artist, are influenced and affected by the trends of globalization in culture and economics. The artist’s overseas background and multi-cultural art career have led him to develop deep thoughts and opinions on history and questions on the “modern myths” that people believe in today. Like many of his contemporaries, Zhang KeXin uses varied art forms - installation, video, new media, action and other media - in addition to traditional painting and sculpture, to render his work. But what makes him and his work special is that he reorganizes and superposes images within an overview of the whole phenomena. There is the fusion of different and multiplexed elements in his work, such as the concept of consummation, the culture of ethnic groups, the characters of different nations and the character of contemporary life – all of which release a powerful energy out of plentiful and complicated, familiar and unfamiliar, and associated and dissociated icons.

　　While doing research in traditional art, Zhang KeXin developed a profound interest in the “Construction Method” of Li MingZhong (Song dynasty). “I was infatuated by this book, it woke up my creative spirit and brought me an explosion of inspiration”, comments the artist. This would later be the inspiration for the “China’s Construction Rules” series. In this series, with the concept of Chinese traditional art underlying, he has created a world full of cartoon images, commercial brands, culture fragments, fashion symbols, and stars and normal people.

　　The fifteen works in this exhibition are his most recent since 2007 in his “China’s Construction Rule” series. These works extend the “joint” between Chinese traditional architecture and contemporary society by imitating playfully many current social phenomena. The works “New Temple” and “The World Heritage List” mourn for the “Chinese tradition” and “Chinese styles” that have seemingly been passed by. Without exception, it seems that the fashion trends formed in Europe, America and Japan would overwhelm China. The “Aspirations”, “Asian Hollywood” and “My Olympic Dream, The Water Cube” display the whole of contemporary civilization via strong visual conflict with popular cultural phenomena. According to Zhang KeXin, though he works with these mixed images and icons, he’s not simply spreading them out and reconstructing them, but wittily grafting them together, thereby exaggerating the misunderstandings, the disharmony between the spiritual belief and materialism of modern society, the fusion of eastern and western culture, thus expressing his criticism of them. The mixed style of his work is an accomplishment of his creative talent for producing visual art, and a milestone on the road of his artistic career. Indeed, this experimental art project has completely stepped out of the concrete disciplines of tradition and has entered the pervasive world of sociology and humanism.

　　Dialogue Space

　　10th January, 2009