王在邶：鞭畫（暢泉策劃）-魔扣目錄

ZAI BEI - WANG | 王在邶：鞭畫

Whip a work of art：

鞭畫 | 王在邶

wang zai bei whips his art

學(xué)術(shù)：賈廷峰 | 策劃：暢泉

出品：譚念一（多多）

Academic: jia ting feng | curation: chang quan

Production: tan nianyi (duo duo)

北京二十四橋 | 泉國際藝術(shù) | 狼泊彎

Beijing 24 bridge media | spring international art | Wolf bowen art space

鞭畫 | 王在邶

他鞭笞自我生命的艱辛

一種茫然，一種蘇醒

A kind of vacant, a kind of awakening

鞭畫學(xué)術(shù)主持：賈廷峰

八十歲高齡的北漂藝術(shù)家王在邶先生用他蘸著自己鮮血的鞭子狠狠地抽打畫板，用他自己的方式向無盡的黑暗宣戰(zhàn)、吶喊，鞭苔囯人麻木不仁的靈魂，恰似魯迅先生那樣，我以我血薦軒轅！藝術(shù)何以載道？命也！王在邶先生用行為在闡述這一切，用生命捍衛(wèi)藝術(shù)的尊嚴(yán)！ (文：賈廷峰)

The eighty - year - old north drift king of artists at Mr Bei dip in with his own blood whip violently beating sketchpad, in his own way declared war on the endless darkness and cry, whip moss insensitive soul, like lu xun, regulus commend my blood to me! What does art mean? Life also! Mr King in Bei with behavior on all this, to defend the dignity of the art with life! (text: jiating feng)

他用血見證了對(duì)藝術(shù)的信仰與忠誠

He bore witness to his faith and devotion to art in his blood

鞭畫策劃人：暢泉

王在邶，今年八十高齡，他坎坷的一生經(jīng)受了斑斕歲月的洗禮及傷?累累的折磨，從而錘煉成一條堅(jiān)韌不拔的精神鞭子，他在緊迫與迷失自我的人文立場里，用此鞭子鞭笞自我麻木不仁的靈魂來警示正淪陷在泥潭困境中的時(shí)代以及人們，他用鞭子撕破了光明與黑暗的界線。（文：暢泉）

Wang zai Bei, eighty - year - old this year, his bumpy life suffering from the baptism of the mellow years and injury indebted, to mold into a tenacity whip, he in pressing and get lost humanistic position, with the soul of the whip self-flogging insensitive to alert is occupied by the mire troubled times and people, torn his whip the boundary between light and dark. (wen: chang quan)

八十歲畫翁鞭自己的畫

文／何金時(shí)

王在邶先生風(fēng)雨人生八十載，經(jīng)歷了不少波浪壯闊的歷史場面，他的人生無疑是沉淀了近現(xiàn)代中國歷史的厚度，繪畫作品正是他一生斑斑點(diǎn)點(diǎn)的痕跡。他鞭自己的畫屬于一次藝術(shù)行為，畫家為什么要用鞭子鞭打自己的畫，是值得探討的一個(gè)問題。一位八十歲開外的老畫家實(shí)施這個(gè)行為藝術(shù)，似乎有用語言難表達(dá)的一種情緒。

吳冠中先生晚年寫了一本書“丹青負(fù)我”，把他的悲歡欣喜都寫盡了這部書里，從中可見藝術(shù)作品承載的是藝術(shù)家生命之重，人生就是一部厚厚的書，老畫家閱盡人間滄桑，必然對(duì)生命有更深刻的體驗(yàn)，藝術(shù)是藝術(shù)家利用的重要載體。行為藝術(shù)更直觀并有力量和現(xiàn)場感，因此被當(dāng)代藝術(shù)家大量使用。

王在邶先生與吳冠中先生是截然不同類型的畫家，但他們晚年對(duì)藝術(shù)與人生或許用“殊途同歸”來比喻是切貼的。“丹青負(fù)我”還是“我負(fù)丹青”，兩位先生都有切身之感懷。王在邶先生不采取文字?jǐn)⒃V的方式來闡釋，而用“鞭打自己畫”的行為方式來呈現(xiàn)，顯示出老先生倔犟性格的一面，但其中必有更深的隱情，魯迅先生說：“我的確時(shí)時(shí)刻刻解剖別人，然而更多的是無情地解剖自己。

藝術(shù)作品均被所有藝術(shù)家視為自己的生命，但是在邶先生卻狠心用鞭子抽打自己的畫作，等于是在抽打自己，不言而喻這里面既有憤世嫉俗又有自虐性的一面，因?yàn)槭澜缟系氖虑槭遣粫?huì)無緣無故產(chǎn)生的。按佛教的理念認(rèn)為“人生皆苦”其觀點(diǎn)是悲觀的，西方哲學(xué)認(rèn)為人類的存在同樣是具有悲劇色彩。當(dāng)代藝術(shù)更為直面現(xiàn)實(shí)世界存在的問題，探索人類心靈延展的軌跡，凸顯出藝術(shù)與靈魂的關(guān)系。

科技文明給人類帶來了更多的困擾，人類不覺之間被驅(qū)趕上了高速列車，不斷被科技化，物質(zhì)化，這樣實(shí)質(zhì)是對(duì)人類的異化。當(dāng)下物質(zhì)世界，人心都偏重金錢與物質(zhì)占有之欲望。無休止的競爭，急功近利，一切皆為利益而來，良性的人文環(huán)境逐漸在丟失遠(yuǎn)離。有了金錢物質(zhì)人們的精神依然空虛無聊，就是科技過快發(fā)展產(chǎn)生出的碎片化結(jié)果。因此當(dāng)代藝術(shù)對(duì)當(dāng)下人性作了血淋淋的解剖與展現(xiàn)。

王在邶先生生活在當(dāng)下的社會(huì)環(huán)境，因此以逃避不了所有人面臨的問題，他用鞭畫的自虐性行為旗幟鮮明地表達(dá)他的態(tài)度，鞭打自己的畫，同時(shí)與鞭打了當(dāng)下人類社會(huì)中存在的腐敗。

Mr wang zai Bei life eighty years, has experienced many waves grand historical scenes, his life is precipitated the thickness of the modern Chinese history, painting is his life traces of stains or spots. His drawing of whipping himself belongs to an artistic act. Why the painter should whip his drawing is a question worth discussing. An old painter in his eighties was performing this performance art, which seemed to be an emotion difficult to express in words.

Wu guanzhong later wrote a book "I" write negative, are written out his sad and happy in the book, so that art is the artist of life, life is a thick book, try reading the world vicissitudes of life, the old painter inevitably have a more profound experience of life, art is the important carrier of artists use. Performance art is more intuitive and has a sense of power and presence, so it is widely used by contemporary artists.

Mr wang zai Bei and wu guanzhong is a very different type of painter, but they later life with art and life may with "all roads lead to Rome" metaphor is cut. "Dan qing negative me" or "I negative Dan qing", two gentlemen have personal feelings. Mr King in Bei not taken by the way of v. words to explain, with "whipped his painting" behavior to render, illustrates one aspect of the old man as a personality, but there will be deeper than that, Mr Lu xun said: "I did every moment of the anatomy of the others, but more is mercilessly dissect oneself.

Works of art were all artist as his own life, but cruel with whips in Mr Bei own paintings, so in whips himself, it goes without saying that there is both cynical and self-cruelty, one side, because of things in the world is not without reason. According to Buddhism, "all life is bitter" is pessimistic, while western philosophy holds that the existence of human beings is also tragic. Contemporary art is more directly facing the problems existing in the real world, exploring the track of the extension of human mind, and highlighting the relationship between art and soul.

Scientific and technological civilization has brought more troubles to human beings. Human beings are unconsciously driven on the high-speed train and constantly become scientific and technological and materialized, which in essence is the alienation of human beings. Nowadays, in the material world, people attach great importance to the desire of money and material possession. Endless competition, eager for quick success and quick profit, everything comes for the benefit, and the benign cultural environment is gradually lost away. With money and materials, people's spirit is still empty and boring, which is the fragmentation result of the rapid development of science and technology. Therefore, contemporary art makes a bloody dissection and presentation of contemporary human nature.

Mr wang zai Bei living in the present social environment, so in order to escape from a problem facing all the people, he drew on self-cruelty behavior with a whip, unequivocally expressed his attitude whipped his own painting, at the same time and whipped the current corruption that exist in the human society.