《2009張可欣個展》展覽概念

　　張可欣的藝術創作或者是從全球文化與傳統文化的對比之中，或者是經濟價值與藝術態度的關係之中找到自己的藝術觀點。

　　不可否認，我們處於經濟、文化全球化的趨勢之中，張可欣也處於這一動態之中，尤其是他幾十年的海外藝術生涯，使他在多元的文化背景之下引發了對歷史的思考，對現代化神話的質疑。如大部分當代藝術家一樣，張可欣在繪畫和雕塑這兩種傳統藝術形式之外，也使用了包括裝置、行為、影像、新媒體等多元形式作為載體。但他的特別之處在於在看待整個現象時，將意象重新打亂又重疊，在他的作品中融合了消費觀念、族群文化、民族性格和當代生活模式等多重元素，使如此豐富紛繁、熟悉且陌生，接近又游離的圖示釋放出一種強烈的能量。

　　在面對傳統時，張可欣對《李明仲營造法式》一書産生了濃厚的興趣。張可欣在談及這部分創作時説“在我為之癡迷之刻，也意外爆發了創作靈感，重新激發了我已麻木了的藝術創作靈性”。於是有了後來的《中國營造法式》系列作品。在中國傳統意蘊的籠罩下，營造出了一個充斥著卡通形象、品牌商標、文化碎片、流行符號、明星凡人組成的世界。

　　此次“對畫空間”展示的10多件《中國營造法式》系列作品是張可欣自2007年以來的新作。作品以其對當下諸多社會現象的戲擬，延展了系列作品裏中國古典建築與當代社會的“對接”。系列作品中的《新城聖廟》和《鬥拱申遺圖》追悼作古的“中國傳統”與“中國樣式”。似乎歐、美、日、業已形成的潮流，將會毫不例外地淹沒中國。系列作品中的《慾望的期待》、《亞洲好萊塢》及《我的奧運夢-水立方》更是從流行文化現象入手，以強大的視覺衝突，展現了一幅當代文明圖卷。如藝術家張可欣本人所説,他在熱處理這些‘混作’圖像符號時，不僅是在畫面上再造羅列，而是以調弄手法予以幽默的嫁接，力求將當代人類精神信仰與物質慾望，東方文化與西方文化交融的誤區及不諧和性等矛盾問題，表現得更凸顯，更有爭議性，抑或譴責和批判。似乎這個“混作”方案為其視覺藝術創作才能的實施，藝術上的一個遊戲。這一實驗性藝術工程實際上已完全剝離了具體學科的範疇，從而進入到社會學及人性關懷的廣闊天地。

　　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