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Zhu Wei "A man"

 

Sandro Orlandi

 

Every day we live the emotions, but often they make us live with discomfort and distress, and then we will not face reality and we turn our thoughts back to the past or forward into the future. We take refuge in the past, with the spirit of a lost happiness, to recover some reassuring memories . The same life in the future leads us toward continuing anxiety , to a hope of events that never come true. It 's important is to address this, a recovery of this, but too often what we see is not real but what we are led to believe. Staying in the present means being aware of being alive and  is also a basic practice in meditation.

A famous philosopher of Vietnam, Tich Nhat Hanh explains how to enjoy a good cup of tea. "To fully enjoy the tea you should be completely immeresed in the present. Only in the awareness of this in your hands can you feel the pleasant warmth of the cup. Only in this you can savor the aroma, feel the sweetness, appreciate the delicacy. If you're mulling things past or worrying about the future, then you completely miss the experience of enjoying the cup, and tea there will be no more. The past is past, make honey of it and let it go. Go ahead with plans for the future, but don't worry about wasting time. Not worth worrying about. When you have ceased to brood over what happened, when you have ceased to worry about what might happen, then you will be immersed in the present moment. Then you begin to feel joy in life. "

Zhu Wei went through all this, the past has helped him to mature, the military experience introduced him to mankind, their weaknesses and their limits as well as the principles that were imposed on them, such as idealism and sense of propriety. Zhu depicts its characters  in a detached, almost antiseptic manner, seeming bored, devoid of feelings, enslaved to the choice of a destiny which has not been invited. There is no animosity in his account, only so much composure combined with a subtle vein of irony. The traditional social values that clash with the fast-changing Chinese society that exists today,  blend together with those values that social transformation is proposing, then he is to play a role of symbiosis between past and present. Zhu Wei has honed his intuition, he says, keeping track of the rapidly changing social rules, human weaknesses and absurdities of politics, and weighs in the time we stand in line, catalogs, and then paints. His painting, clean and simple, are deeply rooted in reality, from which he knows to extract the substance of things, and this is not exaggerated but simply subjected to a process of transfiguration which allows you to grasp the inner dimension. He does all this with the utmost naturalness, neither  weight or feel  having any particular responsibility in his judgment, which disarmingly says that this is the only thing he can do.

Zhu Wei does not want to be associated with any school of art and contemporary painting movement, his technique refers to the one used by Taoist artists of the fourth and fifth centuries. He considers the fundamental and technical knowledge when personally mixing the colors in ink and watercolor, this also helps preserve the culture of his country. There is contrasts between the traditional language of art and its social and political reasoning that he depicts with such finesse and subtlety.

Zhu Wei is neither innovative nor revolutionary, his revolution in China that runs, that changes everything, lies precisely in not making the revolution.

We know that we live in a hurry, in which everything moves wildly, preventing not only our ability to live fully the present moment but also to reflect calmly on what happens around us. The lesson of Zhu Wei is the same as Martin Heidegger, Being and Time are not in perpetual conflict as now seems obvious, being is truth, it is something that highlights and gives greater clarity and historicizes the time being itself. The work of art is a world of values and meanings that come from the physical materiality of the land to which the being is closely tied in with, open criticism of metaphysical thought which elevates man so high as to break all ties with reality. Back to the centrality of man, to his role as shepherd of being, as guardian of his revealed truth that opens toward other beings, This is the goal that Zhu Wei imposes himself with humility and with great sensitivity to other offers.

 

(First published on Zhu Wei: Works 1988-2012 , China Today Art Museum Publishing House, January 2013, p.28)


Sandro Orlandi was born in Longarone (BL) in 26th February 1943. In 1969 he graduated in Architecture at Politecnico in Milan. He opened his studio in Berlin, London and Verona successively. At the end of 80's he became Director of the “Art Gallery Ferrari” and then, in the early 90's he worked at the Museum of Contemporary Art in Bolzano (Italy). In 2011, on the occasion of the 54th Venice Biennale, he was appointed curator of the Pavilion of the Syrian Arab Republic. In 2012 he conceived and curated the First Biennale of Contemporary Art Italy - China.

 

 

 

 

 

朱伟 “一个男人”

 

桑德罗·奥兰迪  

 

  

我们每天生活在情绪中,情绪常使我们感到不适和痛苦,我们无法面对现实,唯有将思绪拽回过去或抛向未来。过去是我们的避难所,我们携着已然遗失的幸福,打捞出一些令人慰藉的回忆。未来与今相同的生活则将我们引向持续的焦虑,引向从未实现过的希望。重要的是认清这个事实,并从此康复,可是往往即使我们所见并非真实,我们的为人却仍促使我们去相信。活在当下意味着意识到自己正活着,这也是禅修的基本修行之一。

越南的一位著名哲学家 Tich Nhat Hanh 阐释过如何享受一杯好茶:“想要充分享受茶的滋味,你必须完全沉浸于当下。只有意识到这一点,你才能感受到手中茶杯的温暖与愉悦。只有沉浸于当下,你才能嗅到香气,感觉香甜,欣赏美味。如果你一味忧虑过去或担心未来,你就完全错过了享受一杯好茶的机会,那杯茶也不会带给你更多的东西。过去的已然过去,使过去变得甜蜜,然后任由它去。继续你未来的计划,但不要担心浪费时间,因为它不值得担心。当你对过去不再耿耿于怀,对未来不再满怀忧虑,那么你就沉浸在了当下。然后你会开始感受到生活的喜悦。”

朱伟经历过这一切,过去使他成熟,军队生活让他了解了人性,了解了人的弱点,人的局限,以及人的原则,譬如理想主义和为人的分寸。朱伟以一种超然的、几乎诚实无欺的笔触描绘他笔下的人物,他们看似无聊,缺乏感情,臣服于一个个不请自来的命运。在他的字典里没有仇恨,只有无尽的沉着,加上微妙而冷静的讽刺。传统的社会价值观与瞬息万变的当今中国社会碰撞冲突,当下的社会转型带来了新的价值观,而朱伟在过去和现在之间扮演了一个共生的角色。他说他磨练了自己的直觉,追踪瞬息变化的社会规则、人性的弱点和政治的荒谬,在时间的长河里确定坐标,然后开始绘画。他的画干净简洁,深深植根于现实,他擅长从现实中提取事物的本质。毫不夸张地说,他只是做了一个变形,你就能掌握事物内部的纬度。他所做的这一切极其自然,既不沉重,也不会使人感觉他的判断指向某种责任,他似乎在心平气和地述说着:这是他唯一能做的。

朱伟不希望被同任何流派的艺术和当代绘画运动联系起来,他的技法源自于公元四、五世纪的道教艺术。他汲取其根本和技法上的知识,并融合了个人化的水墨色彩运用,这亦有助于保护他本国的文化。传统艺术语言和社会政治思维间诚然存在着冲突,朱伟却将其弥合得天衣无缝。

朱伟既不创新,也不革命,他的革命之处在于:在一个疾速奔跑、万物剧变的中国,不革命即是革命。

我们知道我们生活在匆遽之中,一切都在快速变化,这不仅妨碍了我们全然地活在当下,也妨碍了我们平静地反映周遭现实。朱伟带给我们的启示恰如马丁·海德格尔——现在我们明白了,“存在与时间”①之间并非永无休止的冲突,存在即真理,存在使时间更为重要,为时间自身提供了更大的清晰度和历史性的解读。艺术作品是一个由价值和意义构成的世界,其价值和意义来自于存在所紧密联系的物质土壤,由此海德格尔要对形而上学进行批判,因为形而上学把人拔高到了一个切断与现实之间纽带的高度②。回到人的本质,回到人“存在的守护者”③这一角色,成为一个向他人揭示真理的守护人——这就是朱伟在其谦逊的外貌和极度敏锐的洞察力背后所蕴含的目标。

译注:
① 《存在与时间》(1927)是存在主义哲学的创始人德国哲学家海德格尔的代表作。
② 海德格尔在其著作中批判和克服了形而上学,他认为,形而上学作为存在的历史实际上就是遗忘存在的历史,主张思想的道路要实行“返回的步伐”,回到早期希腊思想的源头,回到思想的第一个开端那里去思存在之原始的意义。
③ 在《关于人道主义的书信》一文中,海德格尔提出“人是存在的守护者”。     
                                           

 

首次刊发于《朱伟作品1988-2012》,中国今日美术馆出版社2013年1月出版,29页

     

桑德罗.奥兰迪1943年2月26日生于意大利贝卢诺省的龙卡罗内市,1969年毕业于米兰理工大学建筑学系。先后在柏林、伦敦和意大利维罗纳成立自己的工作室。80年代末,担任“法拉利艺术画廊”总监,90年代初任职于意大利Bolzano美术馆。2011年,被任命为54届威尼斯双年展叙利亚国家馆的总策展人。2012年,策划和策展了第一届意大利-中国当代艺术双年展。