|
Starving
Artist by
Lee Ambrozy
Illustration
above the title:
Zhu
Wei's success straddles the Pacific divide in New Pictures of the
Strikingly Bizzare
Second
Helpings
After
14 years, Zhu Wei finally gets a chance at the Beijijng showrooms
When
we interviewed Zhu Wei in March of 2004, he said he wanted his art to
close the East-West gap. After abundant success in the West, he's taking
the next step: His first solo exhibition ever on the mainland opens this
month at Red Gate Gallery
Zhu
works in typically 'Chinese' materials: ink and wash on xuan paper and,
more recently, woodblock prints. His subjects are unique for being both
provocative and palatable. Classify Zhu Wei among the ‘cynical
realists’, and he strenuously objects. The painter prefers creative
distance, claiming not a single friend among the art crowds.
Originally
a ‘big character’ painter in the PLA, his international claim to
fame is a copper statue in Manhatttan's IBM building in the excellent
company of other social fringe giants like Michael Heizer and Alexander
Calder.
Dubbed
"punk artist" for his penchant for running with the rock
crowd, Zhu's paintings also be the
befitting backdrop for this May's MIDI rock festival.
tbj
caught up with Zhu Wei to discuss painting ... and punk.
Zhu
Wei: What does ‘starving artist’ mean anyway?
tbj:
It's a common English saying poking fun at the majority of artists
devoted to their work but unable to rely on art to earn a living.
ZW:
I thought it meant artists who could never get enough to eat, or enough
stimulation, who are never satisfied with what society has to offer
them, and are starving for something more.
Tbj:
Hmmm ... In a 1996 interview you mentioned plans to study comparative
literature. Did you ever follow through?
ZW:
I did. For two years I studied Western and Chinese literature at Peking
University. From 1992-96 I was working intensively, but I began to think
that the paintings were too irrelevant to common people. So 1 thought to
myself: paint less, study more, and listen to more rock and roll.
tbj:
What did you learn? How did it influence your work?
ZW:
Nothing much, although my paintings did become simpler. The biggest
influence study had was making me not want to paint. I thought that I
should go literary, or make music.
tbj:
So why didn't you go and write a novel or record music?
ZW:
I just couldn't do it. I'm not that kind of person; I'm a painter at
heart. But I've always thought that someday I might do something else.
Documentaries are what I’m interested in now, not painting.
tbj:
This recent series New Pictures of the Strikingly Bizarre is based on
the classic book, Erke paian jingqi. Can you explain why?
ZW:
It's a Ming dynasty book of folk stories. I took the book's name and
changed it a little, then illustrated modem stories to show that things
happening today are similar to ancient times. It’s called ‘er ke’
for the ‘second carving’. These are all woodblock prints, like the
originals.
tbi:
Can you tell me about the two ladies in ‘Holiday’?
ZW:
They are laid off workers. I named it that because that’s when they
must feel the loneliest, watching other people celebrating. In the
1980s, many of people were laid all when companies privatized. They were
all about 40 years old and just thrown into society. What can you learn
then? They're almost retirees.
tbj:
How do you feel about being described as a ‘punk rock’ artist?
ZW:
In 1992 I came out of the army and needed the freedom. If you saw me
then, I looked punk. Today I'm pretty normal, but in my heart I’m punk
rock.
饥饿的艺术家
作者：Lee
Ambrozy
第二次出击
时隔14年，朱伟终于有了在北京办展的机会。
2004年3月我们曾采访过朱伟，当时他说过希望他的艺术能够拉近东西方之间的距离。在西方获得斐然的成就之后，现在他开始迈出第二步：在中国大陆的第一次个展将于本月在红门画廊开幕。
朱伟使用的材料是典型的中国式：水墨、宣纸、以及最近的木版画。他的主题既尖锐又愉悦视觉。把他归类为“玩世现实主义”是他坚决反对的。这位画家宁愿保持创作的距离，宣称自己不是任何艺术群体的一员。
早期他曾是解放军画家中的“大角色”，现在陈列在曼哈顿IBM大厦的与Michael
Heizer和Alexander Calder作品相得益彰的铜雕塑就出自他的手笔，也是他国际声誉的一个明证。
跟摇滚音乐圈走得近为朱伟赢得“朋克艺术家”的称号，今年五月的迷迪摇滚音乐节也将用他的作品来制作舞台幕布。
That’s
Beijing继续与朱伟探讨绘画……和朋克。
朱伟：“饥饿的艺术家”到底是什么意思？
That’s
Beijing：这是英语俗语，取笑绝大部分艺术家虽然倾力创作却还是不能用艺术品来养活自己的情况。
朱：我还以为意思是指艺术家永远也吃不饱，老觉得刺激不足，还总对社会给自己的不满，渴求更多的东西。
Tbj：嗯……你曾经在1996年的一个采访里说过要去学习比较文学。后来学了吗？
朱：学了。我在北京大学学了两年的西方文学和中国文学。1992年到96年这段时间我非常忙，但我那个时候就开始觉得，绘画离一般人太遥远。所以我对自己说：画得少些，学得多些，听更多的摇滚乐。
Tbj：你学到什么了吗？对你的作品有影响吗？
朱：没什么影响，虽然我的画的确变得更简单了。学习带来的最大影响应该是让我不想画画儿了。我想我应该转向文学，或者做音乐什么的。
Tbj：那你为什么不写一篇小说或录一张唱片呢？
朱：只是做不了而已。我不是那种人；我内心里还是一个画家。可我总是想着哪一天我可能会做点别的。纪录片是我现在感兴趣的，不是画画儿。
Tbj：最近这个“新二刻拍案惊奇”系列是基于古典小说《二刻拍案惊奇》。你能说说为什么起这个名字吗？
朱：这是一个明代话本小说。我稍稍改了一下书名，用它来说现代的故事，今天发生的事情其实和古代非常相似。之所以叫做“二刻”，就是“第二次刻版”的意思。这些都是木版画，就是取书名中的这个含义。
Tbj：你能说说“节日”中那两个女性吗？
朱：她们是下岗工人。我取这个名字是因为当别人在庆祝的时候正是他们最寂寞的时候。80年代因为公司私有化造成了大批人下岗。他们都在40岁左右被迫再度投入社会。这个年纪你说还能学到什么？几乎要退休了。
Tbj：被称作“朋克摇滚”艺术家，你有什么感觉？
朱：1992年我退了伍，正需要大量的自由。如果你那个时候看到我，我看起来就是朋克。现在的我很普通，但我的内心仍然是朋克摇滚的。 |
