《感同身受》为松美术馆当前雕塑大展，共同呈现了老中青三代八位艺术家田世信、隋建国、展望、姜杰、向京、王伟、梁硕、耿雪的40余件雕塑作品。该展将于2019年2月17日闭展，还没来过的小伙伴们，要抓紧了~
选择《感同身受》，我们不希望你只是走马观花，用照片记录。我们希望你能在观展中获得共鸣，尽情享受艺术家超前的直觉感受力和优秀的艺术表达力。
松美术馆地下一层的展厅，一条红色的巨蛇最先勾住观众的目光。它叫《行嗔》，是行走的怒火，不静不止，能量毕现，躯体带着强烈的侵犯性刺激着观众。
行嗔
向京《行嗔》玻璃钢着色 174×300×310cm 2015-2016年
松美术馆《感同身受》在展作品
《行舍》《行嗔》和《行形》是向京“S”系列中的三件以“蛇”的形态展现主题的作品，也是该系列作品中创作时间跨度最大的一组作品。完成“这个世界会好吗？”的子系列作品——“异境”系列后，向京反思了，在对于人性的隐喻中，“异境”系列作品的动物形态偏向温厚驯服，以至于其中没有一件描绘凶猛动物的作品，在“S”系列中，这种遗憾是以凶险而神秘的“蛇”的形态展现的。
向京《行舍》玻璃钢着色 173×600×42cm 2012年
《行形》的身体语言还延续着“这个世界会好吗？”系列作品中温存的白色基调：“善变、随形、不止，代表行动变化的身体，沉思自在。”不过从完成时间上看，《行形》反而是最晚完成的作品，绿色基调的《行舍》才是向京在“S”系列中以“蛇”的形态呈现的第一件作品：“行舍”意味着“行动的居所，寄居灵魂的躯壳”。
向京《行形》玻璃钢着色 尺寸可变 2015-2016年
依照一种隐喻性的说法，蛇这种动物本身浑身上下就充满着隐喻的气质，它的身体的每一帧运动，都彰显了行动的力量，构成了行动本身。不过向京的隐喻却并不仅止于此，三件作品的题名和隐喻义丝毫没有遵循西方神话传说中既有的“创世纪”式的刻板印象，反而无时无刻不就默地提醒着人们回想起《论语·述而第七》中“用舍行藏”的表述：“用之则行，舍之则藏。”夫圣人本德足君人，而每不逢时在位，因此圣人有用之时则行，被舍之时则藏。这不但合乎儒家之明哲保身的理念，亦不违背道家之顺乎自然的法则。
这种复杂的修辞性隐喻义，在《行嗔》和《行形》中更是以一种简洁、直接而毫不繁复的方式呈现出来。《行嗔》的主角是一条暴怒的红色蟒蛇，它生而具有人的口腔和牙齿，充满暴虐的力量和行走的愤怒，昂首怒目凝视着观者，不静不止，能量毕现；《行形》则以无形无相的变化之“易”，化解了《行嗔》之蛇所积聚的全部凶险之“势”，以有限的形态呈现出了无限的观感，大道至简，蕴无形于有形之内。以此而言，如果说《行舍》代表了生命力量的通常形态，那么《行嗔》和《行形》则凝聚了生命力量之中狂暴与沉静的两种极限状态。然而，“持而盈之，不如其已；揣而锐之，不可长保”，或许只有“无状之状，无物之象”的《行形》，才最终蕴含着能够“以柔弱胜刚强”的力量——这也正是向京通过去形体化的切割成段的方式，完成了这件作品的“背后的故事”。
House of Motion,Anger in Motion,and Shifring Motion are three works belonging to Xiang Jing's S series in which she tackles the formal rendering of “snakes."The creation of this grouping took place over a longer span of time than any others in the series.Afrer finishing the subseries Will Things Ever Get Better?-which came after the Strange Land series-Xiang Jing reflected that,metaphorically speaking,the animal forms in Strange Land were overly sofr and tender-there wasn't even one work depicting a raptor in this series.In the S series,this regret is manifest in the fierce and threatening shapes of these“snakes.”
The physical language of Shifting Motion reprises the warm white tone of the works in Wil Things Ever Get Better?:"Constantly changing and shifting shape,it represents the kinetic mutability of the body.Deep in thought, it is thoroughly at ease with itself.”However,one can tell from the respective completion dares of these pieces that Shifting Motion was the last piece to be finished,while the green-tinted House of Motion was the first of these snake”-shaped works to be completed.The meaning of House of Motion is “the place where motion lives,the husk where the soul resides.”
Metaphorically speaking,the entire body of a snake,from head to toe,is rich in meaning,and every movement it makes highlights its strength-it is the embodiment of movement.However,Xiang Jing's metaphoric approach to snakes goes beyond this.The names and metaphoric implications of these three pieces do not have anything to do with the"Creation”archetypes of Western myths;rather,they quietly nudge the viewer to think of this passage from the seventh chapter of the Confucian Analects,“Shu Er,"which comments on engagement with and disengagement from public life:"When called to office,to undertake its duties;when not so called,to lie retired" (translated by James Legge).When an emperor was a man of virtue,that was sufficient condition for a gentleman to serve him; but at other times the circumstances were less propitious.Thus,when a gentleman was needed by his ruler,he would serve；and when he wasn't called to serve,he would withdraw.Not only is this consistent with Confucian philosophical norions of self preservation,it does not conflict with Daoist ideas about adhering to the laws of Nature.
This complex rhetorical metaphor is visualized in an even more concise,direct,and uncomplicated manner in borh Anger in Motion and Shifring Motion.The figure in Anger in Motion is an angry red python,born with a human mouth and human teeth.Ir exudes brutal power and dynamic fury.Raising its head,it fixes the viewer with enraged eyes；it never rests； its power is manifest.Shifting Motion uses the formless and invisible transformations of the Book of Changes to dispel all of the dangerous "power”accumulated inside the snake of Anger in Motion.It uses a finite shape to display infinite perceptions:for the greatest truths are the simplest,and formlessness is contained within form.In sum,if House of Motion represents the typical face of the life foree,then Anger in Motion and Shifring Motion crystalize the two extreme states of that life force:violence and quietude.And yet,as it is writen in the Daodejing,“Ir is beter to leave a vesel unfilled,than to aempt to carry it when it is full.”Or perhaps Shifting Motion is simply the “Form of the Formless,and the Semblance of the Invisible."Only in this way can it possess the strengrh to “defeat the powerful with gentleness."This is Xiang Jing's method:to take a form and cut it into segments,thereby completing "the story behind the scenes.”
