Conscious residue in selective memory
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选择性记忆中的意识残留
“ 2020·Artist Chen Shu ”
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面对当下人类所处的严峻的自然生态问题，艺术家陈蜀不遗余力地通过作品直视现实生活环境。在这个集体记忆与个体记忆经常性丢失，以及被廉价兜售的时代中，艺术家陈蜀创作的作品，似乎能让我们感觉到集体意识中依然存有真相残留的可能性和威胁性，而这种威胁性也将伴随着我们的记忆逐渐退化……
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In the face of the severe natural ecological problems, artist Chen shu spared no effort to look directly at the real life environment through his works. In this era of frequent loss of collective and individual memories and cheap selling, in the works of the artist Chen shu, we can feel the possibility and threat of residual truth in the collective consciousness, which will be accompanied by the gradual degeneration of our memories...©陈蜀 ,《Forbidden resistance series 1》, 150x120cm, 布面丙烯, 2020
A short comment on the latest works of artist Chen Shu在这一“混乱搅掺”的社会情状下，一个图像所包含的文本信息，似乎可以反映现时代背景所“内设”的人为语素，以及影射出的社会复杂的多类矛盾和对立事物之属性。
In this "mixed and confused" social situation, the text information contained in an image seems to reflect the artificial morphemes "built in" in the current background, as well as the attributes of complex social contradictions and opposites.©陈蜀，《Forbidden resistance series》，30x25cm，布面油彩，2020当选择的图像经过艺术家对其进行二次解构或多次重组编写时，图像之前的“自然性”被打破，而其中隐匿的特定情境、时效语态将愈发生显一股特殊的图像力量，并在个人语言上形成独特的艺术魅力，最终成为极具辨识度的观念语言。
When choosing images after the artist on the secondary deconstruction or restructuring written many times, before the image is broken, "naturalness" and one of the specific situation, aging voice hidden becomes show the image of a special force, and on the individual language forms the unique artistic charm, eventually into the concept of the most recognizable language.©陈蜀，《Forbidden resistance series 3》，30x30cm，布面油彩，2020从“古镇系列”的架上绘画，到“古镇影像”的动态作品；从立体影像作品再到平面装置绘画；艺术家陈蜀一直在生于斯、长于斯的生活环境中寻找与之相对应的话语关系，他将这些古镇元素与个人的生命思考紧密结合，从而形成具有强烈气息而又凝炼的语言符号。From easel paintings of "ancient town series" to dynamic works of "image of ancient town"; From stereo image works to flat device paintings; Chen shu, an artist, has been looking for the corresponding discourse relationship in the living environment where he was born and grew up. He closely combined the elements of these ancient towns with his personal life thinking, thus forming language symbols with strong breath and concentration.©陈蜀，《Forbidden resistance series 6》，180x150cm，综合材料，2020
如果说19年创作的古镇系列绘画作品还只是艺术家陈蜀对于古镇题材的图示延续和深入洞究的话，那么他现在的近作无疑是在此基础上将个人绘画的语言往前推进了一步…… If the series of paintings of guzhen created in 19 years is just the continuation and in-depth exploration of the theme of guzhen by the artist Chen shu, then his recent works undoubtedly advance the language of personal painting on this basis...
©陈蜀，《Forbidden resistance series 9》，60x50cm，布面油彩，2020作为绘画来说，能把个人的艺术语言再提炼或者推进，其实很难。它不是我们熟知的一个砝码加另一个砝码的重量叠加的过程，也有可能是一步步做减法来呈现的时间异变性。对于艺术家陈蜀来说，他2020年的作品语言的确往前“推进”了，我说的这种“推进”不是泛指技术上或者题材上的新颖变化，而是他塑造出往外释放的语言•核质——剔除掉徒具外形的人物表皮之后，可见一斑生动，甚至刺眼的光照余温。
As for painting, it is difficult to refine or promote one's artistic language. It is not the process of adding the weight of one weight to the weight of another weight as we know it, but it may also be a step by step subtraction to show the time variability. For artist Chen shu, his 2020 work language is forward "push", the "push", I say, not referring to technology or the subject of new change, but he creates language, to release out nuclear mass - out ACTS of shape epidermis after characters, is vivid, even the light of dazzling. ©陈蜀,《Forbidden resistance series 12》, 180x150cm, 综合材料, 2020正如他的新作《Forbidden resistance series》，以群青色的基底色层铺满整个画面，色域的块状、点状随时陷入你的视网膜，画面的视觉中心出现无数具体和模糊的人形，他们惊诧怒喊、平静如水面，或萎缩低迷。Just like his new work Forbidden resistance series, the whole picture is covered with a mass of cyan base color layers. The blocks and dots of the color register can sink into your retina at any time. In the visual center of the picture, there are numerous concrete and vague human figures, who are astonished and angry, calm as water, or shrinking and depressed.©陈蜀，《Forbidden resistance series 8》，180x150cm，布面丙烯，2020
肖斯塔科维奇曾说：“许多事物在我们眼前老去了、消逝了，可是我想，许多似乎已经时过境迁的事物最后会显得新鲜，强有力和永恒”。
Shostakovich once said, "many things are old and gone before our eyes, but I think that many things that seem to have passed will finally appear fresh, powerful and eternal."©陈蜀,《Forbidden resistance series 3》, 150x130cm, 布面综合材料, 2020
面对当下人类所处的严峻的自然生态问题，艺术家陈蜀不遗余力地通过作品直视现实生活环境。在这个集体记忆与个体记忆经常性丢失，以及被廉价兜售的时代中，艺术家陈蜀创作的作品，似乎能让我们感觉到集体意识中依然存有真相残留的可能性和威胁性，而这种威胁性也将伴随着我们的记忆逐渐退化……
In the face of the severe natural ecological problems, artist Chen shu spared no effort to look directly at the real life environment through his works. In this era of frequent loss of collective and individual memories and cheap selling, the works created by the artist Chen shu seem to make us feel that there is still the possibility and threat of residual truth in the collective consciousness, which will be accompanied by the gradual degeneration of our memories...©陈蜀 ,《Forbidden resistance series 7》, 30x30cm, 布面油彩, 2020
《Forbidden resistance series 15》,150x120cm,布面油彩,2020
美国旧金山艺术学会海外理事，美国美中书画研究院理事，美国旧金山中国画廊签约画家
独立策展人、艺术评论人。CONUTER-FEIT 猎质当代艺术双年展品牌创办人，猎质当代艺术展总策展人。致力于独立艺术空间的创建与运营，同时参与多个美术馆和画廊项目的监制、策划及撰写展览评论等工作。
2020年 ▎“癙” 艺风暴
■ 绘画作为一种叙述方式
John Byrne｜约翰·伯恩
朱莉·柯蒂斯｜Julie Curtiss
向京 靈肉二元論｜时代人物
陈清勇｜制造“真相”的文人姿态
毛焰 快是艺术的敌人｜时代人物
2020｜安塞姆·基弗「水彩作品」
闫冰：通过轻微仰视提示一种仪式感
迈克尔·阿米塔什｜Michael Armitage
杨加勇 现实之外的理想质疑｜艺术人物
2020年深圳「端于高处，“险” “贵”同与」
ACEI文献｜惠书文：艺术，改变世界的另一种力量
艺术人物｜屠宏涛：我不想被某种时代情绪所控制
爱德华·蒙克：病魔、疯狂和死亡是围绕我摇篮的天使
奈良美智：我要向那些装腔作势的家伙，竖起中指开火
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