静寂与安慰：向庆华 2008-2009

    开幕时间：2009年9月27日下午4时
    展览时间：2009年9月27日—11月1日
    展览地点：玛吉画廊（北京）
    策 展 人：苏文祥
    项目负责：陈早

    “静寂与安慰”是向庆华的第三个个展，集中展示他08-09年的部分代表作品。在他的近作中，从前画面中经常出现的人物消失了，取而代之的是动物和环境，且都保持静谧的感觉。作品中的动物系列和环境系列仿佛互为彼此的主体客体——动物是整个故事的主角，而环境则可以作为它们的生存之地。
 

    这些画面里已经没有了喧哗与躁动，由于没有可以辨识的背景。但是关于这些大部分动物的故事，人们多少还是会有一些记忆的。因为它们目前的动作合乎人们对它们进行一般描述的经验。它们保留着可供文学想象的肢体上的停顿。虽然它们被从它们生存的自然背景中抽离出来，但是由于罗列收集，不管是图录中还是展览陈列中，它们最后形成一个独特的虚妄的景观。它们的体量感是各不相同的，在面积同样大小的画布里出现，颇具有几分公平的姿态，因为体量的落差，以及画家神经质般的笔触塑造下，各自具有不同的表情。
 

    德勒兹在《时间-影像》曾提及戈达尔的一句话：描述，就是观察各种变化。戈达尔用活动的影像来描述世界，而向庆华选择了用绘画来描述，相对于流动的媒体，它更加具有静止的特性。不过向庆华的这些没有画人物的作品并不是绝对静止的，而是好比突然卡壳的磁带，声音并不完整，但依然有一个单音节在持续发声，每一个片断都预示着下一个章节段落的开始。如果我们可以把这些片断连接成一串长长的胶片，那么每个片断都是一幅静帧，如果再有力量使它转动起来，它们就是一个连续的影像世界。如果还可以再次停顿，那么，将衍生出更多的细节，就像芝诺的“二分法”悖论，无法停息。
 

    Silence and Consolation: Xiang Qinghua 2008-2009
    Opening: 4 pm, September 27, 2009
    Dates: September 27-November 1, 2009
    Venue: Magee Art Gallery (Beijing)
    Curator: Su Wenxiang
    Project Manager: Nicole Chen

    Silence and Consolation is Xiang Qinghua’s third exhibition, which showcases some of his representative works of 2008 and 2009. In his recent works, the figures that used to be in the pictures of his previous works disappear. What replace them are animals and environments and they both maintain a silent feeling. The animal series and the environment series are like subject and object to each other-the animals play the lead role in the story and the environments can be their land of existence.
 

    There is no sound nor fury here, because there is no identifiable background. However, people more or less have some impression of the stories about most of those animals. Because their current gestures fit people’s general description about them closely, they maintain a stop that can be referred to by literary imagination. Although they are removed from their natural living background, no matter in catalogues or exhibitions, they finally form a unique delusive landscape. They have different weights and sizes, yet they show up on canvases of the same size, therefore it seems to be a fair play. Different sizes and weights and the painter’s nervous brushwork have made them possess different impressions.
 

    Deleuze mentioned Godard’s sentence in Time-Image: to describe is to observe all kinds of changes. Godard used moving images to describe the world, while Xiang Qinghua uses painting to do so. Compared to a moving media, painting possesses a more still character. Nevertheless, Xiang Qinghua’s works without figures are not absolutely still. They are like a stereotype that gets stuck and do not have a complete sound, but there is still one syllable that keeps producing sound and every segment predicts the beginning of the next chapter. If we can s connect these segments to make a long roll of films, every fraction is a still. If we have strength to make them move, they will form a continuous image world. If we stop them again, more details will derive from them, just like Zeno’s Paradox: they will never stop.
 

【编辑：霍春常】