◇ 文 |胡 婷 图 |受访者提供

跨界傅榆翔

◇ 文 |胡 婷 图 |受访者提供

傅榆翔

Fu Yuxiang

1963年生于中国重庆，跨界艺术家，诗人，重庆画院专职艺术家，公共艺术推动者。在第57届威尼斯双年展上，媒体这样评价他和他的作品：“中国最有意思和想法的艺术家之一，威尼斯双年展最重要的十大作品之一，中国新一代最有趣的艺术家之一。”他先后策划日本东京美术馆第33-35届海外国际艺术邀请展等大型展览，获亚洲艺术节中美著名艺术家联展“最佳当代油画”杰出成就奖等诸多奖项。born in Chongqing, China in 1963, is a versatile artist, poet,full-time painter in Chongqing Art Museum, and advocate of Public Art. At the 57th La Biennale di Venezia, Fu earned the fame as "one of the most interesting and minded artists of the new generation of Chinese”, and his exhibition “one of the top ten works on the Biennale”. He was the curator of the 33th-35th Japan AJAC Exhibition held by Tokyo Metropolitan Art Museum,and was awarded by the Asian Art Festival the “Best Contemporary Oil Painting” and “Outstanding Achievement”.

当地时间2017年5月14日，距重庆8000多公里的意大利水城威尼斯。那天，圣马力诺与中国的友谊计划项目正如火如荼进行着，这个友谊计划项目带着重庆元素——中国（重庆）当代艺术家傅榆翔以圣玛力诺特邀国际艺术家身份，出席意大利威尼斯第57届双年展。

此时的威尼斯双年展上，还进行着另一场“穿越”。“外星人”的意外到访，引起了世界各地游客和威尼斯当地居民的关注与欣喜。这些 “外星人”，来自傅榆翔的雕塑作品《移民外星人》。《移民外星人》和根据重庆典故创作的《青狮白象的记忆片段》，都成为这次威尼斯双年展上众多媒体的头版头条。

本次双年展傅榆翔还带去了油画、水墨作品参展。类似的跨界艺术创作，被他调侃为艺术界的“铁人三项”。回溯这位60后艺术家的艺术生涯，他所说的，恰如其分。

May 14, 2017(local time), in Venice, an Italian city more than 8,000 kilometers away from Chongqing, China, Fu Yuxiang, the Chinese contemporary artist, was specially invited by the Republic of San Marino as the international artist to attend the 57thLa Biennale diVenezia, which implies the Friendship Project between the two countries are growing vigorously.

At the Biennale, a platoon of “aliens” attracted the attention of visitors from all over the world and of the local residents. They are sculptures presented by Fu Yuxiang, entitled Migrant Aliens, which, with Memories of Azure Lion and White Elephant,another sculpture based on Chongqing allusion, hit the headlines of variousmedia in this Biennale.

At the Biennal, Fu also exhibited his oil painting and ink painting, and he bantered such versatile creation as “triathlon” in Arts. Looking back to his career, one can tell that it is the case.

从铜版画开始Starting with copperplate etching

不同于大多数艺术家将生活的体验和丰富内心世界倾注于作品，傅榆翔极少关注“自我”，这在他的诗歌、油画、雕塑中都有集中体现。

“艺术家对时代有一种特殊的思考角度，我做作品几乎都没有关于我个人化的记忆和关系。我画油画更多是他者或各种动物，做雕塑也是关于外星人与人类之间的未知与可能，以及关于死亡与复活的生成关系。”傅榆翔坦陈，这使他的画作有一种魔幻又现实的存在。

这种“大格局”的思考，源于傅榆翔少年时代的文学启蒙。16岁，当他第一次看到但丁《神曲》中的铜版画及14行诗中的精美插图时，很是震撼，萌生创作诗歌的冲动。第一次阅读康斯坦丁•帕乌夫托夫斯基的《金蔷薇》，其俄国文学独有的悲壮情怀，对世界和人类命运的独立思考，奠定了他未来艺术创作的基调，也对他日后的文学、绘画生涯产生指引作用——绘画、文学、诗歌是没法“分家”的。

1984年，傅榆翔开始诗歌创作。对他来说，诗歌和绘画是一种类似于共生的关系：“诗歌和绘画是互补。当我在写一首诗时，我会想，这首诗，以画的形式呈现应该是怎么样；当我完成一幅画时，这幅画也相应地应该有一首对应的诗。”

不得不回到2013年。那年，傅榆翔在广州53美术馆举行他人生中的第12个个展——全息现场。第一次，他将他的绘画和诗歌同场展出。 “在中国，诗歌绘画出自同一个艺术家、诗人之手，傅榆翔是惟一，也是第一个跨界艺术家。”广州53美术馆策展人胡震如是评价。

Unlike most artists devoting personal life experience and thoughts into creation, Fu rarely pays attention to "himself", which can be intensively found in his poetry, oil painting and sculpture.

"Artists all have their own way of thinking about the times, but I do not put my personal memories or something related to my works. My oil paintings focus more on others or animals, and sculptures are also about the unknown and the possible between aliens and humans, or the relation between death and resurrection,which,”Fu added, “makes my painting a magical and realistic existence.”

This pattern of thinking is derived from the literature enlightenment in his juvenile. When fi rst seeing he copperplate etching in Dante’sDivine Comedy and the fi ne illustrations inthe Sonnetsat the age of 16, he marveled at those works and developed the idea of writing poems. And after reading Konstantin Paustovsky’s ( 康斯坦丁•帕乌夫托夫斯基)The Golden Rose, what he perceived in this Russian literature the unique solemn and stirring feelings and independent reflection on theworld and human destiny, had laid the tone for his future creation and also gave guidance to his literature and painting career that painting, literature and poetry can not be separated.

Fu began to write poems in 1984. For him, there was a symbiotic relationship between poetry and painting: "poetry and painting are complementary. When I write a poem, I will think how to present the same scene by painting; and When I fi nish painting, I want to write a poem for it.”

Then in 2013, Fu held the 12thsolo exhibition –Holographical Scene in Guangzhou 53 Art Museum where he exhibited his paintings and poems together for the fi rst time.Hu Zhen, a curator, said "Fu Yuxiang is the only artist who is good at creating poem and painting,and the fi rst trans-disciplinary artist in China.”

关起门折磨自己Exploring alone

在艺术这条路上，艺术家们丰富敏感的内心世界，让他们拥有比普通人对周遭事物更多的情感体验。同时，他们也是痛苦的。这种痛苦，更多的是源于孤独、不被认可的内心世界。

傅榆翔借助“超现实主义”，试图寻找人类社会与动物世界借助“超现实”的精神自动主义,在看似荒诞的视觉关系中，导入一种既魔幻又现实的存在。这种魔幻的背后，是必须忍受的孤独。艺术家们通常的解决方式，是关起门来折磨自己。赫尔曼•黑塞以孤独、漂泊、隐忍的方式寻求那只为自己而存在的荒原狼。对于信奉苦行的傅榆翔来说 ，这不失为一个好办法。

黄桷坪501艺术基地， 每天早上九点前，傅榆翔必须出门，下午5点才回到家，周末也是如此，妻子和女儿常去探班，称他为“劳模”。而傅榆翔说，这不是行业，是爱好。这是他每天需要释放、实现自己的一种方式。久而久之，这成为一种应该——应该画草图、应该阅读……连续五六年，傅榆翔就一直这样走着他的朝圣之路。在黄桷坪四川美术学院坦克库，傅榆翔举办了他人生中的第一个个展——《天空没有回音》。

其实，严格意义上说，说傅榆翔在作品中不带入的“自我”情感表达是不准确的。创作中，傅榆翔带入一种关于生物整体性的思考，一种关于人类集体的记忆。这种记忆，和自身的体验是分不开的。

傅榆翔讲了个故事：“2004年，一天晚上，在朝天门，我路过一家羊肉餐馆，餐馆门口栓了一只羊。我路过时，那只羊对着我拼命地叫，我能感受到这只羊想让我救他，我很感伤，可是如果我买回去又没有办法养，从那以后，那只羊的叫声一直回荡在我的脑海中。”生物强大的求生本能震撼着傅榆翔。那以后，他画作中基本上都是动物作为主题。

无论是《通灵的鹦鹉看着用手机的猴子》中滑稽的一幕，还是油画《后伊甸园》中宇航员和动物同框所带来的时间空间的错位，都带着自己独特的思考，傅榆翔始终关注和描绘人类及其它动物处在混沌却又逼真的不同场域，以更高的维度来思考，全域性地反思人类自身。

Artists always have rich and sensitive inner world,so that they are more emotional than the ordinary to the surroundings. While they are also su ff ering from painsdue to the loneliness that their inner world is unacceptable.

Based on Surrealism, Fu tried to build up a magical and realistic existence in a seemingly absurd visual relation between human society and animal world from a Surrealist Automatism perspective. Looking for such a magical existence, Fu has to endure the loneliness which for most artists is to be reconciled by exploring alone.For example, Hermann Hesse(赫尔曼•黑塞) experienced lonely, wandering and forbearing life and fi nally found his own Steppenwolf.So to Fu who believes in asceticism, exploring alone is a good way to endure loneliness.

Every morning Fu goes to 501 Artistic Base (in HuangjuepingChongqing ) before 9 a.m. and comes back at 5 p.m. His wife and daughter often go to visit him and call him "model worker". However, Fu does not consider it a job but a hobby, a way to releases and recognizes himself. Gradually, it becomes a willingness -a willingness to sketch and read. After 6 years of his art pilgrimage, Fu fi nally held his fi rst solo exhibition - "No Answer from the Sky" in the Tank Loft of Sichuan Fine Arts Institute.

In fact, it is not accurate to say that Fu rarely pays attention to "self" in his creation, because he introduces a comprehensive thinking perspective on being, a collective memory of humankind, which can not be formed without personal experience.

Fu told a story: "one night in 2004, when I passed a lamb restaurant in Chaotianmen, a sheep tied to the door was desperately bleating at me. I was very sad, because I knew that the sheep was asking for help but I could not answer the needs. Since then, the sheep's bleat constantly echoedin my mind. " Fu was strongly moved by the life instinct. After that, his paintings almost focus on animals.

From Fu’s paintings, such as the funny scene in Psychic Parrot Is Watching The Monkey Who Is Using A Phone (《通灵的鹦鹉看着用手机的猴子》) or the space dislocation in The Garden of Post-Eden (《后伊甸园),one can fi nd his independent and comprehensive re fl ection on humankind from a higher level perspective by intensively presenting human and animals in chaotic but realistic scenes.

一滴水不干涸的办法是让它流向大海A drop of water will fl ow into the sea

有艺术评论家评论，傅榆翔的创作，通过绘画在平面的二维视象中试图寻找人类社会与动物世界借助“超现实”的精神自动主义在看似荒诞的视觉关系中揭示“物种”之间某种联系。他笔下的动物已经被“人格化”地导入一种既魔幻又现实的存在之中，从那个时候起，傅榆翔的作品就已经建立了借助想象的荒诞去思辨人的生存以及不同物种灵性秩序的课题。

雕塑是绘画的火炬。 “如果说绘画让我欣喜，那么雕塑则是让我狂喜。”傅榆翔对雕塑的执着可见一斑。

“怎样让一滴水不干涸？让它流向大海。”雕塑是傅榆翔创作的转折点，水到渠成，大半生艺术的积淀就像水，流淌到了这个地方，是自然而然的， “我觉得我该做雕塑，就像当初我觉得我该画水墨了，应该写诗了。”

装置雕塑作品《移民外星人》从东方去到西方，用东方人的全球视野和格局，普查了一次地球人类文明抽离了种族、国家、信仰、社会、文化和当下普遍的阵痛和焦虑。傅榆翔的雕塑作品延续了他绘画的造型方法，但着眼点已经不是萨尔瓦多•达利（Salvador Dali）式的那种20世纪通过记忆与梦境的“荒诞化”所揭示的人类潜意识的世界，而是21世纪人类生存所面临的最为直接的“现实问题”——“物种生存”。

从“生命物种”到“文化物种”，再到“星际物种”所构成的“物种生存”的递进和叠合，这个复杂交错的“问题链”，或许就是傅榆翔试图通过雕塑的“超现实”手法所要指向的最为现实性的“现实主题”。

Some art critics reckon that Fu’s painting has revealed certain relation between species in a seemingly absurd vision, presenting human society and animal world from a Surrealist Automatism perspective. In his works, animals are personalized, being a magical and realistic existence. From that time, based on absurdimagination, Fu’s creation focuses on human existence and the spiritual order of species.

Sculpture is the fl are of painting. "If painting makes me happy, then sculpturemakes me ecstatic."what Fu said has proved his dedication to sculpture.

Actually, sculpture is the turning point of Fu's career. As a drop will fi nally fl ows into the sea, his talents in art will fi nally help him open up new creative fi eld."I think I should turn to sculpture now, just like I thought I would try ink painting or I would write a poem”, Fu said.

From the global vision and thinking pattern of oriental world, the sculptureMigrant Aliens is a census of a human civilization of the earth on race, country, faith,society, culture and the current problems and anxiety.Fu’s sculpture inherits the modeling method in painting,but unlike Salvador Dali(萨尔瓦多•达利) who tried to reveal the subconscious mind of human by absurdly expressed memories and dreams in a method adopted in the last century, Fu focuses on species existence, the most immediate and realistic problem in the 21st century.

Biological species, cultural species and alien species constitute the intricate “problem chain” of species existence, which is perhaps the real theme that Fu wants his surreal sculpture to express.

Fu Yuxiang, a Versatile Artist

Article | Hu Ting Pictures | Interviewee