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▎伊基神殿 The Temple of Iggy 布面油画 Oil on canvas 210x140cm 2023

 

杜昆不仅是一位艺术家，同时也是一位音乐人。他擅长将音乐元素以各种形式渗透进画作之中。2014年，他开始创作摇滚明星系列，以此向曾经影响自己的音乐前辈致敬。这幅创作于2023年的新作《伊基神殿》便是以美国摇滚巨星、朋克之父伊基波普（Iggy Pop）为原型进行绘制的超现实主义画作。作品中，杜昆用极其细腻的写实技法绘制亭台楼阁、山水云雾、苍松劲柏，呈现一种强烈的身临其境的荒诞感。他将充满现代叛逆精神的摇滚偶像与庄严肃穆的东方佛教偶像相融合，“偶像”这个词的双重含义被并置于画面中，成为画面的冲突点。

 

Du Kun is not only a painter but also a musician. He specialises in infusing musical elements into his paintings in various forms. In 2014, he began creating rock stars series as a tribute to the musical predecessors who had influenced him. This new work, The Temple of Iggy, created in 2023, is a surrealist painting based on American rock star and father of punk, Iggy Pop. In this work, Du Kun paints pavilions, landscapes, clouds, pines and cypresses with extremely detailed and realistic techniques, presenting a strong sense of immersive absurdity. He blends the rock idol, which is full of modern rebellious spirit, with the solemn oriental Buddhist idol, and the double meaning of the word idol is juxtaposed in the picture, which becomes the conflict point of the picture.

 

 

▎冬至 Winter solstice 布面油画 Oil on canvas  150x150cm 2012

 

这幅作品完成于2012年12月21日，那一天是冬至，也是玛雅预言中的世界末日，作品因此得名。在这幅画中，一群人相互拥抱围绕，上半身相互缠绕，生成一座巨大的红色正方生命体，如同某种末日生物的血管与内脏，在寒冷的野外散发着热气。表征着人类居所的菱形地板和荒芜的野外接壤，血红的生命体立于接壤处并不断向上攀缘，构建出一幅世界末日的景观。

 

The work was completed on 21 December 2012, the day of the winter solstice and the Mayan prophecy of the end of the world, hence the work's name. In this painting, a group of people embrace each other and surround each other, their upper bodies twisting around each other, generating a huge red square life form, like the veins and entrails of some apocalyptic creature, radiating heat in the cold wilderness. The diamond-shaped floor that characterises human habitation borders the barren wilderness, where blood-red life forms stand and climb upwards, creating an apocalyptic landscape.

 

在艺术家看来，个人与社会的关系便如同这一血红的生命体。社会是遵循某种规则而聚集在一起的无数个体的总称，是包含了合作与冲突、吸引和排斥的矛盾统一体，是一个连接着所有个体的有机生命体。个体的善可以影响周围的人进而影响整体，一个人的恶也可以就此传播。因此，我们向社会这个有机生命体输送什么“食物”或者“药物”，最终都会到达每一个个体，塑造出人们自以为是的“自由意志”。这种“强决定论”（Hard Determinism）的世界观弥漫在杜昆所有的作品之中。

 

In the artist's opinion, the relationship between the individual and society is like this blood-red living organism. Society is a general term for the countless individuals gathered together following certain rules. It’s a contradictory unity containing cooperation and conflict, attraction and repulsion, and an organic living organism connecting all individuals. An individual's goodness can influence those around them and thus the whole, and a person's evil can spread in this way. Therefore, whatever we send to the organism will eventually reach each individual, moulding the Free Will. This worldview of Hard Determinism pervades all of Du Kun's work.

 

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▎新山海经3 The New  Book of Mountains and Seas 3 影像截图 Image screenshot 尺寸可变 Size Variable 2017

 

邱岸雄被公认为是将动画视频创作引入中国当代艺术语境的先锋代表人物。《新山海经》三部曲延续了他以往的作品理念——探讨人与自然的关系，基于中国古代经典著作《山海经》展开，历时12年（2005-2017）创作完成，质问了社会与科技高速发展的同时，环境、传统价值及人类文明为此付出的代价。

 

Qiu Anxiong is recognised as a pioneer representative of introducing animated video creation into the context of Chinese contemporary art. The New Book of Mountains and Seas continues the concept of his previous works, exploring the relationship between human beings and nature. Based on the ancient The Book of Mountains and Seas, this work was created over a period of 12 years, questioning the environment, traditional values and the price paid by human civilisation for the rapid development of society and technology.

 

 

 

▎新山海经3 The New  Book of Mountains and Seas 3 影像截图 Image screenshot 尺寸可变 Size Variable 2017

 

《新山海经III》描绘的是末世般的未来：现实环境的急剧恶化，空旷无人的城市被动物和植物占领，面带章鱼面具的人从高楼坠落，鸟型监视器监控着空无一人的街道，所有人沉醉于线上虚拟现实，自然传统的桃花源也同样是虚拟景观。

 

The New Book of Mountains and Seas III depicts a post-apocalyptic future where the  environment has deteriorated dramatically and deserted city has already overruned by animals and plants. Man in octopus mask falls from tall building. Bird monitors monitor empty streets. Everyone is addicted to online virtual reality and the natural tradition of the Peach Garden is also a virtual landscape.

 

邱岸雄基于现实世界图景创作出了一个无法断论其真实抑或虚拟的世界。伴随着社会困境和科技发展应运而生的工具和景观，诸如口罩、虚拟装备、监控等，在作品中和类似于赛博格一般的怪异生物结合。可以看出，影像作品《山海经III》以非线性的神话的叙事手法描绘今天的世界，并将现代科技产物，如汽车、飞机等进行神话的诠释，使其呈现出超自然的力量。如同《山海经》中对动物的描绘夹杂着符号化的隐喻，并赋予着一种超自然的力量那般。

 

Qiu Anxiong creates a world based on a picture of the real world that is impossible to say whether it is real or virtual. The tools and landscapes that have arisen in response to social dilemmas and technological developments, such as masks, virtual gear, and surveillance, are combined in the work with monstrous creatures resembling cyborgs in general. As you can see, this video work depicts today's world in a non-linear and mythological narrative. It puts a mythological spin on modern technological artefacts such as cars and aeroplanes, giving them a supernatural power. Just as the depictions of animals in The Book of Mountains and Seas are interspersed with symbolic metaphors and imbued with a supernatural power.

 

 

 

 

▎新山海经3 The New  Book of Mountains and Seas 3 影像截图 Image screenshot 尺寸可变 Size Variable 2017

 

在艺术家看来，科技在今天，本身就是神话的“替代品”。它们都是某种“魔力”或者超自然力量的投射物。因此，《新山海经III》也隐藏着艺术家对于神话和当代科技之间关系的思考：神话指向过去的时间，科幻则指向未来的时间，但是他们的内核都有超自然力量的元素。

 

In the artist's view, technology is a substitute for myth. They're all projections of some kind of magic or supernatural force. Thus, The New Book of Mountains and Seas III also hides the artist's thoughts on the relationship between mythology and contemporary technology which myths point to past time and sci-fi to future time, but they both have elements of supernatural power at their core.

 

 

▎《新山海经-水熊》The New  Book of Mountains and Seas – Water Bear，布面丙烯 Acrylic on canvas，200x240cm，2020

 

这件创作于2020年的《新山海经-水熊》是邱岸雄在此前黑白的创作体系上加入色彩的探索。他从中国的青绿色彩系统出发，将自然景观和现代城市的人造景观组成一个异质空间。人类文明史上最发达的交通工具——飞机缓慢划过雪山，立交桥旁，一名士兵模样的人骑在马上，另一人站在马背上，用武器对准着地球上最为古老的生物之一——水熊。两个模糊粘连的肢体缠斗扭打在一起，使画面呈现出怪诞诡谲的视觉效果。

 

Created in 2020, The New Book of Mountains and Seas – Water Bear is Qiu's exploration of adding colour to his previous monochrome creation system. Starting from the Chinese turquoise color system, he composes a heterogeneous space between the natural landscape and the manmade landscape of the modern city. In this painting, aircraft, the most advanced means of transport in the history of human civilisation slowly cutting across snow-covered mountains. Next to the overpass, a soldier-like man is mounted on a horse, while another stand on the back of the horse, aiming a weapon at one of the oldest creatures on the planet – a water bear. Two fuzzy and sticky limbs are entangled and twisted together, giving the image a grotesque and bizarre visual effect.

 

艺术家用这种方式展现了当代社会生存方式和自然之间的冲突——人类用科技手段统治、利用地球资源，但同时也给自己带来生存危机。人类想要成为自然的主宰，按照不断膨胀着的欲望去任意支配自然，但很可能如同那武器对准的“不死”的水熊那般，自食其果的只有人类自己，而自然终将永生。

 

In this way, the artist shows the conflict between the contemporary society and nature. Humans use technology to dominate and utilise the Earth's resources, but at the same time, they have created an existential crisis for themselves. Humans want to be the masters of nature, to dominate it according to their ever-expanding desires. But in all likelihood, as in the case of the immortal water bears whose weapons were aimed at, the only ones who will reap the consequences will be human beings, and nature will live forever.

 

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