周力 对话 郑念缇

周力(Zhou Li)

　　题记：周力的创作涵盖公共艺术、装置、雕塑绘画等多种媒介。她对于城市公共空间的改造使得艺术和文化的影响力延伸至大众。周力的创作兼具欧洲的浪漫气质以及中国自有的刚劲飘逸。周力将其自身对于这个世界——光、影、存在等的细腻感受精炼、提纯，然后将它们转换在她丰富的艺术创作和诉说里。从绘画方面来说，她在画布上描绘的是一种极具个人特征但又富有中国传统意味气氛的作品，“气韵”、“笔触”、“彩赋”、“经营”等在画论里被重点提及的要点在她的作品里触目皆是。她刻苦地“师古”却不堕于古，从古典的精英的文化里汲取养分再幻化成自己的创作语言，从她的作品里看得到经典的气息却又被其强烈的个人色彩所包容集合。周力的绘画语言是抽象的，而这不是为了抽象而抽象的形式主义抽象。它们活泼而充满生命感，画面上的每一个笔触都是作者本人对于存在本质的拷问和追索。

周力最新个展于2017年2月24日上海余德耀美术馆开幕(2017 Zhou Li’s solo show Shadow of the Wind is opened at Yuz Museum in Shanghai)

　　郑念缇(Christina Y Z)：你的作品具备一种很特别的节奏感，犹如肌肤下的脉搏，它们富有生命力，这种节奏一方面缘于你有规律地创作，另一方面又缘于你节制而又近乎极端地每日书写，其实我觉得这是一种你深谙与古人对话的方式，而这种对话明确了你自己的身份——一个文化纪念者的身份？

　　周力（Zhou Li）：有规律地创作，节制而极端这是我所欣赏的职业的工作态度。但创作方式并不意味着作品就一定具备生命感。我自认为我作品的生命感来自我自身，我还认为艺术的可贵之处是因为它能表达出生命力。书写只是让我安静和保持注意力集中的一个爱好，没有必要联系到文化纪念者的标识。我一个朋友说过，多读“死人的书”是一个理，经历过历史沉淀而依然闪光的才是珍品。我的营养是从古而来但眼望未来。过去是过去了的，唯有未来值得期待。对于历史我想最重要的应该是精神的传承和超越。

　　郑念缇：在“趴刻”展览里，丽莲•托马斯寇(Liliane Tomasko)也擅长勾勒线条，她来自瑞士，而你久居法国，你们都有欧洲精神——细腻、精致、词义丰富，诸如此类。我们可以假设这是地理环境对于作者所施加的影响，尽管作者本人并不一定会同意我的看法，你觉得呢？

　　周力：如果主体是敏感的,地理环境会影响创作。敏锐的生活感受力是做为一个好艺术家的基本条件。我只看了丽莲的一件作品，她作品仍属抽象表现范筹，也是最能直接表达情绪的一种形式，目前我跟她的线完全不同。再，如果还受制于地域影响，那作品永远也只是个“珠三角”的线，相当于不成立了。

　　郑念缇：达沃•霍根不同意归类你的作品抽象或是不抽象。我们讨论时，他认为你的线条都是生命体的影子，凝神注视时它们宛如正在呼吸的有机体。

　　周力：我倒挺喜欢达沃的评价，抽象与非抽象这是批评家或观众的归类。我认为艺术创作要具有生命感才吸引我，抽象到蒙德里安就已静止至死，但那个抽像仍然是有生命和节奏的，这是艺术的要素。

周力(Zhou Li) 《 线 - 粉色之一 Lines － pink No.1》 2016 综合材料(Mixed media on canvas) 160 x 130 cm(63 x 51.2 in)

周力(Zhou Li) 《线 - 粉色之五 Lines － pink No.5》 2016 综合材料(Mixed media on canvas) 160 cm x 130 cm(63 x 51.2 in)

　　郑念缇：你认为怎样的作品才算是词义丰富？

　　周力：气韵，关系，明确，克制与放纵，肆意与收敛，无可限量的张力。

　　郑念缇：“趴刻”对于你来说意味着什么？

　　周力：这个“趴”字意表面是轻松愉悦快乐的，而实际意义上真正的交流也往往是在这种氛围中能产生的。平等对话，没有谁主导谁或谁更高级。从内容到形式，我认为最高级的创作精神层面始终是相通的，无分东西。从西方理性批判性观念我们回到了对绘画本质问题的探讨。再有刘可作品和里亚姆作品对话，很有意义。

而梅林•詹姆斯我去过他苏格兰的工作室跟他深聊过，他是一个极具感性的艺术家，作品很诗意。另外这几个国外艺术家的作品我都非常喜欢。

　　郑念缇：其实除了丽莲，“趴刻”里的伊萨贝尔•诺兰(Isabel Nolan)和你也有共通之处，你们都擅长创作公共装置作品。未来你更愿意创作怎样的作品？

　　周力：“所有形式都是一张看着我们的脸”，与空间和观众及环境对话的作品。

　　郑念缇：有哪些事让你魂牵梦萦，生活里或创作中？

　　周力：给父亲的展览做完，其它所有一切都没那么急也不用那么夸张的用词了。生活平淡，没那么多魂牵梦萦。

　　郑念缇：这么多年，作品里的节奏感是一方面，而你的创作上的节奏感——极富耐心，浪漫而充满毅力，使得我不禁篡改了布朗肖的一本笔记名做为我们的访谈标题，以志纪念的纪念，书写的书写，坚持的坚持：等待，不遗忘。

　　周力：最后这句很喜欢：等待，不遗忘。对于生活及未来。

　　Park Interview(3) : Talks with Zhou Li—Abiding, reliving

　　Zhou Li and Chrisitna Y Z

　　Abstract: Zhou Li’s works include paintings in mixed medias, sculptures, installations and public art. Freed from the limitations of materials, she persists to transform the traditional public space of the city, which exerts the civilizing and cultural influence towards the public. Reasonable romance based on European cultures and bold elegance rooted in Chinese traditions can both be seen in her works. Her explorations in the contemporary boundaries show her caring for cultures and humanities. Zhou Li extracts and purifies her delicate feelings of the world: light, shadows, the sense of being, etc., and then these elements were transformed into her abundant creations and narratives. On one hand, in her paintings, she depicts works with strong personal visual characteristics, on the other hand, her works behold a strong traditional Chinese atmosphere, “Qi Yun”(atmosphere), “brush strokes”, “color recognition” and “structure arrangement”, such essential elements which are stressed time after time in Chinese classical painting theories are seen in her works thoroughly. She works hard for “learning from the classics” but she is not hindered by such nutrients, absorbing the traditional essences, she transfers them into her personal languages, which possess the strong senses of classics meanwhile are included into her strong individual visual narratives. Zhou Li’s painting language is abstract, yet it is not abstract formalism as abstract for abstract. They are lively and they are full of senses of life, every brush stroke on the canvas is her persistent query and pursuit toward being. Also, her daily life is her practice of art, consequently her art grows and fills her life. With the ever changing and growing indwelling characteristics of her works, Zhou Li brings to us the ever renewing comprehensive experience.

周力最新个展于2017年2月24日上海余德耀美术馆开幕(2017 Zhou Li’s solo show Shadow of the Wind is opened at Yuz Museum in Shanghai)

　　Christina Y Z: Your work acquires a very special sense of rhythm, like the pulses under one’s skin, they are vital, on one hand this kind of sense originates from your creation practices, on the other hand, they are from your restrained and regular daily handwriting, I think it is a dialogue which you establish to communicate with our ancients, in such a dialogue you clearly clarify your identity – one who pays tribute toward the essence of the classics.

　　Zhou Li: to create in a certain rhythm：an extremely restrained beat, which is a professional working attitude I appreciate of. But the way of creating does not mean the works surely have their life beats. I myself consider the vitality of my works come from my real life, and I think the most valuable benefit of art is that through which the sense and beats of life can be conveyed. Calligraphy practicing is just a hobby from which I calm down and focus my mind. It is a kind of tribute but to clarify one’s identity is not the point. One of my friends once told me – it is good to read “books of the dead", for they are indeed treasures if they still exist after passing through the tests over generations. I gain my nutrition from the ancients while I value the future. And for me, past is already past, only the future is worth to expect. For the essence of history I think it is important to inherit it mentally but meanwhile to transcend it.

　　Christina Y Z: In “PARK”, artist Liliane Tomasko is also good at sketching lines. She comes from Switzerland, you lived in France for a long period, so you both have European spirit: delicate, refined, rich of meaning, etc. We can assume that this is the impact toward the artists from the geographical environment, although I know possibly you will not agree with my opinion, do you ?

　　Zhou Li: Geographical environment affects the creation, if the artist is sensitive. The basic condition of being a good artist is to have a keen perception. I only saw once a piece of Liliane’s work, her works still belong to abstract expressionism, which is the pattern express freely and directly the emotions. There is a big gap from her lines to mine. Further more, if the works are limited by the geographical influences, the lines can only be labeled "Pearl River Delta" lines, which does not work for me.

周力(Zhou Li) 《线 - 白影之二 Lines - white shadows No.2》 2016 综合材料(Mixed media on canvas) 200 × 200 cm(78.7 × 78.7 in)

周力(Zhou Li) 《线 - 白影之三 Lines - white shadows No.3》 2016 综合材料(Mixed media on canvas) 200 × 200 cm(78.7 × 78.7 in)

周力(Zhou Li) 《线 - 白影之四 Lines - white shadows No.4》 2016 综合材料(Mixed media on canvas) 200 × 200 cm(78.7 × 78.7 in)

　　Christina Y Z: Darragh Hogan does not agree to sort your works in abstract or not –abstract, while we were discussing, he thought that your lines are the shadows of being, to glare at them one can feel as if one faces the breathing organism.

　　Zhou Li: I take Darragh Hogan’s words, about abstract or not abstract it is just a classification by critics and audiences. For me I think art only attracts me with its sense of vitality, abstraction goes to a total stillness at the time of Mondrian’s, but it has a certain rhythm or life sense in that stillness, the essence of art.

　　Christina Y Z: What kind of art works do you think they are rich in meaning?

　　Zhou Li: The woks with the characteristics of Qi Yun, contexts, clarification, etc., the unlimited tensions of restraints and indulgence, untrammelled spreading and convergence.

　　Christina Y Z: What does “PARK” mean to you?

　　Zhou Li: For me “Park” means relaxation and happiness literally, but the true communications are produced in this kind of atmosphere. To have an equal dialogue, no one is superior or who is more privileged. I believe that there is a mutual channel between the most advanced artistic expression in the mental level, regardless of the west or the east. From the Western rational critical concepts we return to the exploration on the essence of painting, likewise to see the dialogues of the works of Liu Ke and Liam Gillick, it is quite meaningful.And for Merlin James, I've been to his studio in Scotland. We had a deep talk, and he is a sensational artist and his works are poetic. Moreover, I like the works of the artists from “PARK”.

周力(Zhou Li) 《线 - 影子的影子之五 Lines - the shadow of shadows No.5》 2016 综合材料(Mixed media on canvas) 200 × 300 cm(78.7×118.1 in)

　　Christina Y Z: In fact, in addition to Liliane Tomasko in the exhibition of "PARK", Isabel Nolan also has something in common with you, both of you are good at creating public installation works. What kind of work will you prefer to create in the future?

　　Zhou Li: "All forms are a look at our faces" and the dialogues between space and the audiences and the environment.

　　Christina Y Z: What are the things excite you in your life and in creation?

　　Zhou Li: After the solo show contributed to my father at the beginning of this year, all the other things have become trifles that are not anxious anymore and no exaggerated words for them. Life comes back as usual again.

　　Christina Y Z: For so many years, on one hand we cherish the sense of rhythm in your works，on the other hand the rhythm beats of your creations are: patience, perseverance, enchantment, to understand your consistency make me altered a book title of Maurice Blanchot, to mark the memory of memories, creation of creations, persistence of persistence: abiding, reliving.

　　Zhou Li: The last line touches the point: abiding, reliving—for life and future.

来源：雅昌艺术网 作者：郑念缇