艺术家朱小地

　　现在知道的朱小地是一位艺术家，可是他有着双重身份，那就是他原本是一位建筑师，不知道他从什么时候开始有了一个新的艺术家身份。但是，在他成为艺术家之前有过一段画家的经历，那么我们现在就要讲一下，画家和艺术家有什么区别？

　　无论是印象派画家还是后期印象派画家，我们都称其为画家，既使是莫奈和塞尚这样对20世纪现代艺术有着深远影响的大咖，在艺术史上也把他们定位为画家。塞尚尤为突出，他被毕加索称为“现代绘画之父”，可是塞尚却启迪了20世纪的现代艺术，特别是他的绘画作品和思想大大影响了毕加索和勃洛克。他们两位接受了塞尚的遗产之后发展出立体主义绘画，而立体主义绘画成为20世纪现代艺术史上影响深远的艺术风格，正是由于立体主义绘画的诞生，影响了整个欧洲和俄罗斯艺术界，从而在俄罗斯诞生了至上主义和构成主义。除了马列维奇之外，塔特林的“绘画雕塑”，就是受立体主义和毕加索风格的影响而诞生的装置艺术，我们在艺术史上都会很自然地把毕加索和塔特林这样的人物称为艺术家。从而我们发现，从事绘画的印象派画家们都从属于画家的身份，也就是他们大都以写生和默写自然为主，而立体主义则是打破自然的形态，重新建立造型的秩序，从而诞生了新的艺术，这便是绘画的延伸，即艺术。

　　现代艺术包括两个方面，首先它不是过去绘画经验的重复使用，其次，它是探索空间中的作品形态，如果说有着更高的层次，那就是观念艺术的诞生。20世纪当代艺术中派生出观念艺术是从绘画中诞生的。比如，西班牙画家为委拉茲贵支，德国浪漫主义画家弗里德里希，印象派画家莫奈和英国浪漫主义画家透纳，都启迪了二十世纪艺术的诞生，我们遵循这样一条线索，就可以对今天的艺术和艺术家加以定位。

　　我曾经注意到朱小地从建筑师开始对艺术有兴趣的那个阶段的绘画，那是我们通常非常熟悉的水墨画，尽管他是以抽象的高级形态出现，但是，他仍然脱离不了中国大多数画家在探索抽象绘画作品时所出现的雷同的形态，我们可以随便找到那些熟悉的画面。好像没有经过太长的时间，朱小地就摒弃了这种绘画，而走向看上去是一种非水墨的“空间绘画”，同时他把对水墨的眷恋转为空间装置。

　　2015年他在北京宏恩观举办的个展《庙雨》，是一次大胆的跃进，到过现场的人大都记忆犹新，作品的格局和内涵足以证明他是一位主动勾引空间的高手。

庙雨／装置／北京宏恩观／2015©朱小地工作室

　　其实他的出道，是2013年6月参加第55届威尼斯艺术双年展平行展《心跳》，展示的装置作品题目是《方块字》，虽然是由于我的推荐，但说实话，那时候我心里是没有底的，虽然在威尼斯的草地上我们需要适应环境的装置作品，可是没有做过装置作品的朱小地，究竟能拿出什么方案？结果，当朱小地描述他的《方块字》作品概念时，我有些放心了，同时我也吃惊他对艺术的领悟是如此之快和精准。现在，我们可以把这件作品定义为一次在国际艺术舞台上漂亮的亮相。

方块字／装置／第55届威尼斯双年展平行展／2013©方媒体工作室

　　如果我们说《庙雨》是一件空间中的二维绘画，那么2017年在北京在3画廊举办的大型空间个展《容迹》，就是对三维空间的制约。总之，建筑师出生的朱小地对空间的兴趣和驾驭能力来自他的职业智慧。这个个展的装置作品表现为用纵横两种语言来编织和穿越空间，无数根纤细的线有规律的相互交织，他们遵循的是几何形的路线，所以你会在虚无的空间中感受到人为构筑的屏障的力度，这些线形成多方向的张力。《庙雨》是向一个方向做垂直运动，而《容迹》是着眼于拨动空间，我们好像听到空间的和声。

容迹／2017／在3画廊©朱小地工作室

　　半年过后，《容迹》入选中国当代艺术年鉴展，由于空间和场地的限制和不同，完全复制前一件作品是不可能的，朱小地这次是在寻找新的空间对话的可能性。于是，我们看到一条黑色的长廊出现了。奇妙的是，长廊的外侧是由无数黑线拉撑构筑了一道斜面。为什么是斜面？仔细看才发现它是美术馆上部斜面墙的延伸，这就是建筑师对空间的敏感，我把这种方式称为对空间的补遗。在他对作品的阐述时提到“线”和“光”，我们看到线有了，光在哪里？其实，我们感受到光的存在一般有两种方式：一种是由于光的照射产生投影；第二种就是拦截，用纵横交错的线，将空间分断，通过半透明的空间可以感受到恍惚的黑色的光，这就是老子曾经赞美过的“恍恍惚惚”。

容迹／装置／民生美术馆／北京／2018©方媒体工作室

容迹／装置／民生美术馆／北京／2018©方媒体工作室

容迹／装置／民生美术馆／北京／2018©方媒体工作室

容迹／装置／民生美术馆／北京／2018©方媒体工作室

容迹／装置／民生美术馆／北京／2018©方媒体工作室

容迹／装置／民生美术馆／北京／2018©方媒体工作室

容迹／装置／民生美术馆／北京／2018©方媒体工作室

容迹／装置／民生美术馆／北京／2018©方媒体工作室

　　好了，朱小地着实完成了从画家到艺术家的蜕变，当我听他说他已经把以前画的水墨画都撕了时，我真佩服他的一刀两断。艺术就是亮剑，就是抱一，就是开弓岂有回头箭。

撰文／方振宁（艺术和建筑领域里的独立策展人，评论家）

摄影／朱小地工作室方媒体工作室

2018-6-21 北京

ZHU Xiaodi: Space Addendum

　　ZHU Xiaodi is known as an artist, what people don't know is, before he was tagged as an artist, he was an architect, and he had an experience of being a painter as well. What does a painter to do with an architect?

　　Whatever the impressionist painters or the post-impressionist painters, they are all called painters, even Monet and Cezanne, masters who had a profound influence on the modern art of the 20thCentury, they were still positioned as painters. Cezanne, praised by Picasso as the "Father of Modern Painting", enlightened the modern art of the 20thCentury, especially for his painting work and thoughts, which had greatly influenced Picasso and Blok. The two painters accepted the heritage of Cezanne and developed the cubism painting, while the cubism painting became the artistic style that exerted a profound influence on the modern art history of the 20thCentury, and just because of the birth of cubism painting, this had influenced the art world of the entire Europe and Russia, and then generated conciliarism and constructivism in Russia. Except Malevich, Tatlin's"painting sculpture" is the installation art generated under the influence of cubism and Picasso styles, and in the art history, we will naturally call people such as Picasso and Tatlin as artists, so that we can find out, all impressionist painters engaged in painting are identified as painters, that is to say, most of them focus on sketching and natural dictation, while cubism breaks through natural form, it is an order that rebuilds the modeling so as to generate a new art, that is the extension of painting, i.e., art.

　　Modern art includes two aspects, firstly, it is not the repeated use of previous painting experience; secondly, it is exploring the form of the works in space, if there is higher level, it would be the generation of concept art. In the modern art of the 20th Century, the concept art was derived and it was generated in painting. For instance, the Spanish Painter Velazquez, the German Romanism Painter Friederich, Indian Painter Monetand British Romanism Painter Turner had enlightened the generation of art during the 20th Century. By following such clue, we can position today's art and artists.

　　I used to pay attention to the paintings of ZHUXiaodi when he started his interest in art since he was an architect, it was the ink painting we were commonly familiar with, although he showed them in abstract and high-level form, he still cannot be separated from the similar form showed by most Chinese painters when exploring abstract painting works, and we can easily find out similar pictures. It seems that within a short time, ZHUXiaodi had abandoned such painting, and started to be engaged in non-ink painting "space painting"; meanwhile, he converted his attachment to ink painting to spatial installation.

　　In 2015, he held an individual exhibition called Temple Rain at Hongenguan, Beijing. This was a bold leap, most people at the site would remain a fresh impression of his works, the layout and connotation of his works fully proved that ZHUXiaodi is a master with a talent of dealing with the space.

　　The debut of his career as an artist was actually from the 55thVenice Art Biennial Exhibition Parallel Exhibition, the Heartbeat , June, 2013, his participating works wastitled as Square Word. Although with my recommendation, honestly, I wasn't so confident in him, although we need the installation work that adapts to the grass land environment in Venice, since ZHUXiaodi didn't have any installation work. what scheme can he offer? However, I started to feel relieved when ZHUXiaodi described the concept of his work-Square Word, meanwhile, I was also shocked by his understanding about art, which was so profound and accurate. Now, we can define such works as a beautiful appearance on the international art stage.

　　If the Temple Rain were a two-dimensional painting in space, then the large-scaled space individual exhibition-Rongjiheld in Beijing at 3-Gallery in 2017 would be the restriction of three-dimensional space. In summary, ZHUXiaodi's interest and his control in space are from his career intelligence. The installation work of such individual exhibition is shown as using vertical and horizontal languages to weave and pass through space, and numerous fine lines mutually interweaved in order, and what they follow is the geometric lines, so you can feel the strength of man-made construction barriers in the empty space, and these lines can form multi-directional tension. Temple Rain is conducting vertical movement towards one direction, while Rongjiemphasizes on stirring space, and we seems to hear the chord of space.

　　After half a year, Rongjiwas chosen to participate into Chinese Contemporary Art Yearbook Exhibition, and due to the restriction and difference of space and site, it was impossible to fully copy the former work, and this time, ZHUXiaodi was searching for the possibility of new specialdialogue. Thus, we saw a black gallery. The wonderful thing was that, the external side of the gallery was a slope constituted by the support of numerous black lines. Why is it a slope? Through careful observation, we can see that it is the extension of the upper battered wall of the art gallery, this is the sensitivity of architect for space, and we call such mode as the space addendum. When explaining the work, he mentioned "line" and "light", we can see the line, but where is the light? Actually, we can see that the existence of light has two modes: the first one is that the light irradiation can generate projection; the second one is interception, and the use of cross lines to separate the space, and through semitransparent space, we can feel the dim black light, and this is the "trance" used to be praised by Lao Tzu.

　　Anyway, ZHUXiaodi completed his transform from a painter to an artist, I appreciated him much for his resolution when I heard that he tore the ink painting he used to draw. Art is a warrior showing his sword to enemy in his path, art is resolution, and is no turning back.

Author /FANG Zhenning (Independent curator, critic of art and architecture)

Photographer / ZHU XiaodiArchitects, FANG Media Workshop

June 21, 2018, Beijing

来源：雅昌艺术网 作者：方振宁