2011年，艺术家隋丞在北京做过一次名为“游观：隋丞当代艺术展”，作品以版画为主。这次，他向我们展示的主要是影像作品。还有少许的版画。

　　隋丞的这些影像在拍摄之前，可以说没有任何预先设计的目标，当那些表面看起来平常却蕴含着某种真实的境遇感的风景出现时，他才会开始构思作品或者随手拍下。作品时常显示出有点戏剧化的场景，将日常生活中某个情景表现得有点不安而无奈。很明显，艺术家在这里试图展示一个他思维中的日常世界。影像之外，没有过多的渲染与修饰，而艺术家自己，更像是一个实用主义文化的图示者，其间带着孤独的感忧与腐蚀性的哀伤。

　　在隋丞的这些影像中，我们其实是找不到影像的美感的，或者说，他根本就不在乎所谓影像之美的再现。他的这些影像作品，影像除融入艺术家的观念意图，最重要的是作品表达感受时的独立性和真诚感;艺术家在真实面对当下，体验自己不同于其它时代的生存环境和文化针对的问题，试图超越外在流行文化和意识形态的束缚，使自己的感受具有鲜明和鲜活的状态。正是这种对艺术的真诚态度和对日常世界的个人体验，恰当地显现了艺术家关于文化和时代背景的信息判断，它们无疑和历史、记忆与身份这些叙述的文化幻想相关联，并被艺术家以摄影的方式所叙述。在此，艺术家抽离或重塑了影像世界的自然与历史乃至当下的现实，探讨了生活的感悟与体验，思考着现实境遇所面临的种种可能，并以影像的方式模糊了现实与虚构之间的界限，涉及到了一个走向自然与生命的普遍性问题。

　　有时，我们可以在隋丞的作品中找到其版画中出现的气氛、构成和形象的影子。这些有点象张大力作品中破墙而成的随意人形，无意地摆放在场景之中，就像等待戈多的幻影，它们的存在意义与隋丞版画作品中被淹没在喧嚣以及欲望的场景之中的人形相背离，在他的影像作品中，这些人形却变成让人看到人类空洞的精神与灵魂的象征物。

　　该展览试图从当下中国混杂的根本情境中寻找，从艺术家的个体经验出发去重新理解历史与现实的问题，并以此回应现实的无奈。正所谓现实之上没有梦想，但精神的守望可以让一个愈加敏感的世界变得更加当下。

　　陈向兵于深圳大学三号艺栈

　　2014年5月30日

　　Preface

　　In a Way of Image

　　——Wandering Vision Part II• Exhibition of Sui Cheng’s Contemporary Art

　　Cheng Xiangbing

　　May 30, 2014

　　In 2011, Sui Cheng’s exhibition, Wandering Vision: Exhibition of Sui Cheng’s Contemporary Art, was held in Beijing, which mainly displayed his printmaking works. This year, he will mainly exhibit his works of image and a small amount of prints.

　　Before Sui Cheng created these images, it can be said that he had no pre-designed goal. When certain scenery with the sense of situation under ordinary outlook appeared, he would start his composition of his works or take the pictures at once. His works often present a kind of dramatic scene, expressing a certain restlessness and helplessness in daily life. Obviously, the artist tries showing people a kind of daily life in his thought. There is no over rendering or decoration except the image itself. The artist himself is more like an illustrator in practical culture, with solitary emotion and corrosive grief.

　　In these Sui Cheng’s images, people actually can not get the sense of beauty. Or we can understand as that the artist doesn’t care whether the images can reproduce the so-called beauty of images. The images, besides expressing the artist’s idea, convey the independence and sincerity in expression, which is the most important thing. The artist has confronted with this real contemporary world, faced the problems which never existed in the living environment and culture of another era, tried breaking out of the bound from external popular culture and ideology, and kept his own feeling and emotion clear and fresh. It is this sincere attitude to art and the personal experience in daily life that shows properly Sui Cheng’s information judgment on cultural and epochal background. They, without doubt, are relative to narrative cultural fantasy such as history, memory and identity, and are shown to the world by the artist via photography. Here, the artist has got rid of or rebuilt the reality of nature and history and even today in the world of image, probed into the reflections and experience in life, and pondered over the multiple possibilities in reality situation. Then he obscured the boundary between reality and fiction, leading to the universal problem: nature and life.

　　Occasionally we can sense the printmaking atmosphere and structure in Sui Cheng’s works of image. This is similar to Zhang Dali’s random figures broking out of the walls. They are arranged randomly in the scene, as if waiting for Godot’s phantom. Their existing meaning is different from that of the figures overwhelmed in noise and desire of Sui Cheng’s prints. In Sui Cheng’s works of image, these figures turn into a symbol which render people see clearly the empty spirit and soul of human beings.

　　This exhibition attempts to seek for and re-understand historical and real problem from today China’s mingled situation and the artist’s personal experience, and respond to the helplessness in reality. It is often said that there is no dream in reality. But the spiritual watch can make the sensitive world more present.

作者：陈向兵