如今，对绘画的探讨，在某种意义上，已经变成了对绘画形式的探讨。问题是，绘画似乎已经穷尽了它的可能性。在庞大的包罗万象的绘画传统面前，如何打破既定的绘画制度从而发明一种新的绘画经验?这个问题几乎折磨着所有的画家。“双重绘画”、“活动绘画”，是杨千对这一问题的回应。将绘画从千百年来一个固定而静止的形态中解脱出来，使绘画挣脱了长久以来空间和时间所赋予的框架，而变成了一个偶然性的形态，并获得了一种时间上的绵延和伸展。绘画或者具有一种机器般的运动属性，或者具有一种魔术般的诡异的时间变化。从形式上来看，它不再是僵硬的静物，而像是一个有生命的有机物一样，它能感应、能反应、能应答、能交流。它或者遵循某种游戏般的戏耍，或者沾染某种达达式的嘲弄习气。绘画在此变得生机勃勃，不是画面中的内容生机勃勃，而是画的物质形态本身，是僵死的画框本身变得生机勃勃。绘画一旦失去了稳定的形态，一旦失去了凝固的焦点，观看绘画的经验也迥然不同：目光不再是被画面中的某一个焦点所吸引，不再被沉默的画面所吸附和吞没;相反，目光伴随着绘画的运动和变化，也在发生变化。在此，好奇和惊讶代替了沉思，游戏和娱乐代替了凝神静气。一种全新的观看经验出现了：绘画不是让人变得更专注，而是让人变得更涣散;观画，不是让人被画框所吸纳进去，而是让人一遍遍地从画框外逃离开去。

　　杨千这些独具匠心的“活动绘画”和“双重绘画”，表达了对绘画传统和体制的一个形式主义的爆炸，不过，它们并没有回避历史和现实。正是因为画面所特有的变化、对照和移动，画面本身变得丰富而多样，画面的变化痕迹正是历史的变化痕迹。画面的对照正是历史的对照，画面的运动正是历史的运动。这些绘画的时间性，重新镌刻了社会生活的历史维度。也就是说，杨千对绘画的形式主义摸索，同时也是对社会历史的摸索。历史不仅仅埋伏在画面的图像中，也埋伏在绘画精心酝酿的形式中。在此，绘画和历史的关系，呈现出一种新的连接形式。通常的方式是，艺术家直接根据图像，根据图像的塑造来表达对社会的思考。人们试图穿过图像的屏障来发现历史和社会。但是，在杨千这里，不光是图像本身，图像的材料，处理材料的技术，以及整个绘画所采纳的形式，都埋伏着历史无意识。

　　这一点，在杨千最近以纸屑作为绘画材料的作品中，同样得到体现。杨千搜集了各种各样的杂志，更准确地说，搜集到了大量的娱乐和消费杂志。这些杂志被金钱所堆积，装扮成时尚的面孔。它们围绕着明星以及明星的脸而展开，这些明星既是这些杂志的兜售重点，同时也被这些杂志反复地制造出来。杨千用碎纸机将这些杂志粉碎成一堆碎片，然后将这些碎片粘贴在画布上，并使它们构成了一个个明星，政治明星或者娱乐明星的图案。这就是杨千新的系列作品《媒体制造》的制造方式。

　　为什么要将这些杂志粉碎，并以这些纸屑作画?将这些杂志进行粉碎，这本身就表明一种态度，一种残暴、毁坏、蔑视和不信任的态度。似乎是杨千不仅是要毁掉这些杂志，毁掉这些时尚，而且还要毁掉这些明星，毁掉他们的脸。杂志和明星一起在碎纸机中毁掉。这些毁灭，预示了这些杂志的命运。事实上是，越是豪华的杂志，越是被金钱堆积的杂志，越是依附于明星和制造明星的杂志，越是速朽。但是，今天的一个奇怪的悖论是，越是速朽的杂志，越是拥有最广泛的读者;越是没有收藏价值的杂志，越是吸引人的目光，越是令人们趋之若鹜。没有人认真地对待这些杂志。这些杂志尽管奢华，但它们很快就以垃圾的形象出现。杂志和明星出现的瞬间，光彩照人;但是，碎片是它们短暂命运的最后归宿。这些杂志是速朽的，它们所制造的明星难道不也是速朽的?产品和产品的制造者，明星和这些制造明星的杂志，分享的是同一个命运：碎屑是两者的共同归宿。碎纸机是笼罩在两者身上的命运的必然之笼。

　　不过，杨千在画布上重新复制了这些明星，这些纸屑重新构成了明星的图案。一个毁坏和坍塌的明星又被粘合起来。杂志中的速朽形象在画布上获得了永恒。同印刷品的速朽相比，绘画更像是一种雕刻，今天，仿佛只有绘画这种形式，才具有一种耐力和永恒感，才能让人物长久地留存。事实上，尽管摄影和印刷技术日臻成熟，尽管人们会被成千上万次地拍摄和印刷，但是，奇怪的是，这些照片和印刷好像并不能让人们一劳永逸地封存下来。没有人对摄影充满信心。事实上，一旦照片和摄影异常方便，人们在今天似乎更愿意以另外的方式被留存，愿意以绘画的方式被留存下来，似乎绘画才能让人们变得经典化—一个明显的事实是，照相不再是日常生活中的重大时刻—无论是对明星还是对匿名的大众而言，都是如此。甚至是，照相还可能会弱化一个人的庄重感，还可能会让一个明星褪色，让一个伟大人物失去自身的光晕—我们经常会看到明星通常在突如其来的相机面前遮遮掩掩的不安姿态。的确，是照相曾经让绘画充满了危机，摄影技术曾经让绘画这门技艺变得难堪。而今天，图片的印刷和大量复制，反过来则出人意料地让绘画充满了生机。绘画，始终是独一无二的，在一个照片和印刷品泛滥的时刻，绘画反而成为刻写一个人，记录一个人的更重要的媒介。这或许是一个吊诡：摄影和复制技术的完善，不是宣告了绘画的危机，而是将绘画重新推到了前台。确实，在今天，对于一个明星而言，他通常是由照片和印刷物锻造出来的，但是，照片也确实可能削弱他的光环。唯有绘画，或许能增添他的荣耀—当人们在印刷品上看到一个人无所不在的时候，这个人的光芒或许就在削减。这也正是这些人物和印刷品一起速朽的原因：有多少复制品，就有多少对复制品的毁灭;有多少照片，就有多少照片的消失。印刷品能够在多大程度上锻造出明星，它也能够在多大程度上抹去这些明星。正是这一点，画布上的明星，反而更能抓住我们的目光。杨千的绘画，不正是表明了，在今天这个转瞬即逝的时代，唯有绘画才能重新赋予人光芒么?

　　画布上的永久明星，是由这些印刷物的明星纸屑粘连而成。一个印刷品上的明星转化为一个画布上的明星。明星在不同的媒介上毁灭、盘旋、流转和生成—杨千的作品暴露了媒介生产明星的全部过程：明星必须让自己浓缩为一个符号，一个四处显现的可见性符号。它被摄影机器捕捉和复制。而印刷机器复制了摄影机器中的明星，绘画又复制了印刷物中的明星，印刷物(画册)又复制了绘画中的明星，印刷物(画册)又重新被撕成碎片：一个新的复制轮回重新开始。这个过程也可以这样表述：一种照片转换成印刷品，印刷品转换成绘画材料，绘画材料再次转换成印刷品—画册。画册又可能被再次变成碎片。我们看到，这些媒介经历了频繁的转换。正是在这种转换中，明星不断地被定格和消失，被不断地复制，毁灭，再复制，再毁灭。明星就是在媒介的转换中被打造。明星依附于媒介的生产。媒介的命运，就是明星的命运。媒介的碎片和缝合，就是明星的碎片和缝合;媒介之生死，就是明星之生死。明星并非诞生在自身的特殊传奇中，而是诞生在媒介的无休止的制作中。杨千的绘画制作，在某种意义上，正是今日文化工业中明星制作的一个狡黠地回应。或许，我们应该说，媒介不仅决定了明星的存亡，它还决定了现世的存亡。杨千有两张纯粹由纸屑粘贴的没有明星的画作，仿佛在说：只有媒介的世界，而无现实世界。

　　Nowadays，in a sense，discussion about painting has turned into discussion about painting’s form. The problem is，painting seems to have exhausted all its possibilities. Before the immense and all-inclusive painting traditions，how to break the fixed painting system in order to invent a new painting experience? This problem almost tortures all artists. “Daul-Painting” and “Kinetic-Painting” are Yang Qian’s answer to this problem. He releases painting from a fixed and still form having lasted for thousands of years，so that painting breaks away from the frame bestowed by time and space for quite a long time and obtains a sort of temporal stretch and extension. Painting perhaps has a dynamic property like machinery，or has a weird temporal alteration like magic. In the aspect of form，it’s no longer a stiff still life，but something alive，which could perceive，react，respond，and communicate. Maybe it complies with certain rules of playing games，or gets tainted with certain dadaistic teasing habit. Therefore，painting becomes energetic – not the painting’s contents turn to be energetic，but the painted substantial and formal self，the stiff painting frame itself becomes energetic. Once painting loses its steady form or the fixed focus，the experience of appreciation would also be completely different: the viewer’s sight would not be attracted by a certain focus in the picture or be absorbed and swallowed by the silent picture; on the contrary，with painting’s movements and alterations，sight also changes. Here，curiosity and surprise replace mediation，and game and entertainment replace silent concentration. A brand new experience of appreciation emerges: painting makes people more distracted instead of dedicated; painting appreciation urges people to get away from the painting frames instead of being absorbed into the frames.

　　Yang’s original “Kinetic-Painting” and “Dual-Painting” represent a formal explosion in the aspects of painting tradition and system，however，they don’t avoid history or reality. Just because of painting’s peculiar changes，comparisons and movements，painting itself becomes colorful and diversified，and the changing traces are exactly the history’s changing traces. Painting’s comparisons are exactly the history’s comparisons，and painting’s movements are exactly the history’s movements. These painting’s timeliness once again engraves the historical dimension of social life. In other words，Yang’s exploration into painting’s formalism is also his exploration into social history at the same time. History not only lurks inside painting’s images，but also inside the elaborately bred painting’s forms. Thus，the relation between painting and history presents a new way of connection. The usual way is，according to the images and images’ molding，the artists directly express their thoughts about the society. They attempt to break through the barrier of images to discover history and society. However，in Yang’s case，besides images themselves，images’ materials，the techniques of dealing with materials，and the form adopted by the whole painting，all conceal historical unconsciousness.

　　This could also be reflected among Yang’s recent works applying shredded magazine as the painting material. Yang collected various kinds of magazines，more specifically speaking，a great many magazines of entertainment and consumption. Piled up on lots of money，these magazines emerge with fashionable appearances. They always evolve around the themes of stars and stars’ faces，and these stars not only are the magazines’ key selling point，but also are repeatedly produced by the magazines. Yang shredded these magazines into a pile of fragments，pasted them onto canvas，and constituted the patterns of many stars – political or entertaining stars，which was the way of creation of Yang’s new series Media Production.

　　Why did he shred these magazines and create painting with shredded magazine? Shredding the magazines indicated an attitude itself，a cruel，destroying，disparaging and untrusting attitude. Seemingly，Yang wanted to destroy not only the magazines and fashion，but also these stars and their faces. Magazines and stars were destroyed inside the shredding machine together. The destruction predicts these magazines’ fate – actually the more luxurious they are，piled up on more money and adhering to the stars and star production more closely，the more quickly they become decayed. However，a prevailing weird paradox is – the more quickly the magazines become decayed，the more extensive readers they attract; the less value of collection appeals to the more attention，and the more enthusiastically the readers gather around. Nobody treats these magazines seriously. Though seemingly luxurious，they would soon appear as rubbish. The moment of magazines’ and stars’ emergence is magnificent，however，being shredded is the eventual destiny of their short lives. Since these magazines are quick-decaying，then，are the stars produced by them also quick-decaying? Products and producers，stars and these magazines producing stars share the same destiny: being shredded is their common destiny. The shredding machine is the indispensable cage of destiny hanging over these two.

　　Nevertheless，Yang reproduced these stars on canvas，and the shredded magazine re-constitutes the patterns of stars. A destroyed and collapsed star is stuck together again. The quick-decaying images from magazines obtain eternity on canvas. Compared with quick-decaying printed products，painting is more like a sort of sculpture. Today，only the form of painting seems to have perseverance and eternity and could preserve people’s images for quite a long time. As a matter of fact，though the photographic and printing techniques have become increasingly more mature，though people are photographed and printed for thousands of times，it weirdly seems as if these photos and printed products couldn’t be preserve forever. Nobody is fully confident about photography. The fact is，once it’s extremely convenient to take a photograph，nowadays people are more inclined to have their images to be preserved in another way，in the way of painting，as if only painting could classify people. An obvious fact is，taking a photo is no longer an important moment in daily life，no matter for stars or for the anonymous public. Photography could even possibly weaken one’s sense of solemnity，or reduce the splendor of a star，or strip the aura of one great figure，as we often see the stars’ restless postures trying to hide themselves before the suddenly appearing cameras. Indeed，photography used to threaten painting，and photographic techniques used to embarrass the artistry of painting. However，today，the enormous amount of pictures’ printing and reproduction enable painting to be full of energy in a surprising way on the contrary. Painting is always unique. In the times with overwhelming photos and prints，painting becomes a more important medium of depicting and recording one person instead. This is perhaps a conflict: the improvement and perfection of photographic and reproducing techniques put painting to the front line again instead of declaring painting’s crisis. Certainly，nowadays，a star is usually forged through photos and prints，however photography could also possibly reduce his aura. Only painting could perhaps add to his splendor – when people find a figure ubiquitous among prints，this person’s aura is possibly being weakened. This is also the reason why these figures quickly decay with these prints: how many reproductions there are，then how many destructions of reproductions there are later; how many photos there are，then how many disappearances of photos there are later. Prints could forge a star to a certain extent，then it could also erase the star to the certain extent. Just for this point，stars on canvas could more attract our attention on the contrary. In this transient era，doesn’t Yang’s painting indicate only painting could bestow splendor to people again?

　　The eternal stars on canvas consist of the shredded prints of stars. A printed star transforms into a star on canvas. The star is being destroyed，hovering，circulating and forming among different media，and Yang’s works expose the complete course of media producing a star: the star has to condense himself into a symbol，a visible symbol emerging everywhere，which is captured and reproduced by photographic machines. And then the printing machines reproduce the stars from the photographic machines，paintings reproduce the stars from the prints，prints (painting albums) reproduce stars from paintings，and prints (painting albums) are shredded into fragments once more: a new cycle of reproduction starts again. This process could also be expressed in this way: a photo is transformed into a print，the print is transformed into painting material，the painting materials is transformed into a print – painting album again，and the painting album is possibly shredded once more. We find these media experience frequent transformations. Through these transformations，stars are incessantly freeze-framed and disappear，are endlessly reproduced，destroyed，re-reproduced，and then re-destroyed. Stars are forged during transformations of media. Stars attach themselves to the production of media. Media’s fate is stars’ fate. The fragmentation and stitching of media are the fragmentation and stitching of stars; the life and death of media are the life and death of stars. Stars arise from media’s endless productions instead of their own special legends. In a certain sense，the production of Yang’s painting is a cunning reply for the current star production among cultural industries. Perhaps，we should say，media not only decide stars’ life or death，but also decide this world’s life or death. Two of Yang Qian’s works consisting of pure shredded magazine instead of stars seem to deliver this message: there is only the world of media，but no world of reality.

作者：汪民安