我想，大凡认为“女性主义”是一个引进的话题的人，只要看了陈子君的绘画都会改变自己的看法，他们不得不承认“女性绘画”确实已然成为中国当代艺术研究的一个重要课题。这样说并不完全因为她的画同时洋溢着青春女性的奔放热情并闪耀着成熟女性的智性光芒。而是因为她的作品充分显示了所谓“后女性主义者”通常都具有的积极的女性特质，即她们所拥有的能从各种不同的生活方式中迅速做出自主选择的那种能力。正是这种积极的女性特质使得陈子君的作品具备了男性艺术家作品所不太可能同时具备的诸多特殊品质：聪敏、细腻、直觉、超验……，难怪第二代的著名女性主义理论家桑德拉•吉尔伯特（Sandra Gilbert）与苏姗•古芭（Susan Gubar）会不约而同地说：“女性文本”应该成为我们关注的主题——即特别描绘女性经历的“叙事”。这是一种十分特别的叙事，它所包含的“ 隐藏的话语”无疑是我们认真倾听与解读的饶有深意的文本对象。
　　陈子君的绘画最耐人寻味之处在于她的表现就是她的隐藏。她恣意挥洒她过人的艺术才华——对色彩、线条、材质、肌理、印痕等等形式因素的极度敏感和得心应手的驾驭，却隐藏她令人羡慕的把握形体的能力；她以物质感、肌理感极强的笔触、痕迹和变化丰富微妙的、迷人的色彩、线条与造型宣泄她当下的情绪、情感与直觉，却隐藏她对生活与这世界的思考。有趣的是她的表现总也无法掩盖她的隐藏，或说是她的隐藏总是顽强地从她的表现的罅隙处向我们的心灵敞开。这正是陈子君的绘画魅力之所在，画家巧妙地将她的表现与她的隐藏相互为文，让它们在若隐若显、如梦似幻的情境氛围中构成必要的张力。于是，她的独特的女性经历便因她的智慧才情经由这必要的张力而演绎成为一种特别的“叙事”。陈子君具有一种能让人在审美中聆听、在聆听中审美的叙事技巧。与较早前的作品相比，她的这批新作形式意味更浓，提炼更加精纯，但却显然减少了唯美的倾向，《欢乐同行》是早前《诙谐生活》、《轻舞飞扬》等作品主题的延续与深化，就场景的闳阔、整体氛围的渲染而言，《欢乐同行》皆较早前的作品大有过之而无不及。新作叙事性更强内涵也更加具体，这仅从标题亦可见一斑：《计算》、《揣测》、《谎言》等是对人与人关系的感叹；《高级动物》、《出没》是人与动物关系的新阐释而《预测》、《惊梦》和《体温》则充溢着东方玄学神秘莫测的意蕴。当然，作品的分类不能仅仅依据标题的提示，画面才是艺术家为欣赏者提供的精神冒险的真正乐园。事实上陈子君的新作叙事内涵虽然较前具体，但其能指与所指的关系却显然较前更加扑朔迷离和不确定，这无疑也就令它们具有了更加动人心弦的艺术魅力。
　　"Feminist Text”and Special Narration
　　--Reading New Works of Chen Zijun
　　Pi Daojian
　　In my view, generally those people who think that “feminism” is a theme introduced abroad may change their ideas following appreciation of the paintings produced by Chen Zijun. They have to recognize that “feminist painting” have indeed become a major theme in contemporary China’s arts studies. This is not fully attributable to the passion and enthusiasm overflowing, and wisdom sparkling, in her paintings, but attributable to an active female quality of so-called “post-feminists” fully shown in her works, that is, their ability of making a rapid choice in different lifestyles. It is this active female quality that grants works of Chen Zijun with such special qualities as wit, fineness, intuition and transcendence that are not likely to be found in works of male artists. No wonder Sandra Gilbert and Susan Gubar, the second-generation well-known feminist theorists, simultaneously made a comment that “feminist text” shall be a theme of our concern – “narration” devoted in description of female experiences. It’s a rather special narration and its “implicit discourse” is, undoubtedly, a profound text object deserving our careful appreciation and interpretation.
　　The most thought-provoking point of paintings of Chen Zijun is that her demonstration is her implication. She plays her full use of her outstanding arts talent – extreme sensation with and handy control on such formal factors as color, line, material, texture and mark, while shelving her enviable strength in controlling figures. Depending upon her strokes and traces with strong sense of material and texture, and  changeable, fine, fascinating colors, lines and models, she lets off her present sensation, feeling and intuition, yet shelving her thought on life and the world. Interestingly, her demonstration never covers her implication, or her implication always tenaciously opens to our mind from the gap of her demonstration. This is exactly the very elegance of paintings of Chen Zijun. The artist skillfully reflects her demonstration and implication to each other, turning them into a necessary tension in a partly hidden and partly visible, and dream-like atmosphere. So, her unique experience as a female derives a special “narration” because of her wisdom and talent via this necessary tension. Chen Zijun has a narration skill which can make people listen respectfully in appreciation of beauty or appreciate beauty in listening respectfully. In contrast to her earlier works, these new works feature stronger sense of form and purer abstraction, yet with obviously less aestheticism. Go Along Joyfully is the continuation and deepening of themes in such works as Humorous Life and Fly in Dance. In terms of spacious situation and overall atmosphere, Go Along Joyfully is beyond all the previous works. These new works are more narrative and concrete, as shown in the titles – Counting Every Dime, Conjecture and A Lie are plainting on interpersonal relationship; Advanced Animals and Come and Go are reinterpreting human-animal relationship while Prediction, Awakening and Body Temperature are filled with mysterious connotation of oriental metaphysics. Sure, the works shall not be classified only according to the hint of titles. Instead, the paintings are the very paradise that artists provide for the visitors to make spiritual adventure. As a matter of fact, the narrative connotation of these new works of Chen Zijun is more concrete than before, but the relationship between the signifier and signified is evidently more confusing and uncertain than before, which, undoubtedly, renders them more touching works of art.

作者：皮道坚