戴光郁 山水·墨水·冰水   德国   巴伐利亚  地景

    从哲学的本体论上说，我认为艺术作品的存在方式，是若干语言层次的贯通。无论是传统的还是当代的样式，艺术作品最外在的语言，是墨、色、线、形、光影、构图、节奏等表面形式，我称之为形式语言。若深入一步，便是修辞语言，指艺术家的表述方式，如挪用、戏仿、并置之类。然后是审美语言，如古典的意境概念和当代的反讽概念，以及围绕这些概念而生成的艺术世界。最后是观念语言，也就是一件作品所要表达的意见，不管这个意见是隐晦的还是直白的。形式、修辞、审美、观念这四个层次的立体贯通，便是一件艺术作品的存在方式。艺术存在于这四种语言中，艺术语言有形式、修辞、审美、观念这样四个层次。

    从艺术批评的方法论上说，我在这四个层次上看戴光郁的作品。无论是绘画、装置、视像还是行为，戴光郁的作品在每一个层次上都是探索性的，这是他三十年艺术生活中的最难能可贵之处。

    我特别喜欢戴光郁一以贯之的水墨试验。在形式的层次上说，他于八十年代末期开始对水墨的泼洒等抽象形式感兴趣。后来他超越平面绘画，在九十年代初将水墨引入装置和视像作品，使自己的试验得以从形式上升到修辞的层次，并在装置作品中，用水墨营造出了他个人的审美世界。到九十年代末，戴光郁又将水墨引入行为，使自己的水墨试验，通过形式、修辞和审美的层次，而达于观念的层次。到二十一世纪，戴光郁的水墨实验，在行为表演中，已趋成熟，成为他表述观念的主要方式，获得了当代美术界的认同。

Recommendation
by Duan Lian

I believe the ontological terms and consider that a piece of art is never made simply but of several layers of language, whatever the traditional arts or the modern piece. The most external things related to art piece， whether referring to traditional or to contemporary mediums, its use of ink, colour, line, form, light, composition, rhythm, etc. is what I call art's formal language. Progressing a step further, we find rhetorical language, which refers to the artist's chosen method of story-telling, like appropriation, parody, juxtaposition. This is followed by aesthetic language, as in the principles of classical inscape or contemporary irony, and the artistic worlds that come to life around those principles. Finally, there is conceptual language, the central idea conveyed in a work of art, no matter whether this is achieved through subtle or direct means. Art encompasses four levels of language; artistic language consists of the fourfold layering of form, rhetoric, aesthetics and concept.

From methodology of on an art critic, I’d like to evaluate Dai Guangyu’s work on these four levels. Regardless of whether in his painting or in his device, video or performance work, Dai Guangyu’s art has consistently, on all levels, been of an experimental nature, and this, for an artistic career spanning 30 years, is a most rare and outstanding achievement.

I particularly appreciate Dai Guangyu’s persistent explorations of the medium of Chinese ink. By the end of the 1980's, he began to become formalistically interested in the abstract effects achieved through the throwing and splashing of ink. Then, in early 1990's, he moved beyond the two-dimensionality of painting, and began employing Chinese ink in his device and video work making his work ascend from the formalist into the rhetorical realm; as well as, through the use of ink in device art, giving shape to an idiosyncratic aesthetic universe. At the end of the nineties, Dai Guangyu introduced ink into his performances, and thus his investigations of the medium, through form, rhetoric and aesthetics, eventually reached the conceptual level. At the beginning of the 21st century, Dai Guangyu’s experimentations in Chinese ink have reached a mature stage and it has become the predominant vehicle for the communication of ideas in his performance art, an aspect widely appreciated in the art world.
 

【编辑：姚丹】