守望什么，追求什么，遗失了什么
——关于彭博的《自制玩具》系列
                                        耿纪鹏

      彭博作品并不同于他所在时代的其他青年艺术家的作品，他守望着灵魂更深处的记忆。泡泡式的绘画元素在川美某个时期的毕业生中颇为流行，作为一种表现形式这并没有什么，就像至今许多人仍然在用油画材料或笔墨纸砚作画一样是平淡无奇的。卡通风的蔓延致使泡泡和平面化都成为卡通化的标志特点，也许卡通风的作品就是有某某特点，但是有某某特点的就一定是卡通风作品吗？充分条件、必要条件或充要条件这些数学定理所需要的概念在这里却成了必须的知识前提。

      生活在某个时期的个体总是被社会主流介定为某个群体的部分，这样有利于权威们的管理。出生在二十世纪八十年代以后的人们被称为`80后，并且进行了一系列的定位，这种强加的定位不过是当权者和在野者争取新的接班人的一场闹剧。艺术界同样是不能免俗的一个名利场，卡通主义作为一种艺术流派存在有既定作品的现实，但是从事卡通主义创作的不仅仅是`80后出生的艺术家们。彭博有幸也不幸的出生于`80后成为`80后中一员，其作品也存在这个时代共同具备的某些东西，绘画的风格和画面的元素符合我们所生活的年代。不是每一个二十岁左右的艺术家都喜欢打游戏，喜欢沉迷于无休止的网络游戏和虚幻的动画场景中，笔者认为彭博的画面中无论是小鼓、风车、铁环、陀螺，还是其它的玩具形象，才是真正出生于`80年代以后人们普遍记忆中的游戏。也许我们被当下仍然在运用的休闲方式所左右，而并未回归到自己的记忆中去寻求真正影响自己成长的游戏，但是并不是所有人都遗忘了真实。更多的人关注了今天生活的当下，这其中也不乏精神的守望者，彭博便是其中之一。

      流行文化给人的感觉总是轻薄和没有份量感，而记忆则因其时间的沉重而有蒙尘的距离逐渐沉淀在人们的心中。当我们追寻今日耀眼的明星的时候总是遗忘了追寻路上的荆棘，在距离上的守望在另外一个层面上便成了追求。彭博的作品放置在满是卡通主义风格的作品中，给我的却是真正的亲切感。他在守望这些儿时的记忆，不仅仅是精神上的守旧，而是以退为进，以无言的形象来唤醒他者的真正情感所系。卡通风格的作品如果说代表了一部分`80后出生的艺术家们对表现对象的选择，那么彭博所代表的纯朴记忆的艺术家们的作品才真正是`80后出生人的精神根祗所在。

      今日的自制系列和往日的真正玩具之间是并不相同的，彭博既非盲目的追寻也非孤独的守望，而是在唤醒同时代人遗失的精神家园的同时也砸碎锁链和标签。尽管`80后出生的艺术家和批评家已经开始自己的人生之旅，但是他们不象以前的某个时期一样是自己冲出来，过程中有着冲突和战争，现在却是在进行着艺术圈里的“世袭”和“和平演变”。彭博的作品似乎很平淡，《自制系列》中的作品尺寸都不大，淡淡的色调看起来并不能承担生命之重。但是，彭博的作品既没有承袭某些大牌艺术家的高价风格，也没有针对谁的作品进行近似的“和平演变”和反抗式的悲剧表演，他的作品只是他对于当下生存环境的思考。现实的异化在艺术家精神中留下的是对于儿时记忆的深深眷恋和对于下一代人生存可能性的幻灭思考。
 

Watching for What, Pursuing What, and Having Lost What
 About Peng Bo’s Toys Made by Oneself (a series)
 Geng Jipeng

Peng Bo’s works differ much from his cotemporary young artists’ because of the memory he keeps deeply in his soul. The bubble-like painting elements were at one time very popular with the graduates of Sichuan Fine Arts Institute. As a form of representation, they have nothing particular, as plain as those still painting with oil or ink and brush. The overspread of cartoon takes the bubble-like elements and ichnography as its symbolic characteristic. Perhaps the cartoons carry a certain characteristics, but must those with some characteristics be cartoons? So these mathematical concepts: sufficient conditions, necessary conditions and necessary and sufficient conditions become a necessary premise of knowledge.  
An individual at a certain time is always defined by the main stream of society, for their convenience of management, as a part of a certain group. Those born after the 1980s are called the Eightiers, and are also given a series of identity, but such imposed identity is only a farce of the competition in getting new successors between the reigning office and the out-of-office. The art field is also a secular vanity fair. The cartoon, as an artistic school, has its own reality, but the Eightiers are not the only artists engaging in cartoon creation. Peng Bo, fortunately or unfortunately, is also one of the Eightiers, and his works, too, share some characteristics of the time, and the style and elements of his works answer for the time. Not all artists about the age of twenties enjoy playing games, or indulging in endless computer games and dummy scene. In the author’s opinion, the drum, windmill, hoop, peg-top or other toy images in Peng Bo’s works are the very plays in the Eightiers’ memory. Maybe we are controlled by the present entertainments, and haven’t come back to our memory to recall those games which had once left great influence on our growth, but this is not to say that all people have forgotten the truth. Most people are turning eyes to the present life, no lack of watchers of soul, and Peng Bo is such one.
    The popular culture has always left us an impression of weightless and unsubstantial, while the memory becomes profound in the heaviness of time and then gradually takes root in our heart. In our tracking of the shining stars, the thorns on the road are usually ignored. The yearning at a distant, in another sense, is pursuing. Displayed among the cartoon-style works, Peng Bo’s works touch my heart gently. He’s watching closely his childhood memories. It’s not only a spiritual nostalgia, but a retreat in order to advance, and to awaken our true inner emotion by wordless images. If the cartoon-style works reveal some Eightiers’ choice in expressing objects, the artists’ works of pure memory, taking Peng Bo as their representative, are the core of the Eightiers’ spirit. 
 The present self-making works differ from the former real toys. Peng Bo is not pursuing blindly, nor watching his memory alone, but endeavors to awaken his contemporaries to regain their lost spiritual homeland, and at the same time, to break the chain and label. Though these Eightiers have taken on their journey of life, unlike those in the past who dashed out and caused conflicts and wars, they are now performing a “hereditary policy” and “peaceful evolution” in the artistic field. Peng Bo’s works seem to be rather plain. All the works in the Self-making (a series) are in a small scale, with a faint hue seeming unable to bear the heaviness of life. However, his works do not follow the masters’ high-price character, nor making a “peaceful evolution” or a tragic imitation of other’s works. They are just a reflection on the present survival dilemmas. What the actual transformation leave in the artist’s heart is a deep yearning for the childhood and a disillusion reflection on the possibility of survival of next generation. 

【编辑：贾娴静】 

编辑：admin