杨佴旻：疫期报告·2022

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瘟疫时期/2022/中国人的鞋   

时间：2022年4月19日——

2000年11月，名古屋艺术潮（NAW展）在名古屋市“大须商店街”（步行街）举行，我是组委会委员、国际企划委员长。名古屋艺术潮是综合性艺术展，包括∶平面、立体、装置、观念、行为、影像，音乐、演剧，讨论会等，每届约有100位艺术家出品，分别来自日本，中国，美国，法国，荷兰，德国，西班牙，英国，肯尼亚，韩国，台湾地区等，每年秋季，于名古屋市人流量最大的商业区大须商店街举行。名古屋艺术潮主会场在大须，之外，还有“草笛画廊”、“白土舍画廊”和“纪伊国屋画廊”等。大须商店街位于名古屋市中心部位，与“荣”相隔一条若宫路，这里有各类商店300多家，是日本最大的电器、电子市场之一，因为是步行街，大须商店街的街道百分之60以上有天顶，部分天顶是可以闭合的，在这里，不存在刮风下雨所带来的不便，很多艺术家利用了天气的变化，把天气情况融入到了作品之中。大须每天的人流大约三万多人，区内的建筑、街道、公园、商场、银行、寺庙、画廊、剧场，总之，只要艺术家根据自己的创作意图，适合做作品的地方都是“美术馆”。

名古屋艺术潮的主旨是“随意与偶发”，在此时，2000年那个秋天，我的艺术开始走出平面。NAW展已休会，我的偶发创作还在继续。

2022年5月20日 北京

瘟疫时期/2022/中国人的鞋   

时间：2022年4月19日——

瘟疫时期/2022/中国人的鞋   

时间：2022年4月19日——

瘟疫时期/2022/中国人的鞋   

时间：2022年4月19日——

Doomsday future

It’s been a terrible winter-spring, that changes everyone. Everything on earth seems altered. For artists, now their primary concern is no longer, if it had been, art itself. All the numbers of infections and deaths on the news, all the rumors and hearsays… cultivate my anxiety. I began to think about the medicine, the quest for magical cure, but what is the TCM (Traditional Chinese Medicine), anyway? In the early human history, through out the continents people were using plants, roots, grass leaves, bark, wild fruits, rocks and grass ashes to treat illnesses. In Chinese mythology, it was Shen Nong who tasted hundreds of herbs in order to identify their characteristics and taught people their medical uses. I assume that somewhere in the western world there had also been a Shen Nong with blue eyes and blond hair. By then there were no concepts of East/West in medicine. The traditional medicine paved its way through practices, generation by generation, with sometimes the price of peoples’ lives, then passed on as memory or experience. When I was little, I was once playing on the west hill and cut my hand. An elder boy ran off and fetched me a mushroom, told me that it was a Grey blister (灰疱) which would stop the bleeding. He cut it open by the top, took some of the dark ochre powder from inside and then put it on the wound. The bleeding was stopped immediately and the pain eased up. Later I learned that the Grey blister was a kind of fungi. That was my first memory of medical treatment. One that keeps its earliest form. Compared to modern medical science, it is in no doubt traditional. I am sure of it, no need of historical proof, this is one of the precious primordial human experiences.

Let’s get back to painting. The earliest drawings made by human were in fact writings, which is because the earliest Paleolithic drawings were actually records of events, although they depict the form of objects, their objective was to transmit a literal message -- the initial form of a text. From drawing notes to writing words, the Chinese language followed a pictorial (pictograph) path, whereas western languages converted themselves to the abstract. At the dawn of the thirteenth century, humanity witnessed the rise of science and technology, and the painting grew out of its scribbling stage, into the realm of resemblance and representation. Painters enrich their painting skills by extensive studies on light and shadow, on anatomy and perspective. One of the representatives of them is the Florentine painter Piero della Francesca (env. 1420-1492). Apart from his artistic creation, Piero devoted himself to mathematics and geometry, as demonstrated in the vigorous and well balanced geometrical vision in his paintings. His most acknowledged works include the frescos in the Basilica di San Francesco in Arezzo, among which the Adoration of the Holy Wood and the Meeting of Solomon and the Queen of Sheba. The portraits that he made for the Duke of Urbino and his wife was also a masterpiece of the Renaissance.

Later in his life, he wrote essays on art such as De prospectiva pingendi (On Perspective in Painting) and De quinque corporibus regularibus (On the Five Regular Bodies). Chinese paintings, on the other hand, followed a figurative path ever since the Paleolithic cave drawings, from graffiti to representation and then deformation. Until the nineteenth century, scientific elements, such as light and shadow and geometry, were finally introduced into the painting. Here at last human intelligence from separated worlds converge once again.

Now it seems that this article reaches its end, but what struck me just before closing this speech, was the idea of the chopsticks. Using two sticks to get food, I think it could also have been a solution for western people before Iron Age, before knife and forks were invented. What else could have been used anyway? Walking out of the caves, people continue to use the sticks in the East, the chopsticks, as they call it; whereas in the West, people picked up the iron. Without external forces, China could have continued its farming civilization for we don’t know how many centuries ahead. Luckily all tracks led by human contribute to our common history. Difference makes diversity and dynamic.

In catastrophe, artists call out hard to raise awareness. Art might not be as powerful as science and technology as to enlightening the world, but it has an unparalleled capacity to reveal and recover the inner world, that’s what I call its ultimate value for the society, for mankind. Nothing heals the heart as art does, that’s why literature and art were invented in the first place. More so in time of catastrophe, when we need comfort more than anytime.

At such a moment, no matter what happens or how worse the situation gets, or how sad we are, we must keep our self-confidence and the inner strength, for that’s the only way to nourish our soul and our sensibility.

杨佴旻(YANG Ermin）

杨佴旻，中国曲阳人，艺术家、诗人、荣誉爵士，毕业于南京艺术学院，文学博士。１９９５年赴东瀛，在名古屋、世界多地生活与创作。现为南京艺术学院校董及新水墨画研究所所长，中国艺术研究院研究员，西班牙康普顿斯大学跨文化研究教授，法国国家自然历史博物馆当代人类文化学研究所自由研究员，美国圣赛德艺术中心客座研究员，河北大学新中国画研究中心主任，李可染画院终身研究员等；

2003年获首届哥伦比亚世界绘画贡献奖（美国），2010“吴作人艺术奖·造型艺术奖”提名艺术家，2014年胡润艺术榜上榜艺术家、胡润艺术榜在世少壮派国宝艺术家，2017年中国诗歌榜十大艺术家诗人，2018年获荣誉爵士十字勋章（法国），2019年获法国沃尔维克市荣誉市民，2020年胡润艺术榜上榜艺术家，第六届中国当代诗歌奖贡献奖，2021年获首届“第一坊金逸奖”提名奖；

杨佴旻在世界多地举办个展，艺术作品曾获得多种专业奖项，水墨画作品被梵蒂冈博物馆、中国美术馆、巴黎市当代艺术库收藏，著有画册、学术专著、诗集等。

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