杭法基《殇土》系列作品展
Hang Faji: Lands of the Dead
策展人：吴鸿
Curator: Wu Hong
学术主持：杭春晓
Academic Director: Hang Chunxiao
出品人：胡介报
Producer: Hu Jiebao
展览时间：2023年10月22日至11月18日
Dates: October 22, 2023-November 18, 2023
开幕时间：2023年10月22日15:00Opening: October 22, 2023, 15:00
展览空间：宋庄当代艺术文献馆
Exhibition Location: Songzhuang Contemporary Art Archive
场馆地址：北京市通州区宋庄镇宋庄艺术区美术馆路1号
Address: 1 Museum Road, Songzhuang Art District, Songzhuang Village, Tongzhou District, Beijing
装置：可怜无定河边骨，犹是春闺梦中人/殇土加综合材料/42x32x6cm
《殇土》是对人类苦难的记忆
文/杭法基
“有三种强烈的激情支配着我的一生：对爱的渴望，对知识的追求，对人类苦难不可遏制的同情。”英国思想家罗素这段话曾给我留下很深的印象，其中：“对人类苦难不可遏制的同情”这句话也深深触及自已心灵。我手边一直保留着收集到的揭露二战时奥斯维辛集中营及南京大屠杀罪行的几本资料，当我再次翻阅后，心中仍然泛起一种挥之不去的悲恸。这一情绪也促使自己在某种观念形态的发现与追寻的思索中，结合中外有重大影响的历史性“人祸”事件，决定克服多种困难，去掘取多地遗址处的土，与乳胶搅拌后，施展写实抽象等多种形式与手法，像画水墨与油画一样，包括装置及综合材料运用等，在半年多时间内完成了《殇土》这一系列作品的创作。艺术表现是多维度的，现代绘画重要的不是画什么而是如何画的问题，但是作为当代艺术，表达某种人文观念与精神也是其重要的内核之一，艺术的本质在于社会性、审美性、创造性。
南京大屠杀中被刺杀37刀后活过来的李秀英/殇土加乳胶/70x50cm
奥斯维辛集中营内排放的无数等待送焚尸炉的尸体/殇土加乳胶/120x90cm
奥斯维辛集中营中的女囚徒/殇土加乳胶/70x50cm
白色幽灵/殇土丙烯乳胶/200x150cm
在波兰奧斯维辛集中营遗址取土/2018年
在南京大屠杀万人坑旁取土/2018年
在柏林民主墙边取土/2018年
为完成这一系列作品，几年前我曾克服许多困难到国内外多处，如南京大屠杀、波兰奥斯维辛集中营、罗马斗兽场等多地遗址参观并带回各地掘取的土，十多处遗址其中也有些是通过友人掘土快递等方式收到的，可以说能想的办法都想到了，包括给有的大使馆写信希望得到帮助等。《殇土》系列作品创作前期为掘取“原土”，其取土过程似乎也掺杂了一点行为艺术的成份了。
《蕴力》之三/殇土加乳胶/120x90cm
朦胧月色殇土加乳胶/200x150cm（不包括外延）
垒叠殇土加综合材料/90x150cm
我们这个星球自有人类以来，人祸常常大于天灾，近代以来，文明与野蛮的对立尤为惨烈。法国谚语有句名言，“把爱拿走，我们的地球就变成一座坟墓了”。创作这一系列作品，也是希望通过一抔有深深内在真实含义的“殇土”，引领与置换成对往昔人类苦难的记忆！现实是残酷的，这个世界无数生命悲惨离去仍在继续！无力的我们，唯有在内心不断祈祷，希望人类逃离妄想与无明，愿战争消亡，和平永驻！愿不同肤色的人们相亲相爱，幸福自由，共迎世界大同！
爆炸是新常态——乌克兰土地上正在发生一场举世瞩目的战争/殇土加综合材料/200x150cm
风月如梦梦如烟/殇土与综合材料/200x150cm
守着黄土过了一辈子的老人/殇土加墨汁/70x50cm
Lands of the Dead Commemorates the Suffering of Humankind
Hang Faji
“Three passions, simple but overwhelmingly strong, have governed my life: the longing for love, the search for knowledge, and unbearable pity for the suffering of mankind.” The opening line to British thinker Bertrand Russell’s autobiography left a profound impression on me, and I found the last part, about the “unbearable pity for the suffering of mankind,” to be particularly stirring. I have always had several books on the Auschwitz concentration camp and the Nanjing Massacre on hand, and when I looked through them again, I was overcome with grief. After tracing a few ideas and learning more about human tragedies that have had immense historical significance, this feeling prompted me to overcome the numerous difficulties inherent in collecting earth from these many historic sites. After mixing this earth with emulsion, I spent six months creating my Lands of the Dead series, incorporating abstract and realist methods and including mediums such as ink painting, oil painting, installation, and mixed media. Artistic expression has multiple dimensions. In modern painting, how you paint is more important than what you paint, but expressing a humanist idea or spirit is one of the most important aspects of contemporary art—here, the essence of art lies in society, aesthetics, and creativity.
尘世难熬/丙烯殇土乳胶/200x150cm
Several years ago, I overcame any number of difficulties as I traveled to many places, both within and outside of China, and gathered earth from events and sites including the Nanjing massacre, the Auschwitz concentration camp, and the Colosseum, which I used in this series. For a few of the dozen sites, friends collected the earth and shipped it to me. I tried everything I could think of, including writing to several embassies to see if they would help. Even before I created Lands of the Dead, the process of collecting the earth had an element of performance art to it.
血色彼岸花/丙烯殇土乳胶/200x150cm
Since appearing on this planet, humans have often caused greater disasters than nature, and in modern times, the antagonism between civilization and barbarism has become particularly fierce. As Robert Browning wrote, “Take away love and our earth is a tomb.” While I was creating this series, I wanted to transform the memory of past human suffering using earth truly taken from the lands of the dead. Reality is cruel, but the countless people who have tragically left this world have the chance to live on. We are powerless, so we can only continue to pray and hope that humanity can escape ignorance and wishful thinking. We can only hope that war will cease, and peace will reign. We can only hope that people of different skin colors will come to love one another, living in happiness and freedom as part of a universal harmony.
泪壁/殇土加乳胶/450x200cm
杭法基在创作
杭法基简介:
1945年生，皖藉，现为独立自由艺术家，居北京。系国内抽象实验水墨最早的开拓者之一，近年来跨入当代多种艺术形式的探索。在国内外曾多次举办个展及参加各类联展与学术邀请展，有许多作品广为发表，出版有多种画集。
