GULISTAN 2016 IN BEIJING 让艺术照进生活Lighten Life With Art

April 2nd, 2016

GULISTAN 2016 IN BEIJING

让艺术照进生活Lighten Life With Art

Gulistan古麗斯坦

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美国亚洲文化学院的报道:Gulistan古麗⦁斯坦的创作灵感不仅仅来自东方文化,它也来自许多其他文明 …以通向灵性、自由、创造性的纯正艺术,她作品中那种纯粹和优雅风格,是远处的一盏明灯…… Gulistan古麗⦁斯坦创造出了一种既属于自己这个时代又“属于所有时代”的艺术作品。Gulistan古麗⦁斯坦的绘画没有传统油画技法的束缚,没有流行题材的局限,亦没有视觉语言符号化的追求,她似乎是在一个无拘无束,完全自由的境界往来穿梭。这里,承载着她对生命的体验和感悟,在记忆的尘埃中时隐时现,它们是她心象的呈现。Gulistan古麗⦁斯坦把自己融入画面,任由意念在流逝的时光中潆回,沉积为肌理与色彩的微妙变化,这变化最终蕴集为一个意念的时空。在这无限的时空里她捡拾着记忆的碎片,悉心拂去岁月的尘埃,倾听那无言的诉说,在心灵的最深处与之回应.…于是她把时光制成记忆的印签珍藏在画面里,纤弱却不乏顽强,敏感而蕴涵丰富,真实而美好。Gulistan古麗⦁斯坦的画被赋予了生命一般,静静的停留在那里,似乎在等待着被发现……

Gulistan’s inspiration comes from not only eastern tradition but also from many other cultures. As a free spirited creative artist, she creates her artworks with pure artistic focus and an elegance which suggests warm light shining from afar. Gulistan creates an unusual body of work that is contemporary but is also timeles. She is not restricted by traditional styles and skills nor by populist contemporary topics or a reductive visual symbolism. Her works are beyond boundaries, created with deep conviction, they encapsulate her understanding of life and are a metaphor for the self. Travelling through time Gulistan insinuates both herself and her individual colour palette into her works thus creating very special moments in time. These moments in are delicate yet tenacious, true and refined, charged with energy, waiting quietly to be discovered

作者Gulistan古丽斯坦品名称《品-花语》A Taste of the Flower 年代:2006 材质:布面油画Oil on Canvas 尺寸:107x140cm

 

绘画是她的表达方式:一场精神的凝望

Gulistan古麗⦁斯坦与生俱来的艺术天赋与神秘血统的她,有着独特的审美与创作语言,可以说是一位真正意义上的美麗智慧型的艺术家,受过全面良好的艺术教育,有着丰富的内蕴。她的绘画犹如她如诗般的气质,空灵自由而意蕴深长,有宋词的意境,混合欧洲文化的韵味,可以在恬淡的色彩与朴素的图式中与任何的生命对话,作品中流露出音乐性和诗性。她的画空灵而纯净,笔触飘逸而柔和,富有诗意,徜徉其中,使你的心不自觉的就会跟着她的画笔一起澎湃。她的画更像是一种媒介,在画中你可以和任何人对话,你可以从一个全新的视角重新认识这个世界。总觉得坠入她画中世界的这段时间,就像是赴了一场弥足珍贵的生命盛宴。我时常觉得她的画光用眼睛看是远远不够的,她的画中仿佛总有一道光,指引着你去找寻那条通往心灵深处的道路,也唯有真正用心灵去品味方能到达这一专属于心灵的仙境,一片心灵的宁静之地。

Painting is Gulistan’s way of communicating; her artistic talent and exotic heritage renders her gaze and her taste uniquely beautiful. She is a genuine combination of intellect and aesthetic the result of education and experience – her paintings are like herself, profound and spare. The colours and patterns have universal appeal and the artworks evince a delicate and spiritual feeling drawing the viewer through a journey of realisation, they present the world from a unique perspective. I frequently feel that one cannot fully comprehend Gulistan’s paintings merely using one’s eyes, but rather, one should look at them one’s heart in order to finally understand the stillness at their core.

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她的画中有静的一面,亦有动的一面。在她的《海顿的钢琴与古丽的椅子》和《有关时间的传说》《记忆的性质》系列作品中,仿佛住着一个天马行空的顽童,她将带着你穿越时空的界限,在时间的灰烬中驰骋,带你飞上艺术瑰丽的云端,去呼吸沉淀在画布上的自由的气息。看着她的画,散落的记忆在这一刻凝聚,一个个记忆中的画面也在我们的脑海中相互碰撞着,交织着,留下的是一道道生命的痕迹。无数条记忆的河流流过这些画,感动也在这一刻蔓延开来,感觉好像被一种无法言语的美丽包裹着。你在她的作品中可以感觉到乔托、弗朗切斯卡、荷尔拜因等大师那种信仰的痕迹,她是带着圣徒的信仰去画的,是她精神的凝望的写照。东方的审美崇尚意境,意境是需要空间、需要呼吸的,它流动而有生命力。她把这种东西融入到她的绘画中,让它更单纯、更准确、更本质。在光线不一样的时候,你会发现,那些画隐隐地往外显现,有种有生命的感觉。在她的画中“人类对于精神的凝望”,可以说是古丽斯坦绘画中一以贯之的主题。

Her work is both tranquil and moving. In the series Hayden’s Piano and Guli’s Chair , The Tales About Time, and The essence of Time, one can feel the artist’s untrammelled spirit radiating from the surface as though an angel guides the viewer through time to witness the beauty of art from on high. Viewing her work reminds us of our past and the imprints this leaves, the paintings stir and overwhelm you, then wrap you in warmth. One can see the traces of Giotto, Francesca, and Holbein, Gulistan paints as a pious follower, with whole heartedness and devotion, yet she still leaves space in her paintings so they can breathe. Her works are floating, dynamic and throughout one can see the motif of ‘human spirituality’.

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艺术只对能够在心弦上引起震颤的人传递出音符,时间和空间只为心灵而“存在”,也只因心灵产生意义。引用一段Gulistan古麗⦁斯坦2012台北的个展,台湾的媒体的报道:Gulistan古麗⦁斯坦她的诗意笔触,拯救了浮燥之心。在这个电子世界中,视觉与心灵的诗意栖居之所已无处寻找了,Gulistan古麗⦁斯坦却用她的绘画作品捕捉了这种难以言传的诗意。在她的作品中,幽微的淡淡色彩、模糊的形象,若隐若现的勾线,就好象种种记忆,层层渲染过,又部分被抹涂过。她的重要作品系列如《有关时间的传说》、《记忆中的肖像》、《漫游欧洲》等,都洋溢着一股静气,仿佛就是一个精致的隐喻,神秘如宗教,拯救了这个世界找不到家园的浮燥之心。

Art can only move those who allow themselves to be moved. According to a report by Taiwanese media on Gulistan’s solo exhibition in Taipei: Gulistan uses her visual poetry to save heedless souls. In this world so filled with electronics, it is rare to find a rest place for the sight and the soul, yet Gulistan captures the viewer with her passion. Her influential works such as The Tales of Time, The Statue from Memory, and Wandering in Europe, etc, all express this inner calm which gives repose to the viewer.

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著名的策展人尚辉先生这样评价Gulistan古麗⦁斯坦:和大部分艺术家热衷于描绘现实不同,Gulistan古麗⦁斯坦喜爱表现记忆,但她不是叙述记忆中储存的人物与事件,而是试图捕捉记忆的时间长度和温度……那悠悠的逝去的时光,才是她想真正揭示的世界。Gulistan古麗⦁斯坦总是从此刻起笔而追溯远古。她画的是褪色,是岁月沧桑不时在打磨的那些楞角、光泽和触痕。对于一个画家而言,也许思想的深刻、观念的睿智,都比不了一层色调、一袭线条和一种笔触给予他的兴奋与温暖。Gulistan古麗⦁斯坦最让我们难以忘怀的画面,不是她刻画了什么,而是那些温婉轻柔的米灰色调唤起我们的记忆。她能把这种色调把握得如此熨帖,仿佛是从记忆之维里抽出的旋律,幽微虚幻而带着淡淡的忧伤。

Famous curator Hui Shang comments that Gulistan “differs from most artists who are fond of depicting reality by focusing on portraying the past with nostalgia. She is not trying to describe a certain image or event in the past, but rather try to depict their warmth and distance. What she really wants to portray is the passage of time, Gulistan’s work is all about fading colors and the past that is not retraceable. For the artist, even the most profound thoughts and wise opinions cannot be compared with the colour tones which bring her so much excitement. Gulistan’s work is not about what she paints, but rather the nostalgic and warm feelings which the past evokes in us.”

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著名的艺术批评家陶咏白先生评价Gulistan古麗⦁斯坦的绘画:她创作中的记忆中的肖像系列,记忆的性质系列是为了凝望精神,所有的物随时间消逝,唯有精神永恒,她的绘画投射出那种对神的敬仰和纯粹的圣洁,内容里包含的是精神的永恒,她的画在时间和空间穿梭来放飞自己的心灵。她从经验的生命体现飞跃到神性的生命体现,爱因斯坦曾经说过:一个科学家,一个艺术家最重要的是看她用没有神性的生命体现,只有有了神性的生命体现她才能成为正真的科学家和艺术家。

Celebrated art critic Yongbai Tao once said about Gulistan’s paintings that : “her works have a soul of their own. Everything fades with time, but their spirits remain immortal. That piety and purity reflected from her works are immortal. Her works transcend daily objects and become spiritual. even god-like. Einstein once said that the most important thing is to see whether a scientist, an artist, has the divinity of life. Only with that divinity can the artist become truly brilliant.   “Imagination is more important than knowledge. Knowledge is limited; imagination encircles the world.”

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 著名油画艺术家尚扬先生评价Gulistan古麗⦁斯坦的绘画:Gulistan古麗⦁斯坦的很多绘画从远处看是很模糊的,但走近看以后它里面的内容非常清晰,你离开它以后可以说这种刻痕就刻在你的心里,这不是简单的用明确的线条所能表达出来的,Gulistan古麗⦁斯坦用她柔约的细腻的心灵刻画的非常聪慧,颜色是用的很少,笔痕用的很少,但留下的记忆却很深刻……

The respected painter Yang Shang comments on Gulistan’s paintings saying that:” many of her work are blurred when viewed from afar but very clear when examined closely. Her works, even though they have very few colors, very few lines, affect you and have great impact.”

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Gulistan古麗⦁斯坦的艺术创作里有很大的部分是她个人的生命与艺术的对话关系。除了绘画、旅行和电影,音乐和诗歌是Gulistan古麗⦁斯坦人生中的不可缺少的一部分。她认为,绘画是思想沉淀后的产物;而音乐与诗歌更感性、更灵动、更直接。因此她大量从音乐和诗歌中汲取营养,滋润内心,以获得理性和感性的平衡。Gulistan古麗⦁斯坦有一首名为《心象》的诗,她写到:我试图用我的绘画表达,但却不尽能够,需要音乐和诗歌注入它更多的灵魂旋律, 我在自己的生活和艺术中寻找——寻找—— 我在寻找驱使我进行的心灵旅行。人们都将艺术视作心灵的图象, Gulistan古麗⦁斯坦绘画艺术反映了她多方面的精神经历,丰富多元的精神生活和她所接受的多方面的艺术素养。

Gulistan’s process of creation incorporates many of her own discourses about life and art. Other than painting, traveling, and watching movies, music and poetry is integral to her life. She believes that painting is the aftermath of thought and music and poetry are more free spirited and more direct. Therefore, she acquires much inspiration and nourishment from music and poetry in order to reach the balance between senses and feelings. Gulistan wrote a poem named The Imprint of Heart in which she writes: “I try to describe with my paintings, but I can’t. I need more music and poetry to give my soul to my work. I search, I wander in my own life and amongst the arts, and I am looking for my motivations in this journey of soul. People see art as the visualisation of the soul and Gulistan portrays several aspects of her soul in her work.

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Gulistan古麗⦁斯坦之前有过很多关于“记忆”题材的系列作品,在谈到创作灵感时她说 “我用绘画完成《记忆的性质》记忆是人们相会的一种形式,艺术应该是帮助人们牵动一些记忆的思考,那些记忆中的气息,痕迹,空间,人类的心灵空间,记忆联系着我们的意识和经历。我一直关注时间、记忆、空间三个方面的问题,因为感觉时间和空间像经纬一样,能帮人们找到那个点,那个线索,人类逃不出时间和空间所编结的轮回之花,但是心灵可以放飞。我在自己的生活和艺术中寻找,我通过绘画、音乐、诗歌表达着,在这个变幻的空间里,用我的心灵去寻找智慧,这是我心灵力量的源泉。”随着时间的逝去,记忆变成一种追随。在Gulistan古麗⦁斯坦的作品中记忆、时间,空间又是跨时空的、交叉的,它们都好像是穿插的、跨越时空的,就慢慢形成了她的《记忆的性质》系列。

Gulistan has explored the theme of memory in many of her artworks. When talking about creativity, she says, “I use art to bring people together. They connect us to remembrance and to realization. I always focus on three aspects: time, memory and space because I feel like that time and space is just like the latitude and longitude- we can always find the point using them. We cannot escape the lines as human beings, but our souls can. And I am looking for my escape through art.” As time fades, memory becomes another form of following. In Gulistan’s works, times and spaces come together, crossing each other constantly and are presented in her series of works The Essence of Time.

 

作者Gulistan古丽斯坦 作品名称《记忆的性质》Essence of Memony 系列 年代:2006 材质:布面油画Oil on Canvas 尺寸:35x27cm

Gulistan古麗⦁斯坦描写的那些值得记忆的物象,既是自我成长的踪影,也是人类文明曾经的繁华。是她从个人的故事里钩沉的消褪在时间里的人类文明记忆。其实,她描绘的那些时光长度早已超出自己生命的体验。和那些一味追赶后现代文化的前卫艺术家不同,Gulistan古麗⦁斯坦老是躲开网络时代的图像侵袭。像追忆过往的时光一样,她的绘画语言也是在回归古典中探寻艺术的现代品质。她的那些微妙沉潜的画面,不仅始终弥散着欧洲中世纪的建筑、壁画等图形元素,而且汲取了早期文艺复兴湿壁画的绘制技艺,透露的都是那些冰冷的镜头所无法传递的只属于她的文化混血与品性人格。如果没有记忆,生命和历史都会失去时间的刻度。Gulistan古麗⦁斯坦描绘的正是这种不断唤起我们生命与历史意象的记忆潜痕。她的作品呈现着绘画的过程,又永远处在过程之中,它们被赋予了生命一般,在唤醒我记忆中的经验,也在唤醒我去倾听内心最真实的召唤。抚摸着心灵自由纯粹的表达,再以静谧的姿态流进灵魂,画作始终流露出深邃的情绪,画面静的仿佛能听到自己与画面的对话,这种心境不是简单的怀旧感,而是对那些经过时间过滤的生命历程的审视。画面追求的是一种个人独有的精神气质,凝练,质朴,自由,冥想,空灵,内敛,是一个自由的灵魂所释放出来的气息,即无所不在,又难以找到具体的形式与载体,但又意味深长,是她心灵的图像。

Gulistan paints everything that deserves to be remembered, whether it is a reflection of her own youth or the once prosperous ancient civilizations. Her works depict ideas that far exceed her own life experience. Unlike many modern artists who seek post modernism, Gulistan tries to avoid digitalized pictures and so, to recall the past, her drawings refer back to the classical period. Her paintings not only incorporate elements from medieval European architecture and mosaic, but also encompass skills used in early Renaissance’s frescos. Without memory, life and history are forgotten, without any nostalgia or appreciation so Gulistan aims to evoke among viewers a respect for the past. Her paintings are always profoundly emotional, a monologue, with many human qualities: freedom, meditation and free spiritedness.

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创作本身是生命潜能的发现

Gulistan古麗⦁斯坦说音乐是除了绘画在我生命中很重要的一部分,音乐的属性是生命,关于音乐,所有的艺术都在不断地向着音乐的境界努力,它比绘画更加的难以捉摸。舞蹈的激情是流畅的,绘画是留下来得物质,在洗涤和沉淀之后。音乐能震撼我们的心灵,音乐只能用音乐的术语来讨论,音乐有它的独特效力,它在某种特定的环境下可以在极其短暂的时间把一个人的灵魂送上天堂。爵士乐是她即兴灵感的来源,巴赫音乐圣洁的灵魂是她的精神路线,拉威尔的钢琴独奏使她灵感的海波变得明亮,她把这些感受采集起来,来完成她的绘画作品,绘画找到了那被照亮的线索-绘画的美丽理由。流动变为凝滞,短暂变为永恒的同时,是一种时间的形态转化为空间的形态,记忆的体验和沉淀引领她进入—进入—就形成了画面的氛围……

Creativity is a discovery of human potential.

Gulistan says that “music is a very important element in my life, apart from art. Music is more difficult to understand than art. Dance is transient, painting can leave physical results, only music is untouchable and yet can move human beings to tears. Jazz is Gulistan’s muse. Bach’s music brings her devotion, Ravel’s piano brings her waves of emotion, and she combines all these responses when creating her paintings. Therefore her work gathers all these elements into one single moment, which then becomes eternal.

 

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艺术并不是呈现可见的东西,而是把不可见的东西呈现出来,它可以通过一种轻松的方式让我们来了解我们自己,它表达的就是个人的情感,给艺术家音乐家自由和力量让他们发出自己的声音,但是要求更多的个人以外的东西积累,它总是处于改变之中,他旋转着,移动着,在时间和空间中运动着,寻找着被照亮的的线索,寻找“情节”背后的蕴涵,在寻找和我们自己的生命息息相关的某种“真谛” 去寻找自己灵魂的旋律,在音乐旋律中她能深切的感受到“心灵的呼吸”……

Art is not to show things we can see, but rather to depict things we cannot see. It enables viewers to become more introspective. Art is always at change, between times and spaces, looking for the enlightened traces, and looking for our souls.Art does not exist to show things we can see, but rather to depict things we cannot see. It enables viewers to become more introspective. Art is always about interchange, between times and spaces, looking for the traces of enlightenment and looking for our souls.

 

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建筑就是凝固的音乐,建筑是立体的诗

我们在Gulistan古麗⦁斯坦的《欧洲的漫游》系列中看到很多有关建筑的作品,Gulistan古麗⦁斯坦认为建筑就是凝固的音乐,建筑是立体的诗,建筑是存放躯体的地方,诗是存放人灵魂的地方,好的建筑本身就寄托了人的灵魂,是艺术,是诗,诗进入我们的心灵影响着我们的生活,建筑可以营造诗的意境,文化就像阳光,空气,水一样,是人的生命中不可缺少的,而且也只有文化的东西才能深入我们的骨髓,影响我们的生活方式,是人灵魂得以生存的必要条件。Gulistan古麗⦁斯坦游移于绘画,音乐之间,她描绘着那不知疲倦的音乐的心,她在古典音乐中找到了安静,在爵士乐中找到了自由,她希望心灵的自由能走的更远,音乐温暖着她的心,敏感的琴旋温暖的弹拨着,灵感一片金黄,她把自己的生命用艺术的方式去完成。

Architecture is music made flesh, a three dimensional poem

We see many works of architectures in Gulistan’s Wandering in Europe series. The artist believes that architecture is musicmade flesh, a three dimensional poem. She believes that architectures houses poems, and poems house souls. Great architecture creates a poetic environment, essential to the creation of civilization and culture. Gulistan wanders between paintings and music, portraying her endlessly searching nature. Music soothes her heart and spreads warmth in her soul, which she tries to describe in her work.

 

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   在Gulistan古麗⦁斯坦的世界中,绘画是她的表达方式,音乐和诗歌是她的情感,电影、建筑是她的视野,旅行是她的自我反思,彼此交错而又融合……

In Gulistan’s world, art is her way of communication. Music and poems engage her emotions, movies and architecture broaden her horizons and traveling is her process of introspection. All these elements are essential for her in becoming an artist.

 

Gulistan古麗·斯坦绘画艺术的生命意义
上海交通大学欧洲文化高等研究院/巴黎欧亚研究院生命艺术现象学研究中心

高宣扬

一、Gulistan古麗·斯坦的艺术生命的特殊性

艺术家的创作精神及其创作风格是艺术家本身的生活命运及其艺术经验的体现。Gulistan古麗·斯坦的生活历程和她所遭遇的特殊命运,为她提供了得天独厚的优越条件而造就了她珍贵的艺术生命,同时也决定了她所固有的艺术风格。

法国现代性作家兼诗人波德莱尔(CharlesBaudelaire)在评论雨果的艺术作品时说:“我在艺术沙龙画展中,只是在维克多·雨果的绘画作品,特别是他应用中国水墨而创作的作品中,发现任何别的艺术家所没有的那种才华横溢的风格:具有生命力的作品流淌着活灵活现的想象力的运作流程,就好像把天上隐含的神秘景象重新呈现在绘画中”。

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Gulistan古麗·斯坦的作品如同波德莱尔所说,“流淌着活灵活现的想象力的运作流程,就好像把天上隐含的神秘景象重新呈现在绘画中”, 具有强大的诱惑力,将观赏者导入动人的韵琴悠扬的童话世界,并在那里品尝可以随时缓缓转化的审美快感。其实,真正的艺术作品,不应该是固定不变的形式结 构,它应该包含丰富的反思性和再生产能力,浓缩着艺术家心胸中始终运动着的内在灵魂,同时又展示艺术家心潮起伏的情感波涛,并以艺术家特有的风格表达他的 生命意志及其审美欲望。艺术家的所有活跃的创作情感,就应该像萤火虫的闪闪荧光,既温暖了观赏者,引发他们的再生产的想象力,又能够激荡人们的超越情感, 试图探索新的可能世界。对于一位至诚投入的观赏者来说,面对Gulistan古麗·斯坦的作品,就会不由自主地沉溺于沁心温柔的韵律世界中,在艺术品迸发出来的动人旋律的伴奏中,悠悠然往来于过去现在未来的多维度时空之中。

一 位艺术家要善于把自己的情感意志融贯入创作运动中,同时还要善于通过熟练而奇妙的艺术技巧,包括机敏地运用特殊的绘画语言,使作品成为自身内在情感的结晶 体,使之随时可以与他人对话,同时又频频复生和更新。这样一来,艺术家的生命力就融贯于他的艺术作品中,他的作品也因此而获得可以永远复生的生命力。

Gulistan古麗·斯坦以认真严肃的态度进行创作,长期刻苦地磨练自己的艺术基本功,并用心地把自己的理想和情感引导画笔,将创作中的兴致意念细腻地融化在画笔的运作中。所以,Gulistan古麗·斯坦的艺术很自然地与她本人的身心优美相结合,又深深地隐含着她本人的个性,致使她的作品浓缩地象征着轻柔的生活舞姿,随时可以在观赏者面前以独有的神态重新翩翩起舞。

叔 本华认为,唯有艺术,才可以引导人,走出纯粹只为认识服务、却又误导认识的虚幻的表象世界;唯有通过艺术才能变虚幻的表象为对世界的直观,超然于对象本身 以及对对象的各种关系,使自己浸沉于审美的愉悦,并因而将人脱离悲观苦闷的状态,以愉悦的态度和精神状态,享受真正的幸福生活。观看Gulistan古麗·斯坦的每一个作品,可以给予人赏心悦目的感觉,释放心中累积的烦恼和精神压抑,就好像亚里士多德说悲剧可以通过人们流淌的眼泪而冲洗掉心中的污垢那样。

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二、Gulistan古麗·斯坦的艺术语言的特殊性

Gulistan古麗·斯坦的艺术生涯充满着神奇的情节和故事。Gulistan古麗·斯坦的生活境遇,不但这造就了她独特的艺术,而且也淬炼出她的特殊的艺术语言。我们说艺术的生命性,并不是抽象的。艺术的生命性是很具体的,甚至是非常微观精细的。首先当然指艺术中隐含的生命运动及其活力,但同时也指艺术中呈现的特殊风格,也指艺术中使用的语言。

艺 术家在作品中渗透着自己的生命风格。真正成功的艺术家都是形成自身生命风格的人。什么是风格?风格是艺术家自身生命在其艺术作品中的直接流露;它以无形的 氛围和精神力量,表达出艺术家创作的生机和情趣,是艺术家的灵魂的直接体现。但另一方面,由于艺术作品免不了都要借助于语言来表达,所以,所谓风格,实际 上又是艺术语言的多样化游戏。艺术语言是一种无声的和形象的语言,曲折地表现在艺术作品的每一个细节中,也体现在艺术作品的整体结构中。艺术家往往是杰出 的诗人,他们的精神世界乃是诗的海洋。正因为这样,将艺术家、诗人、思想家三位一体的中国清初画家石涛曾在一幅画上留下惊人的跋:“画到无声,何敢题句”。在石涛等人那里,艺术语言已经成为他们对氤氲流荡生命的至诚钟爱之盛情的自然流露。

奇妙的艺术语言具有引而不发的特征。这在Gulistan古麗·斯 坦的作品中尤其明显。艺术语言不同于正常的日常语言,它并不靠有声的或可见的形式,也不靠有规则的象征体系,而是由灵活的艺术技巧加以运作,以审美的韵律 悠然舞动于作品中,融化在作品的各个部分,却又活跃地纵横交错在艺术作品的整体结构中。所以,艺术语言不仅不同于日常语言,甚至在不同的艺术家之间,也使 用各自不同的艺术语言。这也就是说,艺术语言不像日常语言那样,过分强调语言的通用性和统一规则性。艺术语言偏于特殊性和独特性,它是以不同的艺术家的创 作风格而异;不同的艺术家使用自己不同的艺术语言,他们的各自不同的艺术语言表现了他们不同的艺术生命及其特殊风格。在这个意义上说,艺术家要善于使自己 的艺术生命及其风格渗透到他所使用的艺术语言,使自己的艺术品形成大家所认同的特殊性。

 

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Gulistan古麗·斯坦善于使用自己的艺术语言表达埋伏在作品中的意蕴深长的意境,巧妙地将掺入程度不同的音乐性和诗性,使用富有弹性的飘逸柔和的笔触,阐发她的生命情趣和理想。

由此可见,风格与语言的关联性往往掩盖了两者之间的微妙差异性及其穿插性。在Gulistan古麗·斯坦那里,风格与语言的关系并不是直接的,而是通过许多复杂的中介因素,曲折地在语言结构中表现出来。罗兰·巴特说过:“作 家的风格固然通过语言表现出来,但风格本身并非语言。更确切地说,风格是通过语言表达,但风格不等于语言。任何作家如果满足于使用语言,那他还不是好作 家。好的作家必须善于通过语言,但并不停留在语言上,而是在语言之外表现他的风格。语言是任何人都可以使用的。作家的特点是不仅仅使用语言,而且是巧妙地 使用语言之外的各种‘中性的语言’,也即使用‘非一般人所使用的语言’,让自己的语言超越普通的语言之外,在语言中渗透着作家自身的灵魂、情趣、品味和爱好,使之成为作家内心世界的千种风情的审美表达”。

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风格往往自然地将作品中试图表达的语言,引向“他处”,即引向作品之外,引向作者、读者和鉴赏者的心灵内部,然后又把他们的心灵引向一个不可预知的可能的世界。正如罗兰·巴特所说:“作为一种自然,语言是在不给予任何形式的情况下彻头彻尾地贯穿于作家的话语之中。…因此,语言是在文学之外”(La langue est comme une Nature qui passeentièrement à travers la parole de l’écrivain, sans pourtant lui donner aucuneforme. … Lalangue est donc en déςà de la littérature)。但是,与此相反,一旦文学性文字显现出纯粹的形式的时候,面对这种虚空形式而引起的恐惧不安,又在不知不觉的情况下,引导文字本身设法寻求一种类似于自然秩序的新秩序;然而,这种由作家本人无意识地表现的新秩序,恰恰又具有社会和历史的性质。这就是所谓的‘风格’或‘文风'(Mais au contraire, à partir du moment oùl’écriture littéraire s’est manisfesté comme forme pure, l’effroi devant levide de cette Forme la conduit à constituer un nouvel ordre, qui est analogue àcelui de la nature, alors qu’il est pourtant entièrement social et historique,c’est le style)。

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因此,文风是什么?罗兰·巴特又说:“文风几乎是在文学之外;它是一堆图像、一种语言口才和谈吐风格,一种词汇累积;它们源自作家的身体及其过往历史,并逐渐地演变成作家的具有自动化性质的个人技艺。因此,采取文风的形式,文风乃是一种自给自足的语言,它深深地隐含在作家的个人神话之中”(Le style est presque au-delà de lalittérature : des images, un débit, un lexique naissent du corps et du passé del’écrivain, et deviennent peu à peu les automatisme mêmes de son art. Ainsi, sous le nom destyle, se forme un langage autarcique, qui ne plonge que dans la mythologiepersonnelle de l’auteur)。文风向语言秩序导入一种历史动力,因为它在公共语言的文化平面上导入一直自然的深度(Le style introduit une dynamiquehistorique dans l’ordre de la langue parce qu’il introduit une profondeurnaturelle dans l’horizontalité culturelle de la langue commune)。

同样的,艺术风格并不禁锢在艺术品的框架中,更不是可以死板地归纳成简短的语词,因为它是在艺术之外,它是飘荡于艺术品内外的艺术家的生命韵律,既游动于艺术中和环绕在艺术周围,又来往于艺术家及其观赏者之间的“游魂”,往往在创作和观赏的互动中怫然侵入心扉,触动人们的创作热情和审美欲望。

高宣扬简介

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高宣扬,1940年1月出生,华裔法籍哲学家、社会学家兼艺术评论家,祖籍浙江杭州,国务院外国专家局特聘“海外名师”,2010年8月至今为上海交通大学精裕讲席教授,现任上海交通大学欧洲文化高等研究院院长兼哲学系主任,同时担任巴黎欧亚研究院“生命艺术现象学研究中心”主任,并兼任北京大学艺术学院“视觉与图像研究中心”客座教授。

高宣扬近30多年在法国、德国、英国和美国持续进行实际的社会、政治、文化及艺术的观察分析及学术调查研究,长期从事哲学和人文社会科学以及艺术的跨学科研究,同时,先后在巴黎、北京、上海、乌鲁木齐和青岛等地组织艺术展,特别在2008年之后,连续组织第一至第五届“生命艺术现象学艺术展”,开创了艺术创造、艺术评论及艺术研究三位一体的艺术创造新模式。

1957年考入北京大学哲学系本科并于1962年毕业,1962至1966年北京大学哲学系研究生,毕业后工作于中国社会科学院世界宗教研究所任研究员,1978年赴法国巴黎第一大学攻读哲学博士,同时以艺术史为第二研究方向,受巴黎大学东方艺术史专业尼格尔教授(Vandier-Nicolas Nicole)指导专攻东方艺术史,并在尼格尔教授负责领导的《中国哲学与艺术思想的研究计划》(1983-1989)中,负责研究东方艺术与哲学的部分,其成果发表在法兰西大学出版社出版的《哲学大百科全书》(Encyclopaedie Philosophique Universelle. Paris: Presses Universitaires deFrance. 1996)第三卷和第四卷。1983年获博士学位后,应时任巴黎国际哲学研究院院长的德里达的聘请,任教与研究于法国巴黎国际哲学研究院,1984-1988年任法国国家科学研究中心政治哲学研究所兼巴黎第十大学教授;1988至2002年,在继续留任法国国家研究中心研究员的同时,任台湾东吴大学社会学系教授;2002至2004年任北京大学、中国人民大学及中央民族大学访问教授;2004-2010年7月被聘为同济大学特聘华裔法籍专家,同时担任同济大学欧洲文化研究院院长兼法国思想文化研究所所长。

目前的研究重点方向为:(1)当代法国哲学、(2)德国哲学史、(3)当代社会理论以及当代艺术评论。著有《毕加索与当代艺术》,人民出版社,2014年、《后现代:思想与艺术的悖论》,北京大学出版社,2013年;《对话》(Le Dialogue与法国科学院院士程抱一合著),北京大学出版社,2011年;《德国哲学概观》,北京大学出版社,2011年;《当代政治哲学》,两卷本,人民出版社,2010年;《德国哲学通史》,三卷本,同济大学出版社,2007年;《萨特的密码》,同济大学出版社,2007年;《后现代论》,中国人民大学出版社,2004年以及《论后现代艺术的不确定性》,台北唐山出版社,2002年,前后共发表35部专著及中外文学术论文多篇。
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Gulistan 2013 in Beijing Poster

August 4th, 2013

 

Gulistan 2013 in Beijing 古丽斯坦 2013 个展 “忆-潜痕”北京马奈草地美术馆”

Gulistan 2013 in Beijing 古丽斯坦 2013 个展 “忆-潜痕”北京马奈草地美术馆”

Gulistan 2013 in Beijing 古丽斯坦 2013 个展 “忆-潜痕”北京马奈草地美术馆”

August 4th, 2013

·潜痕

——古丽·斯坦作品展题记

国家当代艺术中心专家委员会委员、中国美协理事、《美术》杂志执行主编 /  

 

和大部分艺术家热衷于描绘现实不同,古丽·斯坦喜爱表现记忆。但她不是叙述记忆中储存的人物与事件,而是试图捕捉记忆的时间长度。如果说,她画面描写的与记忆有关的物象只是事件的发生点,那么,她要抒写的则是这个发生点抵达此刻的距离。那悠悠的逝去的时光,才是她想真正揭示的世界。

和许多女性艺术家沉迷于曝露私密、张扬隐晦不同,古丽·斯坦描写的那些值得记忆的物象,既是自我成长的踪影,也是人类文明曾经的繁华。舞鞋,钢琴,经书,这些曾传递过她青春体温的物品,却交错呈现出佛龛、壁画、教堂。这些物象,与其说是她曾经爱抚过的物品,毋宁说是她从这些个人的故事里钩沉的消褪在时间里的人类文明记忆。那些依旧残存着她的脂香的舞姿与旋律,飘散的却是丝绸之路悠长遥远的沙漠驼铃、岩壁粉彩和边关戍月。其实,她描绘的那些时光长度早已超出自己生命的体验。

和那些总是力求画得清晰明朗的艺术家不同,古丽·斯坦总是从此刻起笔而追溯远古。她画的是褪色,是岁月沧桑不时在打磨的那些楞角、光泽和触痕。对于一个画家而言,也许思想的深刻、观念的睿智,都比不了一层色调、一袭线条和一种笔触给予他的兴奋与温暖。古丽·斯坦最让我们难以忘怀的画面,不是她刻画了什么,而是那些温婉轻柔的米灰色调唤起我们的记忆。她能把这种色调把握得如此熨帖,仿佛是从记忆之维里抽出的旋律,幽微虚幻而带着淡淡的忧伤。

和那些一味追赶后现代文化的前卫艺术家不同,古丽·斯坦老是躲开网络时代的图像侵袭。像追忆过往的时光一样,她的绘画语言也是在回归古典中探寻艺术的现代品质。她的那些微妙沉潜的画面,不仅始终弥散着欧洲中世纪的建筑、壁画、法器等图形元素,而且汲取了早期文艺复兴湿壁画的绘制技艺,以丙烯和油彩的混合追摹那种古朴的绘画性。她用最纯净的炭笔素描和乳液淡彩,在记忆之沟里寻觅浑混的意象,笔痕的稚拙、涂鸦的畅快、覆盖的沉潜,透露的都是那些冰冷的镜头所无法传递的只属于她的文化混血与品性人格。她是在本能冲动和古典技艺中探寻现代主义的直觉理念。

所谓记忆,在病理学上,就是那些在脑沟里形成的弯弯曲曲的凹痕,是这些凹痕在人们不经意的时刻释放出伴着情感旋律的图像碎片。这些潜伏的踪影,带给个体的是生命的年岁,带给人类的是历史的长河。如果没有记忆,生命和历史都会失去时间的刻度。古丽·斯坦描绘的正是这种不断唤起我们生命与历史意象的记忆潜痕。

                             

  2013723日于北京22院街艺术区

作者Gulistan古丽斯坦品名称《品-花语》A Taste of the Flower   年代:2006   材质:布面油画Oil on Canvas   尺寸:107x140cm

Recall – Faint Traces

– Preface to the Exhibition of Works by Gulistan

 

AUTHOR: MEMBER OF THE EXPERT COMMITTEE OF NATIONAL RESEARCH CENTER FOR CONTEMPORARY ART, MEMBER OF CHINA ARTIST ASSOCIATION, AND EXECUTIVE CHIEF EDITOR OF ART MAGAZINE/SHANG HUI

 

As an artist who devotes to express memories, Gulistan sets herself apart from the majority of artists of her generation who are dedicating in depicting reality. However, what she depicts are not the persons or matters living in her memory, but the attempts of tracing the time length of the memories. If the images in her artworks were merely tipping points of those happened events, what her expression is the path from that moment till this moment.. The days lingered are the authentic world that she tries to reveal.

 

It was those memorable remarks, being part of herself grown-up traces and the reminisce of past prosperity of human civilization, differentials her from other feminine artists who indulge in exposing privacy and advocating obscurity. The dancing shoes, piano keyboards, scripture classics… why do these articles that accompanied her in her youth appear with the niches for a Buddhist statue, frescos and churches? These articles are the faint traces of the past human civilization rather than her personal attachments. The graceful dance and rhymed melody remained with her grease incent, while drifting away was the traces for the camels along the distant Silk Road, frescos on the walls, and moon on the boards, which are actually beyond her personal experience of her life span.

 

Different from those lucidity pursuers in art, Gulistan keeps tracing the ancient days through her painting brush’s end. She shows the vestiges being worn away by time. What excites painters or make them feel warm is not a profound thought or wise idea, but the color tones, lines, and styles of drawing. We may forget the images of Gulistan’s works, but we will never forget the soft and plaintive ash-gray tone that evokes our memories. She harmonizes the tone with the conception perfectly, as though she composes the melody reserved in her memory, with a mirage and a touch of sadness.

 

Gulistan is a survivor of the image invasion in the Internet age, which sets her apart from the avant-garde artists who always run to catch up the postmodern culture. As her recollecting the past time, she also explores the modern quality of arts in classicism by making her subtle works pervaded by the European elements of the Middle Age such as architecture, frescos and musical and other instruments, deriving the painting skills for the frescos of the early Renaissance and pursuing primitive simplicity with the combination of propylene and paint. She appoints her most pure charcoal sketches and paintings as fairies to look for the misty images in her memory. Through her painting style, we can understand her unique cultural hybridity and personality, which the camera lens cannot capture. What drives her to seek for the philosophy of modernism in the classical art is her instinct.

 

What is memory? In pathology, memory is the twisty indents in the sulcus, which are image fragments with the melody of emotion released unwittingly by human. They draw the annual rings of a person, and compose the history of human. If there is no memory, the history and our life shall lose its division. What Gulistan depicts is the fainted traces that continuously evoke our images in our lives and history.

 

As on July 23, 2013, at 22 International Art Plaza

Gulistan古丽斯坦

Gulistan 2012 in Taipei

March 17th, 2012

Gulistan 2012 in Taipei

Gulistan 古丽斯坦2012 in Taipei-Art Revolution Taipei 2012

Art Revolution Taipei 2012

 

Gulistan 2012 solo exhibition in National Taiwan Normal University -国立台湾师范大学

Gulistan 2012 solo exhibition in National Taiwan Normal University -国立台湾师范大学

 Gulistan 2012 solo exhibition in National Taiwan Normal University

中国女艺术家Gulistan 古丽·斯坦 国立台湾师范大学个展

记忆中的肖像 The memory of the portrait

古麗斯坦的创作灵感不仅仅来自东方文化,它也来自许多其他文明 …以通向灵性、自由、创造性的纯正艺术,她作品中那种纯粹和优雅风格,是远处的一盏明灯…… 古麗斯坦创造出了一种既属于自己这个时代又“属于所有时代”的艺术作品。

古麗斯坦Gulistan的绘画没有传统油画技法的束缚,没有流行题材的局限,亦没有视觉语言符号化的追求,她似乎是在一个无拘无束,完全自由的境界往来穿梭。这里,承载着她对生命的体验和感悟,在记忆的尘埃中时隐时现,它们是她心象的呈现。

古麗斯坦Gulistan把自己融入画面,任由意念在流逝的时光中潆回,沉积为肌理与色彩的微妙变化,这变化最终蕴集为一个意念的时空。

在这无限的时空里她捡拾着记忆的碎片,悉 心拂去岁月的尘埃,倾听那无言的诉说,在心灵的最深处与之回应.

于是她把时光制成记忆的印签珍藏在画面里,纤弱却不乏顽强,敏感而蕴涵丰富,真实而美好。

古麗斯坦Gulistan的画被赋予了生命一般,静静的停留在那里,似乎在等待着被发现……

Gulistan and her art

The paintings of Gulistan are unbounded by conventional painting techniques. Nor are they limited by popular themes or the codification of visual symbolism. She seem to travel unrestrained in a liberated realm. Her paintings, bearing her unique understanding of life, appear evanescent in the ashes of memory. They are the representation of the image of her mind.

Gulistan merges herself into her paiting, her thoughts swirling in the current of passing time, depositing into the subtle variations of texture and color.Thes transformations eventually gather as a space of thoughts. In this boundless space she gathers the fragments of memory,erasing the dust on them accumulated in time.She harkens to their silent utterances,and responds the them from the depth of her mind.Thus she collects in her paitings the emblems of memory made from time–frail yet steady, sensitive and meaningful, real and wonderous. Gulistan’s paiting dwell there quietly, as if endowed with life, as if waiting to be discovered….

 

Date&time:March 24~29,2012

Venue:National Taiwan Normal University

162,Heping East Road Section 1, Taipei, Taiwan

 

展览日期:2012年3月24-29日

展览地点:国立台湾师范大学106台北市大安区师大路1号

主办:国立台湾师范大学

美国亚洲文化学院

协办:首都师范大学

国际中国文化出版社

Gulistan's Art studio

 

 

 

 

Gulistan 2012 solo exhibition in National Taiwan Normal University-国立台湾师范大学5

 

Gulistan’s Art Notes

December 10th, 2011

Gulistan’s Art Notes

I have a lot of notebooks that have become one of the most essential parts in my creations. They keep track of any inspiration that has unexpectedly encountered me. The track of my thoughts and the journey of my mind are quietly kept inside these notebooks without amazing sights and sounds. I have been searching for the meanings behind the “plot” during the time when some plain sentences are written down. I have been looking for enlightenment of some “essence” closely related to my life. On every sunny day, it is such great delight to create and display its face and intrinsic nature. I try to use all my passion and reason to seize its art. The spring of art has irrigated my soul. I use the eye of my soul to gaze upon art so that its power can grow inside me and guide me thorough the journey. When my painting seeks the hints that are sparkling in my memory, the quality of art gradually comes out with spirituality. I have been used to relish the imprints in my life journey since I devoted myself to doing everything I enjoyed doing casually and naturally with fulfillment. The keynotes of my life are also gradually coming out in the process of keeping these notes. These notebooks have captured my memory for everyday life in their own way. Sometimes I couldn’t help wondering about things behind what I write, what I keep, and what I draw. These actions under certain circumstances are capable enough for me to think over and over. My so-called “diary/creation notes” has/have provided me with plenty of room for self-reflection upon words, images, music, and my thoughts.

 

 

 When I see the images, some memory comes back to me at once. I like to review these notebooks every some other time or every couple of years. These notebooks full of nature, relaxation, amicability often enable me to be true to myself. Memory puzzles, drafts, subjective and realistic gaze, poems, creative thoughts…

 

 

These notebooks quietly keep track of everything, ranging from journals, daily schedule, plans, sketches, observations, reviews, and trivial truth of subjectivity. All of these are integration between art and data that greatly reflect my thinking tracks and mind journey. This is how the keynote forms my own rhythm and then turns into my creations. However, I do not think these notes can serve only as the goal of creation; instead, they are different forms of substance in the process of my creation, which has intrinsically affected me by degrees. The pages and essences on display will guide me in my mind journey. They are history, poems, melody, discourse, and life, as both the process and work itself. I find my art notes varied and casual, but they are filled with liveliness by keeping track of everything around me. Thus, there comes my attitude taking shape in these notes.

 

古丽斯坦Gulistan2010 Solo Exhibition in Shanghai

June 14th, 2010

Gulistan2010 Solo Exhibition in Shanghai

海報

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`I am like the road in the night

Listening to the footfalls of its memories in silence

Tagore, Stray Birds

我像那夜间的小路

正静悄悄地听着记忆的足音

-泰戈尔,飞鸟集

 凯梅

writer: Kaimei

 

Gulistan古丽的油画作品及纸本创作,很弱的笔触很淡的颜色,一本打开的书,一面古色古香的镜子,一双折纸的手,一对没有主人的跳舞鞋…当这些画面被融进她的作品时,有时画里飘渺的背景给那些已经很淡泊的形象披上了一层面纱,将观看的体验带入更朦胧的境界;有时不搭档的物件突兀地组合在一起,十四世纪的哥特式木桌上立着米兰的教堂或是宋徽宗的桃鸠,古丽不停地在西方和东方,古代及其现代的艺术领域中随着她的灵感和思绪游动着,观者被迎头点悟,惊喜于这造梦者徜徉的神秘空间。

那些被古丽捕捉到画面上的形象通常都已经在她的思绪和意识中存在许久了,它们有的来源于古丽儿时的记忆和经历,比如书和笔记本这些她的童年时代带给她最大快乐的东西;钢琴和舞鞋这些将她带入艺术宫殿的陪伴;它们来源于古丽的个人经历:旅游中的一次偶遇,电影中的一个定格,一首音乐,一段曲子,所有这些不同来源的体验在古丽的艺术思维中被重新碰撞组合,被她用全部的激情和所有的理智去抓住之后的艺术,又如渐渐退去的海潮,不断被删减,不断被模糊,直至那浮动在作品周边的“光晕”和萦绕在艺术家内心的激烈都得到最完美的宣泄后,沉淀在画面上的就是呈现在我们面前的这一幅幅安静的、缓慢的带着“被撞击又被隐蔽的星痕”的作品。

一张异国情调的床,一匹浮在空中的马,平静的画面上像是什么都没有发生,但隐约之中又感到该有什么要发生的。古丽的画让我想到荷兰画家唯梅尔( Johannes Vermeer ) 的经典的室内作品,着黄裙的女子把牛奶缓缓地倒入钵中,站在窗口的女子静静地展开信札。在这些沉默的静物中我们感受着一个个充满个人经验的故事在阳光下慢慢展开。对物品的迷恋是要在注入同它相关的情节和故事之后升华成同我们记忆对话的怀旧情节[1]古丽在她的画中展开的正是这样一种和记忆有关的,和时间有关的经历和体验。

古丽的出生地是中国丝绸之路上的一颗明珠,中原文化,波斯文化,罗马文化及伊斯兰文化在这里交汇着,古丽作品中的形象血缘也是交融自由的,如同她维,汉交融的神秘血统, 古丽用艺术记录下来的正是自己穿梭在回忆中的感怀,衔接到她个人文化根性的敏感,对那些已经消失了的形象的再现[2]。但古丽是艺术家,不是社会学家,在她以绘画为媒介重创自己记忆的性质的时候,她更是一个造梦者。在古丽的艺术世界里,意念和想象,连同回忆和梦都被她有意识地用让自己舒服的形态改造过后,又以一种近乎无意识的涂抹和拼接表现出来的。弗洛伊德将梦解析为我们的未能实现的情感欲望掩盖在潜意识下的表现,而我们眼下情感欲望的遗憾无不纠结着我们童年时代的记忆。在古丽不想走出去的记忆的天空下,所有触及她内心感受的艺术形式-绘画、音乐、诗歌和舞蹈都是她营造自己梦的空间的元素。所以阅读古丽的画你也应该像她一样敞开心怀,用眼睛去思考,用耳朵去聆听,让你的想象力在古丽画面上沉淀着历史和记忆的花园里信马由缰地随意走走。

而最重要的,你看到的是一些多么精美奇妙的艺术啊!画面上渐渐浮现出来的文艺复兴时代的楼阁,由虚到实的变更犹如电影镜头的淡入淡出,本来静止的画面即刻带出身临其境的动感,就这样你已经是在和古丽偕行相伴,从心灵走向心灵了。

[1] Susan Steward, On Longing: Narratives of the Miniature, the Gigantic , the Souvenir, the collerctio, Durham and London, 1993. P138

[2] 古希腊哲学家柏拉图将记忆定义为“对已不存在事物的再现”。

关于作者:凯梅,自由艺评人,策展人。苏富比艺术学院当代艺术理论硕士。曾长期居住欧洲,学习艺术史,从事翻译写作工作。近年从北极圈移居赤道,在新加坡生活数年,现居上海。

 

About the writer: Kaimei is an independent art writer and curator. She has a MA on contemporary art in the Sotheby’s Institute of Art. She has lived near the North Pole for many years before she relocated to the equator for a change. She lives with her family in Shanghai now.

I would like to invite all of you to my solo Exhibition in Shanghai June 19th 3:00pm at M Art Center, I am pleased to share all my new artworks with you, Hope to see you in Shanghai.

M ART CENTER
Venue: M Art Center, Building No 2
Mogan shan Road No.50, Shanghai
Exhibition Period: Tune 19th- July 4th

古丽斯坦Gulistan2010年上海个展

上海M艺术空间
上海莫干山路50号2号楼1楼
展期:2010年6月-7月4号

行走在我梦境中的画—读古丽斯坦的绘画

May 8th, 2010

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DSC_0431

 

行走在我梦境中的画—读古丽斯坦的绘画

行走在我梦境中的画

她的画总是在我的梦境中行走

朦胧中携带着寂静温婉笔触,在我的梦里以静谧的姿态行走在梦境的深处

画,徜徉其中使我的心跟随她的笔触一起澎湃

对梦的抚摸感受画中所释放出的气息

这些都足以让我。在每一幅画找到不同的梦

她的画总是在我的梦境中行走

女性的感触和异国的情怀有如诗意化般印在张张画布上

画,沉浸其中使我的思绪感受时间与空间流逝

看画不经意间或许已穿越时空隧道,完成东方文化的漫游

时间与空间的交织与错位让历史也穿梭在梦境里

她的画总是在我的梦境中行走

指间的颜色中跳跃着轻盈音符,空气中的高音休止符不停的在古典与漫游音乐中切换的

画,沉溺品味使我的心绪随感受到音乐的魔力

聆听到画中的古典与爵士,如升起或者落下的太阳。在不同的乐章中保持和谐的音律

在自鸣系列中的梦境里走来走去,约定走动一生

她的画总是在我的梦境中行走

隐约中我看到藏在画布后的断臂维纳斯,静穆星空下美德的女神同样隐居在梦境深处

画,吹拂在脸上感受大自然的风送来你温馨的体香

表层斑驳的肌理没有比哪一瞬更为魂魄摇荡

我用心在梦境中把她贪婪的品尝

她的画总是在我的梦境中行走

非写实的底色中映照着现实的态度,用清晰的轮廓勾画着朦胧的梦境

画,给了我对征服者表现的武器

使自己免予受到迷乱的虚幻干扰,被涂炭梦境灵韵的伤害

在梦境里喧嚣的的现实以及赤裸裸的表象之间,永远隔着保持一个距离

她的画总是在我的梦境中行走

伴随细腻的感触让我在梦中认知这个世间的轮回与解脱

画,带领我们一起向中世纪致敬

左右两旁的观赏者和画一起在梦境中回归哥特王朝,在历史的色泽中显示宗教的力量

这里没有哪个梦境是对历史的批判驳斥

我也在梦境中伸出画笔,在教堂钟声的驱使下以期能够触碰到同样的神灵。

她的画总是在我的梦境中行走

在心灵的调色扳中调和新的感觉,不知道在什么时候在梦里抹上一笔真谛的色彩

画,色彩影响着明暗,明暗烘托出光线,但在梦里这些似乎都变的无所谓了

行走在我梦境中的画,给了她太多的梦

梦,让我在画中不断行走

赵熠阳 2010年春于德国

作者Gulistan古丽斯坦 作品名称《记忆的性质》Essence of Memony  系列   年代:2002  材质:布面油画   尺寸:77x76cm

Gulistan and Yorgos — Encounter Between the Notes

March 14th, 2007

Let me invite you to my upcoming exhibition in Beijing. I hope you will join me for the opening reception. It will be a wonderful time to share my artwork with you and introduce you to the work of my friend Yorgos, a very special Greek artist living in Beijing.

Details

March 27th — April 8th, 2007

古丽·斯坦与帕友国
用绘画传递心灵的音符
2007年3月27–4月8日

Opening reception: Thursday, March 29th, 6:30 pm
开幕酒会:2007年3月29日6:30

Beijing Today Art Museum, 3rd floor
北京今日美术馆 三层

Address: No.32 Baiziwan Road, Chaoyang District, Beijing
Tel: 010-5876 9397
展览地点:北京市朝阳区百子湾路32号
联系电话:010-5876 9397

Organized by Beijing Today Art Museum.

Poster

[Gulistan and Yorgos ecard]

Exhibition Concept

This is a meeting between two painters of disparate origins; one hailing from Greece in Mediterranean Europe, the other born in Xinjiang in the extreme West of China, both now sharing the reality of living and working in Beijing.

While their art has similarities that immediately strike the viewer, such as the palette of colours they use, their common interest in texture and patina, and a certain poetic quality, it also has many disparities. Gulistan seems to follow a more thematic approach in her latest work, constantly travelling between tradition and modernity. Yorgos, in his Beijing work, seems particularly influenced by the surroundings and notably the “cinematographic” character of the Chinese reality.

So what is the driving force behind their meeting and the common base for their exchange?

To answer this question, one has to look carefully beyond the disparities of representation in their paintings. One has to concentrate on the rhythm of their work and to “listen” to the music ever present below the surface of their paintings.

In fact, their common passion for music is an important driving force of their art. It makes their meeting not only possible, but also complementary and creates an intriguingly harmonious experience for the viewer.

作者Gulistan古丽斯坦 作品名称《记忆的性质》Essence of Memony  系列   年代:2006  材质:布面油画Oil on Canvas   尺寸:35x27cm

展览主题

用绘画传递心灵的音符
这次是一次来自两个遥远国度的艺术家的相遇与对话,一个来自西方遥远的希腊,一个来自东方的中国,是艺术使这两位遥远国度的艺术家联系在了一起,虽然两位艺术家各有自己的风格,但看过他们作品的人会立即被他们对艺术的理解的惊人相似所震撼,譬如他们对色调的使用,对线条及光影的偏好,以及其作品所衬托的诗意。古丽斯坦的作品频繁游走于传统与现代之间,她用一种对生命的注视方式去接近,发现被内心体验到的纯意识世界最本质的所在。即有时间的接续,又有精神的蕴藏,经过了她内心的提炼。帕友国在北京的作品,似乎更多受到了周遭环境和著名的中国现实派“电影摄影艺术”中的字符的显著影响。

是什么驱动力促成了他们的相遇和共同的交流基础呢?

要回答这个问题,需要首先看到他们绘画差异的层面之外,而注重其作品的节奏韵律,并且“倾听”他们的绘画表象之下的音乐。

其实,他们对音乐所共有的激情才是他们艺术的内驱力, 或许就是这样,艺术只对能够在心弦上引起震颤的人传递出音符,时间和空间只为心灵而“存在”,“存在”也只因心灵产生意义。

Map to Today Art Museum



[Today Art Museum Map]

Art is the Dream of Poems

March 12th, 2007

Appreciation of Gulistan’s Artwork

Li Jiang

作者Gulistan古丽斯坦 作品名称《关于时间的传说系列之五》Tales of time(V)  年代2009   材质:油画Oil on Canvas  尺寸:80cm

1

 

Richard Tittle once said that there is a harmony between the innate part in humans and nature. While appreciating Gulistan’s artwork, one is struck with a unique feeling: In a dream, some images, vague and intangible, emerge at intervals in a dense mist and then vanish the moment one is awake,which makes one so melancholy and unable to help missing the dream.

Such feelings arose inside of me when I viewed the thousand-year old murals on the wall at the Kizil Thousand-Buddha Grottoes in Xinjiang, where I was investigating New Hole, the important passage to the Silk Road. On stepping into the cave, I felt a Buddha world before me, with time flashing backward. In a trance, my spirit flew away from my body. My foreordination made its presence before me. When leaving New Hole, I took a last glimpse of the Buddha, who looked so aloft in sedateness, with his eyelids always half drooping. The Buddha’s bearing is completely different from that of human beings. It was from her painting Millennium Wish that I got to know Gulistan’s inner world. One finds no arrogance or flaunt in her paintings. They stand there quiet, just like those murals, face to face with nature, worn out through the four seasons without any complaint. Such a tranquility is so charming to people but is rare in reality. I dare not discuss Gulistan’s predestined relationship with Buddhism. However, such a tranquility, which she reveals unconsciously in her works, reaches the part deep in one’s heart every now and then. Millennium Wish is her reflection of the vacant world. The color, composition and the artistic conception of the painting, all play a part in embodying the Guizi culture and the cultural context for the Kizil Thousand-Buddha Grottoes. It is natural to believe that Gulistan’s Memory Series is her insight and experience of culture and context.

2

 

“Our attitude towards subjects determines the open feature of symbol, with it starting and ending at the transfer between the public and art,” said Bill Mushell. Gulistan deconstructs and reconstructs the modeling of the paintings in her Oriental Wandering Series. The efforts make us focus on one point, longing to learn more. The paintings thus are endowed with a tensile force, with their potential expressed. One’s spirit becomes more sublime with such visual extension. Gulistan endeavors to seek a state and apply more precise words. With the palette of high purity and unique modeling, she attempts to seek a context, which is non-oriental, for a superb world which she is yearning for. Accordingly, the paintings gain vigor and the color becomes very pure and intense. Being more culture-oriented, her paintings illustrate her spiritual state, the rationalization of her inspiration. The attitude and the symbols that she adopts in her paintings start to make an impact on us.

3

 

Leonard Cohen remarks that in everything there must be a slot for light to make its way through. Gulistan possesses a sharp sense of art. Crossing the gap between modern and ancient times, she paints endlessly, exploring in the Western and Eastern worlds of art. She strips off the cover of the slot in her flying thought with her inspiration that every work, as a strand of sunlight, provides the audience brightness. The ambiance and the mysterious symbols are all at her fingertips, properly employed in her works. Her painted works, such as The Music in the Air, The Notes in the Air, Nuwa’s Dress and Contemplating the Middle Ages, are filled with a melodic beauty and elegance.

It is a natural phenomenon that sturgeons choose to lay eggs in the upper reaches of the Yangtse River despite the tiresome journey; antelopes in Kekexili in Qinghai would take any risk to whelp at their own birthplace. We cannot help wondering: What is the law behind this behavior? What is the magic force functioning in the cradle and initial stage for human art? What artistic skills does the artist employ to make her paintings that touching?

For thousands of years, Xinjiang, Gulistan’s birthplace as a bright pearl on the ancient Silk Road, has been the converging point for the Central Plains culture, the Persian culture, the Roman culture, the Islamic culture and the primitive native culture. Under the influence of early Buddhist culture, the brilliant Guizi and Dao Lang cultures were born. Music art, dance art and especially mural art are matchless here in history. The history of the murals at the Kizil Thousand-Buddha Grottoes is 200 years longer than that at Dunhuang. Xinjiang is also the important place of relay for the eastern spread of Buddhism, boasting a number of geniuses, such as the great Buddhist sutra translator Kumarajiva, the musician Mother Suzhi, and some art masters as well.

In this place worked and sauntered Gulistan, who exchanged her mind with those masters. A creative artist exposed to such cultures with a spirit of sublimation is doubtless to make her appearance in the world.

4

 

Poetry is art and vice versa. The two are not directly related artistically but have something in common considering their authors’ ways of thinking. “Time”, “space”, “symbol”, “tranquility”, and “wisdom”, such words are repeatedly used in Gulistan’s poems, which holds an explanation for the blank space or obscure images in her paintings. Such spaces allow people to stretch their imagination. Sangfu held that creation originated from the self. In Gulistan’s works, yellow is used extensively. When in the Gobi, walking through the desert, watching poplars or camel thorns and the bright moon, a person who has lived in the west for years would have the same feeling as others have when watching “the solitary smoke in the desert” or “the upended streams of the Yangtse River.” Isn’t this the manner of communication for humans and nature? Vivaciousness runs through her painting The Note of Ground. The Essence of Memory Series is abundant with sentiment with more regression and review of thought. The past was regained and the original dances are produced. All these are achieved through her painting with heart and soul. It seems that she is making prey for something through her paintings, where we find wishes of nature, soundless but still expecting. Gulistan expresses her inner world in these paintings—to search for enlightenment for some “true meaning” which is tightly tied up with my life.

—Translated by Guo Jian

画是诗里的梦-读古丽斯坦的绘画艺术

March 12th, 2007

李健

work_on_paper_29

(一)

 


理查德•蒂特尔说,人身上自然的东西与自然有一种和谐。观赏古丽•斯坦的画往往给人一种很独特的感受。好象梦中的氤氲中,不时浮生出的景象若虚若幻,清醒时反观徒然产生怅然若失的强烈感觉,不由地使人回味逝去的梦境。

多年以前,我在丝绸之路的重要通道新疆阿克苏克孜尔千佛洞新一窟考察时,面对墙壁上的千年壁画就产生过这样的感觉,当一踏进洞口,仿佛时光倒流,走进了佛禅世界,恍惚间,人好象精神与躯体分离了,展现在眼前的仿佛就是自己的宿命。,当迈出佛窟,不自觉地回神再望一下,佛一直半垂着眼帘,神态安详,超然无我,人与佛竟然两种神态。我是从古丽•斯坦那幅“千年•星语”的画中认识她内心世界的,古丽•斯坦的画无张狂,不声张,好象那些壁画,对望着自然,任凭风露雨雪,默默无语地摆在那里,呈现出在现实状态中少有的而人们不断神往的安详或者是恬静。我不敢说她的佛缘,但其作品这种自然的流露不时地就会触到人内心深处不露声色的那种心像。“千年•星语”是她对空灵世界的感悟,作品中无论颜色、造型和表现出的意境,都下意识地流露出了古老龟兹文化和克孜尔佛教石窟文化的语境。因此,她的记忆系列,可以说是对这一方面思考体验的不自觉的表现,那是再自然不过的了。

(二)

 


木歇尔•比尔说过:“我们对于物的认知态度决定着符号的公开化性格。起点和终点在公众与艺术之间转换。”古丽•斯坦的东方漫游系列,在画面的空间中,对造型进行了解构和重建,使我们的思维回到了一个焦点,从而产生认知的渴望,画面因此而产生了一种张力,表达出了内在的潜力,造成的视觉扩张使人的精神产生升华。她在寻找一种状态,在提炼一种更加精确的语言。在一种纯度很高的色彩语言里和独特的造型手段中,试图在探索一种非东方化的语境,给一种通往她所向往的精彩世界,她的作品开始变得活跃,色彩开始变得单纯而强烈,从画面中好象看出了她精神的表情,灵感的轨迹变得理性化,作品更有文化味,其态度和认知的那些符号开始影响着我们。

(三)

 


伦那德•科恩说,每个事物上面,都有一个一个缝隙,那是光明进入的地方”。古丽•斯坦的绘画触角很敏感,她不停地在古代和现代,西方和东方的艺术领域中游动着,她的灵感在飞扬的思维中扒开一个个这样的缝隙,每一幅作品都是照进观赏者内心的一缕缕阳光。作品中的那种氛围和灵动的符号,仿佛信手拈来,凡我需者皆入画。如:空气中的音乐、空气中的音符、女娲之服、向中世纪致敬等,弥漫着一种旋律美,继而产生一种高雅的画品。

世界上自然界的一种现象至今吸引着人们的兴趣,为什么长江里的鲟鱼不惜逆行千里到长江上游去产卵,青海可可西里的藏羚羊行走荒漠,历尽风险到出生地去产羔,这揭示了什么样的规律呢?在人类的艺术发祥地和初始阶

段究竟蕴着什么神秘的力量,她是在怎样打动人心的呢?

古丽•斯坦的出生地是中国古代丝绸之路上的一颗明珠,几千年来,中原文化、波斯文化、罗马文化、伊斯兰文化以及原始本土文化在这里交汇,在早期佛教文化的背景下,曾产生过灿烂的龟兹文化和叨郎文化,其音乐艺术、舞蹈艺术,特别是壁画艺术更是千古一绝。克孜尔石窟壁画比敦煌早200多年,曾是佛教文化东传的重要接转地,这里历史上曾出现过我国古代四大佛经翻译家鸠摩罗什、音乐家苏祗婆,也不乏绘画大师。

古丽•斯坦曾在这里工作过、徜徉过,曾与这些大师们的精神对话过……这样的浸染升华难道不足以走出一个有创造力的艺术家吗,是因为这些光明总是跟着她走或者说格外的眷顾于她吗?

(四)

 


诗即是画,画即是诗,从画理说这些并无直接的关系,但从思维角度来看就看出其相通的地方了,在她的诗里,反复出现时间、空间、符号、宁静、智慧等词句,这也是为什么她的画里总是出现的那么多留白或朦胧意象的空间,给人以大量空间想象力的地方。桑福说,要原创,首先源于自身。她的作品,以黄色调为多,如果一个到西部生活多年的人面对戈壁、沙漠、胡杨、骆驼刺、明月,就会产生出大漠孤烟直,长河飞落九天的感觉,人与自然不就是这样交流的吗?她的《大地的音符》是这样暗合了神韵,在她的记忆的的性质系列,有那么多新的感悟,而更多的是思想在回归,重温,心灵在不停地抚摸着流失的时间,她在画布里用心进行着新的舞蹈。她在画里好象总是在祈祷着什么,画面上留给我们的就是那些千年无语,默默守侯的大自然的心语,实际在她的画里是她的内心——在寻找和我的生命息息相关的某种“真谛”性质的启迪。