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发表于 2011-3-10 19:07
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谈古丽•斯坦
谈古丽•斯坦
那被水晶所擦伤的缓慢声音头巾
竖琴的泪水总是昂贵的，作为对TAPIES那些带有复仇女神味道的＂次要缪司＂的＂奢华的丢掉＂，古丽•斯坦的奇幻国仙境为我们匿名了油画那最昂贵的＂寂静＂。在我看来，女性画家古丽•斯坦新的油画异声是当代混淆语境下＂为水晶添进花瓣＂的允诺性发声。油画家作为女性另一重更麻烦的公民身份，无论是星空下的新嫁娘的＂最柔软的弓＂，还是女权主义者的着火了的夜莺，都被选用为继续被遮蔽的缪司，而在少有的，用身体的信仰向我们展开层层穹顶的女性艺术家群落里，比如古丽•斯坦近几年系列性的油画创造，正返身而回，为这个贫乏的时代编织＂寂静＂（Silenzio）的嵌星飘带。
古丽•斯坦曾将她的一幅早期油画比喻为＂Circle Waltz＂，据她说这是一张爵士乐唱片的名字，油画的华尔兹舞，这是一张她从来没有听过的唱片。她说油画就是一种重新的＂发声＂，竖琴并非仅为诗人所有，被信仰所冲刷的贫瘠大地上，也并非只有诗人留下来。油画是Gulistan（她的神秘的签名，如同她神秘的血统）的声音，是抵达的带着闪电的但是最安静的水；油画家作为古丽•斯坦的另一重身份，为她找到了最安静的火车（她用习作回忆她９岁坐火车从阿克苏出发），最安静的作品油画护照，最没有敢出声的祈祷。＂寂静＂（Silenzio）是从哪一重国度开始的呢？如果考虑古丽•斯坦的名字含义，意为花的国度（花国）。油画作为这个女性为我们展示的最安静的灯的花朵，犹为弥足珍贵。借用苏珊桑塔格的那个概念＂重点所在＂，我倾向于将古丽•斯坦的作品世界命名为＂油画的元音＂，更确切地说，基于对古丽•斯坦油画奇幻国的想象力的＂购买＂－－古丽•斯坦毫无疑问地＂少有的＂从艺术女神那里＂购买＂到了油画那寂静性质的＂元音＂，在这个喧嚣的被遮蔽了夜莺歌声的时代，她是少有的用”寂静（Silenzio）”来重新发声的女性艺术家。
我注意到古丽•斯坦最近向我推荐的一张唱片,有着超现实封面的由法国的新爵士乐钢琴家BRAD MEHLDAU发声出的＂缓慢＂幻象。这张2002年出版的唱片古丽•斯坦2005年才听到，缓慢是寂静的另一重身份，古丽•斯坦告诉我，去年她很多时间都在她的画室里工作，而今年她在画室里的时间少多了，油画作为一种更慢的抵达，充满了秘密的预兆。我知道古丽•斯坦最近着迷于巴哈的钢琴平均律，听的是一个很旧的历史录音版本，还有前苏联钢琴家玛丽亚尤金娜的钢琴唱片。她给我讲了一个海报设计师蒙古奇的事件：在访答录中，蒙古齐回答他的业余爱好是什么的时候，说＂在睡前听妻子安娜的大声朗读＂。显然这种对唱片的精神朗读为古丽本人那最安静的油画王国找到了一声音的对位，当然是次要的赋格对位。
古丽•斯坦的＂唯一＂发声隐现着时间和空间所交相编织的金带，作为前舞蹈学员，或者作为曾在丝绸之路跟随国家考古队工作的人员，古丽•斯坦曾在她的画展上强调她的油画的＂考古学＂词汇。一般而言，画家和旅行总有一双＂走出无尽乡愁的鞋＂相紧密联系，这种对漂泊的在场眺望和回望，使艺术家的内在身份总是不断地＂换了帝国＂，古丽•斯坦的油画也着力诠释这一重漂泊者所携带和走开的乡愁，并以此出发，延伸出那＂走不出记忆的天空＂的流亡命题。脚到底在哪里？或者，那空着的，被放在路上的绣鞋（古丽本人喜欢的一幅作品）在哪里？旅行是脆弱的吗？母语是脆弱的吗？我们的身体在的地方是脆弱并不可知的吗？而这华丽的旅行是古丽•斯坦那＂有意减弱的灯＂，是收进身体里的一张叫＂应答祈祷＂的唱片。我注意到古丽的油画作品在别的艺术家变＂强＂的地方，她反向行之，拧暗星空的灯，变＂弱＂－－以致于有的时候牺牲唯美的氛围色调，但这体现的是寂静的另一重奥义吗？在最弱的时候，万物重新生发。而这种＂弱＂，我们在 GIOTTO的作品里看到过同样的＂被撞击又被隐蔽的星痕＂。
而只有详细考察过中世纪如GIOTTO 及SIMONE MARTINI的壁画作品后，我们才能理解古丽•斯坦在精神气质上的零度星空，和她那手中暗藏的时间的悖反绳结。而在另一方面，我犹为注意她的那幅意大利教堂穹顶的＂未完成＂的油画作品。可能再也没有另一位艺术家这样画，这只能是古丽的画（却属于我们所有人共同的眼睛）。第一次看到这幅油画的时候，我的眼前产生了如信仰般强烈的幻象，特朗斯特罗姆的诗句从我嘴里脱口而出：＂一个没有面孔的天使抱住我／用低语穿透我的身体：／自豪些，不要因为你是人而感到羞耻＂，而在那穹顶下热泪盈眶的我们会发现：＂你体内的穹顶正在层层打开／你不会完善，一切都已注定，＂你＂被推入阳光喧嚣的广场，穹顶在他们体内层层地打开＂。而那些穹顶的石头是什么？我看见那石头如泉水般地＂涌出＂，或者说，在古丽的这幅画面前，我感到了艺术家所创造的大教堂穹顶，石柱如＂泉涌＂般地被信仰所打开。狂喜和宁静交织的＂复活的圣火＂，让我们重新开始生活。在完成这幅作品快半年之后，古丽•斯坦看了那部塔可夫斯基的电影＜安德烈鲁博辽夫＞，那里面的造钟者，鞑靼和被信仰所抛开的大地，历史的烟云重锁，画圣像的＂说俄语的乔托＂，河流上空暴风雨的弓－－－让古丽告诉我说，（这部电影）＂让我自己也重新理解了我自己的这幅画＂。
而在另一方面，古丽•斯坦的这种＂油画元音＂更多地隐蔽在她＂寂静＂的女性艺术家气质之内。想一想俄罗斯大诗人曼德尔斯塔姆的那首诗歌吧：＂姐妹们，轻重带着同样的标志，＂而重要的是，如诗人所预言的那样，＂又重又轻的玫瑰，在徐徐涡流中／被编结成双重的花环＂。而古丽•斯坦的＂油画元音＂也同样平衡了轻与重，这是我视古丽•斯坦＂固执＂的，甚至＂弱＂到＂黯然失色＂的作品为竖琴最珍贵的如歌的旋律的原因所在。而我以前也一向认为，这种在所谓的＂唯美＂层面之上的＂元音＂只有在真正的诗人手中所被掌控，这也正是被艺术女神所吻过的，只给予被选中的一小部分人的＂炽热的谜＂。
谈古丽•斯坦２
当缪司女神被那些女仆认出来之后，是谁代替那个曾在学生食堂里收集速写的小姑娘来献出＂珀罗涅珀的刺绣＂呢？请还给我我的姐妹那如歌的旋律，古丽• 斯坦的油画让田野的裙子发声，而重新充满了神秘的色彩。玛丽恩迪耶和古丽拥有差不多的背景，年龄相仿，她们的作品＂都使我们在这个不安的，疑惑的世界里东摇西晃＂。她们都找到了属于她们意识的奇幻国仙境，在中国美术的主流或前卫线索里，我们几乎看不到如古丽•斯坦这样发声的女性艺术家，她应该属于美术史的意识线索那一领域。＂我的油画是声音的裙子，也是国土的裙子，或者是屋舍。＂这是古丽•斯坦一次在做设计海报时突然冒出来的一句话（事实上，她在艺术学院做设计讲师，而那些出现在画廊和本画册里的油画是她个人安静的，私人性的＂心灵＂海报）。那一次我问她是否读过中国诗人多多写过的一首诗歌，描绘有着蜂窝形面孔的女人，＂把害怕死亡的裙子拧成绳＂。古丽•斯坦显然没有注意到或优异回避这个＂残忍＂的话题－－在她设计＂带有中产阶级审慎魅力＂的海报的时候。但她后来反问我，为什么不把拧成绳的裙子展平开来呢？把被焦灼，死亡拧成绳的裙子重新展开为＂寂静＂（Silenzio）是女性艺术家考虑的重点，把极限的那个被扭曲了的地平线还原为＂元音＂的本源，这是古丽作品里的潜走向。
让气脉开花。在古丽•斯坦看来，她的小小的＂珀罗涅珀的刺绣＂是身体的脉轮和轮回交相而擦出的＂花的语汇表＂。＂有的时候我觉得，我的那些作品是轮回中被抛开的祖母绿眼泪。＂轮回是不是应该所放弃的呢？还是如诗人所称的那样，＂我在此为你点燃像一根黑蜡烛／燃烧像一根黑蜡烛而不敢祷告＂呢？古丽•斯坦的作品到底为了我们收集到了什么样的＂轮回的花与弧光＂？她最近几年尽管放慢的创作的速度，有的时候说自己在疲倦地休息，但她的着眼点比以往任何时候更敏锐，也更具有洞察力。手握＂珀罗涅珀的刺绣＂的女性艺术家并非要代替我们承担先知和祭司的使命，而是应该让艺术重新工作，真理是每一个夜晚的障碍－－如果我们不再能认知这个世间的轮回与解脱，或日事物的本来状态的话。我知道这是古丽最近感兴趣的＂神秘＂话题，学习新本领，＂为水晶添进新的花瓣＂。而油画则是在轮回的大虚幻中，找到暂时的屋舍或是购买到可以炊烟的新裙子罢了。今年上半年，古丽•斯坦曾专门去上海，参加爵士音乐节。古丽•斯坦向我展示她自己的一些唱片LOUIS ARMSTRONG，BESSIE SMITH，ELLA FITZGERALD，BILLIE HOLIDAY，NAT KING COLE，THELONIOUS MONK，STAN GETZ，DIANA KRALL，＂油画也有另外的屋舍和新裙子。
＂但直到现在，古丽是否忘了她曾构图的为KRALL和她的颜色钢琴画一张新画的允诺？古丽•斯坦对她自己油画世界的＂奇想性录音＂，并非指向如达利或马格里特那样超现实礼帽。学生时期的古丽•斯坦曾经地喜欢过夏加尔，那些飘在半空中的小提琴村庄，雾中的维捷布斯克尔精灵舞蹈是多么像古丽童年时住过的家乡啊。西班牙战后最杰出的画家塔皮埃斯（而不是米罗，而我是多少次丢失了那本TAPIES《塔皮埃斯回忆录》啊）成了古丽•斯坦可以秘密对话的＂灯＂。但她并没有＂丢脸＂地去向塔皮埃斯借来那＂带有晚期抽搐闪电的面具＂，而是在另一个屋舍里发展自己的新想象力。塔皮埃斯那复仇味道强烈的＂坠向地窖的铁铃铛＂在古丽的世界里对位成了最不易察觉的安静的氛围闪电，和最清澈的抵达之水；有的时候我想，为什么在古丽•斯坦的作品世界里，最近的点往往以最远的点出现，仿佛是事物的两极，并维系着如此＂在雪线上的平衡＂？＂很多年前我买了最昂贵的塔皮埃斯画集，这是我的秘密。＂古丽•斯坦这样说。塔皮埃斯那靠近死亡的＂灯＂在这里被重新构图为在夜莺北侧开花的裙子，令那些灯塔地平线的眼睛酸疼。
＂有一天，自我在那些天空的床上，如火车般黯淡下来。谁会是那个早上的跑步者呢？＂那么，女权主义是被重新放回星空的＂最柔软的弓＂，我们不一定用它来为我们找到什么。事实上，在我看来，古丽•斯坦一开始就倦于去数女权主义的铃铛。她的女性艺术家身份带给她的更多的是对油画艺术本身的全力进入。所以，我将在这个解读文本里略过这剂来自波伏瓦的＂毒药＂。而着重于女性艺术家的＂前意识发音＂。
在私下里，我问古丽•斯坦比如艺术家和女性艺术家这样无聊的分类问题的时候，常常我们还没有找到那＂被黑猫弄乱了的旧毛线＂，话题就转到我们喜欢的爵士乐唱片或者神秘性的话题那边去了，或者关于女钢琴家的八卦什么的。但当有些话题如火车般黯淡下来的时候，我们也会来＂猜＂如何＂推妈妈下火车＂？古丽认为女性更注重祈祷和对祈祷的应答。不画画的时候，她也会从茨维塔耶娃的诗歌里找到＂干净的力量＂，或者用那个女舞蹈家的话＂我舞蹈因为我悲伤＂来反对她自己刚刚完成的画。需要说的是，古丽•斯坦在旅行的时候总会写诗歌，作品颇有俄罗斯白银时代诗歌的味道，而且为了找到意识那新的贝壳来牵制那旧的星星，她尝试着把自己的诗歌翻译为英文，所以，＂前进－－－是傲慢的。＂而这种从诗歌中获得的＂新＂听力，如同语法的酒，使每一幅画都幻变为一曲肖邦。
在某种程度上，我想古丽•斯坦会认为即兴主义也是女性主义的特长。从那部《黑暗中的舞者》里的恍惚女神比约克开始，古丽•斯坦转向找到了爵士乐的恍惚声音裙子。所谓即兴正是展现了天才的爵士乐艺术家们的＂过程密码＂。天外来音式的在场现场，暗夜里灵感女神的每一次妖娆转身，向我们泄露的是天才的＂秘密＂。听爵士乐的过程就是艺术天分被在当下＂天机泄露＂的过程。古丽•斯坦的爵士＂潜水＂使她在自己的架上绘画方面展现出了更出色的＂即兴灵动＂，＂我们的身体是被天使们录制了多少次的爵士唱片呢？＂每当古丽•斯坦买不到她想买的爵士乐唱片的时候，或者因为堵车赶不到爵士现场的时候。这种来自爵士乐世界的新活力令古丽•斯坦的油画展现了更丰沛的原创气质。这种＂即兴赋格＂在古丽的画布上照亮了更多重的内在＂寂静＂。我知道最近几个月，古丽•斯坦迷恋于新爵士钢琴家Marilyn Crispell的神秘性的钢琴和弦迷宫，在那张迷人的绿封面的＜ODYSSEY＞唱片里，古丽说自己也找到了新的＂奥德赛纪＂。
谈古丽•斯坦：黑暗，或是灯的占领
我们在哪里编织花环？＂所有的国家都准备起立＂这是奈丽萨克斯的诗句，为了换掉所有星星的颜色，并＂结束旅程＂。而古丽•斯坦的油画作品在我看来最秘密的地方是，她前所未有地为我们＂隐蔽＂了那＂惊恐的缪司为我们值的夜班＂。记得有一次，我惊异于她说自己的作品和安塞姆基弗那浩劫之后的＂黑禁忌荆棘＂有相同的防线。基弗的作品是那么黑暗（黑过流亡的黑色），而古丽的作品世界和他是如此的完全不同。古丽•斯坦告诉我，在她看来，＂黑暗，本身就是另一种方式的灯的占领。＂所以，不同的艺术家将内心的力量被转化为作品的时候，并没有遵循同样的道路。基弗在圣像被破坏掉的时代传递给我们的是＂黑棉花地＂（苏格的一个概念），而她或许传递过来的是灯对黑暗的＂占领＂，或者是＂水晶＂（古丽•斯坦日志里有一段时间里出现频繁的一个词），但是，反过来说，我们透过水晶里面看到的不就是＂黑棉花地＂吗？如被烧灼的火药棉。
由基弗的那幅名作《你金发的玛格利特》，古丽•斯坦和策兰（Paul Celan）接通了强烈的”流亡的电流”。＂沙，命令返回。＂古丽•斯坦的油画作品里那独特的＂弱＂的暗色调的＂黄色＂终于在策兰的诗歌里找到了一个词根，（沙，也是萨克斯诗歌王国里的一个基本词根，和流亡有密切的涵义），但另一个方面，策兰诗歌里那从＂词＂里渗出的雪暴给了古丽•斯坦深刻的印象。为油画找到不同的＂寂静性质＂的词根，是古丽•斯坦尝试的一个方向。谈回沙，来自于阿克苏的古丽•斯坦经历的童年精神航道。她的油画艺术如同铺在沙漠上的嵌星丝绸飘带，展现了新一代女性艺术家的抵达之谜。
（另一个来源，乔托那中世纪的以黄色为主要色系的壁画，也对古丽•斯坦的作品发出召唤。）
观察塔皮埃斯这位古丽•斯坦喜欢的画家和基弗作品世界的异同。我们会看到前者的黑的铁青的带有复仇张力的抽象线面那种痛定思通的力度，和后者而过了极端的线的＂死亡赋格＂，同样传递来焦灼的热星火药库。但在这一端，女性作为匿名的＂抽像的泉水＂，将之归于重新开始的寂静。在这里，背景不同性别不同的艺术家体现的是同样重新出发的本初觉醒。黑暗是什么，现在已经被画布上出现的灯占领了。灯形成了信仰般的寂静和新的听力。
在这一点上，古丽•斯坦的架上绘画和俄罗斯作曲家古拜杜里娜表达的安静有异曲同工之意。尽管古丽还没有听过这位俄罗斯老太太，但我仍然把古丽•斯坦的油画发声看为对另一的祈祷应答－－或者相反。前几天，看了在国家电视台转播的古拜杜里娜北京音乐会，古丽曾经私下说，那种震撼和息息相通的感觉，就好象找到了自己油画的终极＂声音版本＂。
宋逖
On Gulistan
The Essence of a Slow Voice Worn Down by Crystal
by Song Di
The tear of a harp is always costly. As the luxurious discarding of a subordinate Muse, which follows from Nemesis to Tapies, Gulistan’s fantasy world implies the most expensive silenzio of painting to us. To me, the different voice of paintress Gulistan’s new works is the promised voice “to add petals to crystal” in the present mixed context. “Painter”, as another troublesome moniker besides female, has been chosen as a shielded Muse. It is not only taken as “the softest bow” of a bride under the starry sky, but also as the fiery nightingale of feminism. Among the group of unwonted female artists who open layers of domes with the belief of body, Gulistan’s series of painted works in the last few years, for example, are coming back to weave the starry ribbon of silenzio for this indigent era.
Gulistan once compared one of her early paintings to the Circle Waltz, one of her favorite jazz albums. It was the “Waltz of Painting”, which she had never heard before. She said that painting was another kind of re-phonation. The harp is owned not only by the poets, for on the lean land washed out by belief, not only poets are left. Painting is Gulistan’s voice. (Gulistan—her mysterious English monogram—is just like her mysterious ancestry.) It is the quietest water arrived at with a flash of lightning. “Painter”, as Gulistan’s other more troublesome identity, has helped her find the quietest train (as she recalled the scene from a trip from Aksu when she was 9) with the act of drawing; the quietest painting is the passport and the prayer that the least brave will annunciate. Which country does silenzio begin with? If we think about the meaning of the name Gulistan, we meditate on the kingdom of flowers. Paintings such as the quietest flowers of a lamp shone by this young woman are quite rare. With Susan Sontag’s concept of a “key point”, I am apt to call the world of Gulistan’s works the “vowels of painting”. To be more exact, based on the “purchasing” of Gulistan’s imagination of painting’s fantasy world—Gulistan, undoubtedly, bought from the goddess of art the silent vowel of painting’s singularity—she is the rare female artist who uses silenzio to vocalize eternity in this era when the nightingale’s songs are shielded by noise.
I realize that the album Largo Gulistan recommended to me recently has supernaturally covered the ideology of largo expressed by a new French jazz pianist Brad Mehldau. This disc, released in 2002, was first heard by Gulistan in 2005. Largo is another identity for silenzio. Gulistan recounted that she spent much time working in her studio last year, while this year less. Painting as a slow striving is full of secret signs. I know that recently she turns her ear to the concertos of Bach and the piano sounds of the Former Soviet Union pianist Maria Yudina. But listening to the radio is her habit while creating in her studio. She told me a story about a poster designer named Monguzzi. During an interview, Monguzzi was asked to name one of his hobbies. He said that his hobby is to “listen to his wife read aloud before sleep”. Obviously, the spiritual act of listening to music provides Gulistan’s quiet realm of painting a correct sound contraposition. Of course, the nature of the fugue is less important.
Gulistan’s “only” vocalization shows the golden ribbons woven by time and space. As a former dancer and choreography teacher, or as a former consultant to the Chinese Bureau of Artifacts and Relics working with archaeological teams on the Silk Road, Gulistan has emphasized her “archaeological” vocabulary in her painting’s expression. Usually, “painter” and “traveler” are closely related with “a pair of shoes that can leave behind the essence of memory”. This surveyance and looking back to wander through the scene causes the artist’s internal identity to continuously “change the kingdom”. Gulistan’s painting also exerts an annotation upon the nostalgia carried by vagrants. Moreover, she begins with this, to extend the exiling subject of “sky that can never leave behind memory”. Where are the feet? Or where is the empty embroidered shoe left on the road (Gulistan’s favorite work)? Is traveling weakness? Or one’s mother tongue? Is the place where our bodies exist weak and unknowable? So the flowered journey is Gulistan’s “weakening lamp”, and the music stored in the body is called the “response to prayer”. I noticed that in Gulistan’s painting, the “stress” of other artists is contrary. She darkens the lamp of stars in the sky and makes them weak—so as to sacrifice the aesthetic tone of the atmosphere. Does it show another abstruse meaning of silenzio? Everything is reborn in the weakest moment. However, this “weak” we have seen is the same “stricken and concealed mark of a star” in Giotto’s works.
However, only after searching into Middle Age frescos such as those of Giotto and Simone Martini can we understand Gulistan’s zero degree starry sky of spiritual passion and the reverse knot that is concealed with time in her hands. On the other hand, I particularly care for her “unfinished” painting on the dome of the Italian church. Perhaps no other artist will paint in this way. This can only be Gulistan’s painting (however it belongs to the eyes of us all). When I saw this painting for the first time, a strong ideal-like belief occurred to my eyes and Terrence Terrone’s verse came suddenly out of my mouth: “An angel who has no face gripped me and penetrated my body with a murmur: Be proud, don’t be ashamed of being a man”. Thus, we, whose eyes brim over with warm excited tears under the dome, will find: “The dome in your body opened layer by layer and you will not be perfect which is doomed. Then, ‘you’ are put into the shining square dome opening layer by layer into their body”. Moreover, what are the stones of the dome? I saw the stones flooding out like fountain. Or, I can say that before Gulistan’s painting, I felt the church dome was created by an artist. Stelae were opened by belief like a gushing fountain. “The holy fire of Resurrection” mixed by ecstasy and serenity makes us start a new life. Half a year after finishing this work, Gulistan watched Tarkovsky’s film Andrey Rublyov. The clock maker, Tartar, and the land discarded by belief, heavy clouds of history, Giotto, who speaks Russian and paints icons, the stormy bow above the river—all these caused Gulistan to say this film “makes me understand my own paintings again”.
On the other hand, Gulistan’s “vowels of painting” are more likely to be hidden in her quiet female artistic proclivity. Think about the poetry of the great Russian poet Mandelstam: “Sisters, light and heavy wears the same sign.” What is more important is that as the poet had predicted, “heavy and light roses were woven into double anadem in the inchmeal whirlpool”. Gulistan’s “vowels of painting” also balance light and heavy, which is the reason why I regarded Gulistan’s “willful” and even break from “weak” to “dim” painting as the harp’s most precious cantabile melody. Besides, I used to believe that only a genuine poet’s hands could handle this so-called “vowel” above the level of “beauty”. This is also the “fiery mystery” kissed by the goddess of art and owned by a chosen minority.
On Gulistan 2
When Muses were recognized by those maids who gave “Penelope’s embroidery” instead of the little girl, who collected the sketches in the students’ cafeteria? Please give me back the cantabile melody of my sisters. Gulistan’s painting causes dresses in the fields to make a sound, which fills it full of mystery. “When my daughters reach age 12, I will teach them the way of mystery. It is not because they don’t know this ability but that I keep it from them….” This is the beginning of Gulistan’s favorite novel Witch by the talented female writer Marie Ndiaye from the French midnight writer’s group. Marie Ndiaye and Gulistan share a similar background and age. Their works “make us shake around this nervous and wondering world”. Both of them found their fantasy world in their own consciousnesses.
We can seldom find an artist who can verbalize like Gulistan in the mainstream or adventurous realms of Chinese art. She ought to belong to the field of conscious clues in art history. “My painting is the dress of a voice as well as the dress of a country, or a house.” This was Gulistan’s sudden remark during the design of a poster. (In fact, she is a lecturer in design at a local art college in Beijing. Moreover, though her paintings may appear in a gallery, her albums are her personal quiet and private “spiritual” posters.) At that time, I asked her whether she had read the poetry written by Chinese poet Duoduo that describes a woman with a pitted face, “weaving the dress which is afraid of death into ropes”. Gulistan obviously didn’t notice or skillfully avoided this brutal topic when she was designing a poster for the Discreet Charm of the Bourgeoisie. She asked me in reply: Why not spread out the dress that was woven into rope? To spread the dress woven into rope by worry and death to silenzio is the key point that concerns this female artist. To revert the limited and distorted horizon into the origin of “vowel” is the potential trend of Gulistan’s works.
Make passion bloom. To Gulistan, her little “Penelope’s embroidery” is the “flower’s vocabulary” that is brushed together by passion of the body and samsara. “Sometimes I think that my works are the emerald tears discarded during samsara.” Should samsara be given up? Or as the poet once said, “I light here a black candle for you. Does burning fear not pray like a black candle?” What kind of “flowers and arc of samsara” do Gulistan’s works collect for us? Although in these years she is relaxing the pace of her creation, her respect is more acute and perspicacious than at any other period. With “Penelope’s embroidery” in her hands, the female artist is not going to take the responsibility of a prophetess or priestess over us, but she makes her art work again. The truth is the obstacle of each night—that is, if we can no longer understand the samsara and extrication of this world or the original statement of things. I know that this is Gulistan’s favorite topic about “mystery”. Learn new skills to “add new petals to the crystal”. Meanwhile, painting is to find the temporal house or to buy a new dress that can smolder in the fantasy of samsara. In the early part of this year, Gulistan took a special trip to Shanghai to attend the jazz festival there and to see her favorite vocalist Diana Krall—the selenic jazz girl who lights the piano ablaze. Gulistan showed me some of her Diana Krall albums. Among them is one called The Girl in the Other Room, where painting also has another house and a new dress.
But until now, has Gulistan forgotten her promise to draw Diana and her colored piano into a new painting that she had conceived? Gulistan’s eccentric essence of her painting world is not the supernatural hat pointing to Dali or Margaret’s “simpleton”. Gulistan, as a student, briefly liked Chacare. The violin villages flowing in the sky and the Vicebskaja elf dance in the fog looks like Gulistan’s home town that she loved during her childhood so much. But Chacare finally became the lamp that had been taken away. The late distinguished Spanish painter Tapies (rather than Miro, however, for how many times I have lost the Tapies memoirist) became the “lamp” that Gulistan can talk to secretly. But she has not been “disgraced” to borrow from Tapies the “mask with terminal twitch lightning”; instead she developed her own imagination in another house. Tapies’ “iron bell falling into the cellar” which is full of the sense of revenge contrapuntally becomes the least conscious quiet lightning of the atmosphere and the clearest reaching water in Gulistan’s world. Sometimes, I think about why in Gulistan’s painting world the nearest point usually appears in the form of the farthest point as if they are two extremes of one thing while maintaining such a “balance on the snow line?” “Many years ago I bought the most expensive Tapies’ volume, which is my secret treasure,” Gulistan said. Tapies was so close to the “lamp” of death. Here, it is redrawn as the dress that blooms to the north of the nightingale, which makes the eyes of a beckoning horizon ache.
“One day, self on the bed of the sky will dim like a train. Who will be the runner on that morning?” Then, feminism is the “softest bow” that has been placed back into the starry sky. We needn’t find something within it for us. In fact, in my opinion, Gulistan has tired to count the bell of feminism from the very beginning. Her identity as a female artist has brought her more strength to access the painting art itself. Thus, I will skip over in this scrambled article the “poison” from Beauvoir to focus on the female artist’s “subconscious phonation”.
Privately, when I asked Gulistan such mundane questions as the difference between artist and female artist, we usually didn’t find the “old wool disarranged by the black cat” before the topic switched to our favorite jazz albums or some other mysterious topic or anecdote about a female pianist. But sometimes when the topic dims like a train, we will “guess” how to “Throw Mama from the Train”? Gulistan thinks women should focus more on prayer and the response to prayer. When not drawing, she will find “pure power” from Tsvetaeva’s poetry, or to use the female dancer’s words, “I dance for I am sorrowful” to oppose her newly finished painting. It is tellable that Gulistan always writes poetry during the journey. The works have a sense of the Russian silver age. Besides, to find the new conscious shell to contain the old star, she has tried to translate her poetry into English. Thus, “forward…is arrogant”. Moreover, the “new” annunciation obtained from poetry, like the wine of grammar, makes every painting Chopin’s music.
To some extent, I think Gulistan will believe improvisatori is also the specialty of the female. From absentminded goddess Bjork in Dancing in the Dark, Gulistan turns to find the absentminded dress of the sound of jazz music. Improvisatori shows the “code of process” of the talented jazz artists. In the local show that seems to be from outer space, the goddess of inspiration in the dark night reveals to us the “secret” of talent through every enchanting turning about. The process of listening to jazz is the process of “revealing the secret” of artistic talent in the moment. Gulistan’s jazz “diving” makes her show more outstanding “improvisational intelligence” in her framed paintings. “How many times have the jazz albums of our body been copied by angels?” Every time when Gulistan fails to find a jazz album that she wants, or when she fails to see a jazz show because of life’s unexpected interruptions, she would ask questions such as this. This new energy from the jazz world makes Gulistan’s painting full of the abundant sense of creation. This “improvisational ode” enlightens more multiple internal silenzio in Gulistan’s canvas. I know that in the last few months, Gulistan has taken to a new jazz pianist, Marilyn Crispell, and her mysterious piano chord maze. In the album Odyssey, which has a charming green cover, Gulistan is said to have found her new “Odyssey”.
On Gulistan: Dark, or The Occupation of the Lamp
Where do we weave the anadem? “All the countries are ready to stand up” is the verse of Nelly Sachs, which is used to change the color of stars and “finish the journey”. Meanwhile, to me, the most mysterious thing about Gulistan’s paintings is that she helps us conceal “the night shift of frightened Muses”, which has never been done by others. I still remember that once she said her works had a similar deference as Anselm Kiefer’s Black Taboo Thorn after catastrophe, which surprised me. Kiefer’s works are so black (darker than the black of exile), while Gulistan’s works are quite different. Gulistan told me, in her eyes, “dark, itself is the way the lamp occupies”. So different artists do not follow the same way when translating the power of inward mind into works. Kiefer transferred to us the Black Cotton Field (one of Suge’s conception) during the era when the icon was wrecked. But she transferred the “capture” of dark by the lamp, or the “crystal” (a word that appears frequently in Gulistan’s diary during that period). On the other hand, what we saw through the crystal is the Black Cotton Field, which is like burned out cotton.
Because of Kiefer’s famous work Your Blond Margaret, Gulistan and Paul Celan were put through the strong “electricity of exile”. “Sand, ordered to black.” The unique “weak” and dark “yellow” in Gulistan’s painting had finally found an etymon in Celan’s poetry. (Sand is also a basic etymon in Sachs’ poetry kingdom, which is closely related with exile.) On the other hand, the snowstorm exuded from the “words” in Celan’s poetry left upon Gulistan a deep impression. To find painting different etyma of the “character of silence” is one direction in Gulistan’s attempt. Let us come back to sand, and to the childhood spiritual sea-route that Gulistan experienced in her hometown Aksu. Her painting art is like a starry silk ribbon spread in the desert which shows the mystery of the reaching of a new generation of female artists. (Another source, the frescos of Giotto, are the main hue of yellow in the Middle Ages, which also calls forth the works of Gulistan.)
When observing the works of Tapies, the favorite artist of Gulistan’s and Kiefer’s, we find the powerful strength in black abstract lines with the sense of vengeance of the former and “the dead fugue”, which crosses the extreme line in the latter, which also has the sense of a burnt smell in black powder magazines. On this side, the female artist, as the anonymous “abstract fountain”, put it into the original silence. All the artists with different backgrounds and genders represent the original wakefulness. What is the darkness? It is replaced by the lamp, which fosters the silence like beliefs, and new sound.
In this respect, the paintings of Gulistan and the music of Russian composer Gubaidulina have a lot in common. Although Gulistan has not heard the music of this woman, I still regard the sound of her oil paintings as the response to prayer—or the opposite. I watched the concert of Gubaidulina in Beijing on television several days ago. Gulistan told me subconsciously that the shock and the linkage between them lets her feel that she has found the “audio edition” of her oil paintings. |
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发表于 2011-3-10 19:08
