神話(huà)根源——羅德?tīng)枴に裂艂€(gè)展Rodel Tapaya: Mythical Roots
開(kāi)幕酒會(huì)Opening : 延期至 2009.6.26 4:00pm
展覽時(shí)間Date : 2009.6.26-7.26
參展藝術(shù)家Artist : 羅德?tīng)枴に裂臨odel Tapaya
展覽地點(diǎn)Venue : 北京市東城區(qū)東四北大街107號(hào)天海商務(wù)大廈B101-103 索卡藝術(shù)中心
B101-103, Sky&Sea Business Plaza, No.107 Dongsi Beida Street, Dong Cheng District, Beijing, Soka Art Center
在這個(gè)名為“神話(huà)根源”（Mythical Roots）的展覽中，塔帕雅的身份宛似一位吟游詩(shī)人，他與Carlos Francisco和Brenda Fajardo為伴，一起向您回憶和講述創(chuàng)世神話(huà)：大洪水、第一位人類(lèi)婦女、最原始的火種、香蕉的起源，以及其他宇宙中物種起源的故事。塔帕雅天生就具有非凡的審美能力，尤其喜愛(ài)民俗故事，他從未因鄉(xiāng)間方言的原因而出現(xiàn)失誤，正因?yàn)槿绱?，他的工作顯得重要而有價(jià)值。從前面的系列中不難看出，他對(duì)清貧的環(huán)境有特殊的感情，也特別敏感，這可能與他日常家居生活的簡(jiǎn)單、樸素有關(guān)。看起來(lái)他打算走平民路線(xiàn)：事情的發(fā)生總是有著特定的方式，人們也總是對(duì)某些品行特別地關(guān)注，即使它只起到裝飾作用。實(shí)際上，塔帕雅的全部技能都只是一種裝飾，真正的中心還是每一株活生生的植物，它們的形象清晰可辨，糾纏在一起形成一派繁榮景象，而畫(huà)筆所搭成的架子就是它們攀爬的對(duì)象。用圖畫(huà)來(lái)表達(dá)創(chuàng)世神話(huà)同時(shí)集合了故事書(shū)與連環(huán)畫(huà)的優(yōu)點(diǎn)，是一項(xiàng)頗為有趣的嘗試。塔帕雅的畫(huà)卷展開(kāi)了一副宏大的史詩(shī)，嚴(yán)厲的摩尼教，充滿(mǎn)怪念頭 的移民者，天災(zāi)人禍都在其中畫(huà)下濃墨重彩的筆劃。大致來(lái)說(shuō)，藝術(shù)家找到了一個(gè)適合自己的方式來(lái)闡述他的天人之道；有時(shí)候畫(huà)面上銳利的色彩和沉重的筆調(diào)讓人有驚險(xiǎn)刺激的感覺(jué)，極具感染力。
In this exhibition Mythical Roots, Tapaya ventures as a bard, part Carlos Francisco, part Brenda Fajardo, that remembers and recounts the myths of creation: the great flood, the first woman, the primordial fire, the genesis of the banana plant, and other foundational fictions of the universe. And what makes Tapaya's work important and valuable is a certain flair in speaking to a folk aesthetic, which is not to be mistaken for a forced provincial, vernacular style. It might be part of his own humble sensibility, a particular homespun attitude toward the everyday life of his milieu as can be gleaned in a previous series. It might likewise be part of an engagement with tendencies in folk facture: how things are made in a particular way and with specific attention to such virtues as decoration. In fact, in Tapaya's repertoire, ornament is central or, better still, vital and can be discerned in the heady delineation of flora, which becomes a motif of a bounty's source that prospers like tropical vine crawling on the trellis of painting. There is also interest given to graphic expression that seems to mingle story-book fairy tale and komiks, marked by the severe miens of Manichaean characters, the wild whimsy of settlers, and a trace of epic unfolding across a fertile, cataclysmic frontier. In the main, the artist finds a suitable mode to realize his discourse, one that is robust and idiosyncratic, imbued with an acute sense of color and a density that is sometimes breathtaking.
Soka Art Center Beijing
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