文/ 金美怜 

Text/ Mi-Ryoung Kim

1. 观察

少女久久地凝视着学校的前院墙垣。她曾经反复斟酌、屡次观察，却百思不得其解。“日常”、“责任”等字眼，萦绕在少女的脑海之中，长久挥之不去。

1. Gazing Sideways at Observation

A girl stares at the wall of the schoolyard for a long time. After much deliberation and observation, she remains baffled. Such words as “everyday” and “responsibility” linger in her mind.

2. 凝视

她将漂亮的辫子使劲咬住，再次站到镜子前。

她使劲儿地瞪大眼睛凝望，最终还是松懈了下来。

2. Focusing on Gaze

She bites down hard on the pretty braid as she stands before the mirror once again.

She opens her eyes as wide as she can before finally relaxing again.

3. 事件

衬衫的口袋刚才还雪白发亮，转瞬却如乌云笼罩般染成了黑色，汗水打湿了他的胸膛，视野之中，一片水雾迷蒙。

3. Anxiety over Events

The shirt was white as snow just a moment ago, but now a dark cloud of ink spreads across it. His breast is soaked with sweat. The vision is filled with water.

常言道，现代人的生活并不简单。曾几何时，习以为常之旧事，今已不复熨帖，不再平和。朝朝暮夕，不经意间，我们身边的许多事件在悄然上演。媒体激昂，讯息纷繁，不论咫尺或天涯，琐事或奇闻，都尽在我们指掌之间。鸿雁蹁跹，贯连了天堑。而媒体的发展，如抟扶摇而直上，将寻常百姓的家长里短亦揭露无遗，而疏于过滤。如此迅雷不及掩耳的媒体发展态势，必然会给现代人的思考方式与情感世界，予以重击，也将使人们对习以为常、司空见惯之事，感到迷惑不已。诚然，我们深知，这些事情之间的关联，千丝万缕；但这些态势的演变，在人们的日常生活中，掀起了信息狂澜，吞没了万千真相。面对日渐复杂纷扰的生活，我们措手不及，倍感焦躁，无奈叹息。

It is often said that life for modern people is anything but simple. At some point in time, the once ordinary, customary things of old were no longer ordinary, no longer calm. Day in and day out, things unfold around us in a constant, unconscious stream. The media surges forth with a stream of information. Everything is at our fingertips, from the smallest to greatest of things, from the most trivial to the most fascinating. It flows across the skies, from one horizon to the next. The media has risen like a cyclone, sweeping up the affairs of the people and exposing them for all to see, with little if any filter. This wildfire spread of the media inevitably deals a strong blow to the modes of thinking and emotional worlds of modern people, and makes the most ordinary, common things strange and confusing. We do know deep down that these things are connected in countless ways, but this shifting landscape has cast up great waves of information that have subsumed the truth. When facing an increasingly complex life, we are at a loss, filled with anxiety and helplessness.

马铭泽在其绘画作品中，对上述社会现象及其结构性问题进行细分，以碎片的方式，呈现在我们面前。现代社会中，人们为家庭、事业奔波劳碌，往往无暇顾及这些日常细节，任其昙花一现，随风而逝。但马铭泽以其细腻的情感，敏锐的洞察，将一幕幕琐碎场景，鲜活地捕捉了下来，锁定了生活当中平凡无奇、却又不可或缺的重要瞬间。我想，大抵正因如此，她的作品当中，才会充溢着如此纷纭的日常剪影。我认为，我们无需深究，这位画家是否意识到前文所述的种种问题。因为从她的作品便能看出，潜意识中，她对这些问题已经了若指掌。在具体赏析其作品之前，我们不妨先从整体把握，感受她画作当中所萦绕的焦灼与不安。那种惴惴之情，溢于言表。作品中的事物或场景，我们在生活当中虽说已是司空见惯；但观其画作，某种难以言喻的不安与复杂之情便油然而生。实际上，人类的喜怒哀乐，虽因果可循，却极为主观，难以言表，而抽象至极。马铭泽的作品也将这一点表露得淋漓尽致。她在大部分画作当中，采用了单调的色彩，尽可能使用单色，在有限的空间当中描绘各种场景。同时，她甚至会对核心部分进行特写，突出强调，并弱化周围部分，给画面营造出极度的压迫与逼仄之感。这般手法，作为莱卡摄影技术的经典技术之一，很容易令人联想到近代摄影史上的大师、法国摄影师卡亨利·卡蒂尔-布列松及其著作。他对现代新闻摄影行业产生了深远影响。他的摄影作品以精确的空间处理为基础，捕捉了各种绝妙瞬间，以刻画普通民众的日常生活，聚焦于历史上挣扎在社会底层的劳苦大众。布列松在精准的空间处理的基础上，采用自然清新的抓拍方式，巧妙地捕捉到了普通民众日常生活中的非现实感，其代表作为享誉世界的《决定性瞬间》。

In her paintings, Ma Mingze analyzes the social phenomena described above and the structural issues behind them, presenting them to us in a fragmented manner. In modern society, people are so busy with their families and careers that they have no time or energy for these quotidian details, catching them only as a fleeting glimpse. But Ma Mingze, with her refined emotions and keen insight, captures one trivial scene after another and fixes these ordinary but indispensable moments from life. I think this is the way it should be. This is why her works are brimming with rich silhouettes of everyday life. I feel there is no need for detailed research into whether the painter is aware of the various issues described above. That is because we can see from her work that, on a subconscious level, these issues are already clear as day for her. Before engaging in a detailed analysis of her works, we should start by grasping the whole, and taking in the unease that enshrouds her painting. The apprehension shows in her every expression. Though the things and scenes in her paintings are exceedingly common, when we look at her works, complex feelings of unease begin to inexplicably surface. The range of human emotions, may be predictable, but they are also highly subjective, difficult to describe, and abstract to the extreme. All of this is revealed in vivid detail in Ma Mingze's works. Most of her paintings use simple colors, predominantly monochrome, and depict all manner of scenes within limited space. She will often also depict the central area in a high level of detail, highlighting it while softening the surrounding area, creating a powerful sense of urgency and confinement. This is a classic technique from Leica photography, and also calls to mind the work of French photography master Henri Cartier-Bresson. He had a profound influence on modern photojournalism. His photographs capture magical moments over a foundation of precise spatial control, capturing the everyday lives of the masses as they struggle through history. He used a fresh and natural photographic approach to deftly capture the sense of unreality in the everyday lives of the common people, as seen in his classic book, The Decisive Moment.

大师的惊世杰作，仰之弥高。马铭泽的绘画作品，取法于上。笔者眼前所见之事，所观之景——学校前院墙垣，枕上零星碎发，起身之后留下的松散衾枕，柏油路上踏着的裸足、门牌与把手上敛聚的灯光如炬、窗帘飞扬飘逸、衣橱的门缝当中泻出一角布衣、光束纤纤穿门而过，斑斑墨迹沁染衬衣，诸如此类，无一不展现了马铭泽“独具慧眼”，捕捉到了贯穿着自我意志与认知的诸多瞬间，并尝试从多个角度来反映现代人的焦虑情绪。本展览始于画家意识之萌发，终于日常的决定性瞬间，展览按照《观察》、《凝视》、《事件》的顺序依次展开。

This master's works command great heights. Ma Mingze’s paintings draw from these heights. The things and scenes the artist sees—a schoolyard wall, scattered hairs on a pillow, a loose imprint left after rising from bed, a bare foot stepping on the pavement, bright glimmer of light reflecting off a door plaque and doorknob, curtains billowing in a window, clothing bulging from a closet, rays of light sweeping across a window, blotches of ink staining a shirt, all of these embody Ma Mingze’s “unique wisdom of vision” that captures so many moments of volition and cognition, and attempts to reflect the anxiety of modern people from multiple perspectives. This exhibition begins with the painter's consciousness and ends with the decisive moments of everyday life. The exhibition follows the order of Observation, Gaze and Event.

【学术主持简介 | About the Academic Director】

金美怜，策展人、艺术评论家。曾有16年当代艺术展览、公共艺术项目策划和评论经验。 她专注于亚洲当代艺术史的研究，也关注摄影、公共艺术、视觉文化、视觉艺术理论、人文学等领域，出版专著包括：《（2006）视觉艺术机构现况调查与分析》、《（2006）视觉艺术家现况调查与分析》；《京畿道美术馆（Gyeonggi Museum of Modern Art）中长期发展计划2010-2020》。2016年，获得韩国国际交流财团、日本国际交流基金会赞助策划主持《二战后中韩日前卫艺术的形成与发展》国际艺术研讨会。

Mi-Ryoung Kim, owned curator and art critic, sixteen years of experience curating contemporary art exhibitions and public art projects. Her research focuses on Asian contemporary art history, with a focus on photography, public art, visual culture, theories of visual art, and the humanities. Her publications include Survey and Analysisof the State of Visual Arts Institutions (2006), Survey and Analysis of the State of Visual Artists (2006), and the Gyeonggi Museum of Modern Art Long-TermDevelopment Plan 2010–2020 (Gyeonggi Museum of Modern Art). In 2016, she was awarded a grant from the Korea Foundation and the Japan Foundation for the international art colloquium “Asian Avant-Garde Art from Postwar to Postmodern: China-Korea-Japan.”

艺术家简介 | About the Artist】

马铭泽，1983年出生于辽宁，毕业于鲁迅美术学院油画系，获硕士学位，现工作生活于北京。主要个展有：2017年《一瞬·即视》，芳草地画廊。主要群展有：2009年《第四届成都双年展》，成都现代美术馆；2012年《回归一种视觉的方式》，鲁迅美术学院；2013年《空间的肖像》，芳草地画廊；2015年《鲨鱼与人类》，中国国家博物馆；2017年“鲨鱼与人类”，香港海事博物馆。

Ma Mingze, born in Liaoning in 1983, graduated from LuXun Academy of Fine Arts, Oil Painting Department with MFA in 2009, currently living and workings in Beijing. Solo exhibition: "Freeze a Moment", Parkview Green Art in 2017. Main group exhibitions include: “The 4th Chengdu Biennale”, Chengdu Modern Art Museum in 2009. “The Return of a Visual Way”, Art Gallery of LAFA in 2012. “The Portrait of Space”, Parkview Green Art in 2013.“On Sharks & Humanity”, National Museum of China in 2015. “On Sharks & Humanity”, Hong Kong Maritime Museum in 2017.

【展览现场】