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李皖的博客

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李皖  

职业报人, 业余写作。著有《回到歌唱》《听者有心》《民谣流域》《倾听就是歌唱》《我听到了幸福》《五年顺流而下》《人间、地狱和天堂之歌》《多少次散场,忘记了忧伤——六十年三地歌》《暗处低吟》《亮处说话》《娱死记》《锦瑟无端》等书。在《读书》杂志开有专栏。曾任华语音乐传媒大奖第二、三、四届评审团主席。另编纂有万里茶道著作《重走中俄万里茶道》《俄罗斯的中国茶时代》。商业用途转载, 须先征得同意。非商业用途自便, 惟请注明作者和原文链接。我的邮箱: lwan艾特vip.sohu.com

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解放的皮肤:有关武汉音乐  

2017-02-22 09:51:07|  分类: 默认分类 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |
在《解放的皮肤》艺术展上的即兴发言。胡言乱语,不周延,不作数,姑妄听之。——作者


我想,今天我来到这里是作为一个元素投放到这样一个展览当中,可能我这个元素是一个碰撞。就像2000年以来武汉本土的实验艺术、音乐和文化,它本身就是一种碰撞,就是不同的东西被并置到这个空间里面,它有一种全面性,同时在全面性的不同展示中碰撞出大家的思想。鲁明军老师要我讲一讲2000年以来武汉本土的音乐,来到这里我得到了一些启发,我想谈一谈武汉的音乐在这么一个环境和空间下它可能的联系和碰撞。

武汉这个城市确实很有意思。我们整个大的主题是放在“江汉繁星计划”的系列之中,我觉得这个系列特别好,特别具有前瞻性,带来了特别多新鲜的信息,这个计划有着本土的气质、本土的观察和关切。武汉的音乐应该说有几个方向,这几个方向是从上世纪80年代开始,到90年代形成了一些侧面,这些侧面在2000年以后在延续,一直延续到今天。从最大的方面来讲,它第一个鲜明的特征就是无主题。当年徐星写过一篇小说叫《无主题变奏》,它的写法挺新,像扑克牌一样,是一段一段的,写完之后把扑克牌一洗,它就是这部小说了。徐星带来了极大的影响,后来包括我们所熟悉的王朔,也是在那种背景下产生的。

我对武汉的印象,特别深刻的是,武汉这个地方没有什么圈子,也像是一副洗乱的、乱洗的扑克牌。武汉这个地方的音乐人非常多,但是都很分散,形不成一个团或者群,每个音乐人都相对独立。就像今天在座的陆炎和AV大久保,你说他有什么圈子,与其他音乐人有什么彼此之间的联系?其实联系都特别疏远。他不在一个背景下、不在一个空间下谋事、搞事,这是它的特点。

解放的皮肤:有关武汉音乐 - 李皖 - 李皖的博客
 
从音乐上来讲,武汉的第一个形象是,它是一个“朋克之城”。当年在全国一说起武汉,在大家印象当中武汉的朋克很厉害,而且这个名声一直传到了今天。当时朋克最大的代表是“生命之饼”。我们都说武汉是一个特大城市,但是在改革开放之初它是一个“破大城市”,过去是一个国家重镇,但是经历了市场经济的冲击,旧有的工业瓦解了,旧有的城市地位没有了,虽然它有一个很庞大的身躯,但是它原有的血肉没有了。在这种背景下产生的这些青年,多多少少有一些这个城市的遗传,他们的父辈有很多是这个城市原先的产业工人,而且代表了国家队的工人的身份。这些人出来做音乐的时候,反映了那个时候的气质,带着一种无名的愤怒,同时也有一种迷茫,而且有一种说不出来的武汉人的个性。这些音乐在愤怒的性质之外,还有一种幽默,而且这种幽默是全国其他地方人看不懂的,但是你会觉得它是很有意思的,但是不知道他在说什么,这是一个很鲜明的特点。但是这些人比如“死逗乐”、“愤怒的狗眼”、“妈妈”,基本上是昙花一现不见了,然后又出现了一些昙花一现的其他乐队。跟朋克相关的就是重金属,然后出现了重金属的朋克,比如“四百击”。但是这些东西都对这个城市没有什么影响,我讲的这些估计在座的没有印象,只有深入到这个城市的音乐里的人才有印象。这些乐队的影响是很意外的,它们不是影响这个城市,而是影响到了外面,就像中国的朋克乐迷把武汉视为圣地一样,而且像吴维也到欧洲去巡演,甚至“生命之饼”后来出了全英文的作品,它已经不对这个城市说话了,这些变化也挺有意思。

解放的皮肤:有关武汉音乐 - 李皖 - 李皖的博客
 
武汉音乐的另外一支,另一个音乐上的武汉,是一个“小清新之城”,这个影响非常久远,甚至我觉得它的深度和影响力比朋克、重金属要深远,它更代表了这个城市的面目,代表了这个城市的气质。我最早接触它是2003年。2003年春节前后,我当时在英国读书,在英国待了1年,然后从中国寄来了一张唱片,当时我的感受是古怪之极。古怪在什么地方呢?因为在英国读书有一些中国人,大家想象国外的生活,感觉到你到一个洋地方去了,可能是境外的、外国的面貌,其实我们经常在一起还都说中文,还是一个中国的环境,在英国我们过的是一种中国的环境,甚至有一些很熟悉的朋友之间还说武汉话。这个时候突然来了一个从中国来的唱片,从我的家乡来的唱片,结果它唱的是英文,特别有意思。我隔壁住的是尼日利亚人和加纳人,他们听了唱片之后就问我“你放的什么”,我说放的是我们那儿的作品和音乐,他们也觉得特别惊讶,那个东西有点像英国人的音乐,这是小清新最早的印象。当时它不叫小清新,还叫trip-pop,反正就是一种特别甜美的女声在特别黑暗的氛围当中唱的苍白而美丽的歌曲,这是我对它的定义界定。这个源流非常强大,后来,田原凭借《跳房子》成了一个作家,成了一个演员,后来在她后面又相继成立了一些乐队,如“漂亮亲戚”、“Jack in the Box”,包括今年的“鹿包打怪兽”乐队。你说他们有一些什么不同吗?我觉得每个人都不同,但是整体的气质都是非常一样的。我们今天的沙龙和展览有一部分是讲前卫,刚才出题的时候也提到了前卫音乐,我就想武汉有什么前卫音乐?其实武汉的前卫音乐就是像这种,它是深植到生活内部的,然后讲述自己的一些品位,它是以品位树立自己的旗帜、确立自己姿态的,在品位当中树立自己前卫的身份的,这个非常有意思。像“鹿包打怪兽”的作品,我听了几遍,我觉得它是一个很新的声音,但是你要辨别它的新很难说清楚,但是我可以确定它是很新的。它代表了年轻人不屈从于现状,不屈从于一些商业压力,他们想发出自己的声音。但是这种声音,它说出来的东西是非常小的、非常个人化的,在他们的生命当中可能很重要的,但是在我们看来没有任何重要的意义的东西。武汉的“小清新”是非常多的,包括最近要演出的中南财大的两个女子的组合,也是这种。

解放的皮肤:有关武汉音乐 - 李皖 - 李皖的博客
 
第三个音乐上的武汉,是一个“前卫之城”,确实它有前卫实验的部分。这个地方虽然深居内陆,在南方,在古代它是属于中原文化、核心文化之外的,在现在呢,它也跟上海、北京、广州、深圳不一样,它看起来有一种在野的气质,在野地里的气质。屈原的个性是很野的,你看《楚辞》,若没有一点楚地的背景,你会觉得它很瑰丽、雄伟、神奇同时又有一些怪异。这个东西是特别值得我们重视的,就是武汉的音乐人其实他身居一个偏僻的地方,但是他具有非常宽广、非常前卫、非常宏伟的眼光,这种眼光也在音乐当中体现出来了。比如当年我特别敬重的一个音乐人叫刘健,他是中国最早搞实验音乐的,最早我听到欧美最大牌、最前卫的实验音乐是从他那里知晓的,而且他也在做同样的事,比如说把图像转化为音乐,在80年代、90年这听起来像天书一样。但在这个城市里面就充满了这种人,就是他好像跟主流、跟前卫都不相关,但实际上他的视野非常开阔。当然后来很可惜,前几年刘健英年早逝了。刘健的作品特别值得大家去思考,他是一个特别前卫的人,但是后来他做的重要的作品其实是特别流行音乐化的。比如说《盘王之女》,是他去采风,从瑶族获得那些古老的近乎失传的歌曲,他完全不改变歌曲的面貌,就是几百年前的样子,但是他给了它一个氛围、环境,给了它一个生命的环境,这个生命的环境就是现代流行音乐,是那些电子音乐、舞曲这些东西。我认为这些东西跟今天的展览有点儿像,他就把它并置到这样的环境中来。武汉的前卫是很有意思的,它有一颗前卫的心,但是它的触角、它的神经是在生活当中,是在生活的品位当中,是在已经影响我们、包容我们、淹没了我们的所有的这些东西当中,我们的展览也有这样的特征。以刘健为代表的其他前卫色彩的人物,比如说胡吗个。胡吗个是一个鄂西的青年,到武汉来生活,后来到北京去发展,然后他做民谣。那种民谣在他看来可能像一个木匠、像一个农民做出来的东西,但是他跑到大城市,他唱的是一些其实听起来特别古怪的东西。一个农村人当他到了一个城市,比如说到了一个IT公司工作的时候,那种惊讶,没人那么写,他写了,他其实写的是对这些场所,对那种不可思议的豪华的惊讶和忧伤,他的原话是“我的忧伤难于启齿”。我的解读是这样的,比如说在农村的话,你可能一年的收入消费就是几百块钱,但是在城市里面,一个公司的一个办公桌就有几万块钱,他是讲这个东西,非常直接地讲这个东西,但是大家听起来可能意会到的未必是这个东西。这个非常有意思,他其实是非常前卫的。他说他最喜欢的音乐是平克·弗洛伊德,甚至他说平克·弗洛伊德给了他最大的影响,但是我们听他的音乐,跟平克·弗洛伊德毫无关系。这是一个很有视野的人,但是他进入到这里,他在展示自己前卫的思想的时候,其实他带来了一种特别古怪的,从在野的、从偏僻的地方插入到了一个时尚的、生机勃勃的现代,这个是挺有意思的。

解放的皮肤:有关武汉音乐 - 李皖 - 李皖的博客
 
音乐上的武汉也是一个“生活之城”。最近如果大家关注武汉的音乐,会发现武汉现在最著名的音乐人是冯翔,唱的《汉阳门花园》《六渡桥》《黄鹤楼》,是用武汉话来唱歌的。武汉一直都是“生活之城”,其实冯翔也经历过很多的风潮,从最开始的摇滚乐到后来闯荡北京,到后来回到武汉,用武汉话来唱民谣。我听他的民谣我感受最深的是,他改变了我对武汉话,改变了我对武汉人的印象。我们都知道武汉话特别冲、特别硬,一个武汉人尤其是一个武汉女人,说普通话的时候特别温柔,特别具有温婉的样子,但是如果她突然改成武汉话,就完全变了一个人,变得有点生猛,就是武汉话是很硬气的。但是冯翔唱的歌,他一方面是唱出了这个城市深厚的历史的韵味,还有特别让我惊讶的,他唱出了武汉话里面温柔、敦厚的韵味,《汉阳门花园》《六渡桥》都是特别温柔、敦厚的音乐。这一点无论是对武汉人自己的音乐品格,还是对武汉人来讲都是一种颠覆,武汉的音乐品格比如这里的地方戏——湖北大鼓,这种戏都是像刀子一样,但是他拿给我们的是一个特别温柔的花朵,像长在长江、长在汉水边的漂亮的带着野性,同时又特别美丽的野玫瑰一样的感觉。汉剧有这种感觉,楚剧也有。如果联系到这个,冯翔确实又是在继承,历史上,现如今,武汉人身上一直也有温柔、敦厚的一面。

解放的皮肤:有关武汉音乐 - 李皖 - 李皖的博客
 
以上是我对武汉的印象。下面讲讲我对展览的印象,可能跟音乐有一点脱节,能否回到音乐主题我没有把握。这次展览的主题叫“解放的皮肤”,在我们这个时间讲解放是特别不容易的。其实解放的力量在于捆绑,你讲解放一定有捆绑,没有捆绑的话不存在解放,而我们所处的状态,可能是没有捆绑的状态,我们是一个特别放松的状态。包括音乐也是一样的,比如像是AV大久保,我最早接触他们的音乐,应该是属于“武汉朋克”这一支上,但是他们的朋克,不是我们认识到的属于他们最有魅力的那一部分,就是反抗性的,说“不”。其实我听AV大久保,我觉得特别有趣的是它的另外一面,就是它的时尚、干净、高级,它是用朋克的方式做特别高级的东西,而且特别有趣。它讲的爱情是特别精致的,就是一种非常精致的反抗。这个展览给我的印象很深的就是这些人在反抗背后的那种品质是特别好的。有一个人是搞书法的。搞书法有很多的搞法。有的人没有书法的根基就乱搞,就把书法当作一种画,当作线和点去表现,包括西方人也是这么玩的。还有一种有书法的根基,然后对书法进行变形。我觉得这次展览中的书法特别有意思的是,这个作者有书法的根底,他的书法根底很深厚,他是在很深厚的情况下,又对它进行解放的,但是他表现画的想象力的东西,那种墨趣还在。包括他写的很多字是现代人的想法,因为想穿了字就是一种形,就是一个形式,我是可以展开想象力进行再造形式的,但是他的解放在细节上,细节的美是它成立的原因。还有一个用白板画台湾灾难的,他有一部分的成功也在于细节方面。他用素描,也包括中国画里面浓墨的那种绘画形态,来画一种特别易于消逝的东西,白板就是扫一下就没有了。这个东西的价值在两个方面,一方面它是汇入现代艺术形式中,他用白板来做,另一方面它在细节上特别给你启发共鸣的。等于说,他用这个东西非常认真地做了一件事,但是这件事可能是1秒钟就没有了的,这个给人特别大的启发。然后在这个过程中他又强调一种观念,说这种对于灾难的印象是深植到你脑海当中很难抹掉的。并且他的这个艺术,也是一个移植性的概念:这些灾难发生了,其实他不在灾难之中,像我们这些人,信息化的人,我们经历了一个一个的灾难,汶川地震,你不在那里,但是它变成了一个重大事件在你这里映现出来。他是这么一种表达。但是这里面有一种细节性,也就是说有一种品质,这个品质是他的艺术的核心。其实武汉的音乐也是,武汉的音乐给我最深的印象,就是它有反抗性,它有野性,但是同时它特别有品质,特别有对生命的关注,有对自己生活的热爱。画展中还有一个西班牙艺术家拍的美国的女子橄榄球运动,也让我意识到有一种品质。她拍的画面,那画面上有两个东西是有启发性的。一个东西是经典性,她的画面是一个现代的体育运动,但有像经典绘画的题材隐在其中。还有一个东西是它特别大,照片尺幅特别大,这种特别大里面其实可以注视到细节。我们在注视细节的时候跟平常看到的不一样,她用细节切入其中,然后进行发现,特别有意思,由此有一些橄榄球场景的发现。进入到生活了她有品质,她的发现体现了品质。当然她还有观念。我扫了一眼她的文字,讲橄榄球运动,她好像也有一点平权的思想,就是女子和男子,人在面对这种运动,面对生命的冲撞的时候,其实都是一样的,不要分什么男女,她有这样的东西。然后她又特别注意到了女性的柔美和运动的野蛮之间的对比。
 解放的皮肤:有关武汉音乐 - 李皖 - 李皖的博客
 
  
我们谈到解放的时候,新一代人在新环境下的解放,一方面解放没有力量,或者说我们的创新没有力量,我们力图于自由的东西没有力量,但另一方面力量又还在,这种力量就在于你深入其中去发现、去展示你的品质,去把细节体现出来。在武汉人的音乐当中天生就有这种气质,武汉人不去搞那些特别宏大的东西,用宏大的东西把自己的思想、生命支撑起来,他从无这种妄想。他是特别扎实地要去建立自己的生命的趣味的,他追求真实,在真实当中发现了自己的意义,发现了自己的价值,发现了自己的自由。比如说一度有一些武汉乐队我觉得特别好,比如说花伦乐队和基诺乐队,他们都是带有一定的先锋性的,但是他们最打动我的是他们的品质。当世界上刚有后摇的时候,它就后摇了,并且后摇得特别美,特别有格局,这是花伦乐队。基诺乐队呢,是武汉人做出了英伦气质的音乐,不是英伦有多时尚,是这个东西它做得特别好,特别热情地在做,充满品质追求,其中体现了他们自己的生命感。

有些时候,我们辨别一个艺术是否有价值的时候,就是它是否有生命感,包括AV大久保都是这种东西,我觉得都特别棒。


在《解放的皮肤》开场沙龙上的即兴发言
武汉美术馆,2016年12月13日



Wuhan native music experiment since 2000
Li Wan (Music Critic)


I think I came here today as an element to be put into such an exhibition and it may cause some collision. Just like Wuhan's native experimental art, music, and culture since 2000, it's a collision in itself, in which different things are juxtaposed into. It has comprehensiveness and everyone's thoughts collide in the different displays of comprehensiveness meanwhile. Mr. Lu Mingjun invited me to give a speech about Wuhan's native music and I got some inspiration when I came here. I would talk about the relationship and collision of Wuhan music in such an environment and space.

Wuhan is a very interesting city. The whole theme is under the "Jianghan Star Plan", which I think is particularly good and forward-looking. The plan carries a large number of fresh information and it has a local temperament, observation and concern. Wuhan's music should be said that there are several directions, which were born in the 1980's, formed some styles in the 1990's and have continued till now since 2000. From the biggest aspect, the first distinctive feature of Wuhan's music is no theme. When Xu Xing wrote his novel No Theme Variation, his writing style was quite new. Like playing cards, it's part after part. Xu Xing had a great impact on the society then. Like Wang Shuo, a writer we are familiar with later, he also came into public's sight in that context.

The profound impression I have about Wuhan, is that there's no circles here, just like a set of chaotic playing cards. There are many musicians here. But they are quite scattered, not forming any group. Each of them is relatively independent. Just like the guests Lu Yan and AV Okubo, their relationship with other local musicians is particularly alienated. They don't work in the same background and space, which is its characteristic.

In terms of music, Wuhan's first image is that it is a "punk city." Speaking of Wuhan in the old days, people would say its punk is very good, and the reputation has spread to today. The representative punk band was The SMZB at that time. We say that Wuhan is a mega-city, but at the beginning of reform and opening-up, it's a "broken and big" city. It used to be a national city, but due to the impact of market economy, its old industry disintegrated. Therefore its city status had also gone. Although it has a very large body, its original flesh and blood have gone. The young people born in this context, have more or less the city's genes. Most of their fathers are originally the city's industrial workers, representing the national workers. So when they make music, their music reflects the temperament of that time: some nameless anger and confusion. There is also an indescribable personality of Wuhanese in it. Apart from anger, their music shows some humor, which is something that people in other parts of the country do not understand. But if you do, you will find it quite interesting, even though you don't know what he's talking about. It's a very distinctive feature. But these people such as Killing Joke, Angry Dog Eye and Mama, basically short-lived and disappeared. Then there would be some other short-lived bands. Punk is associated with heavy metal, and then the heavy metal punk appears, such as Les Quatre Cents Coups. But they have little effect on the city. (I think there are few here having any impression about what I have talked, but those who really dig into the city's music.) The impact of these bands is unexpected, they haven't affected the city but the outside. China's punk fans regard Wuhan as a holy land; Wu Wei toured in Europe; even SMZB had their English album. These changes are quite interesting.

The other music image of Wuhan is that it's an "indiepop" city. The impact of this image is very long and even stronger than punk and heavy metal in my point of view. What's more, it represents the city and its temperament. It was in 2003 that I firstly knew the saying. Around the Spring Festival of 2003, I was studying in the UK. During my stay there, I got a record from China, the debut of Hopscotch, which made me I feel really odd at that time. Why? Because people think when you study abroad, you should live an exotic life in the foreign environment. But the truth is we Chinese students still share some Chinese living environment together in the UK. Some close friends even speak Wuhan dialect. Then suddenly a record came from China, from my hometown at this moment. And it even sings in English, which is really interesting. I lived next door to the Nigerians and Ghanaians back then, and they asked about the album after listening to it. I told them it is music from my hometown and they also felt surprised, since it's kind of British. That's my earliest impression about indiepop. And it was called trip-pop at that time, a style in which a sweet female voice sings pale and beautiful songs in a particularly dark atmosphere, as I define it. Its original source is very strong. Tian Yuan became a writer and actor by virtue of the band Hopscotch. And some other bands were formed later, such as Beautiful Relatives, Jack in the Box and the recently new one-Lulu and Monsters. Are these bands different? I think everyone is different, but the overall temperament is quite the same. Part of our salon and exhibition today is about avant-garde, and avant-garde music was just mentioned. Then I wonder if there's any avant-garde music in Wuhan. In fact, Wuhan's avant-garde music is just like this, which deeply roots in life, to tell its taste. It establishes its own banner and posture via taste, and then its avant-garde identity in taste. I listened to Lulu and Monsters' works several times. I think it's a very new voice, but it's hard to tell its newness. Anyway, I'm sure it's very new. It represents the young people who do not succumb to the status quo and some commercial pressure. They want to make their own voice. But the things conveyed by the voice are very subtle and personal. They may be very important in their lives, but in our view there is no significance in it. There are much indiepop in Wuhan, including two girl groups from Zhongnan University of Economics and Law, who are about to perform publicly soon.

The third music image of Wuhan is that it's an "avant-garde city", since it indeed has some experimentally avant-garde parts. Although Wuhan locates inland in China, it was outside the Centre-China culture and the core culture in the south in ancient times. And now it's still different with Shanghai, Beijing, Guangzhou and Shenzhen. There is some wild temperament in the city, like the wilderness. Qu Yuan shares that temperament, too. If you don't have any background about Chu state, you will feel it magnificent, majestic, mystical and even strange when reading his Chu Ci. It's particularly worthy of our attention, that is, Wuhan musicians live in a remote place, but they still have some broad, avant-garde and grand vision, which is also reflected in their music. Like the musician Liu Jian whom I respected a lot at that time, he is the first one to engage in experimental music in China. The most famous and experimentally avant-garde western music I heard first was known from him. And he was doing the same thing, like turning image into music. But in the 80's and 90's, it sounded like a bible. While the city is full of such people. It seems that they are not related to the mainstream and avant-garde music, but in fact they have grand vision. The pity is that Liu Jian died young a few years ago. His work is particularly worth studying. He was quite avant-garde, but his important works are popular music. For example, his album Daughter of King Pan, is the old and almost disappeared songs he got from the Yao nationality when he went to collect folk songs. He didn't change them much at all. They are what they were hundreds of years ago. But he gave them some atmosphere, which is something like modern pop music, electronic music and dance music. I think it's kind of like today's exhibition, that is, he put old stuff into some new environment. Wuhan has an avant-garde heart, and its tentacle and nerve root in life and its taste, which has affected us in every possible way. And our exhibition also has such characteristics. Except Liu Jian, there are other avant-garde guys, such as Hu Mage. He is from western Hubei and lived in Wuhan for a while. Then he went to Beijing to make folk music. Those folk songs look like something made by a carpenter or farmer to him. But he still went to the big city to sing them. When a rural man goes to the big city for the first time, he could be shocked by everything, such as the fancy IT Company. He actually writes it into his songs, showing his sadness and surprise about those luxury places and surroundings. His words are "My sadness is shy to mention". My interpretation is that, in the countryside, your whole consumption for a year could be just hundreds of dollars, but in the city, a company desk can be worth tens of thousands of dollars. That is what he's talking about in a direct way. But people may not understand it. He is actually quite avant-garde. He says his favorite music is Pink Floyd's, who have also influenced him most. But when we listen to his music, we don't feel anything about Pink Floyd. He has vision in what he does. So when he comes here to show his avant-garde ideas, in fact, he brings the fashionable vibrant modern world something eccentric, something existing in the remote place, which is quite interesting.

Another music image of Wuhan is that it's a "city of life." If you are concerned about Wuhan music, you'll know that the most famous Wuhan musician is Feng Xiang now, who sings Hanyangmen Garden, LiuDu Bridge and Yellow Crane Tower in Wuhan dialect. Wuhan has always been a "city of life". Feng Xiang has also experienced and changed a lot, from rock music to wandering in Beijing, to heading back to Wuhan to make folk songs in dialect. What I feel most when I listen to his songs is that he has changed my impression about Wuhan dialect and even about Wuhan. People usually considers Wuhan dialect as something mean and tough. A Wuhanese, especially a Wuhan woman, looks quite tender and mild when she speaks Mandarin. But in Wuhan dialect, she is quite another person, who is mean and harsh. However, we can feel the city's heavy historical charm in Feng Xiang's singing. To my surprise, his singing even shows the gentleness and charm of Wuhan dialect. You can feel that in his Hanyangmen Garden and LiuDu Bridge. It's a subversion to both Wuhan's music character and Wuhan people. Wuhan's music character, such as its local opera - Hubei Storytelling with Drum, is something like a knife. But he has showed us a very tender flower, just like the wild but beautiful rose by the Yangtze River and the Han River. Han Opera has something like this, so does Chu Opera. Considering about this, Feng Xiang's music is indeed in succession. So Wuhan people surely have the gentle and honest character historically.

These are my impressions about Wuhan's music. I'm going to talk about my impression about the exhibition next, which may be a little off the topic of music. But I will try my best. The theme of this exhibition is Apperceive of Liberation, and it's really hard to talk about liberation in our time. In fact, the power of the liberation lies in bounding. Speaking of liberation, there must be some kind of bounding. If there is no bounding, then there is no liberation. While the state we are in now, is so relaxed and not bounded at all. So is Wuhan music. Like AV Okubo, my earliest impression about them, is that they should belong to "Wuhan Punk". But the most attractive part of their music is not about resistance and saying "NO". The interesting part, in my point of view, actually is that it's fashionable, clean-cut and advanced. They try to present high-level things in the punk way, which is rare. The love romance they wrote is particularly delicate in their delicate resistance. What the exhibition has impressed me deeply is the quality of those works. They are really good when they try to express their resistance. There's a calligrapher here. There are various of ways to present calligraphy. Some people who don't have calligraphy foundation just write it randomly. They treat calligraphy as painting and then show it just with lines and points. The Western do this a lot. There's another kind who has calligraphy foundation. They will make some transformation in calligraphy. The calligraphy in this exhibition is great since the calligrapher has that foundation, which is quite solid. Under this kind of situation, he has showed us the liberation and his imagination in his writings. A lot of Chinese characters he wrote are the embodiment of the ideas of modern people. As we know, Chinese character is a form and we can re-create it with our imagination. That's what the calligrapher did. By doing that, we can see the liberation in detail. There is also a painter who draws Taiwan disaster with whiteboard. His success partly lies in the details, too. He uses sketches and Chinese ink painting method to draw something that is easy to fade away, while things on the whiteboard can be wiped off in a second. The value of it lies in two aspects: on one hand, it's a form of modern art, since he uses the whiteboard; on the other hand, it makes you resonate with it because of its details. We can fairly say that he draws it very delicately and carefully, but it can disappear in a second, which gives us great inspiration. During the process, he stresses the concept that the impression of disaster is deeply rooted in your mind and hard to erase. His works show a transplant concept: those disasters did happen, while none of us has ever actually experienced them. We just know they occurred but we were not there. And then they are some major events in his paintings. You can see details in his works. That's the quality, which is the core of his art. In fact, Wuhan music has that, too. The deepest impression I have about Wuhan music is its resistance and ferity. But it also has quality, concern and love about life. There is a Spanish artist in the exhibition who has shot American women rugby players, which reminds me of the quality. There are two illuminating aspects in what she has shot. One is its classic. Her photographs are about a modern sport, but there are something about classic painting hidden in it. The other is its grandness. The size of her photographs is so huge that we can almost see their details clearly. And the details we observe here are different from the usual. She makes the most of them to discover and show the rugby scenes, which is quite special. Her observations in daily life reflect the quality. Of course she has ideas. I have read her words about rugby roughly, from which I can tell her idea of equal rights. It means that when facing collision in the game, there's no difference between women and men. She has also particularly revealed the contrast between the softness of women and the brutality of the sport.

Speaking of liberation, we can also talk about the liberation of the new generation in the new environment. On one hand, it has no power in it, or our innovation has no power, since people usually indulge in the powerless but free stuff; on the other hand, there's some kind of strength in such liberation, which requires your effort to find it, to show your quality and reflect every detail. While such temperament naturally exists in Wuhan musician's music. They don't engage in those grand stuff to support their ideas and life. They never had this delusion. They pursue their life interest step by step. And they pursue truth, in which they have found their own meaning, their own value, and their freedom. There are some bands I really enjoy, such as Hualun and Chinos, who are kind of pioneering. But what they stroke me first is the quality of their music. When the world first saw post rock, it shook us all in a beautiful and special way. That is Hualun. While Chinos, as Wuhanese, they have made some British music. It's not because Britpop is fashionable, but the music they've made is really good. It reflects their enthusiasm and their pursuit of quality, which in return embody the sense of life. 

Sometimes, when we identify if an art is valuable, we actually check if it shows the sense of life. AV Okubo's music also has it, and I think it's really good.


December 13, 2016
Speech on the opening salon of Wuhan Art Museum
 Apperceive of Liberation Exhibition

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