仿真与女人——以马格利特作品为参照,谈玛丽莲·莱文的陶瓷艺术

The Simulation with Women: Magritte Works as the Reference, Talking about Marilyn Levine's Pottery

本文以勒内·马格利特超现实主义作品为参照,讨论在玛丽莲·莱文陶艺符号中体现的女性主体意识的建构。"仿真与女人",意在探讨符号的逼真是如何导致主体身份的多重性,如何通过陶瓷工艺的技术手段,穿越工艺品蕴含的物质成分抵达艺术精神。玛莉莲·莱文的作品与景德镇熟悉的陶瓷作坊中的符号迥异,既没有现代陶艺热衷追求的陶器的粗犷纹理,也不显现女性的娇柔与妩媚,而是细致逼真地呈现如实物般的细节时空。仿真雕塑的原作,看似一比一的直接模仿现实之物,而事实上这个"现实"已经不存在了,仿真品成为一种抽象的形式,一种激发记忆的媒介,甚至可以说"怀旧"才是这创作的意义。但问题是玛莉莲·莱文与马格利特要呈现的"记忆"与"怀旧"又多有不同,不同的性别身份使得符号叙事角度、叙事策略完全不同。马格利特符号叙事着重揭示欲望,而玛丽莲·莱文却以"仿真的"细节叙事,超越时空,提炼旷远与沉静。

This article is taking Magritte surrealist works for reference, to discuss Marilyn Levin＇s ceramic signs, which build the female subjectivity. ＂Simulation with woman＂ is intended to explore how the signs are true to life that lead to multiple identities, how to use technology of ceramic process, get through material composition to arrive in the artistic spirit. It＇s quite different about Marilyn Levin＇s work with Jingdezhen familiar symbol of ceramic workshop. They have neither the rough texture of modern ceramic art, also do not show a woman＇s charming soft and enchanting of pottery, but careful realistically are appeared the details such as the physical time and space. Simulation of original sculpture, seemingly one to one direct imitation of reality, and in fact the ＂reality＂ is no longer exist, as well as a form of the abstract, a kind of memory medium, or even ＂nostalgia＂ is the meaning of this creation. But the question is Marilyn Levin＇s and Magritte＇s to render the ＂memory＂ and ＂nostalgia＂ are so different, different gender identity makes the symbolic narrative perspective, narrative strategy are completely different. Magritte＇s symbolic narrative emphatically reveals desire, while Marilyn Levin＇s narrative with ＂simulation＂ details, transcend time and space, extract and purify with silence.