《一叶落知天下秋》No.7 夏布观念摄影83cmx83cm 傅文俊2014
近期中国艺术家傅文俊创作了一系列名为《一叶落知天下秋》的摄影作品。整幅作品无论从布局抑或色调来看都带有水墨山水的画境。但有别于古人意境幽雅的自然山水，艺术家的作品充斥着各种恢宏壮观、富有设计感的现代化建筑。冰冷的线条、极简主义的色调以及密不透风的构图给人冷峻的压抑感。而整个主体又陈列于镂空的树叶之下，那失去血肉的干枯树叶给整个画面平添了一丝忧伤。不言而喻，这种忧伤来自于工业化与城市化发展下，自然生态的破坏。
从世界历史发展的角度看，工业化和城市化是每个国家都必须面对且正在面对或将要面对的全球话题。当然，这并不是一个新的艺术课题，当代艺术家早已参与到生态变化的应对中。其中，艺术家该如何运用当代国际化的视觉语言和材料，将人与自然意识的问题实质展现出来则是更为重要的地方。傅文俊作品中失去生命色彩的树叶与摄影媒介中国非物质文化遗产夏布这一载体形成了一种物理属性的呼应。《一叶落知天下秋》中的每张作品都是不同树叶物种的展现，作为物种它本身就存在着产生与消亡。在当今社会，由于商品与消费的欲望所属，自然生态遭受着越来越严重的创伤。这些高耸入云霄的大厦，在给人们带来功能和精神享受的同时，也给人带来自然意识的迷茫。人与自然，自然与人造自然，人与人造自然三者的关系变得畸形。人类一方面在共同创造后人类的世界，另一方面也在摧毁着世界。就像艺术家作品中所表述的那样，一座建筑的建成，需要破坏多少自然的生命。如果这样无度地发展下去，生态破坏，物种灭绝都将是必然的结果。我想这也是艺术家选择夏布作为媒介的原因，因为它本身的存在就是一种警醒，一种对非物质文化遗产对自然生态的警醒。
傅文俊在创作作品的过程中充斥着人文主义的情怀，卡尔·马克思曾说过，只有彻底的自然主义，才是彻底的人道主义。这里的自然主义当然包括自然生态的平衡。所谓一叶落知天下秋，艺术家画面中的那一树叶就是要引起人们的重视，对生态意识的重视，对生态的尊重,自然包含尊重动物与植物的生存权利。我们甚至无权掠夺一片树叶的生命。人们通常所说的一叶知秋，见微知著，牵一发而动全身，通过艺术家镜头下的这一片树叶以及树叶下的林林总总，应该可以让观者预见这一现状持续发展下的未来。
泰德·丹克，加拿大独立策展人、作家、教育家，现居加拿大多伦多。曾任教多伦多大学;同时从事当代艺术评论和加拿大历史艺术的写作数十年之久。
Autumn in a Leaf
---Appreciation of Fu Wenjun’s New Artwork
Recently, the Chinese artist Fu Wenjun has created the photographic workAutumn in a Leaf. Overall, either from the aspect of the layout or from the tones, it shows the artistic mood of the Chinese ink wash painting. However, differently from the tasteful landscape paintings by the ancients, Fu’s artwork is filled with magnificent, spectacular and designed modern buildings. The cold lines, minimalist tones and airtight layout produce a constrained impression to the audience. The whole structures are placed on pierced leaves; the withered leaves without flesh and blood add a trace of sorrow to the picture. It is self-evident that the sorrow comes from the destruction of natural ecosystem under the development of industrialization and urbanization.
Viewed from the perspective of the development of world history, industrialization and urbanization are global themes that every country should face, sooner or later. Of course, it is not a new artistic topic. Contemporary artists have taken part into the reaction to the ecosystem change. While the crucial point is how the artists display the substance of the issue between human beings and nature, with the use of contemporary and international visual language and materials. In Fu’s work, the leaves that have lost the color of life are physically echoed by the Chinese intangible cultural relic grass cloth, used as photographic medium. Every piece of the seriesAutumn in a Leafpresents a different species of leaf, which itself comes into being and dies as a species. In the present society, due to the desire for merchandise and consumption, natural ecosystem suffers from more and more wounds. The skyscrapers rising above the clouds bring people some benefit and spiritual enjoyment, but at the same time bring them also ideological confusion towards nature. The relationship among humans and nature, nature and artificial nature, humans and artificial nature becomes malformed. On the one hand, people together are creating a post-human world; on the other hand, they are also destructing the world. Just like what the artist expresses in the work: the construction of a building needs to damage a number of natural lives. If the world continues to develop in such an immoderate way, the destruction of the ecosystem and the extinction of the species will be the inevitable outcome. I think this is why the artist has chosen the grass cloth as the medium, since its existence represents a warning towards the intangible culture and the natural ecosystem.
In the process of artwork creation, Fu is filled with a mood of humanism; Karl Marx said, only thorough a total naturalism is total humanism achieved. The naturalism mentioned here includes, of course, the balance of natural ecosystem InAutumn in a Leaf, the artist puts the leaf in the picture in order to draw people’s attention on ecology, on the respect of nature, which includes the respect of the right to life of animals and plants. We don’t even have the right to steal the life of one single leaf. It is said that the fall of one leaf heralds the autumn-a slight move in one part may affect the whole situation. The leaf and the objects behind the leaf under the lens of the artist can make the audience predict the future developing from the current situation.
Ted Danzker, Toronto-based independent curator, writer and educator. Previously he held the position of University of Toronto. As well as her work as a curator, he has been writing reviews and articles on contemporary art and historical Canadian art for more than ten years.
