梦的解析——以精神分析探索绘画性的尝试

于是绘画性像一个谜语，迎接着无数观者的驻足与审视。而我作为观者中的一员，试图采用一个之前很少被策展人或批评人使用的工具来讨论绘画性，这个工具即精神分析(Psycho-analysis)，或者严格地说是拉康(Jacque Lacan)体系下的精神分析话语。

1899年出版的佛洛依德著作《梦的解析》开启了精神分析的实践，与心理学不同，精神分析聚焦于个体人的无意识，并通过考察语言，口误以及梦境来试图了解无意识是在何种程度上影响个体人。然而绘画何以与精神分析产生关联？其关键就在于“人与绘画的对峙”这一场景之中。

“人与绘画的对峙”这一场景再现了拉康体系中的“镜像场景”。在拉康看来，婴儿在镜像场景中通过审视那个镜中的自己而获得了“我”的概念。但在“我”出现之前的那个更本真的“体”却也因此被隔绝在了我们的意识之外；因此人的一生，在某种程度上说，也是追寻那个最原始自我的一生。因此在精神分析的话语中，每个正常人都被称为“普通神经症患者”——这里的神经症指的就是在镜像场景中所发生的意识的分裂。

一件绘画作品如同一个人，具备着一种气质——这种气质是绘画的创作者将自身的主体性首先投射在画面之上，然后再由观者从绘画中去觉察，以此种方式去传递的。按照精神分析的话语，所有人的“精神分析主体”都是普通神经症患者，而神经症又可以进一步细分为癔症式的和强迫症式，那么绘画也无一例外具备这三种主体特质。而不同的人对哪种主体特质的绘画吸引则是注定的——因为人永远在绘画中试图寻找那个最原始的自我[1]。

本次展览汇集了五位艺术家的作品，他们是刘正勇，杨勋，郭亚冠，卜云军和毕维维。策展人林梓从五位艺术家的作品中为本次展览挑选出的绘画作品具备某种相似的内在气质，即上文中提及的主体性。在他们的绘画中，他们都试图呈现一种巨大之物所特有的主体性。颜料以一种粗粝且厚重的方式被安置在画布上——在一些作品中，颜料如此之厚，近乎雕塑——某种力量似乎正要挣脱出艺术家的手，将自己的印迹呈现在画布上；而在另一些作品中，颜料却又如此之少——但这种稀少却以另一种方式彰显出力量的存有。这力量在艺术的世界里叫做灵感，在精神分析的世界里则叫无意识。绘画性在这里可以被看作是无意识的载体——既是艺术家的也是观者的。于是在这个展览中，我们以精神分析为工具，走入艺术家们的梦境，而在这个过程中，艺术家们的作品也正在悄然对观者的无意识施加着影响。

[1]完整地说应该是：人永远试图在图像中寻找那个最原始的自我，而绘画是图像的一种，并且是重要的一种。

What is painterliness, the most basic feature of painting?

Although this seems to be the most basic question for painting, there is no real conclusion. The work of the artist is not a work based on acceptance of definitions and dogmas; On the contrary, the artist’s job is to give definition through the work, to redefine the definition. Thus, the term painterliness often refers to completely different characteristics in the work of different artists.

Thus, painting becomes a riddle, which welcomes the staring and examining of all viewers. As a member of the audience, I try to use a tool which rarely used by curators or critics to discuss painterliness, that is, psychoanalysis, or strictly speaking, the psychoanalytic discourse under the Jacque Lacan’s system. Freud’s book The Interpretation of Dreams, published in 1899, launched the practice of psychoanalysis.

Unlike psychology, psychoanalysis focuses on the unconscious of the individual and attempts to understand the extent to which the unconscious affects the individual by examining language, error in speaking, and dreams. But how does painting relate to psychoanalysis? The key lies in the scene of “confrontation between the viewer and painting”.

The scene of “Confrontation between the viewer and painting” reproduces the “mirror scene” in Lacan’s discourse. In Lacan’s view, the infant acquires the concept of “me” by identifying himself or herself in the mirror. Yet, the “body” that preceded the “me” in our mind was thus cut off from our consciousness; Therefore, people’s lives are, to some extent, a life of searching for the most primitive body. In psychoanalytic discourse, every normal person is referred to as a “common psychopath” – neurosis refers to the fragmentation of consciousness that occurs in the mirror scene.

A painting, like a person, possesses a kind of temperament – a subjectivity that the creator of the painting first projects onto the picture, and then the viewer perceives from the painting and transmits it in the way that the painting shows. According to the discourse of psychoanalysis, the “psychoanalytic subject” of all people is an ordinary neurosis, which can be further subdivided into hysterical and obsessive-compulsive, and, in the same way, paintings also possess these three kinds of subject qualities without exception. Different people are destined to be attracted to paintings with which subject qualifies to the viewer’s features in the realm of unconscious – because people always try to find their original body in art, and particularly in painting [1].

This exhibition brings together the works of five artists: Liu Zhengyong, Yang Xun, Guo Yaguan, Bu Yunjun and Bi Weiwei. From the works of the five artists, curator Lin Zi has selected paintings for this exhibition that possess a certain similar inner temperament, that is, the subjectivity mentioned above. In their paintings, they all try to present a subjectivity that is unique to a huge object. The paint is placed on the canvas in a coarse and heavy manner – in some works the paint is so thick, almost sculptural – that some force seems to be about to break free from the artist’s hand and present its own imprint on the canvas; while in other works, the paint is so scarce – but this scarcity reveals the presence of power in another way. This power is called inspiration in the world of art and the unconscious in the world of psychoanalysis. Painting can be regarded as the carrier of the unconscious – both for the artist and the viewer. In this exhibition, we use psychoanalysis as a tool to enter the dream world of the artists, and in the process, the artists’ works are quietly exerting an influence on the viewer’s unconscious.

[1] The full statement should be: people are always trying to find his or her primitive self in images, and painting is one kind of images, and an important one.