从那里到那里丨丁成作品展

时间：2018.4.10-4.22

地点：南京艺术学院美术馆0展厅

策展人：林书传

学术主持：海波

总监制：耿忠

学术介入：

杨小滨/ 冯且/ 甜河/ 秦三澍/ 陈丙杰/ 刘旭俊

纪录片：邱恒

视觉设计：李莉

展览团队：徐轩露/ 刘婷

永远不要给诗人取名字

Never give the poet a name

我很少读诗，但我敬重真正的诗人。我不读诗的原因可能有些极端，我认为不是真正的诗人读他的诗并无益，而真正的诗人却很少会让他人真正走入他的内心。在这点上诗歌和绘画是相似的，如果诗与画能渡人，也只能像小乘佛教一样，渡己而不渡他。因此读诗不如写诗。

I seldom read the poetry, but I do respect the real poets.The reason for which I do not read poetry may be a little extreme: if one is not a true poet, it wouldn’t be good for you to read his poems, while those true poets rarely let others really walk into his heart.On the premise of this logic, poetry and painting are similar. If poetry and painting benefit people, they will be like the Theravada Buddhism which aims only to educate and enlighten ourselves rather than others. Therefore, it is more valuable to write poems than to read them.

去往深浓缩时空

Go to deep concentration time and space

50X98.5

墨，宣纸，丙烯

Ink and propylene on paper

2017

今天要谈的是诗人丁成的绘画，按照常理应该先谈谈丁成诗与画的关系。如果谈一个人诗与画的关系，应该算是一个世界性的难题，丁成也无法例外。同一个人的创作，无论是文字、图像或者是其他，其情感输出应该是一致的，只是媒介运用上有着区分。谈两种媒介之间的区别与联系，就像在聊橘子与苹果的区别与联系一样，联系显而易见，区别却宽泛得无从谈起。

What we discuss at this moment is the paintings of the poet Ding Cheng. By convention, we should firstly talk about the relationship between his poetry and his painting.However,this kind of relationship could be a universally difficult problem,and there is certainly no exception for Ding Cheng.The same person's creation, whether it is a text, the images or something else, his emotional output should be consistent, only the medium he used make a distinction.In terms of differences and connections between two media, it is just like comparing an orange with an apple: the similarities are obvious, while the distinctions seem to be too general.

台风在旧报纸上被蠹虫蛀空

The typhoon was eaten by the worm, in the old newspaper

137x69cm

墨，宣纸，丙烯

Ink and propylene on paper

2017

丁成作为年轻的老诗人，他的诗是具有破坏性的。正如丁成的长诗集《我是那我是》开篇的第一段文字：“我写下的每一笔都是败笔，且所有败笔都是我的本意。”出自于丁成本意的开篇之语，破坏力十足，带着一种谦卑的傲慢。也正如丁成在罗马尼亚克拉约瓦大学米哈伊艾米内斯库国际诗歌节上用中文大声朗诵其诗歌《甸沟图等等》一样——“帐谁。造午。培了真。兄于旧朝听，坏唐清”。——将这些没有实意且无法被翻译的文字组合在一起，现场却响起了最热烈的掌声与嘘声。丁成用他的破坏性语言告诉所有的旁听者：诗歌是无法被翻译的，且诗歌也是不需要翻译的。

DingCheng is a young but highly experienced poet. His poetry is definitely destructive.As he writes at the very beginning of his long poems’ collectionI am Who I am: “Every word I write is a failure, and all these failures are my original intentions”,each word of DingCheng is destructive, along with a humble arrogance. It’s just like what DingCheng recited in Romania, when he presentedat the Mikhail Eminescu Poetry Festival held at the University of Craiova: “Zhang-shei. Zao-wu. Pei-le-zhen.Xiong-yu-jiu-chao-ting. Huai-tang-qing.” These verses come from his poem "Dian-gou-tu and so on", nevertheless, the combination of the meaningless and untranslatable words was greeted by applauses and booings. Ding Cheng told the audience with his destructive language: poetry, indeed, cannot be translated;and there is no need for poetry.

七点钟为七点零一分亲自上发条

Time phagocytosis time

95x147cm

墨，宣纸，丙烯

Ink and propylene on paper

2017

如果诗歌是一只橘子，那么苹果呢？在我的眼里，丁成的绘画，也就是那只苹果，它和丁成的橘子一样，是去皮的，是去核的，是果汁状的。丁成就像榨汁机一样，不停的破坏，搅拌、融合，让一杯果汁有着混合的味道，也让一种媒介与另一种媒介产生真正的联系。我认为当今绘画最难的地方在于：无意的画好了一张画，或者是有意的画坏了一张画。在绘画上同样保持破坏力的丁成就是这么干的，因此他的绘画从本质上是反对“好”和“坏”的界定的，这两者就像他亲生的两个孩子，在情感的输出上是完全一致的。

If the poetry is taken as orange, however, what will the apple be? In my view,Ding Cheng’s painting is just the“apple” which is quite similar to his“orange”:peeled, core-removed, in a liquid state.Ding Cheng, like a juice extractor,keeps destroying, stirring and mixing, making a cup of fruit juice taste amixture of various flavors, and making medium really connected to each other. Themost difficult part of today's painting is to unintentionally draw an outstanding painting, or to deliberately draw a “bad” painting that is unacceptable to the traditional aesthetic.Ding Cheng, who maintains the destructive power in his paintings, therefore essentially opposes the criteriaof "good" or "bad" for a painting: both of the mare like his children, and the emotional outputsare exactly the same.

没有人知道为什么，也不要问为什么

No one knows why, and don't ask why

222x166cm

布面，丙烯，墨

Ink and propylene on canvas

2018

我邀请丁成来南艺美术馆做一个画展，丁成邀请我给他写画册的前言。写给诗人的文字我是特别慎重的，因为每一个真正的诗人都是文字的精灵，而用文字去描绘精灵则不是一件易事。正如展览名为《P to P——从那里到那里》，两个P分别代表“Poetry诗歌”和“Painting绘画”。我要表达的观点有两个：其一，丁成的诗歌与绘画是互通的，不存在谁先谁后的问题，其进入的方式亦不是从谁到谁的问题。其二，丁成与诗歌和绘画都保持着一定的距离，因此他的目的地只能从那里到那里。

I invited Ding Cheng to hold an exhibition at AMNUA, and he invited me to write a preface of the album of his paintings.I’m extremely cautious when I write something for a poet, because every true poet is as pirit of words, and it’s certainly no easy task to describe a spirit with words.The two “P” in the title of the exhibition “P to P - from there to there” representrespectively "poetry" and "painting".What I express here,in the first place, is that the poetry and the painting are interconnected, like chickens and eggs, there is no need to ask who serves as the original source.Secondly, Ding Cheng himself always keeps a certain distance from both the poetry and the painting, thus his destination can only be“from somewhere to nowhere”.

林书传

Lin Shuchuan

2018年2月 21日

February21st, 2018

一连串小分子破裂事故

A series of small molecular ruptures

69x137cm

墨，宣纸，丙烯

Ink and propylene on paper

2018

一连串语病

A series of language diseases

148x96cm

墨，宣纸，丙烯

Ink and propylene on paper

2017

艺术家简介

丁成，是一个横跨诗歌、绘画、电影、装置、观念等领域的复合型多栖艺术家。1981年12月5日生于江苏滨海。20世纪90年代中期开始写诗，2002年发起中国80后诗歌运动，主编《80后诗歌档案》。2014年“丁成号•诗歌船”在上海金陵东路外滩码头首航，2014年9月应邀出席罗马尼亚“米哈伊•艾米内斯库国际诗歌节”，2015年编剧并导演首部电影剧情长片《我是谁 从哪里来 到哪里去》。2019年11月出版《语言膏》（台湾秀威）。近期主要个展：从那里到那里——丁成个展，南京艺术学院美术馆，南京（2018）；实名举报——丁成个展，我在•艺空间，大连（2018）；丁成药店，谢子龙影像艺术馆，长沙（2020）；语言膏——丁成个展，YOUR MOTHER gallery，新加坡（2021）；丁成药店，澳门国际艺术双年展，澳门（2021）。