國慶展覽｜阿姆斯特丹櫥窗藝術(shù)的執(zhí)牛耳者：黃清石OeyTjengSit

活動詳情

黃 清 石
Oey Tjeng Sit

開幕：2017年9月30日周六下午五時
展期：2017年9月30日至10月28日
開館：周二至周六 13.00至17.30
地址：廈門市思明南路400號三樓中國歐洲藝術(shù)中心

Opening: Saturday at 5 PM September 30, 2017
Duration: September 30 till October 28, 2017
Open: Tuesday to Saturday 13.00 till 17.30
Venue: Chinese European Art Center, 3rd Floor, Siming South Road 400, Xiamen

我們知道，藝術(shù)通常是放在美術(shù)館、博物館或者某個公共空間展示的，而非在一個藥店。但這就是Oey Tjeng Sit所做的。20世紀(jì)70年代，他在阿姆斯特丹開藥店賺錢，同時也展出自己或其他人的藝術(shù)作品。這就讓他從需要受博物館館長或美術(shù)館所有者所制定規(guī)則約束的藝術(shù)世界中獨立了出來。從這個角度而言，他是個自由人。

We know that art is usually shown in an art gallery. Or in a museum. Or in a public space. But not in a pharmacy. And that's exactly what Oey Tjeng Sit did. During the 1970's he earned money with running a pharmacy in Amsterdam, The Netherlands, while showing art he or others had made. It made him independent from the art world that demands abidance by rules set by museum directors or gallery owners. In this respect he was a free man.

Oey的父親出生在福建地區(qū)，后移居印尼，成了一個成功的商人。他販賣的東西無所不包，小到肥皂，大到棺木。20世紀(jì)初，Oey Tjeng Sit就成長在這樣的中國家庭，他母親對于魔法，或者印尼所說的“隱藏的力量”有著深厚的興趣。但Oey對此毫無興趣。他夢想著去巴黎，那個畢加索和達(dá)達(dá)運動一度興盛的地方。超現(xiàn)實主義對他最有吸引力，他想成為一名藝術(shù)家，創(chuàng)作超現(xiàn)實主義風(fēng)格的繪畫。他父親于20世紀(jì)30年代去世之后，他決定移居歐洲。因為印尼曾是荷蘭殖民地，荷蘭就成了他生活的第一個國家。他最終沒有在巴黎度過余生。二戰(zhàn)爆發(fā)后，他不得不終止他的藥學(xué)學(xué)習(xí)。有一段時間，他擔(dān)心被納粹逮捕躲了起來，因為他看上去不像典型的雅利安人。但是與一群德國士兵的街頭偶遇讓他大為震驚：士兵們以為他是日本人，對他禮遇有加。

Oey's father was born in the Fujian region. He moved to Indonesia and became a succesful businessman, selling everything from soap to coffins. Here, Oey Tjeng Sit grew up in the beginning of the twentieth century in a Chinese family where his mother had a deep interest for magic, 'The hidden force', as it is called in Indonesia. But Oey didn't like it; he was drawn to the rational culture of the west with its tradition of the enlightenment. He dreamt of Paris, where Picasso and the Dada movement thrived. Surrealism fascinated him in particular, and he wanted to become an artist, producing paintings and drawings in a surrealist style. When his father died in the 1930's he decided to move to Europe and since Indonesia had a colonial tie to Holland, that was the country where he started. He did not end up in Paris; the second world war broke out and he had to halt his pharmacy study. For a while, he went into hiding because he was afraid to be arrested by the Nazis as his looks weren't particularly Aryan. But an accidental encounter with a group of German soldiers in the street brought a surprise: the soldiers greeted him warmly because they thought he was Japanese.

盡管總體而言，西方的價值觀根植于Oey，他的主導(dǎo)思維依舊是東方的。他的作品從最開始的超現(xiàn)實主義本質(zhì)轉(zhuǎn)變?yōu)楦鼮槌橄蟮臅L(fēng)格。他被中國文化深深吸引，盡管他從沒來過中國。他圖書館的書架上放滿了無數(shù)關(guān)于中國文化和歷史的書籍。有朝一日能走訪他的故土是他長期以來的夙愿。但是他做不到了。他在阿姆斯特丹街頭騎自行車時死于一場車禍。而今，他的作品達(dá)成了這一旅途。

While Oey generally incorporated western values his state of mind remained predominantly eastern. His work turned from its initial surrealist nature to a more abstract calligraphical style. He felt strongly attracted to Chinese culture although he had never been to China. The shelves in his library were filled with numerous books about the culture and the history of the country. It was his longtime wish to visit his fatherland some day. But he never did. He was killed in a traffic accident on the streets of Amsterdam while he was riding his bicycle. Now his work has made that journey.

Alexander
10.9.2017

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