未来总动员：达明安·赫斯特
上一篇 / 下一篇 2010-02-07 14:01:52 / 图片数(14)
Damien Hirst Apotryptophanae 1994 Household gloss and emulsion paint on
canvas 205.5
x 221 cm 达明安赫斯特 载脂蛋白色氨酸,1994 家用涂料和布上乳化漆 |
Damien Hirst 1
Beans & Chips FromThe Last SupperPortfolio 1999 Screen print 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（豆和薯条），1999 丝网印 152.5
x 101.5cm |
Damien Hirst 2
Mushroom FromThe Last SupperPortfolio 1999 Screen print 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（蘑菇），1999 丝网印 152.5 x 101.5cm |
Damien Hirst 3
Steak and Kidney FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（牛排，肾），1999 丝网印 152.5
x 101.5cm |
Damien Hirst 4
Sausages FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（香肠），1999 丝网印 152.5 x 101.5cm |
Damien Hirst 5
Omlette FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（煎蛋），1999 丝网印 152.5
x 101.5cm |
Damien Hirst 6
Liver Bacon Onions FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（肝培根洋葱），1999 丝网印 101.5
x |
Damien Hirst 7
Dumpling FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（饺子）,1999 丝网印 101.5
x 152.5cm |
Damien Hirst 8
Salad FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（沙拉），1999 丝网印 152.5 x 101.5cm |
Damien Hirst 9
Chicken FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（鸡），1999 丝网印 152.5 x 101.5cm |
Damien Hirst 10 FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（三明治），1999 丝网印 152.5
x 101.5cm |
Damien Hirst 11
Meatballs FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（肉圆），1999 丝网印 152.5
x 101.5cm |
Damien Hirst 12
Corned Beef FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（腌牛肉），1999 丝网印 152.5
x 101.5cm |
Damien Hirst 13
Cornish Pasty FromThe Last SupperPortfolio 1999 Screenprint 152.5 x 101.5 cm 达明安赫斯特 最后的晚餐（菜肉烘饼），1999 丝网印 152.5
x 101.5cm |
1994年的达明安•赫斯特介于特纳奖提名（1993年）和胜出（1995年）之间，当时正冒着学会制裁的风险。在一代英国青年艺术家中，他早已誉满天下，屡屡折桂。这是一个在20世纪80年代末兴盛一时的多元化群体，许多人都在戈德史密斯学院攻读美术课程，在这里，通过对背景——历史艺术、职业艺术、社会艺术——的强调，迈克尔•克雷格-马丁和乔恩•汤普森将专业进行了更新。赫斯特的“医药画”（也被称为点画）即始于此时。有两幅画是在位于萨里码头的伦敦港口管理局大楼墙壁上完成的“冰冻”（Freeze）系列，当时赫斯特正上大二，在“冰冻展”组办中备受欢迎。这是兴奋剂强烈刺激的结果，但它是一个持续进行的系列展。“绘画的无限可能性几乎要了我的命，”他说，迄今他仍在追逐一个构想：“屋内的彩虹”。1
顶级桌球迷赫斯特通过画布在Apotryptophanae中暗示了一些致命性问题。这些点画利用药品包装盒进行整齐的点阵排列，并按字母顺序命名。作品无需名副其实（色胺酸是商业化生产的抗抑郁症药品；它与一次健康恐慌有关，导致了1991年的国际禁令）。赫斯特的画室以准科学化的方式进行生产，想要达到机械化的分离和精确性。绘画不必由赫斯特完成（他将最大的功劳归于助理雷切尔和另一位戈德史密斯毕业生霍华德）。医药色码被精确放大，完全抽象地表现弥留之际的苟延残喘。各种色彩在每块画布上作不同的调配。这是一种系统的超大规模绘画，不过达明安•赫斯特也承认说：“这有些孩子气——有点像糖果或聪明豆，或者像药品。我的胃像孩子一样咕咕作响，因为我过去是把药片当成糖果吃的。我哥哥也是这样。”2 颜料是不变的麻醉剂：“我喜欢颜料。我觉得它存在于我的内心深处。它使我亢奋。”3
在Apotryptophanae中，纵横15x14行的点阵分散了人们的目光，就像在赫斯特的《乡间别墅》（1995年）视频中撒向凯思•艾伦的一捧药片，该视频是戈德史密斯毕业生布勒的打击乐，是英伦摇滚的圣歌。当然，点画法是图形设计中一种常见工具（英国文化协会的标志直到2004年还是以7个点构成的方形，点缀着灰、红相间的英国国旗）。不过，多亏了赫斯特，20世纪90年代感染了糖果色麻疹的特殊流行，从包装纸到英国航空公司低成本航线Go的广告，再到泰特航船（Tate Boat）的外观，都由赫斯特本人设计。在利用艺术与流行视觉文化的过程中，他成功树立了一个时代品牌。
赫斯特惯用的口头和视觉语言是一种漫不经心的矛盾：他坚持说，点画“与里希特、彭斯、布里奇特•赖利或阿尔伯斯无关，甚至也和Op无关。他们或许急于或愿意成为凌驾于绘画对象之上的画家。我经常说，这些作品像是绘画中的雕塑。我以此作为一个漫长系列的开始，就像是一个画家（我本人）的雕塑构思。” 4 Apotryptophanae力求定位在一个点到点的艺术高度和经济泡沫中，成为一个巨大的、持续的迷点。在其所有作品中，赫斯特表达出了对编目分类之美的近乎17世纪式的欣赏——蝴蝶、鱼类、动物尸体、骨骼、手术设备、癌细胞、钻石。编目是一个永无止境的过程：它否定了一个终点的存在。“没有答案，只有问题，而问题有望指引你走过黑暗。” 5在Apotryptophanae中，这种观点无处不在，作品中的波尔卡圆点为死亡之舞提供了一种令人眼花缭乱、色彩生动活泼的诠释。“我认为它们确实在变动，这就是为什么我决不会停止对其创作。这帮东西就是不会保持静止。” 6 DF
1 理查德•科克：“每个故事都如此不同：英国青年艺术家/萨奇十年中的神话与现实”，《英国青年艺术家，萨奇十年》（伦敦：Booth-Clibborn出版社，1999年）。页码未标。
2 达明安•赫斯特，《我想到世界各地与每个人共度余生，永生永世，此时此刻 》（伦敦：Booth-Clibborn出版社，1997年），第250页
3 赫斯特，“论绘画失语”，见《我想到世界各地与每个人共度余生…… 》第246页。
4出处同上。
5 肖恩•奥黑根采访赫斯特，《新宗教》，cat展。（伦敦：保罗•斯托尔珀/其他标准，2006年），第9页
6 理查德•科克：“每个故事都如此不同……”，页码未标。
Damien Hirst
In 1994 Damien Hirst was dicing with institutional sanction, between nomination for the Turner Prize (1993) and winning it (1995). He already occupied a senior position among a generation of young British artists distinctive enough to win the laurels of the definite article. It was a diverse group that blossomed in the late 1980s, many on the fine art course at Goldsmiths, where Michael Craig-Martin and Jon Thompson had replaced specialist divisions with an emphasis on context – art historical, professional, social. Hirst’s ‘Pharmaceutical Paintings’, also known as the spot paintings, began at that time. Two were painted onto the walls of an ex-London Port Authority building at Surrey Docks for ‘Freeze’, the show that Hirst, then a second-year student, had a much feted part in organising. This was in the wake of Prozac’s hugely hyped launch, but it was an ongoing series. ‘The infinite possibilities in painting just kill me’, he says, and to this day continues to chase the idea of a ‘rainbow in a room’.
A big-time snooker fan, in Apotryptophanae Hirst cues up mortal questions across the canvas. The spot paintings, measured rows of dots, emanate from the packaging of pharmaceuticals and are titled alphabetically. Names needn’t be genuine (Tryptophan is produced commercially as an anti-depressant; links to a health scare led to an international ban in 1991). Hirst’s studio takes a quasi-scientific approach to production, aiming for machine-like detachment and accuracy. Paintings needn’t be executed by Hirst (he attributes the best to an assistant, Rachel Howard, another Goldsmiths graduate). Medical colour codes are blown up microscopically, exposing as entirely abstract the promise of respite in the limbo between birth and death. Colours are configured differently on every canvas. This is systematic randomness on an overwhelming scale, yet at the same time, as Hirst admits, ‘they’re a bit childish’ – a bit like sweets or smarties or drugs. I had my stomach pumped as a child because I ate pills thinking they were sweets. So did my brother’. Colour is an abiding narcotic: ‘I love colour. I feel it inside me. It gives me a buzz’.
In Apotryptophanae the spots, fifteen up and fourteen across, scatter the gaze, like the handfuls of pills thrown over Keith Allen in Hirst’s video for ‘Country House’ (1995) and hit by fellow Goldsmiths graduates, Blur, that was to be an anthem for Britpop. Spots are, of course, a ubiquitous tool in graphic design (the British Council logo, until 2004, was a grey and red Union Jack picked out in a square of seven spots). Yet, thanks to Hirst, the 1990s contracted a peculiar epidemic of candy-coloured measles, from wrapping paper, to adverts from British Airways’ low budget airline Go, to the exterior of the Tate Boat, designed by Hirst himself. In exploiting the juncture between art and popular visual culture, he succeeded in branding an era.
Hirst’s idiom, verbal and visual, is one of insouciant contradiction: the spot paintings, he insists, have ‘nothing to do with Richter or Poons or Bridget Riley or Albers or even Op. They’re about the urge or the need to be a painter above and beyond the object of a painting. I’ve often said that they are like sculptures of paintings. I started them as an endless series like a sculptural idea of a painter (myself).’ Apotryptophanae asks to be situated within a dot-to-dot of artistic highs and economic bubbles, a giant, continuous puzzle. Throughout his work, Hirst evinces an almost 17th-century appreciation of the beauty of cataloguing – butterflies, fish, animal carcasses, skeletons, surgical equipment, cancer cells, diamonds. Cataloguing is an interminable process: it negates the point of a final result. ‘There’s no answers, only questions, and hopefully the questions will help guide you through the darkness.’ Nowhere less so than in Apotryptophanae, whose polka dots offer a dazzling, vivacious guide to the dance of death. ‘I really think they do move, that’s why I’ll never stop doing them. They won’t fucking keep still.’
D.F.
Richard Cork, ‘Every Story is so Different: Myth and Reality in the YBA / Saatchi Decade’, Young British Art, The Saatchi Decade (London: Booth-Clibborn, 1999), unpaginated.
Damien Hirst, I Want To Spend the Rest of My Life Everywhere, With Everyone, One to One, Always, Forever, Now. (London: Booth-Clibborn, 1997) 250.
Hirst, ‘On Painting Dumb’ in I Want to Spend the Rest of My Life…, 246
Ibid.
Hirst interviewed by Sean O’Hagan, New Religion, exh. Cat. (London: Paul Stopler / Other Criteria, 2006), 9
Richard Cork, ‘Every Story is So Different…’, unpaginated
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