艺术的流亡者

作者：贺丹

巴黎——这个名字总是与艺术、浪漫、华丽、爱情联系在一起，因为那里从来都拥有着自由的艺术空间，那里是造就艺术家同时也会是葬送艺术家的地方，历史的长河中沉浮着那些一流、二流、三流的人物以及更为众多的不知名的艺术家，留存在记忆中只有那么几十位，更多的以艺术作为成功梦想的人们湮灭于时间之河的黑暗中，但无论历史怎样的无情，作为一种生活方式的选择，作为一种人生理想的追求，艺术这个职业永远都闪烁着诱人的魔力，激发人们前赴后继地投身其中。他们每个人都艺术地生活着，都显得那么精彩，他们的作品无论能否对艺术史产生意义，能否延绵作用于后代，已并不重要，重要的是他们将艺术作为生活方式，作为通向彼岸的道路，作为人生的“渡过”，艺术有着其直面生存的价值，生活在艺术之中显现。

作为一个过客，我已安静地在巴黎呆了十年之久，呆在画室里画画，完成博士论文，游历、聚会时耳闻目睹的，都是些我们熟悉的有时是令人生厌的东西，耳边眼前听到的看到的都是我们可以背下来大师们的东西，他们的经典曾经让我们振奋、激动、感叹、享受、顶礼膜拜，美术馆的作品彰显着他们的伟大，诉说着他们的永恒。与此同时，他们的作品被复制在名信片、纪念品、T恤上，满街可见，随风飘荡，连酣梦中都好像沾染上了大师们的“痕迹”。在这个复制品泛滥的时代，经典被过度地“引用”，轰炸似的铺天盖地，一片嘈杂中，最终的意义只会导致它们蜕变成商业广告一般，让人厌烦、麻木、熟视无睹以至于弃绝。

十年巴黎的生活，如同所有的出国的学子一样，我对于艺术大师们的态度，从崇拜、摹仿、学习，到真正体悟到艺术只是作为生活的一种方式，去体会感受与表现，我们首先是平凡的人，大师们也同样，每当你接触那些无论是活跃在豪华别墅里的成功艺术家，还是流落在大街小巷，甚至垃圾堆旁讨生活的艺术家们，从人性的角度都是艺术的、洁净的，叠加在一起会让你觉得这座艺术城市的真实。如同国内的大多数人，他们也关注明星、名人、成功人士，就连大师们的坟墓都要不远万里地去看看，艺术的魔力与艺术家的魅力影响着我们一代又一代，在这座城市里，国内来的艺术家、评论家等等人物喜欢放低身段，拜见同等水平有影响有成就的国际型的同行们，但另外的如金字塔底座般数量庞大的艺术群体，虽成果突出，能力相当，状态极佳，水准很棒，却很少引起国人的关注，而文化生态的丰富性与生命力却往往从这类艺术群体之中静静地滋生，正是这种多样并存的社会结构，孕育了文化艺术发展的各种可能性以及不可预知性，这正也是艺术魅力之所在的一个因素。

早些年就听朋友们讲起过巴黎的17、18、19区有一些市政府分配给艺术家的画室，更还有一些无名艺术家。竟然抢占了一些废弃的工厂和空房作为他们个人的画室与工作间，每年的某一个固定时间对外开放，向公众展示自己的作品。这些艺术家大多没有参加过展览，也没举办过正式的个展，只有打开自己的大门，欢迎社会与人们的来此观看，那几日就像艺术的狂欢节，每个人都兴奋至极，他们以这种形式来表现自己的生活状态以及艺术。前些年，我像所有的中国艺术家那样埋头攀登“艺术高峰”，追随（逐）大师的足迹，未能悟到作为生活的一种方式去体会艺术，直到看过了许多“经典”，遇到过各色人等，体味了人间三昧，对艺术有了重新思考的角度，忽然觉得过去那种“追求”、“攀登”好累，开始反思、怀疑这种惯性的状态，它是自由的吗？它是艺术的吗？那种艺术的自由的空间在哪里？就在这时，一个法国年青的艺术家，我的朋友BEPAY带我走入了他们的世界LAMIROITERIE（镜子工厂），一个我从来没有接触过，很难见到的一个圈子，它从一个侧面表现着巴黎的自由、包容，以及多种并存的艺术生态。事情是这样的，早在80年代初一帮巴黎年青的艺术家发现这片废弃了的镜子工厂，很快他们就采取了行动，占领了这个它位于巴黎的东北角的高地LAMIROITERIE镜子工厂，连同空地大约有500多平方米的地方，不属于豪华区。厂房里没有水、电，也无人问津，他们将自己的画架搬了进去，安营扎寨，一批又一批的艺术家相互唿唤、相互串联，渐渐地都迁到这里，巨大的厂房被大家一间间隔档开，形成一个个的工作室，虽然十分简陋，但总归是理想的、巨大的、可称之为工作室的房间，而且演变为一次集体的行动，逐渐在巴黎道内也成了出名的“占领”事件，一片崭新的艺术空间与群体就是这么出场了，慢慢地在这里也圈划出特殊的艺术天地。巴黎市政府的态度也是睁一只眼闭一只眼，从未过问，任其自生自灭。像这样被占领的画室在巴黎大概还有100间左右，政府对艺术家的态度是宽容的，因为艺术家从不打扰别人，所以警察也从不麻烦他们。在这片旧镜子工厂的画室里有雕塑家Domimigue，装置艺术家Bemord morlon,舞蹈家Abolel er Elise, 影像艺术家Thomqs Aubin, 画家KTA michel,演员Pechonet Laurent(美国人，一个相当有才华的雕塑家)，Johnatan(澳大利亚)等等，他们来自世界各地，在巴黎这个充满艺术气息的城市里助长着自由的想像，发挥着艺术创作，只有在巴黎才会产生这些靠精神信念作为支撑的艺术家，物质上只需勉强维持，只要有酒、咖啡，有能填饱自己肚子的东西就可以从早工作到晚，这里每位艺术家都清楚地知道作品能够卖掉的希望是渺茫的，只需生活愉快即可，因为他们拥有的是一种逍遥的、自在的、自由的艺术空间，这中间许多人完全可以谋取别的职业，换得可观的收入，但既然决定选择心灵自由的艺术，那最为合拍的大概就是这种生活方式了。但对于这些大都没有进入美术学院学习过的艺术家来说，也伴随着极大的内在矛盾，他们热爱传统但又不愿被美术学院缰化的教条所禁锢，对当代时髦的流行样式嗤之以鼻，不用妄谈艺术，他们的生活本身就是艺术，对于他们来说美术学院出来的画家没有出息的，都是学习以前大师的东西，毫无创意，“学习毕加索是件很蠢的事，”他们如是说，到处都是IMAGE的形象。他们喜欢传统，但从严格的意义上讲并不是去学习某个名流的大师的样式风格。他们喜欢传统的法兰西文化，但又认为“褪了红色”的法国艺术不再会有大的出息了，资讯将全世界联系起来，使全世界有了希望，但同时也相应产生了许多陷阱与黑洞，艺术在不断的变化，心灵与科技放飞了艺术，让人们不断地惊诧于新艺术形式的出现。

在我们一起聊天的过程中，有一个不大的超市为这些艺术家免费送来了生活日用品和咖啡，在这里做一个艺术家真好，他们可以带着自己的面孔与身份去超市任意选择自己所需要的东西，一律免费，这真是艺术家的共产主义社会，只有在这个崇尚艺术的都市，才会给予这些“艺术的流亡者”容一席安枕之榻，有这样的文化结构，使得每个时期都会出现一些杰出的艺术家，它的土壤不仅是滋养文化，还回馈热爱艺术的法国人。

在距Lamiroterie画室不到两百米的地方有一不大的小餐馆，是非洲人，不知为何？他长期为这些艺术家免费提供午餐，我有幸与他们共进了午餐，他们平常的生活来源受法国政府的救助，就像生活在底层的流浪汉一样，但他们是充实的。因为生活没有保证爱情也会多变，但爱情也可能随时会降临在某个人身上的……。

与他们的贫穷对称的是拥有完整自由的心，艺术家应该是在自由状态下的生活方式，这样才能创造出不同与他人的作品，作品对于他们来说已不是那么绝对的重要，重要的是他有着我们不可触及的、漫天挥散的自由心灵，我在感叹。

Exile of Art

Author: He Dan

Paris always reminds people of art, romance, elegance and love. Boasting boundless freedom for art creations, Paris has been a heaven for some artists yet a hell for more who have been long neglected and forgotten by history. What we remember is a few dozens of masters. More artists who purse art as a lifelong career end up nothing in the river of history. Despite of that, as a way of life and a lifelong pursuit, being an artist with its magic-like luster remains a decent job for an increasing number of people. Their life as an artist is so wonderful that it doesn’t even matter if their works are going to be something in history that could exert far-reaching influence on the future generation. It matters that they regard art as a way of life, a path towards the essence of their life and a bridge through which their life could be easier. Their life is reflected in their works.

I have been in Paris for more than 10 years as a visiting artist. I spend most of my time painting in my studio, finishing my doctoral paper, sightseeing and hanging out with friends. What I hear and see is the works of masters that we are so familiar with and yet sometimes annoying. We were so excited about and amazed at the eternal classics hung on the walls of grand galleries. However, such great works have been printed in postcards, souvenirs and T-shirts. The marks of the works could even been felt in somebody’s dream. In a age overflown with replicas, classics have been used so often that would someday end up being annoyed, ignored and even abandoned like commericals.

10 years in Paris have witnessed my changing attitudes towards masters and art. I believe it’s the same for every other student learning abroad. I admire, imitate and keep learning from the masters. Finally I get that art is a way of life you could feel and express. We are average and masters are no higher. When you come close to the masters, be them the successful ones living in fancy villa or the street artists who have to sleep by the garbage, you could feel their pure hearts pursing art that makes the city more lively. Like what we do at home, artists in Paris pay close attention to news about superstars, celebrities and high rollers in all walks of life. And they went to visit the graves of the masters , travelling more than 10,000 miles. Paris attracts generation after generation with its art glamour and artists’ charm. In Paris, artists and critics from China come to meet their international counterparts who hold a place in the stage of art with their great works. However, a huge number of competent artists in Paris, despite the high standard of their works, caught little attention from Chinese artists. It’s just that group of artists that makes the art of Pairs so vibrant and enriching. It’s just the mix of Paris society that gives birth to endless possibilities and unknowns, a significant factor of the charm of the city.

I have heard of studios located in the 17, 18, and 19 district given to the artists by the municipal government. Some unknown artists even took the disused factories and empty houses as their studios and workshops, a platform on which their works could be seen by the public on opening days every year. Such artists never show their works in public exhibitions, let alone holding personal exhibitions. Only by opening doors to their studios and inviting the public can their works be seen. People are so excited about those days on which the artistic expression and lifestyles of such artists could be seen. Those days are like the carnival of art. In the early years when I came to Paris, like many Chinese newcomers, I have been worked so hard, following the styles of masters, to achieve something. Yet I failed to feel art as a way of life until I have truly understood many classics, met various kind of people and experienced different lives. By then, I started to reflect and question my hard working. Did it really mean something or did it achieve real freedom? Fortunately, a young French artist and a friend of mine, BEPAY took me to his studio called LAMIROITERIE. It’s a new world that I never enter into before, reflecting the freedom, inclusiveness and the coexistence of various art ecosystem of Paris. LAMIROITERIE has been found by several Paris-based young artists in early 1980s. It didn’t take them long for those artists to occupy the factory, located in the northeast Paris and the surrounding empty lands. The factory had no access to running water, electricity and visitors at that time. The young artists soon got along and took their works to the factory. Words spred and more and more artists came and lived in here. The factory has been separated into private studios. The humble studios have grew in scale and soon become famous in Paris. A new art world and artists have came into stage and become an unique art space gradually. The Paris municipal government held an vouge attitudes towards the factory. Paris was home to more than 100 occupied studios like LAMIROITERIE. The government was tolerant with artists who behave themselves. LAMIROITERIE was home to artists across the world, varying from sculptor Domimigue, installation artist Bemord Morlon, dancer Abolel er Eise, photographer Thomqs Aubin, painter KTA michel, actor Pechonet Laurent also a talented sculptor from America and an Austrian artist Johnatan. They came to the artistic Paris to give full play to their creativity and imagination. Only in Paris you could see the artists who live by their passion for art. They only need wine, coffee and something to keep them from hunger. They worked so hard, knowing that the odds of their works being sold were slimmer. They didn’t care so much since it’s the free space for art that they were pursing. Many of them could have done something else for a living and obtained handsome income. They came to Paris for art that could make them feel free. Many of the artists in the factory didn’t go to art academies. It’s a torture that they were obsessed with tradition on the one hand and reluctant to be limited by the rigid rules of art academies on the other. They were no friend too the popular style chased in contemporary art. Their lives are art stories. They didn’t look up the artists from art academies which in their eyes taught nothing but imitate the masterpieces. They said it’s stupid to imitate Picasso. They were fond of tradition. But technically speaking, tradition didn’t mean to imitate the style of a master of art. They were fond of traditional French culture on the one hand but they didn’t think the fading French culture would pick its glory in the old days. Information connected the whole world and brought the world with hope. However, the pitfalls and black hole came along. The form of art keeps changing by virtue of creativity and advanced technology. We are amazed at the new forms of art.

During our chatting, a middle-sized supermarket sent consumer goods and coffee for free for the artists. It’s great to be an artist in Paris that you could get everything you need for free in supermarkets. Paris is a communist city for artists. Only in the city worshiping art can the exile of art get a bed to sleep. It’s the cultural mix that inspires outstanding artists in different ages. It’s cultural soil does not only give birth to the vibrant art but also serves as a gift to French people obsessed with art.

There was a small restaurant in less than 200 meters away from Lamiroterie owned by an African. I always wonder why he offered free lunch for the artists living in the factory. I was lucky enough to have lunch with these artists once. And I learned these artists live on government aids like homeless people. But they were rich in heart and soul. Life and love are always changing. But love could come down to somebody at any moment.

They are poor yet rich in heart. They sre free. That’s a way of life an artist should lead. Only by this can an artist create unique works. By then, what mattes most is not their works but their freedom and limitless imagination within nobody’s reach.