面相唯物主义——关于黎薇的雕塑 作者：汪民安

　黎薇试图捕捉住人的表情，以及这种表情所传达出来的气质。她以她的朋友们作为基本对象。但是，她并非对她的朋友们的准确复制。这样说吧：黎薇以她的朋友们作为“原型”，然后以此为基础创造出一个形象。这个形象未必就是那个原型的气质。这个原型只是一个凭借。黎薇创造出自己的形象。这个形象无一例外地被忧郁所笼罩：她们不安，惊恐，紧张，怀疑。但是，没有叫喊，没有歇斯底里，没有失控。这是隐约的不适感。它不是一个激情的瞬间爆发，而是日常状态的普通流露。这些雕像人物尽管有着内心的涟漪，但都表现得沉默无声。毫无疑问，这些形象表现出黎薇对忧郁和惊恐的惊人敏感。在某种意义上，这些形象，是忧郁和惊恐的混合。没有惊恐，忧郁者会目光暗淡;没有忧郁，惊恐者会大声爆发。黎薇的这些形象，目光并不暗淡，但是，也不尖叫。她们既有惊恐者的紧张，又有忧郁者的下坠。坠落使得紧张没法施展它的爆炸。因此，这是一种隐忍的无以宣泄的紧张，是某种程度的惶恐。这正是忧郁者的常态：反复的惊恐会产生忧郁;而忧郁总是牢牢地吞噬了惊恐。惊恐是忧郁体内的蛔虫。它们相依为命。黎薇对这样的忧郁者形象，对各种类型的惊恐，对各种惊恐的形态，对惊恐的各种细节，都有着准确而深入的捕获。她的目光能轻而易举地抓住惊恐。为此，她将惊恐物质化，她要雕刻惊恐，要为惊恐竖立丰碑，使得惊恐与飘逝的时光之河对抗，从而保持惊恐特有的青春。与其说青春残酷，不如说青春晦暗。与同代的年轻艺术家不一样，黎薇没有沉浸在一个浪漫而神秘的幻觉般的机器主义世界中，也没有沉浸在一个放纵主义的洋洋得意的消费主义世界中。她抛弃了生活之轻盈，拒绝了同代人的游戏，而有点不可思议地沉浸在一个惶惶不安的心理世界：形单影只，但独立而成熟。



　　这种忧郁，以及忧郁所常常携带的惊恐来自哪里?它不是来自一个具体事件，不是来自偶然的瞬间，而是来自整个世界。她们好像刚刚撞上了世界，世界是惊恐和忧郁的来源。惊恐和忧郁是从眼睛和面孔，我们甚至要说，是从整个身体中透露出来的。但是，我们看到，这些人物的目光并不聚焦，并不是在紧紧地盯住什么在看，这些目光，不是处在一个观望或聚精会神的状态，而是处于一种常态，一种没有周遭背景的状态，也就是说，目光不是同他者目光的交接和对峙，而是一种自我的内在沉浸。这是人物的常态，一种独处的状态，一种没有装扮的形态，一个人在卧室中的自主形态，一个不被他者目光所骚扰的形态。在这个意义上，忧郁和惊恐，就不是一种短暂的偶然的外部激发，而是日常生活的一般状态。

　如何表达这种忧郁以及与之相伴随的惊恐?黎薇在雕刻面孔，让我们更准确地说，在雕刻面相。这是关于忧郁和惊恐的面相。这个面相构筑了忧郁和惊恐交织的整体。它如此地细腻，如此地注重细节，以至于每个细节独立而自在，每个细节获得一种充足的表现力。脸部就是由这些细节构成。黎薇对身体，对面孔，对脸部的一切都充满了耐心。



　　忧郁来自哪里?在黎薇这里，与其说它来自于内心，不如说它来自面相。忧郁寄生在面相之中。这正是黎薇对面相精雕细刻的原因。这奉行某种身体决定论：身体的形象，就是一个人的全部秘密，就是一个人的全部存在。或者，我们再具体地说，面孔的形象――面相――就是一个人的全部世界。内心深处，都翻卷在面相世界之中。更准确地说吧，面孔就是深处，面孔就是内心，面孔就是一切。在这些作品面前，我们会突然意识到，面孔就是一个完整的囊括一切的世界。唯有面孔。或者我们要说，外在的形象就是内心的形象，面相世界就是内心世界。反之亦然。真的存在着一个内心世界?存在着一个魂灵世界?存在着一个心理深度?存在着一个个体的内在性?魂灵和内心难道不是一种虚构和假设?用面相来取代内心吧!在黎薇的这些作品面前，我们要说，内心，就是头颅，就是脸孔，就是眼睛，就是嘴巴，就是睫毛，就是肌肤，就是一切的可见性现象。就是这些可见性器官和肌肤的组合。内在性就是外在性。



　　我们在这面孔的组合中，在面孔的一切细节内部，在巨大的头颅部分发现了忧郁，发现了惊恐，不安，焦虑，就是说，找到了一切不适感，一切沉默的不平静，一切的涟漪和波澜。这些东西并不是从内心流淌出来的。在黎薇这里，她自然地砍掉了身体的下半部，也就是说砍掉了“内心”。内心并没有告诉我们什么。事实上，雕塑的一个讽刺性事实在于：人体内部要么是空洞的，要么就是一团泥巴。谁诉说了她们的忧郁?是的，形象在诉说，面相在诉说。就此，忧郁和惊恐不是埋伏在体内，而是埋伏在形象中，埋伏在面相中。面相不仅包含了这些日常状态，它甚至还包含了一切命运。面相就是命运，我们甚至要说，它就是人的风水，就是存在之家。这是面相的现象学。



　　我们要问，为什么一种面相说明了一种命运?或许，存在着面相的符号学。就如同存在着某种风水的符号学一样。也就是说，为什么这种面相就指明忧郁，而另一种面相指明的是狂喜?也就是说，一种面相生来就是一种命运吗?人们总是说，生活改变了性格――在黎薇这里，我甚至要说，生活改变了面相。拥有什么样的生活，就拥有什么样的面相。面相真的是天生的?面相难道没有自己的历史吗?难道不是被社会所一再地改造吗?我相信，身体一直在被动地适应社会和权力的魔咒，这些魔咒不断地展现在它的脸上，每个器官都涂上了历史的墨迹。在黎薇的这些作品中，我们看到，那些忧郁的眼睛，难道一直如此?那些青春痘难道没有自己的历史?那些弯曲的眉毛没有自己的历史?那些鼻子，耳朵，额头难道没有自己的历史?它们的变化，我不愿意将它说成是自然的生长，不愿意将它说成是身体的自然过渡，我更愿意说，它们是由社会和历史改造而成，它们是由社会历史的刀刃所雕刻而成。社会在这些器官上雕刻了它的烙印。是生活在塑造器官，塑造面相。就此而言，一个人的面相，由一个人的历史所撰写。面相的忧郁世界，并非不是社会历史所造就。那些或饱满或瘦弱的身体，那些或弯曲或笔直的毛发，那些或粗或细的胸部，或长或短的脖子，它们难道真的是天生的吗?难道不是被社会所铸造?或许，我们对一个人的历史的探讨，就从他的面相史的探讨开始吧!对她(他)的面相的探讨，就从对它的生活的探讨开始吧。没有性格，只有面相!没有内心，只有面相!没有魂灵，只有面相!这是面相唯物主义!



　　黎薇要将这整个面相――我们更准确地说――整个头颅看做是一个整体，没有任何部分能够被忽略，它是一个整体，是一个有机结构。这个整体被细节所充斥，整个头部没有任何一个部分被忽略不计，细节得到了完全的书写和伸张。没有空白之处，头部的一切，连可以剔除的毛发在内，都事无巨细。这同一切的变形和抽象针锋相对。变形和抽象，都遵循的是另外一种原则：它们是反面相学的，它们信奉的是灵魂和深度，信奉的是内在精神。内在精神如此有力，以至于它可以扭曲面相，冲破面相的桎梏，可以置面相于不顾。当然，我们也不是说，黎薇的这些形象，是对某个具体之人的逼真再现。不，这是面相的新创造。创造面相，就是创造命运!创造面相，就是创造每个细节，每个片断，每个器官，每个部位，就是创造一个世界。在这个世界中，一切都构成了有机整体：毛发，微张的嘴巴，只有配合一个警惕眼睛，配合一个瘦小的脖子，一个高挺的鼻子，一个双眼皮，一个小耳朵，一个有一些疙瘩的脸，一两个痣，一种棕色的混杂着黑色的皮肤，只有这样，才构成一个整体。它们每一个――每个器官，每个细节，都是独一无二的，正是这独一无二的细节，组成了一个独一无二的整体。正是这独一无二的整体，构成独一无二的面相;正是这个独一无二的面相，构成了一个独一无二的命运和存在。为此，黎薇动用了一切方式――她耐心地精雕细刻――让细节作为一个细节而存在，让细节托付着面相，让每个细节在面相中闪烁着它所特有的光芒。

雕塑，在这个意义上就是借助雕刻面相来雕刻命运。



　　最后，我们要再问一问，雕塑的意义何在?我们在什么意义上来谈论雕塑?我们已经提到了，有一种抽象的雕塑，一种动荡而变形的雕塑，一种夸张而激进的雕塑;但是，还存在黎薇这样安静的雕塑，具体的雕塑。通常是，这种安静而稳重的具体雕塑，偏爱的是那些非凡人物，这些雕塑通常是雕刻他们的非凡之处，他们的非凡性成为雕刻的目标和诉求。但是，在黎薇这里，这种雕塑，回到了普通人。黎薇是将日常生活中的无名者作为永恒的丰碑来雕刻。每个人都可以获得永恒，雕塑是对死亡的抗拒形式，借此，人们试图获得永恒。谁能不朽呢?当然是那些历史上的伟大人物，那些非凡英雄，名人圣士。他们被雕刻的脸上，总是具有特殊的光彩，这些光彩是他们成就的标志，正是这些光彩成就了他们的伟业。在黎薇这里，这些普通人，她们的惊恐，紧张，无力，不安，同样获得了不朽。事实上，黎薇的作品迫使我们要问一问，为什么不朽的只是功业，而不是人类的敏感和脆弱?

　　Physiognomy Materialism——About Li Wei’s Sculpture

　　Wang Min’an



　　Li Wei tries to capture people's facial expressions and the temperament that conveyed. She takes her friends as the basic object. Let put it this way: Li Wei took her friends as a "prototype", and then as a basis for creating an image which may not be the temperament of the prototype. This prototype is only a resort. Li Wei creates her own images that have been without exception shrouded by melancholy: they are disturbed, panic, tensional, suspicious, however, without screaming nor hysteria, there is nothing getting out of control. This is a vague sense of discomfort that is not a moment of passion broke out, but general revelation of everyday state. Despite these figures statue holds ripple inside, but they were all silence. There is no doubt that these images show up Li Wei’s amazing sense of melancholy and panic. In a sense, these images are a mixture of depression and panic. Without panic，a melancholy man’ eyes look bleak; without melancholy,a panic man will break out loudly. Li Wei’s images do not look bleak, at the same time they are not screaming either. They hold both panic men’s tension and melancholy man’s falling. The fall cannot make the tension explode Therefore, it is a kind of tension that could not give vent to and also is a certain degree of fear. This is no other than the normal state of a melancholy man：the repeated panic brings melancholy, and melancholy always firmly engulfed by panic. Panic is ascarid inside melancholy, they depend on each other for life. Li Wei has captured accurately and thoroughly such a image of melancholy man, all types of horror, the horror of a variety of forms and the various details of the panic. Li Wei’s eyes can easily grasp the panic. Therefore, she materializes her panic and caves it. It is necessary for her to erect a monument to fear, and make it struggle with the river of time passing away, so as to maintain the unique youth of panic. Youth is gloomy rather than cruel. Unlike the same generation of young artists, Li Wei immerses in a romantic and mysterious fantasy world of machine-ism nor in a consumerism world that is overindulge and complacent. She abandoned the lightness of life, refused contemporary games, and a bit unbelievable immersed in a psychological anxious world: living along, but with independent and mature.



　　Where do the melancholy and the panic it brings alone come from?It is not from a specific incident, neither from the occasional moment, but from the whole world. They seemed to be just crash with the world, the world is the source of panic and melancholy. Panic and melancholy is from the eyes and faces, we may even say that it is from the entire body revealed. However, we can see that these figures do not focus on, not peg closely to see something, nor in a wait-and-see or concentrate on the state, but in a normal state which is not surround with the context of, that is, the sight does not connect and confront with others’, but with in an inner self-immersion. This is a normal state of a person’s solitude which is undressed, as a independent state while staying in bedroom, a state that does not being disturbed by other’s sight. In this sense, melancholy and panic, are not accidental short-term external excitation, but the general states of everyday life.

　How to express the melancholy and the panic accompanied? Li Wei is carving faces, or rather, she is carving countenance. It is the countenance about melancholy and the panic which construct the whole of interlaced melancholy and the panic. It is so delicate, so attentitve to details that makes every detail independent and self-exist and every detail gets an adequate expression. Face is constituted by these details. Li Wei shows full of her patience on the body, face, and everything coming from it.



　　Where is melancholy from? As for Li Wei, it is not so much that it comes from the heart, it is better to say that from the countenance. This is the reason of Li Wei’s work at countenance with great care. It pursues a certain kind of body determinism: the body appearance is a person's whole secret, his all existence. Concretely, the appearance of face—countenance—is a person’s whole world. The heart deep down, are rolling in the world of countenance. More accurately, the face is deep, is inner, the face is everything. In these works, we will suddenly realize that the face is a complete world covers of all. Only faces. Or we will say that the external image is just the image of the heart, countenance world is the inner world and vice versa. Is there really a inner world ? Is there a soul world ? Is there a psychological depth? Is there a inherent nature of the individual? Is it possible that the soul and inner was a sort of fiction and assumption? Let countenance replace the inner! In front of Li Wei’s work, we have to say that inner side is exactly the brain, eye, mouth, eyelash and skin, that is the whole shoot of phenomenon visible, and also combinations of visible organs and skin. Internality is externality.



　　In the combination of faces, inside all the details of faces, we can find melancholy, panic, tension and anxiety in the huge skull, that means we can find all the discomfort, all the silent uncalm, all the ripples and waves. These things are not flowing out from the heart. As for Li Wei, she cut down the lower half of body naturally, so as to cut down the “inner side of heart”. Heart does not tell us anything. In fact, ironic fact of sculpture is that the inside of the human body is either empty or is a mass of mud. Who is telling their melancholy? It is the image, the countenance that is pouring. In this connection, melancholy and panic not lived in the body, but in the image and faces. Countenance not only contains the everyday state, it even includes all fate. Physiognomy is destiny, we may even say that it is the Feng Shui of a person, it is the home of existence. This is the phenomenology of physiognomy.



　　We have to ask why physiognomy could tell a fate? Maybe, there is physiognomy semiology existed, just as there are some feng shui symbols of the same. In other words, why dose this face specify melancholy, while others are specified in ecstasy? Is a face a kind of destiny as you were born? People always say that life has changed the character –to Li Wei, I would even say that life changed the face. What kind of life you were leading makes what kind of physiognomy. Is physiognomy congenital? Is it possible that physiognomy does have its own history? Isn’t it transforming over and over again by society? I believe that the body has adapted passively to the curse of society and power, which constantly shows up in the face, every organ gets the ink painting of history. In Li Wei’s works, we can see that those melancholy eyes, is it has always been like this? Is that acne does not have its own history? Those curved eyebrows do not have their own history? Those nose, ears, forehead, does not have its own history? Their changes, I do not want to describe them as a natural growth, and do not want to describe them as the body's natural transition, I’d rather say that they are modified by social and historical, they are be carved by the cutting edge of social history. Society carves its own brand on these organs. It is life who is shaping and molding organs and faces. In this regard, a person's face is written by his history. The melancholy world of faces, are not made by social history. Those body fat or thin, those hair bend or straight, those necks long or short, are they really born to be? Aren’t they casted by society? Perhaps, our discussion on a person’s history, must begin from his history of Physiognomy! To discuss his face, it must begin from his life. There is no character, only the face! There is no heart, only the face! There is no soul, only the face! This is the physiognomy materialism!



　　Li Wei wants to take the whole face—more exactly—the whole head as integer, there is not any part can be ignored. It is a whole organic structure. The whole is full of details, the entire head was no negligible part, and details have been written and done completely. There is no gaps.everything of the head, even the hair can be removed, have become obsessed with micromanaging. This is all tit for tat of the deformation and abstract. Deformation and abstract, have followed a different principle: they are the opposite of physiognomy, they believe in the soul and depth, whose inherent belief is in the spirit. Inner spirit is so strong that it can distort the face, break the shackles of telling, and can disregard physiognomy.



　　Certes, we are not saying that Li Wei’s image is a particular person's life-like reproduction. No, this is the physiognomy of a new creation. Create a face, is to create the destiny! Create a face, is to create every detail, every fragment, every organ, it is just to create a world. In this world, all constitute the organic whole: hair, the open mouth, only coupled with a vigilant eye, a thin neck, a high nose, a double-folded , a small ear, a face of some lump, one or two moles, a brown mixed with black skin, this is the only way to constitute a whole. Each organ, every detail, is unique, it is the details of this unique form a unique whole. It is this unique whole, constitute a unique hpysiognomy; It is this unique physiognomy, constitute a unique destiny and existence. Therefor, Li Wei uses all the way -- she patiently carved - so that make the details exist as details, let the details entrust the face, so as to make every detail in the face flickering its unique light.



　　Sculpture, in this sense is to make use of sculpture carved face to fate.



　　Finally, we have to ask, What is the significance of sculpture? What we sense in talking about sculpture? We have already mentioned, there was a kind of abstract sculpture, a kind of instable and deforming sculpture, a kind of exaggerate and radical sculpture; However, there are still quiet sculpture as Li Wei’s works, concrete sculpture. Usually, such quiet, stable, specific sculptures prefer those extraordinary figures, these sculptures are usually carved at their extraordinary, their extraordinary becomes the goals and aspirations of carving. However, as for Li Wei, this sculpture, returned to the ordinary people. Li Wei makes person unknown in daily life as an eternal monument to sculpture. Everyone can be eternal; sculpture is a form of resistance the death, and though it people were trying to get eternal. Who can be immortal? Of course, those great figures in history, those great heroes, and celebrities along with St. Disabilities. Their carved faces always have a special luster, the luster is a symbol of their achievements, it is the glory of their great achievements. In Li Wei’s work, these ordinary people, their fear, tension, weakness, anxiety, get immortal too. In fact, Li Wei’s work force us to ask that: why is exploits immortal, rather than senstivity and frailness of human beings?