展览主题 ---- 用绘画传递心灵的音符
展览主题 ----用绘画传递心灵的音符这次是一次来自两个遥远国度的艺术家的相遇与对话，一个来自西方遥远的希腊，一个来自东方的中国，是艺术使这两位遥远国度的艺术家联系在了一起，虽然两位艺术家各有自己的风格，但看过他们作品的人会立即被他们对艺术的理解的惊人相似所震撼，譬如他们对色调的使用，对线条及光影的偏好，以及其作品所衬托的诗意。古丽斯坦的作品频繁游走于传统与现代之间，她用一种对生命的注视方式去接近，发现被内心体验到的纯意识世界最本质的所在。即有时间的接续，又有精神的蕴藏，经过了她内心的提炼。帕友国在北京的作品，似乎更多受到了周遭环境和著名的中国现实派“电影摄影艺术”中的字符的显著影响。
是什么驱动力促成了他们的相遇和共同的交流基础呢？
要回答这个问题，需要首先看到他们绘画差异的层面之外，而注重其作品的节奏韵律，并且“倾听”他们的绘画表象之下的音乐。
其实，他们对音乐所共有的激情才是他们艺术的内驱力， 或许就是这样，艺术只对能够在心弦上引起震颤的人传递出音符，时间和空间只为心灵而“存在”，“存在”也只因心灵产生意义。
Exhibition Concept
This is a meeting between two painters of disparate origins; one hailing from Greece in Mediterranean Europe, the other born in Xinjiang in the extreme West of China, both now sharing the reality of living and working in Beijing.
While their art has similarities that immediately strike the viewer, such as the palette of colours they use, their common interest in texture and patina, and a certain poetic quality, it also has many disparities. Gulistan seems to follow a more thematic approach in her latest work, constantly travelling between tradition and modernity. Yorgos, in his Beijing work, seems particularly influenced by the surroundings and notably the “cinematographic” character of the Chinese reality.
So what is the driving force behind their meeting and the common base for their exchange?
To answer this question, one has to look carefully beyond the disparities of representation in their paintings. One has to concentrate on the rhythm of their work and to “listen” to the music ever present below the surface of their paintings.
In fact, their common passion for music is an important driving force of their art. It makes their meeting not only possible, but also complementary and creates an intriguingly harmonious experience for the viewer.
不断行走的状态
不断行走的状态谈古丽•斯坦和她的绘画艺术
认识古丽•斯坦是在今年夏天的青岛。当时我们一起参加一个艺术活动。大家一聊开，不免有相见恨晚的感觉。我的朋友她认识许多，而她的朋友我也知道不少。艺术圈子里人并不多，尤其象她这样优雅而精致的女士更是少见。 在以后的慢慢接触中，她的艺术和她的生活充满了让人向往的东西。
她似乎从小就有与生俱来的艺术天赋，也许来自她神秘的血统，而且处处得到家庭环境的精心呵护与培养，并在后天的成长过程中，不断精进与历练而逐步成长起来。她自幼喜欢绘画，音乐和舞蹈，而且后来有机会接触到国家文物局的专业精英，并和他们一起去考察新疆各地的文物古迹和考古现场，有机会看到很多国外出版的精美的丝绸之路上的文物画册，这使她开阔了艺术视野，增加了常人所不具备的历史意识和文化积累，让她的思维空间在历史与艺术的交织中不断延伸。在中央民族大学美术系的四年学习中，她进一步提高了自己在绘画艺术方面的素养，大学毕业后，在北京的一所大学教美术。
不断追求自我超越的她又在著名油画艺术家尚扬先生主持的油画研究生班深造。 最近，又开始了澳大利亚FLINDERS大学教育硕士专业的学习，拓展了她直接认识和感受外部世界的能力， 同时，她的艺术视野扩展到国际领域。在古丽•斯坦的艺术世界中，创造的意识力如星空般的迸发，她常说艺术是一种不可知，是信仰的外在轮廓之光。她仍然保持着自己天性，乐观，积极，宁静而平和，并沉稳而持续不断地编织着自己艺术世界，将自己所得到的各种艺术滋养融合到自己的画面上。在过去的十多年中，她创作了大量的油画和纸上作品，其中包括《印迹系列》《女娲之服系列》《行走系列》《自鸣系列》《东方的漫游系列》《记忆系列》《有关时间的系列》和《向中世纪致敬系列》等。她说，好的艺术需要时间的沉淀，需要情智的积累。虽然她是一位很有敏感性的艺术家，但她需要慢慢提炼自己的感情和艺术语言，以便找到属于自己的表达方式。
《行走系列》中有大量描绘脚和鞋，以及行走的人与肢体的作品。画面上是一种近似表现主义的语言，有激情的，变化的，流动的，充满生机的笔触和色彩，同时浸透着斑驳的肌理。这些都印证着时间流逝的痕迹。这个系列的作品包含着微妙的视觉隐喻。这种隐喻和艺术家个人的感情历程与生命的思考密切交织着。因为自幼练习舞蹈，并被音乐的旋律所沁润，她对那红色的练功鞋情有独钟， 舞动的人的肢体似乎联系着她对舞蹈的瞬间性感受，以及音乐的抽象性审美体验。而人的各种“行走”需要一双合脚的鞋，而这双鞋帮助行走者到达任何他/她想去的地方。而她的艺术与人生的道路也是一步步走出来的，因此《行走系列》凝聚着她独特的生命历程和丰富的人生感悟。在她进行绘画创作的时候，她完全是一只随思绪尽情飞翔的小鸟，沉浸于用梦幻与想象交织的世界中。
《自鸣系列》是她对音乐的迷恋的视觉体现。音乐是她艺术生活中的重要组成部分，在她11岁刚刚走进艺术学校的时候，她就随着钢琴的乐音，跳起了舞蹈，而且在很长一段时间，她的脑海里经常浮现出肖邦，海顿，巴赫等古典音乐大师的旋律。所以她在成为一名艺术家之后，她一直喜欢画自己情有独钟的琴音。她觉得，稳重庄严的钢琴安放在那里，本身也是个完美的造型，有着感人的视觉张力，加上精致的工艺，特别是钢琴迸发出来的声音，每每让她进入感情和思绪的角色， 这样在她的画面上，主观，活跃而又单纯的色彩赋予了钢琴的轮廓。她的画面具有音乐般的魔力。音乐，舞蹈，视觉，以及生命感悟与冥想都密切交织在一起，让这些有钢琴的画面传达出生命的合鸣。因此，音乐性在她的许多作品中有着鲜明的体现。
1992年，法国艺术家夏加尔在中国美术馆的个人展览留给当时还是学生的她以深刻的印象。画面上流动的色彩与线条以及艺术家对生活的充沛的感情让她留恋往返。同时带给她很大影响的还有GIOTTO，PIERO DELLA FRANCESCA，TAPIES这些艺术大师。透过这些艺术大师的作品，她看到艺术家的内心的精神世界对于艺术创作的重要性。于是，在她自己的艺术创作中，她希望让自己的感情世界自如地流淌。 同时，她还察觉到，这些艺术大师的作品中所体现出的古典人文主义的光辉，对梦境，梦幻，对美好爱情的陶醉与徜徉其中的快慰。在她以后的作品中，我们不时可以发现这些西方艺术大师的影子。
在古丽•斯坦精神世界，中国的远古的文化，中世纪的漫游历史占有重要的份额。 她对历史有种特别的情节，尤其是那些经过时间过滤过的风景，或者被很多代人触摸过的器物，总能让她产生丰富的联想的画画的冲动。这种心境不是简单的怀旧感，而是对生命历程的审视。因此，在她的画面上，观众可以看到许多丰富而厚实的肌理。这些肌理不仅服从于画面效果，而更多地服务于表达细腻的历史情怀的需要。对于中国远古文化的情思来源于她独特的中亚血缘，也来源于她曾经对丝绸之路上的石窟与考古遗迹的考察。这使得她对自己的血缘，祖辈的历史与文化，以及与欧洲中原文化的交流产生浓厚的兴趣。这种感觉比较明显地体现在《东方的漫游系列》中。在这一系列中，她东亚的传统文化符号，例如青花瓷瓶，古老家具，汉代墓室壁画人物，西域面具等自由地融入自己的画布上，似记忆，如梦幻，也充满对东方古老文明的追思，欣赏这批作品，仿佛穿越时空隧道，完成东方文化的漫游。在《有关时间的作品系列中》，代表不同地域文化的视觉符号被并置在一起，例如宋代的花鸟画与古希腊石雕被表现在一本书的相邻的两页上，显示出时间与空间的交织与错位。也是当下的普遍性的心理感受之一。
从某种意义上说，她的画也是在探询一个困扰现代中国人在现代化语境中的核心问题，我们从哪里来，又要到哪里去？她用自己的艺术寻找着自己的答案。和一些急于找到自己的格式化与商标化的符号图式以便在市场上占有一席之地的年轻艺术家不同，古丽•斯坦通过大量的作品实验来传达自己丰富的精神世界，而并不在意于自己作品的符号系统，这使她的艺术创作获得了最大限度的自由。这对于一位有独立追求与思考的年轻艺术家而言，显得格外重要。尽管古丽•斯坦的作品没有明显的个人符号系统，但她的画面上却体现出鲜明的个人气质， 这种气质包括凝练，质朴，自由，冥想，空灵，内敛等因素 – 一个自由的灵魂所释放出的气息，既无所不在，又难以找到具体的形式与载体但又意蕴深长而满怀关切。
人们一般将艺术视作心灵的图象， 所以，在古丽•斯坦的绘画艺术反映了她多方面的精神经历，丰富多元的精神生活和她所接受的多方面的艺术素养。 很明显，她的艺术本身也反映出这样的特点。对于艺术家而言，这些都是催生优秀艺术养料。经过二十多年的努力，古丽•斯坦的艺术已经到达一个高度，但作为一个他的艺术的欣赏者，我也由衷希望她今后的艺术能走的更远。在保留原有的艺术视阈之上，拓展新的发展空间。
张朝晖
1965年生于北京，1988年毕业于南开大学博物馆学专业
1995年毕业于中国艺术研究院研究生院，获艺术硕士学位
1998年毕业于纽约巴德大学当代艺术策展专业，现在为中央美术学院博士研究生，香港亚洲艺术文献库研究员。
The State of Continual Walking
Gulistan and Her Art
I met Gulistan this summer in Qingdao when we both took part in an art exhibition at the Qingdao Sculpture Park. During the course of our conversation, we both felt we should have known each other long before. She knows a lot of my friends, for her studio is near mine, and I know some of her friends. There are not many artists in this circle, and in particular, there are few graceful young women like her. I found her life and her art full of yearnings as I became more familiar with her.
It seems that she was born into art. When she was young, her family gave her a careful upbringing and she herself worked hard and made gradual progress. She was born into a mixed family of Uyghur and Han. Apparently, she inherited the art gene from her father, who is Han, who was an artist working for the army during the U.S.-Korean War. Gulistan loved drawing, music and dancing from her childhood. As a young girl, she specialized in dancing at the Xinjiang Art School. The excellent music and dance teachers from Shanghai began to develop her gift for art. At the same time, she received professional training in painting in her spare time. After graduation from secondary school, she became a hostess of a local TV program. She knew some professionals in the Scattered Cultural Heritage Office of the State Administration of Cultural Heritage when she was working in the cultural heritage system. She got the opportunity to inspect the historic sites of cultural relics and archeological sites and saw the paintings about the Silk Road published in Japan, which widened her view of art and added a historic realization and cultural accumulation that were not possessed by other people. Thus her thought space spread between the interweaving of history and art. The colorful world outside led her to Beijing for further study. During the five years of study in the Fine Arts College of the Central University for Nationalities, she improved her qualifications in painting. After graduation, she worked as an art teacher in a local Beijing college.
After this, she made further study in a post-graduate painting program, in which the well-known painter Shang Yang was her teacher. Currently, she is studying towards a Masters of Education from Australia’s Flinders University, which is developing her ability to know and feel the outside world directly and is expanding her artistic view to an international field. In Gulistan’s art world, the power of creation breaks forth like the sky full of stars. She always says that art is unable to know and that the exterior silhouette is the light of belief. She maintains her nature of being optimistic, active, open, quiet and gentle. She is weaving her own art world stably and continually, making use of all of her artistic resources in her paintings. In the past decades, she has created many paintings such as The Walking Series, The Self-Satisfaction Series, The Oriental Wandering Series, The Essence of Memory Series, The Memory of Time Series, and Contemplating the Middle Ages, among others. She says that good art needs the investment of time and the accumulation of sentiment and wisdom. Though a very sensitive artist, she needs to abstract her feelings and language of art so as to find her own way of expression.
The Walking Series includes a number of paintings about feet, shoes, walking persons and their bodies. There is a language similar to expressionism, being enthusiastic, changeable and moving. The blocky texture is saturated in its lively style and color. All these prove the imprint of time’s passing. The paintings in the series contain subtle visual metaphors which interact closely with Gulistan’s personal experiences and her thinking about life. She has a special love for the red dancing shoes that appear because she practiced dancing in her childhood and was influenced by the rhythm of music. The dancing body seems to connect her instant feeling with dancing and her abstract aesthetic experience of music. Everyone needs a suitable pair of shoes while walking to help him reach anywhere he wants to go. Gulistan’s road of art and life is appearing step by step. This series assembles her special experiences and rich feelings about life. While painting, she is like a bird flying with her thoughts and absorbed in the world of dreams and imaginations.
The Self-Satisfaction Series is the visual expression of her passion for music, which is an important part of her artistic life. After she entered art school at the age of 11, she began dancing to the sound of the piano. And for a very long time, the great classical musicians such as Chopin, Haydn, and Mozart often appear in her mind. Since she became an artist, she has always loved the tone of the piano. She thinks that the magnificent piano itself is actually a perfect sculpture which has moving visual strain. Its delicate craftsmanship, especially its tone, leads her into a character of feeling and thought. So in her paintings, she paints the piano in subjective, active and pure color. There is a kind of magic in her paintings. Music, dancing, vision, sentiment and thoughts are mixed together, which performs a symphony of life through the scene of the piano. In fact, music is obviously expressed in many of her paintings.
The French artist Chagall left a deep impression on Gulistan in his 1992 exhibition at the National Art Museum of China. She was instantly connected when she saw the flowing color and lines as well as the artist’s fresh energy of life. Other artists have also had a great influence on her like Giotto, Piero Della Francesca, and Tapies. Through their paintings, she realized the importance of the artists’ mind to the creation of art. She hopes to let her feelings flow freely in her creation. She is also aware of the brilliance of classical humanism—the euphoria and happiness from dreamlands, dreams and love. We can find the shadows of these western artists in some of her later paintings.
In Gulistan’s spiritual world, Chinese ancient culture and medieval history play an important role. She has a special relationship to history. In particular, the scenes filtered by time and the objects touched by several generations of people can activate her imagination and impulse to paint. This is not a simple nostalgia but an inspection of her life experience. In her paintings, people can see a great number of rich and solid textures, which not only serve the effect of the paintings but also meet the need of expressing exquisite historic sentiment. Her thoughts of the ancient Chinese cultures from her special central-Asian bloodline and the inspections of the rock caves and archaeological relics of the Silk Road make her greatly interested in her bloodline and her ancestors’ history, culture and communications with the central plain cultures in Europe. This is expressed obviously in The Oriental Wandering Series. In the series, she used traditional cultural signs such as the porcelain vases with blue flowers, ancient furniture, figures in the mural paintings of the tombs of the Han Dynasty, and masks of Xiyu, which were like memories and dreams and a kind of pursuit of the ancient culture of the east. While appreciating these paintings, one seems to pass through a time tunnel and wander through the culture in the east. In The Memory of Time Series, the visual signs representing different cultures were put together. For example, the painting of flowers and birds in the Song Dynasty and the marble sculptures of ancient Greece were put next to each other on two pages in one book, which showed the mixture of time and space. This is a common psychological sentiment nowadays.
In some sense, Gulistan’s paintings are searching for a core problem troubling modern Chinese in the context of modernization—where are we from and where are we to go? She is looking for the answer in her paintings.
Unlike the young artists who are anxious to find their own format and brand their own works so that their paintings can occupy a position in the market, Gulistan has created a great number of paintings to express her rich mental world, not paying much attention to the format and symbols. And this makes her creation obtain an extreme freedom. It is very important to such a young artist to have her own pursuits and thoughts. Though there are no evident individualized symbols in her paintings, they contain obvious individual temperaments of condensation, modesty, freeness, meditation, spirituality and introversion; therefore her style is like the breath released by a free soul and exists everywhere. It is hard to find an abstract form and a carrier for it, yet her work has a richness of meanings and is full of care.
People always regard art as the picture of the soul. Gulistan’s paintings reflect her mental experiences, her rich psychological life and her art qualifications. It is evident that her art reflects these natures. For an artist, all these natures are nourishments to make one successful. After over twenty years of effort, Gulistan’s art has reached a certain height. As a visitor to her art, I hope sincerely that her later art will care more about real life, that she can reconfirm her art qualifications and resources with feelings from real life so that she will complete the transformation from modern art to concept art and contemporary art, and that she will be able to expand into new spaces while keeping her original artistic view.
Zhaohui Zhang
1988: Bachelor’s Degree in Museology from Nankai University.
1995: Master’s Degree of Fine Art from the Graduate School of the China Art Academy.
1998: Degree in Contemporary Curatorial Studies from Bard College in New York.
Present: Ph.D. student at the Central Academy of Fine Art and a researcher at the Asia Art Archive of Hong Kong.
谈古丽•斯坦
谈古丽•斯坦那被水晶所擦伤的缓慢声音头巾
竖琴的泪水总是昂贵的，作为对TAPIES那些带有复仇女神味道的＂次要缪司＂的＂奢华的丢掉＂，古丽•斯坦的奇幻国仙境为我们匿名了油画那最昂贵的＂寂静＂。在我看来，女性画家古丽•斯坦新的油画异声是当代混淆语境下＂为水晶添进花瓣＂的允诺性发声。油画家作为女性另一重更麻烦的公民身份，无论是星空下的新嫁娘的＂最柔软的弓＂，还是女权主义者的着火了的夜莺，都被选用为继续被遮蔽的缪司，而在少有的，用身体的信仰向我们展开层层穹顶的女性艺术家群落里，比如古丽•斯坦近几年系列性的油画创造，正返身而回，为这个贫乏的时代编织＂寂静＂（Silenzio）的嵌星飘带。
古丽•斯坦曾将她的一幅早期油画比喻为＂Circle Waltz＂，据她说这是一张爵士乐唱片的名字，油画的华尔兹舞，这是一张她从来没有听过的唱片。她说油画就是一种重新的＂发声＂，竖琴并非仅为诗人所有，被信仰所冲刷的贫瘠大地上，也并非只有诗人留下来。油画是Gulistan（她的神秘的签名，如同她神秘的血统）的声音，是抵达的带着闪电的但是最安静的水；油画家作为古丽•斯坦的另一重身份，为她找到了最安静的火车（她用习作回忆她９岁坐火车从阿克苏出发），最安静的作品油画护照，最没有敢出声的祈祷。＂寂静＂（Silenzio）是从哪一重国度开始的呢？如果考虑古丽•斯坦的名字含义，意为花的国度（花国）。油画作为这个女性为我们展示的最安静的灯的花朵，犹为弥足珍贵。借用苏珊桑塔格的那个概念＂重点所在＂，我倾向于将古丽•斯坦的作品世界命名为＂油画的元音＂，更确切地说，基于对古丽•斯坦油画奇幻国的想象力的＂购买＂－－古丽•斯坦毫无疑问地＂少有的＂从艺术女神那里＂购买＂到了油画那寂静性质的＂元音＂，在这个喧嚣的被遮蔽了夜莺歌声的时代，她是少有的用”寂静（Silenzio）”来重新发声的女性艺术家。
我注意到古丽•斯坦最近向我推荐的一张唱片,有着超现实封面的由法国的新爵士乐钢琴家BRAD MEHLDAU发声出的＂缓慢＂幻象。这张2002年出版的唱片古丽•斯坦2005年才听到，缓慢是寂静的另一重身份，古丽•斯坦告诉我，去年她很多时间都在她的画室里工作，而今年她在画室里的时间少多了，油画作为一种更慢的抵达，充满了秘密的预兆。我知道古丽•斯坦最近着迷于巴哈的钢琴平均律，听的是一个很旧的历史录音版本，还有前苏联钢琴家玛丽亚尤金娜的钢琴唱片。她给我讲了一个海报设计师蒙古奇的事件：在访答录中，蒙古齐回答他的业余爱好是什么的时候，说＂在睡前听妻子安娜的大声朗读＂。显然这种对唱片的精神朗读为古丽本人那最安静的油画王国找到了一声音的对位，当然是次要的赋格对位。
古丽•斯坦的＂唯一＂发声隐现着时间和空间所交相编织的金带，作为前舞蹈学员，或者作为曾在丝绸之路跟随国家考古队工作的人员，古丽•斯坦曾在她的画展上强调她的油画的＂考古学＂词汇。一般而言，画家和旅行总有一双＂走出无尽乡愁的鞋＂相紧密联系，这种对漂泊的在场眺望和回望，使艺术家的内在身份总是不断地＂换了帝国＂，古丽•斯坦的油画也着力诠释这一重漂泊者所携带和走开的乡愁，并以此出发，延伸出那＂走不出记忆的天空＂的流亡命题。脚到底在哪里？或者，那空着的，被放在路上的绣鞋（古丽本人喜欢的一幅作品）在哪里？旅行是脆弱的吗？母语是脆弱的吗？我们的身体在的地方是脆弱并不可知的吗？而这华丽的旅行是古丽•斯坦那＂有意减弱的灯＂，是收进身体里的一张叫＂应答祈祷＂的唱片。我注意到古丽的油画作品在别的艺术家变＂强＂的地方，她反向行之，拧暗星空的灯，变＂弱＂－－以致于有的时候牺牲唯美的氛围色调，但这体现的是寂静的另一重奥义吗？在最弱的时候，万物重新生发。而这种＂弱＂，我们在 GIOTTO的作品里看到过同样的＂被撞击又被隐蔽的星痕＂。
而只有详细考察过中世纪如GIOTTO 及SIMONE MARTINI的壁画作品后，我们才能理解古丽•斯坦在精神气质上的零度星空，和她那手中暗藏的时间的悖反绳结。而在另一方面，我犹为注意她的那幅意大利教堂穹顶的＂未完成＂的油画作品。可能再也没有另一位艺术家这样画，这只能是古丽的画（却属于我们所有人共同的眼睛）。第一次看到这幅油画的时候，我的眼前产生了如信仰般强烈的幻象，特朗斯特罗姆的诗句从我嘴里脱口而出：＂一个没有面孔的天使抱住我／用低语穿透我的身体：／自豪些，不要因为你是人而感到羞耻＂，而在那穹顶下热泪盈眶的我们会发现：＂你体内的穹顶正在层层打开／你不会完善，一切都已注定，＂你＂被推入阳光喧嚣的广场，穹顶在他们体内层层地打开＂。而那些穹顶的石头是什么？我看见那石头如泉水般地＂涌出＂，或者说，在古丽的这幅画面前，我感到了艺术家所创造的大教堂穹顶，石柱如＂泉涌＂般地被信仰所打开。狂喜和宁静交织的＂复活的圣火＂，让我们重新开始生活。在完成这幅作品快半年之后，古丽•斯坦看了那部塔可夫斯基的电影＜安德烈鲁博辽夫＞，那里面的造钟者，鞑靼和被信仰所抛开的大地，历史的烟云重锁，画圣像的＂说俄语的乔托＂，河流上空暴风雨的弓－－－让古丽告诉我说，（这部电影）＂让我自己也重新理解了我自己的这幅画＂。
而在另一方面，古丽•斯坦的这种＂油画元音＂更多地隐蔽在她＂寂静＂的女性艺术家气质之内。想一想俄罗斯大诗人曼德尔斯塔姆的那首诗歌吧：＂姐妹们，轻重带着同样的标志，＂而重要的是，如诗人所预言的那样，＂又重又轻的玫瑰，在徐徐涡流中／被编结成双重的花环＂。而古丽•斯坦的＂油画元音＂也同样平衡了轻与重，这是我视古丽•斯坦＂固执＂的，甚至＂弱＂到＂黯然失色＂的作品为竖琴最珍贵的如歌的旋律的原因所在。而我以前也一向认为，这种在所谓的＂唯美＂层面之上的＂元音＂只有在真正的诗人手中所被掌控，这也正是被艺术女神所吻过的，只给予被选中的一小部分人的＂炽热的谜＂。
谈古丽•斯坦２
当缪司女神被那些女仆认出来之后，是谁代替那个曾在学生食堂里收集速写的小姑娘来献出＂珀罗涅珀的刺绣＂呢？请还给我我的姐妹那如歌的旋律，古丽• 斯坦的油画让田野的裙子发声，而重新充满了神秘的色彩。玛丽恩迪耶和古丽拥有差不多的背景，年龄相仿，她们的作品＂都使我们在这个不安的，疑惑的世界里东摇西晃＂。她们都找到了属于她们意识的奇幻国仙境，在中国美术的主流或前卫线索里，我们几乎看不到如古丽•斯坦这样发声的女性艺术家，她应该属于美术史的意识线索那一领域。＂我的油画是声音的裙子，也是国土的裙子，或者是屋舍。＂这是古丽•斯坦一次在做设计海报时突然冒出来的一句话（事实上，她在艺术学院做设计讲师，而那些出现在画廊和本画册里的油画是她个人安静的，私人性的＂心灵＂海报）。那一次我问她是否读过中国诗人多多写过的一首诗歌，描绘有着蜂窝形面孔的女人，＂把害怕死亡的裙子拧成绳＂。古丽•斯坦显然没有注意到或优异回避这个＂残忍＂的话题－－在她设计＂带有中产阶级审慎魅力＂的海报的时候。但她后来反问我，为什么不把拧成绳的裙子展平开来呢？把被焦灼，死亡拧成绳的裙子重新展开为＂寂静＂（Silenzio）是女性艺术家考虑的重点，把极限的那个被扭曲了的地平线还原为＂元音＂的本源，这是古丽作品里的潜走向。
让气脉开花。在古丽•斯坦看来，她的小小的＂珀罗涅珀的刺绣＂是身体的脉轮和轮回交相而擦出的＂花的语汇表＂。＂有的时候我觉得，我的那些作品是轮回中被抛开的祖母绿眼泪。＂轮回是不是应该所放弃的呢？还是如诗人所称的那样，＂我在此为你点燃像一根黑蜡烛／燃烧像一根黑蜡烛而不敢祷告＂呢？古丽•斯坦的作品到底为了我们收集到了什么样的＂轮回的花与弧光＂？她最近几年尽管放慢的创作的速度，有的时候说自己在疲倦地休息，但她的着眼点比以往任何时候更敏锐，也更具有洞察力。手握＂珀罗涅珀的刺绣＂的女性艺术家并非要代替我们承担先知和祭司的使命，而是应该让艺术重新工作，真理是每一个夜晚的障碍－－如果我们不再能认知这个世间的轮回与解脱，或日事物的本来状态的话。我知道这是古丽最近感兴趣的＂神秘＂话题，学习新本领，＂为水晶添进新的花瓣＂。而油画则是在轮回的大虚幻中，找到暂时的屋舍或是购买到可以炊烟的新裙子罢了。今年上半年，古丽•斯坦曾专门去上海，参加爵士音乐节。古丽•斯坦向我展示她自己的一些唱片LOUIS ARMSTRONG，BESSIE SMITH，ELLA FITZGERALD，BILLIE HOLIDAY，NAT KING COLE，THELONIOUS MONK，STAN GETZ，DIANA KRALL，＂油画也有另外的屋舍和新裙子。
＂但直到现在，古丽是否忘了她曾构图的为KRALL和她的颜色钢琴画一张新画的允诺？古丽•斯坦对她自己油画世界的＂奇想性录音＂，并非指向如达利或马格里特那样超现实礼帽。学生时期的古丽•斯坦曾经地喜欢过夏加尔，那些飘在半空中的小提琴村庄，雾中的维捷布斯克尔精灵舞蹈是多么像古丽童年时住过的家乡啊。西班牙战后最杰出的画家塔皮埃斯（而不是米罗，而我是多少次丢失了那本TAPIES《塔皮埃斯回忆录》啊）成了古丽•斯坦可以秘密对话的＂灯＂。但她并没有＂丢脸＂地去向塔皮埃斯借来那＂带有晚期抽搐闪电的面具＂，而是在另一个屋舍里发展自己的新想象力。塔皮埃斯那复仇味道强烈的＂坠向地窖的铁铃铛＂在古丽的世界里对位成了最不易察觉的安静的氛围闪电，和最清澈的抵达之水；有的时候我想，为什么在古丽•斯坦的作品世界里，最近的点往往以最远的点出现，仿佛是事物的两极，并维系着如此＂在雪线上的平衡＂？＂很多年前我买了最昂贵的塔皮埃斯画集，这是我的秘密。＂古丽•斯坦这样说。塔皮埃斯那靠近死亡的＂灯＂在这里被重新构图为在夜莺北侧开花的裙子，令那些灯塔地平线的眼睛酸疼。
＂有一天，自我在那些天空的床上，如火车般黯淡下来。谁会是那个早上的跑步者呢？＂那么，女权主义是被重新放回星空的＂最柔软的弓＂，我们不一定用它来为我们找到什么。事实上，在我看来，古丽•斯坦一开始就倦于去数女权主义的铃铛。她的女性艺术家身份带给她的更多的是对油画艺术本身的全力进入。所以，我将在这个解读文本里略过这剂来自波伏瓦的＂毒药＂。而着重于女性艺术家的＂前意识发音＂。
在私下里，我问古丽•斯坦比如艺术家和女性艺术家这样无聊的分类问题的时候，常常我们还没有找到那＂被黑猫弄乱了的旧毛线＂，话题就转到我们喜欢的爵士乐唱片或者神秘性的话题那边去了，或者关于女钢琴家的八卦什么的。但当有些话题如火车般黯淡下来的时候，我们也会来＂猜＂如何＂推妈妈下火车＂？古丽认为女性更注重祈祷和对祈祷的应答。不画画的时候，她也会从茨维塔耶娃的诗歌里找到＂干净的力量＂，或者用那个女舞蹈家的话＂我舞蹈因为我悲伤＂来反对她自己刚刚完成的画。需要说的是，古丽•斯坦在旅行的时候总会写诗歌，作品颇有俄罗斯白银时代诗歌的味道，而且为了找到意识那新的贝壳来牵制那旧的星星，她尝试着把自己的诗歌翻译为英文，所以，＂前进－－－是傲慢的。＂而这种从诗歌中获得的＂新＂听力，如同语法的酒，使每一幅画都幻变为一曲肖邦。
在某种程度上，我想古丽•斯坦会认为即兴主义也是女性主义的特长。从那部《黑暗中的舞者》里的恍惚女神比约克开始，古丽•斯坦转向找到了爵士乐的恍惚声音裙子。所谓即兴正是展现了天才的爵士乐艺术家们的＂过程密码＂。天外来音式的在场现场，暗夜里灵感女神的每一次妖娆转身，向我们泄露的是天才的＂秘密＂。听爵士乐的过程就是艺术天分被在当下＂天机泄露＂的过程。古丽•斯坦的爵士＂潜水＂使她在自己的架上绘画方面展现出了更出色的＂即兴灵动＂，＂我们的身体是被天使们录制了多少次的爵士唱片呢？＂每当古丽•斯坦买不到她想买的爵士乐唱片的时候，或者因为堵车赶不到爵士现场的时候。这种来自爵士乐世界的新活力令古丽•斯坦的油画展现了更丰沛的原创气质。这种＂即兴赋格＂在古丽的画布上照亮了更多重的内在＂寂静＂。我知道最近几个月，古丽•斯坦迷恋于新爵士钢琴家Marilyn Crispell的神秘性的钢琴和弦迷宫，在那张迷人的绿封面的＜ODYSSEY＞唱片里，古丽说自己也找到了新的＂奥德赛纪＂。
谈古丽•斯坦：黑暗，或是灯的占领
我们在哪里编织花环？＂所有的国家都准备起立＂这是奈丽萨克斯的诗句，为了换掉所有星星的颜色，并＂结束旅程＂。而古丽•斯坦的油画作品在我看来最秘密的地方是，她前所未有地为我们＂隐蔽＂了那＂惊恐的缪司为我们值的夜班＂。记得有一次，我惊异于她说自己的作品和安塞姆基弗那浩劫之后的＂黑禁忌荆棘＂有相同的防线。基弗的作品是那么黑暗（黑过流亡的黑色），而古丽的作品世界和他是如此的完全不同。古丽•斯坦告诉我，在她看来，＂黑暗，本身就是另一种方式的灯的占领。＂所以，不同的艺术家将内心的力量被转化为作品的时候，并没有遵循同样的道路。基弗在圣像被破坏掉的时代传递给我们的是＂黑棉花地＂（苏格的一个概念），而她或许传递过来的是灯对黑暗的＂占领＂，或者是＂水晶＂（古丽•斯坦日志里有一段时间里出现频繁的一个词），但是，反过来说，我们透过水晶里面看到的不就是＂黑棉花地＂吗？如被烧灼的火药棉。
由基弗的那幅名作《你金发的玛格利特》，古丽•斯坦和策兰（Paul Celan）接通了强烈的”流亡的电流”。＂沙，命令返回。＂古丽•斯坦的油画作品里那独特的＂弱＂的暗色调的＂黄色＂终于在策兰的诗歌里找到了一个词根，（沙，也是萨克斯诗歌王国里的一个基本词根，和流亡有密切的涵义），但另一个方面，策兰诗歌里那从＂词＂里渗出的雪暴给了古丽•斯坦深刻的印象。为油画找到不同的＂寂静性质＂的词根，是古丽•斯坦尝试的一个方向。谈回沙，来自于阿克苏的古丽•斯坦经历的童年精神航道。她的油画艺术如同铺在沙漠上的嵌星丝绸飘带，展现了新一代女性艺术家的抵达之谜。
（另一个来源，乔托那中世纪的以黄色为主要色系的壁画，也对古丽•斯坦的作品发出召唤。）
观察塔皮埃斯这位古丽•斯坦喜欢的画家和基弗作品世界的异同。我们会看到前者的黑的铁青的带有复仇张力的抽象线面那种痛定思通的力度，和后者而过了极端的线的＂死亡赋格＂，同样传递来焦灼的热星火药库。但在这一端，女性作为匿名的＂抽像的泉水＂，将之归于重新开始的寂静。在这里，背景不同性别不同的艺术家体现的是同样重新出发的本初觉醒。黑暗是什么，现在已经被画布上出现的灯占领了。灯形成了信仰般的寂静和新的听力。
在这一点上，古丽•斯坦的架上绘画和俄罗斯作曲家古拜杜里娜表达的安静有异曲同工之意。尽管古丽还没有听过这位俄罗斯老太太，但我仍然把古丽•斯坦的油画发声看为对另一的祈祷应答－－或者相反。前几天，看了在国家电视台转播的古拜杜里娜北京音乐会，古丽曾经私下说，那种震撼和息息相通的感觉，就好象找到了自己油画的终极＂声音版本＂。
宋逖
On Gulistan
The Essence of a Slow Voice Worn Down by Crystal
by Song Di
The tear of a harp is always costly. As the luxurious discarding of a subordinate Muse, which follows from Nemesis to Tapies, Gulistan’s fantasy world implies the most expensive silenzio of painting to us. To me, the different voice of paintress Gulistan’s new works is the promised voice “to add petals to crystal” in the present mixed context. “Painter”, as another troublesome moniker besides female, has been chosen as a shielded Muse. It is not only taken as “the softest bow” of a bride under the starry sky, but also as the fiery nightingale of feminism. Among the group of unwonted female artists who open layers of domes with the belief of body, Gulistan’s series of painted works in the last few years, for example, are coming back to weave the starry ribbon of silenzio for this indigent era.
Gulistan once compared one of her early paintings to the Circle Waltz, one of her favorite jazz albums. It was the “Waltz of Painting”, which she had never heard before. She said that painting was another kind of re-phonation. The harp is owned not only by the poets, for on the lean land washed out by belief, not only poets are left. Painting is Gulistan’s voice. (Gulistan—her mysterious English monogram—is just like her mysterious ancestry.) It is the quietest water arrived at with a flash of lightning. “Painter”, as Gulistan’s other more troublesome identity, has helped her find the quietest train (as she recalled the scene from a trip from Aksu when she was 9) with the act of drawing; the quietest painting is the passport and the prayer that the least brave will annunciate. Which country does silenzio begin with? If we think about the meaning of the name Gulistan, we meditate on the kingdom of flowers. Paintings such as the quietest flowers of a lamp shone by this young woman are quite rare. With Susan Sontag’s concept of a “key point”, I am apt to call the world of Gulistan’s works the “vowels of painting”. To be more exact, based on the “purchasing” of Gulistan’s imagination of painting’s fantasy world—Gulistan, undoubtedly, bought from the goddess of art the silent vowel of painting’s singularity—she is the rare female artist who uses silenzio to vocalize eternity in this era when the nightingale’s songs are shielded by noise.
I realize that the album Largo Gulistan recommended to me recently has supernaturally covered the ideology of largo expressed by a new French jazz pianist Brad Mehldau. This disc, released in 2002, was first heard by Gulistan in 2005. Largo is another identity for silenzio. Gulistan recounted that she spent much time working in her studio last year, while this year less. Painting as a slow striving is full of secret signs. I know that recently she turns her ear to the concertos of Bach and the piano sounds of the Former Soviet Union pianist Maria Yudina. But listening to the radio is her habit while creating in her studio. She told me a story about a poster designer named Monguzzi. During an interview, Monguzzi was asked to name one of his hobbies. He said that his hobby is to “listen to his wife read aloud before sleep”. Obviously, the spiritual act of listening to music provides Gulistan’s quiet realm of painting a correct sound contraposition. Of course, the nature of the fugue is less important.
Gulistan’s “only” vocalization shows the golden ribbons woven by time and space. As a former dancer and choreography teacher, or as a former consultant to the Chinese Bureau of Artifacts and Relics working with archaeological teams on the Silk Road, Gulistan has emphasized her “archaeological” vocabulary in her painting’s expression. Usually, “painter” and “traveler” are closely related with “a pair of shoes that can leave behind the essence of memory”. This surveyance and looking back to wander through the scene causes the artist’s internal identity to continuously “change the kingdom”. Gulistan’s painting also exerts an annotation upon the nostalgia carried by vagrants. Moreover, she begins with this, to extend the exiling subject of “sky that can never leave behind memory”. Where are the feet? Or where is the empty embroidered shoe left on the road (Gulistan’s favorite work)? Is traveling weakness? Or one’s mother tongue? Is the place where our bodies exist weak and unknowable? So the flowered journey is Gulistan’s “weakening lamp”, and the music stored in the body is called the “response to prayer”. I noticed that in Gulistan’s painting, the “stress” of other artists is contrary. She darkens the lamp of stars in the sky and makes them weak—so as to sacrifice the aesthetic tone of the atmosphere. Does it show another abstruse meaning of silenzio? Everything is reborn in the weakest moment. However, this “weak” we have seen is the same “stricken and concealed mark of a star” in Giotto’s works.
However, only after searching into Middle Age frescos such as those of Giotto and Simone Martini can we understand Gulistan’s zero degree starry sky of spiritual passion and the reverse knot that is concealed with time in her hands. On the other hand, I particularly care for her “unfinished” painting on the dome of the Italian church. Perhaps no other artist will paint in this way. This can only be Gulistan’s painting (however it belongs to the eyes of us all). When I saw this painting for the first time, a strong ideal-like belief occurred to my eyes and Terrence Terrone’s verse came suddenly out of my mouth: “An angel who has no face gripped me and penetrated my body with a murmur: Be proud, don’t be ashamed of being a man”. Thus, we, whose eyes brim over with warm excited tears under the dome, will find: “The dome in your body opened layer by layer and you will not be perfect which is doomed. Then, ‘you’ are put into the shining square dome opening layer by layer into their body”. Moreover, what are the stones of the dome? I saw the stones flooding out like fountain. Or, I can say that before Gulistan’s painting, I felt the church dome was created by an artist. Stelae were opened by belief like a gushing fountain. “The holy fire of Resurrection” mixed by ecstasy and serenity makes us start a new life. Half a year after finishing this work, Gulistan watched Tarkovsky’s film Andrey Rublyov. The clock maker, Tartar, and the land discarded by belief, heavy clouds of history, Giotto, who speaks Russian and paints icons, the stormy bow above the river—all these caused Gulistan to say this film “makes me understand my own paintings again”.
On the other hand, Gulistan’s “vowels of painting” are more likely to be hidden in her quiet female artistic proclivity. Think about the poetry of the great Russian poet Mandelstam: “Sisters, light and heavy wears the same sign.” What is more important is that as the poet had predicted, “heavy and light roses were woven into double anadem in the inchmeal whirlpool”. Gulistan’s “vowels of painting” also balance light and heavy, which is the reason why I regarded Gulistan’s “willful” and even break from “weak” to “dim” painting as the harp’s most precious cantabile melody. Besides, I used to believe that only a genuine poet’s hands could handle this so-called “vowel” above the level of “beauty”. This is also the “fiery mystery” kissed by the goddess of art and owned by a chosen minority.
On Gulistan 2
When Muses were recognized by those maids who gave “Penelope’s embroidery” instead of the little girl, who collected the sketches in the students’ cafeteria? Please give me back the cantabile melody of my sisters. Gulistan’s painting causes dresses in the fields to make a sound, which fills it full of mystery. “When my daughters reach age 12, I will teach them the way of mystery. It is not because they don’t know this ability but that I keep it from them….” This is the beginning of Gulistan’s favorite novel Witch by the talented female writer Marie Ndiaye from the French midnight writer’s group. Marie Ndiaye and Gulistan share a similar background and age. Their works “make us shake around this nervous and wondering world”. Both of them found their fantasy world in their own consciousnesses.
We can seldom find an artist who can verbalize like Gulistan in the mainstream or adventurous realms of Chinese art. She ought to belong to the field of conscious clues in art history. “My painting is the dress of a voice as well as the dress of a country, or a house.” This was Gulistan’s sudden remark during the design of a poster. (In fact, she is a lecturer in design at a local art college in Beijing. Moreover, though her paintings may appear in a gallery, her albums are her personal quiet and private “spiritual” posters.) At that time, I asked her whether she had read the poetry written by Chinese poet Duoduo that describes a woman with a pitted face, “weaving the dress which is afraid of death into ropes”. Gulistan obviously didn’t notice or skillfully avoided this brutal topic when she was designing a poster for the Discreet Charm of the Bourgeoisie. She asked me in reply: Why not spread out the dress that was woven into rope? To spread the dress woven into rope by worry and death to silenzio is the key point that concerns this female artist. To revert the limited and distorted horizon into the origin of “vowel” is the potential trend of Gulistan’s works.
Make passion bloom. To Gulistan, her little “Penelope’s embroidery” is the “flower’s vocabulary” that is brushed together by passion of the body and samsara. “Sometimes I think that my works are the emerald tears discarded during samsara.” Should samsara be given up? Or as the poet once said, “I light here a black candle for you. Does burning fear not pray like a black candle?” What kind of “flowers and arc of samsara” do Gulistan’s works collect for us? Although in these years she is relaxing the pace of her creation, her respect is more acute and perspicacious than at any other period. With “Penelope’s embroidery” in her hands, the female artist is not going to take the responsibility of a prophetess or priestess over us, but she makes her art work again. The truth is the obstacle of each night—that is, if we can no longer understand the samsara and extrication of this world or the original statement of things. I know that this is Gulistan’s favorite topic about “mystery”. Learn new skills to “add new petals to the crystal”. Meanwhile, painting is to find the temporal house or to buy a new dress that can smolder in the fantasy of samsara. In the early part of this year, Gulistan took a special trip to Shanghai to attend the jazz festival there and to see her favorite vocalist Diana Krall—the selenic jazz girl who lights the piano ablaze. Gulistan showed me some of her Diana Krall albums. Among them is one called The Girl in the Other Room, where painting also has another house and a new dress.
But until now, has Gulistan forgotten her promise to draw Diana and her colored piano into a new painting that she had conceived? Gulistan’s eccentric essence of her painting world is not the supernatural hat pointing to Dali or Margaret’s “simpleton”. Gulistan, as a student, briefly liked Chacare. The violin villages flowing in the sky and the Vicebskaja elf dance in the fog looks like Gulistan’s home town that she loved during her childhood so much. But Chacare finally became the lamp that had been taken away. The late distinguished Spanish painter Tapies (rather than Miro, however, for how many times I have lost the Tapies memoirist) became the “lamp” that Gulistan can talk to secretly. But she has not been “disgraced” to borrow from Tapies the “mask with terminal twitch lightning”; instead she developed her own imagination in another house. Tapies’ “iron bell falling into the cellar” which is full of the sense of revenge contrapuntally becomes the least conscious quiet lightning of the atmosphere and the clearest reaching water in Gulistan’s world. Sometimes, I think about why in Gulistan’s painting world the nearest point usually appears in the form of the farthest point as if they are two extremes of one thing while maintaining such a “balance on the snow line?” “Many years ago I bought the most expensive Tapies’ volume, which is my secret treasure,” Gulistan said. Tapies was so close to the “lamp” of death. Here, it is redrawn as the dress that blooms to the north of the nightingale, which makes the eyes of a beckoning horizon ache.
“One day, self on the bed of the sky will dim like a train. Who will be the runner on that morning?” Then, feminism is the “softest bow” that has been placed back into the starry sky. We needn’t find something within it for us. In fact, in my opinion, Gulistan has tired to count the bell of feminism from the very beginning. Her identity as a female artist has brought her more strength to access the painting art itself. Thus, I will skip over in this scrambled article the “poison” from Beauvoir to focus on the female artist’s “subconscious phonation”.
Privately, when I asked Gulistan such mundane questions as the difference between artist and female artist, we usually didn’t find the “old wool disarranged by the black cat” before the topic switched to our favorite jazz albums or some other mysterious topic or anecdote about a female pianist. But sometimes when the topic dims like a train, we will “guess” how to “Throw Mama from the Train”? Gulistan thinks women should focus more on prayer and the response to prayer. When not drawing, she will find “pure power” from Tsvetaeva’s poetry, or to use the female dancer’s words, “I dance for I am sorrowful” to oppose her newly finished painting. It is tellable that Gulistan always writes poetry during the journey. The works have a sense of the Russian silver age. Besides, to find the new conscious shell to contain the old star, she has tried to translate her poetry into English. Thus, “forward…is arrogant”. Moreover, the “new” annunciation obtained from poetry, like the wine of grammar, makes every painting Chopin’s music.
To some extent, I think Gulistan will believe improvisatori is also the specialty of the female. From absentminded goddess Bjork in Dancing in the Dark, Gulistan turns to find the absentminded dress of the sound of jazz music. Improvisatori shows the “code of process” of the talented jazz artists. In the local show that seems to be from outer space, the goddess of inspiration in the dark night reveals to us the “secret” of talent through every enchanting turning about. The process of listening to jazz is the process of “revealing the secret” of artistic talent in the moment. Gulistan’s jazz “diving” makes her show more outstanding “improvisational intelligence” in her framed paintings. “How many times have the jazz albums of our body been copied by angels?” Every time when Gulistan fails to find a jazz album that she wants, or when she fails to see a jazz show because of life’s unexpected interruptions, she would ask questions such as this. This new energy from the jazz world makes Gulistan’s painting full of the abundant sense of creation. This “improvisational ode” enlightens more multiple internal silenzio in Gulistan’s canvas. I know that in the last few months, Gulistan has taken to a new jazz pianist, Marilyn Crispell, and her mysterious piano chord maze. In the album Odyssey, which has a charming green cover, Gulistan is said to have found her new “Odyssey”.
On Gulistan: Dark, or The Occupation of the Lamp
Where do we weave the anadem? “All the countries are ready to stand up” is the verse of Nelly Sachs, which is used to change the color of stars and “finish the journey”. Meanwhile, to me, the most mysterious thing about Gulistan’s paintings is that she helps us conceal “the night shift of frightened Muses”, which has never been done by others. I still remember that once she said her works had a similar deference as Anselm Kiefer’s Black Taboo Thorn after catastrophe, which surprised me. Kiefer’s works are so black (darker than the black of exile), while Gulistan’s works are quite different. Gulistan told me, in her eyes, “dark, itself is the way the lamp occupies”. So different artists do not follow the same way when translating the power of inward mind into works. Kiefer transferred to us the Black Cotton Field (one of Suge’s conception) during the era when the icon was wrecked. But she transferred the “capture” of dark by the lamp, or the “crystal” (a word that appears frequently in Gulistan’s diary during that period). On the other hand, what we saw through the crystal is the Black Cotton Field, which is like burned out cotton.
Because of Kiefer’s famous work Your Blond Margaret, Gulistan and Paul Celan were put through the strong “electricity of exile”. “Sand, ordered to black.” The unique “weak” and dark “yellow” in Gulistan’s painting had finally found an etymon in Celan’s poetry. (Sand is also a basic etymon in Sachs’ poetry kingdom, which is closely related with exile.) On the other hand, the snowstorm exuded from the “words” in Celan’s poetry left upon Gulistan a deep impression. To find painting different etyma of the “character of silence” is one direction in Gulistan’s attempt. Let us come back to sand, and to the childhood spiritual sea-route that Gulistan experienced in her hometown Aksu. Her painting art is like a starry silk ribbon spread in the desert which shows the mystery of the reaching of a new generation of female artists. (Another source, the frescos of Giotto, are the main hue of yellow in the Middle Ages, which also calls forth the works of Gulistan.)
When observing the works of Tapies, the favorite artist of Gulistan’s and Kiefer’s, we find the powerful strength in black abstract lines with the sense of vengeance of the former and “the dead fugue”, which crosses the extreme line in the latter, which also has the sense of a burnt smell in black powder magazines. On this side, the female artist, as the anonymous “abstract fountain”, put it into the original silence. All the artists with different backgrounds and genders represent the original wakefulness. What is the darkness? It is replaced by the lamp, which fosters the silence like beliefs, and new sound.
In this respect, the paintings of Gulistan and the music of Russian composer Gubaidulina have a lot in common. Although Gulistan has not heard the music of this woman, I still regard the sound of her oil paintings as the response to prayer—or the opposite. I watched the concert of Gubaidulina in Beijing on television several days ago. Gulistan told me subconsciously that the shock and the linkage between them lets her feel that she has found the “audio edition” of her oil paintings. sf! 好长啊！ 这个广告机质量不怎么样啊，说是展览，却什么相关信息都没有，地点，时间
只有作者介绍。。。
话说，一个真静下心画画的，如果不在业内发展
反倒需要靠这么旁门左道的折腾来满大街不相干的炒知名度
只能说，此人挺可悲的
{:4_291:} 这么肉麻的文章，看了几行，实在看不下去了
所谓过犹不及{:4_306:} 尚扬的学生？
竟然沦落的去学教育专业
看来最多也就是欧这路的，真真是有辱师门啊
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