末世之歌

文：不知知知（艺术家刘彦）

艺术作品往往以一种独特的艺术形式向我们展现一个似曾相识的可能的世界。这个世界并不超越自然之精神，但却超越了现实和历史对于人的直接馈赠，我们将要看到的这个展览即是一例。

朱维彬的水墨艺术——“魂灵舞蹈系列”为我们提供了一个蕴藏于他的头脑中的关于他的出生地云南的热带幻象，潮湿而又丰盛的植被象一个深不可测的屏幕，隐隐透出无数精灵们酣醉的舞蹈。这是一个泛灵论的原始世界、一个对于我们来说的可能的但又是似曾相识的世界、一个由他想象的符号所支撑的“虚质”的世界。有时我感到维彬笔下的精灵似乎是中国古代(青铜时代)“饕餮”的一个退化了的变种，带着末世的热病和大限临头的预感在虚幻中狂舞。

这种感觉我曾在许多中国当代画家的画中看到过，虽然内容千差万别，但其象征的内涵却是如此的一致，不仅如此我也在我们的现实生活中每每获得这样一种相同的感觉。后现代社会仿佛是一个巨大的热带雨林，它吞噬和分解着人们的灵魂，使世纪末的人们在一种类似真菌般的热病中病狂地消费自己和同类的生命。

难怪维彬多次向我谈起他的关于“现实空间：郎中门诊部处方——新房间、老房间、大房间、黑房间、红房间、白房间、病房间、空房间”这样一个极富荒诞性和挑战性的艺术构想及设计计划，看来他对于上面谈到的“热病”是有着深刻的觉察和不安的。不过疾病也是一种体验、一种生活，个体的健康直觉和历史的病态构成了艺术精神领域中独有的辩证，（让我们想想波德莱尔和爱伦坡)。

“知不知，上，不知知，病。夫唯病病，是以不病。以其病病，是以不病。”

不知知知

1993年6月于北京

DOOMSDAY'S SONGS

Art works always display in a unique art form to us a world we met. This world doesn't go beyond the spirit of nature, but it doesn't surpass the direct present left to human beings by re- ality and history. The exhibition we are going to see shows you an example of this world.

The wash painting of Zhu Weibing- A Series of soul Dane- ing - provides with us a tropical impression of Yun Nan, his birthplace, that has been contained in his mind. The vegetation damp and rich looks like a screen with no end, and numerous in distinct dead drunk spirits are dancing. This is a vingin world of pangenesis; a world either we could get into or we were familiar with; a virtual world supported by visualized symbols.Some- times I feel that the spirit coming out of weibing's pen were the degenerated rariety of Tao Tie - a mythical animal ferocious and gluttonous - at the Brone Age of China which is dancing violent- ly in illusion with doomsday pyreticosis and presentiment of coming death. I found such kind of feeling in the works of many contemporary Chinese painters, though different in content, similar in their symbolic connotation; furthermore,I often recogrire such feeling in our real world of life. The late modern society is like a giant tropical rainforest which is swal- kowing and decompoeing soul of human being, and people at end of century are prompted to consume desperately the lives of their own and of their kind in a fungus looking pyreticosis.

No wonder weibing has talked to me many times about his extremely fantastic and chanllenging plan of urt conception and design on his 'reality space & recipes of docter - new room, old room, big room, black room, red room, white room, sick room, emptey room. ’It seems that hbe has deepgoing percepti- bility and untranquility about above mentioned 'pyretilosis" . Let's treat disease as an experience, a kind of life. The sound intuition of individunl and the morbid state of history has built the distinctive dialectics of art in its spiritual aspect (Think of Edgar Eblen Poe and Charles - pierre Baudelaire).

Bu Zhi Zhi Zhi June,1993,Beijing