跨越时空的“对话” |《种子——小弥乐的七个游戏》之回到源头

视频所需1分钟，建议横屏观看效果最佳

回到源头

—— 一次对人的认知、对艺术重新开发和拓展的尝试

郭雅希

艺术的魔力在于它可以用不同的手段，在不同的年龄、不同语言的种族、不同的时空和谐相处，进行交流和对话，甚至可以彼此相容。

2024年11月1日，马元的《种子——小弥乐的七个游戏》在天津可乐马古典家具博物馆开幕。这个不同寻常的展览是马元和他刚刚出生的外孙“小弥乐”，在5年内共同创作的作品。表面看来，展览的核心是以童趣、童乐、童心为主要内容的好玩的“游戏”。可以看到，有镶嵌在石头里，可以随意弹拨的“琴”；有随时可以对弈，摆好的“围棋”；有可以随意书写的“沙盘”；有可以用石子随意击打的“竹子”标；还可以看到，有“小弥乐”涂鸦的儿童画，以及“小弥乐”与七个成人拿着竹子做游戏的视频……

然而，在“好玩”的“游戏”中或许人们并没有注意到被艺术家在展览的题目中强调的主题——“种子”。这个展览实际是艺术家通过可以参与、互动的“游戏”，使人回到人的原点，在认知上的再认识与再开发。

马元作品 Ma Yuan works

从这个系列作品来看，马元为了获得自己对人的“原点”的再认识与再开发，他抛弃了自己作为祖辈高高在上俯视晚辈的“尊严”，通过“平等”地与外孙一起生活、交流和“游戏”，使自己回到自己的“原点”，去深入体会和感受久违了的童心、童趣、童乐和童年无忌，在充满童真、远离成人世俗、世故的“生活”、交流和“游戏”中，马元将存放圣物的“舍利子塔”打开，与小弥乐一起将“种子”装入其中。将“种子”装入“舍利子塔”，这是一个带有敬畏感的“仪式”，是一种通过特殊容器强化出来的——没有任何外在的修饰，直逼赤裸的、真实生命本体原点的“种子”。正是由于有了这个装在舍利子塔内的“种子”，使展览的“主题”不但被强化了出来，“小弥乐”与“游戏”的价值也被强化了出来，由此，也将所有的“游戏”和作品以及博物馆内的古典家具串联在了一起。

厚重与理性、刻意与精巧，又不失人情味的古典家具与感性、散淡、随意、童趣、纯真的“游戏”跨越时空的“对话”，仿佛能使观赏者领略到艺术家与古人的心灵的碰撞，由此，观赏者也仿佛从瞬间与艺术家、与古人的心灵的瞬间碰撞形成了记忆的永恒；也由此，将艺术家个人的情感与思考变成了人类共同的财富。艺术的魔力、创造的魔力，被小弥乐、“游戏”和装在特殊容器里的“种子”换发了出来。

马元的这个系列作品是一种东方哲学在他的创作实践中的尝试。当一个艺术家在生存的环境中意识到某种有价值的、值得阐释的东西，他就会从更高的视角去看待他生存的生活环境和所有的事情；在创作中借助外在的形式，超越外在的表象，从而获得一种内心深处的满足和自由的表述；运用一种不拘形式的“形式”，凭借内心的情感、感悟与执着，创造一种超越常规、超越外在雕饰，直逼原生生命本体的作品。在动与静、有限与无限、微观与宏观共存的“游戏”中，仿佛种子与大千世界，孩子与成人，现代艺术与古典家具通过彼此可见、可感、可以交流的“形式语言”，共同述说着一个人类生命中最纯粹、最纯净、最本真、最本体、最有魅力的东西。

在我看来，马元的《种子——小弥乐的七个游戏》展是一次与“古人”、与观赏者共同探讨如何回到人的原点，回到生命的原点，对人的认知，对艺术的重新开发和拓展的尝试。

                                                    2024年11月

【种子】影像：3 分 25 秒 Video: 3 minutes 25 seconds

Back to The Source

                                                               GuoYaXi

The magic of art lies in that it can use different means to live in harmony at different ages, different races of different languages, different time and space, and even be compatible with each other.

On November 1,2024, Ma Yuans "Seven Games of Seed ——" opened in Tianjin Coke ma Classical Furniture Museum. The unusual exhibition was created by Ma Yuan and his newborn grandson, Little Maitreya, within five years. On the surface, the core of the exhibition is a fun "game" with childrens fun, childrens music and childlike innocence. There are "piano" embedded in stones that can be played at will; "Go"; "sand table" that can be written with stones; childrens paintings with "little joy" graffiti and a video of "little Joy" and seven adults holding bamboo...

However, in the "fun"  "game", perhaps people did not notice the theme —— "seed" emphasized by the artist in the title of the exhibition. In fact, this exhibition is a "game" that artists can participate in and interact, which makes people return to the origin of people, and redefine and redevelopment cognition.

From the point of this series, ma yuan in order to get their "origin" recognition and redevelopment, he abandoned himself as grandparents high on the younger generation of the "dignity", through the "equal" life with grandson, communication and "game", back to their "origin", to deeply experience and feel the childlike innocence, tong qu, tong le and childhood, full of childlike innocence, away from adult secular, worldly "life", communication and "game", ma yuan will store holy "relic tower" open, together with small joy will "seeds" into it. Putting the "seed" into the "relic tower" is a "ritual" with a sense of awe. It is a kind of "seed" of the —— strengthened by a special container without any external modification, directly reaching the origin of the real life itself. It is because of this "seed" in the relic tower that the "theme" of the exhibition is not only strengthened, the value of "little joy" and "game" is also strengthened, so that all the "games" and works and the classical furniture in the museum are connected together.

Thick and rational, deliberate and delicate, and emotional, loose, casual, childlike, and pure "game" across time and space, seems to make the viewer appreciate the collision of the artist and the ancients, thus, the viewer also from the moment with the artist and the soul of the ancients formed the eternal memory; thus, the artists personal emotion and thinking into the common wealth of mankind. The magic of art, the magic of creation, is replaced by little joy, "games" and "seeds" in special containers.

In my opinion, this series of Ma Yuan is an attempt of Oriental philosophy in his creative practice. When an artist is aware of something valuable and worth explaining in the living environment, he will look at his living environment and all things from a higher perspective; in the creation of external form, beyond the external appearance, so as to obtain a deep inner satisfaction and free expression; using an informal form of "form", with the inner emotion, perception and persistence, to create a work beyond the routine, beyond the original life sculpture. In dynamic and static, limited and infinite, micro and macro coexistence "game", as if seeds and the world, children and adults, modern art and classical furniture through mutual visible, sensible, can communicate "form language", together with a human life in the purest, the most pure, the most authentic, the most ontology, the most attractive things.

In my opinion, Ma Yuans exhibition "Seven Games of Seed ——" is an attempt to discuss with the "ancients" and viewers how to return to the origin of people, return to the origin of life, the cognition of people, and the redevelopment and expansion of art.

                                          In November, 2024

相关文章链接1：  

当代艺术家马元《种子——小弥乐的七个游戏》艺术展在可乐马古典家具博物馆开幕

相关文章链接2：

艺术评论家、策展家高名潞先生莅临可乐马古典家具博物馆观看马元《种子——小弥乐的七个游戏》艺术展

相关文章链接3：

展览 | 马元·“种子——小弥乐的七个游戏”即将在可乐马古典家具博物馆开场

展览时间：

2024年11月2日——15日

可乐马古典家具博物馆开放时间：

10:00-16:00

观展请扫下面二维码提前预约