聚焦艺术家,Raymond Pettibon,美国纽约

Raymond Pettibon已经画了三十年。据说他制作了大约2万张独特的画作以及视频。其中有八百幅作品在纽约NewMuseum展出（已结束）。他的风格是流行的，线条让人联想到漫画和讽刺漫画，但正是这种熟悉感吸引了你。如果没有你意识到这一点，艺术家邀请你把天真视为一种真正的可能性，它的先驱是几十个灌木丛，超级英雄，嬉皮士，大师，冲浪者，特朗普和美国神话中的所有元素，其社会的核心也是一部分，他的弱点阿基里斯的脚跟突然暴露出来。对于这个展览，按照新博物馆的标准高度政治化，所有Pettibon的杂志（从他的第一个zine Captive Chains开始，1978年）已经数字化，并以双显示呈现：展示中的原件和所有其他可在方便的平板电脑上看到。然后是图纸，捕捉到一个隐蔽的色情欲望，并从各个方面进行调查：从信仰到情感，从道德到宗教。从博物馆三层楼的一侧到另一侧，肆无忌惮的记者像死者的秃鹰和战争的受害者一样，超人是性爱迷恋的法西斯主义者和美国反主流文化，由富有魅力的大师查尔斯曼森代表，活跃在洛杉矶20世纪60年代的安吉利斯和众多谋杀案的同谋，背叛了希望和乌托邦的想法。每一部作品，Raymond Pettibon都将文本，文学语录和他自己的思想混合在一起，并注入一种腐蚀性和神秘感，但总是暧昧的消息。他的世界是椭圆形的：它是对现实的歪曲，在这种现实中，演员回归，需要注意并且怪诞地相互矛盾。正是在这里，Raymond Pettibon的力量在于：他的艺术是贪婪的，并以西方社会的两个真正支柱，怀疑和恐惧为食。

Raymond Pettibon has been drawing for thirty years. Compulsively. He is said to have made some 20,000 unique drawings, along with fanzines and videos. Eight hundred of them are currently on show at the New Museum in New York (ending soon). His style is pop and the line recalls comic strips and satirical cartoons, but it is this familiarity that catches you out. Without you realizing it, the artist invites you to consider the apocalypse as a real possibility, and its heralds are dozens of Bushes, superheroes, hippies, gurus, surfers, Trumps and all the icons of American mythology, hard core of the society of which he too is part, whose vulnerable Achilles’ heel is suddenly revealed. For this exhibition, highly political by the standards of the New Museum, all Pettibon’s magazines (commencing with his very first zine Captive Chains, of 1978) have been digitized and are presented in a double display: the originals in a showcase and all the rest viewable on convenient tablets. Then come the drawings, where what strikes you is a bestial humanity, prey to an ill-concealed erotic desire and investigated in all its facets: from beliefs to sentiments, from morality to religion. From one side to the other of the three floors of the museum, unscrupulous reporters swoop like vultures on the dead and the victims of war, Superman is a sex-obsessed fascist and American counterculture, represented by the charismatic guru Charles Manson, active in Los Angeles in the 1960s and an accomplice in numerous murders, has betrayed hopes and utopian ideas. With each work, Pettibon associates a text, a mixture of literary quotations and his own thoughts, and injects a caustic and demystifying, but always ambiguous message. His world is elliptical: it is a distortion of reality in which the actors return, demand attention and contradict each other grotesquely. And it is here that Pettibon’s strength lies: his art is bulimic and feeds on the two real pillars of Western society, doubt and fear.