培根的艺术在艺术世界中犹如孤魂，显现着极端另类的独特性。但他却命载好运，孤魂不孤，且受到极高的赞誉。其中最为引人关注的是，当代著名的哲学家德勒兹以专著《弗兰西斯·培根：感觉的逻辑》对他的艺术展开哲学概念化的分析解读。虽然培根本人并不认可德勒兹对他的一些分析。这其中似乎隐藏着关于艺术与哲学的某种深层错位，围绕培根的艺术，究竟何为艺术发生？何为艺术理解？我想，一切话语的展开终究要落实到艺术家自身来说事儿。通过《培根访谈录》（大卫·西尔维斯特 著 ）你会发现，概念化哲学和偶发性艺术这两者间，带有极其不同的特征与功用，仅在语言概念层面上是难以获得完美的拼图的。因为它们各自的视角和工作的内在原理本身有着天然的错位。哲学家德勒兹的概念和知识化分析运作试图达到对培根艺术阅读的共同理解，而艺术家培根的创作过程往往凭着直觉和灵感的机缘偶现而难以被言说。由此就会带来两种根本不同的阅读视角或感受方式。我想，如果你在看展之前通过《培根访谈录》与他碰触一下，会让看展增强直觉的默会；在看展后认真专研一下《弗朗西斯·培根：感觉的逻辑》，会给你另外一种意义的培根。
Bacon's art is like a lonely soul in the world of art, showing the extreme uniqueness. But he was lucky, lonely and highly praised. Among them, Deleuze, a famous contemporary philosopher, analyzes and interprets his art philosophically with his monograph Francis Bacon: the logic of feeling. Although bacon himself does not agree with some of Deleuze's analysis of him. It seems that there is a deep dislocation between art and philosophy. What is art happening around bacon? What is artistic understanding? I think that the development of all discourse must be carried out by the artist himself. Through the interview with Bacon (by David Sylvester), you will find that conceptual philosophy and incidental art have extremely different characteristics and functions, and it is difficult to get a perfect jigsaw puzzle only on the level of language concept. Because their respective perspectives and internal principles of work have their own natural dislocation. The philosopher Deleuze's concept and knowledge-based analysis attempt to achieve a common understanding of Bacon's art reading, while the artist Bacon's creative process is often difficult to express by chance of intuition and inspiration. This will bring about two fundamentally different reading perspectives or feelings. I think that if you touch him through interview with bacon before watching the exhibition, it will enhance the tacit understanding of intuition; if you study Francis Bacon: the logic of feeling carefully after watching the exhibition, it will give you another meaning of bacon.
"Drawing" is the combination of "Verb + noun" of the same word. The occurrence of all image art is inseparable from the process of compound usage of "painting", so "painting" has become the most popular reference of a certain skill and occupation. In fact, compared with the traditional, contemporary art in the process of image production has any possible way. For bacon, "painting" is not his inner talent and hobby, but a chance to choose. This has something to do with his way of painting, his expectation of unexpected and accidental inspiration, and even his life. His creation is always in parallel with luck, which he often talks about in interviews.
Bacon's works are mainly figure paintings. Why are his figures always distorted and torn? I think the first thing to distinguish this is not the analysis of the form of the work, but the investigation of the internal causes of the work - what makes bacon maintain his consistent style from the beginning to his whole life? I found that Bacon almost did not have any artistic omen. He made such a big hit that the whole art world and the public were shocked. Bacon's "painting" process of human body and life body -- bacon basically does not use real models, but mainly uses pictures to "change pictures": compared with the process from real models to images, the process from pictures to images is more likely to stimulate internal subjective initiative on the one hand, and on the other hand, it is more suitable to carry out the image effect on the plain text level Test. Of course, Bacon's own internal factors, only his natural presentation of frankness. We can also see some fundamental and direct reasons from his interview and biography, which is enough to form the source of Bacon's image. No matter how strange, concrete or abstract the image of Bacon's creation is, his image starts from the explosive effect of the triptych "three exercises with torture as the theme". The context of "torture" and "execution" not only forms Bacon's concept of human and life, but also forms his special artistic method and the basic usage of the actual creation process, with "punishment" as Bacon's art The active words of bacon run through the later half of his life. The usual meaning of "image building" is directly transformed into "criminal image structure" by Bacon. The transformation from "image" to "image of punishment" really shows the unparalleled profundity of Bacon's art in depicting life.
Bacon's experience of "being punished" when he was young is the most direct concept of "punishment" in his heart, such as "Archetype (Carl Gustav Jung's Psychology)": the "whipping" that his father asked the domestic servant's horse keeper to inflict on him, and the "sexual punishment" that he was bullied by the horse keeper, etc The intuitive force of the two-way movement of "punishment / execution". "Criminal law" as his unique modeling method, in the process of "painting punishment / painting punishment", punishment has become the subject predicate structure of Bacon's artistic expression, which runs through almost all his works. Therefore, "criminal law" as a method of extreme violence and cruelty to life, through Bacon's art, "criminal law" extremely heavy and extreme characteristics into the use of artistic expression, become the heaviest and most profound image in all artistic vision. This art method can involve biology, anthropology, sociology and other cultural fields, as well as various concepts and concepts caused by "Criminal Law (referring to Bacon's art method)" and the thinking and usage in possible experiments, so that Bacon's painting not only has the meaning conveyed by visual directness, but also has the social critical significance of metaphorical connotation. Bacon's unique "criminal law" works - "criminal image" series are exactly what Bacon's art brings to the readers, which makes the readers feel both startled and difficult to adapt to. Because the public reader's vision is suitable for camouflaged images, but the visual "sting" brought by the direct naked image is exactly what bacon wants to present.
"Execution and punishment" is related to Bacon's search and naming of "clinical painting". He said: "when I use the word" clinical ", I want to express the most complete sense of realism "Being a clinical science" is an attitude, like cutting something, in which there is a cold, space. First, there is no emotion. Paradoxically, it can provoke a huge emotion. "Clinical science" is to approach realism as far as possible and go to its deepest point. It's something specific and sharp. Realism is something that will shock you... ". In Bacon's life, "he has been very stubborn and repeatedly discussing them: the major themes of art, life, death, passion, universality" (interview with life smile FrancisBacon, Frank Mobell).
The structural features of Bacon's works are isomorphic with the scenes of "clinic", "execution ground" and "prison". The realistic significance of Bacon's works is directly related to the proposition of "life / death" of human existence. What Bacon's painting expresses is the extreme expression of limit proposition. There are different interpretations of the form of the triplicate painting of nailing punishment. Bacon's narrative is not to capture the visual images of events known to the public, such as the crucifixion of Jesus Christ, but to "imprison" and "execute" on the cross, in the chair, in the cage, in the slaughterhouse The image of life in the "clinical" anatomy and disassembly of the body can constitute a posture: hanging, stacking, discarding Or they can be transformed into specimens. These events, which are usually regarded as extreme phenomena, do not seem to be normal in reality. What bacon emphasizes is the shock of realism, such as normality in the depth of each life itself, which makes you feel sharp giving. Maybe you feel numb because you are "tortured" every day, or you don't know about the "execution" of the other and the world.
My reading and understanding of Bacon's works can be divided into two categories: one is his oil paintings created in the studio. He avoids anyone to watch his creation process, like a "executioner" immersed in the experimental creation of "Clinical Science / criminal law". Bacon's formal creation needs his own field, and the pursuit of truth in the studio and the falsity of the outdoor world seem to be blocked Two opposing worlds.
The second type is Bacon's paintings when he went out to visit friends on vacation, which are mainly paper oil sticks, showing a more casual and free mood. Because being with friends is not like the studio's self closed creation, if we investigate and feel the connection between Bacon's art and society from the different situations of the two kinds of works, these paper oil painting stick works are in the absolute separation between the first kind of studio creation and social life. There seems to be a natural barrier between bacon and the public, especially after his reputation became a public perspective, he wanted to escape from the original creative environment and dissipate in Italy and Spain, so he had his paintings in the non closed space of society. These paintings are lost outside the vision of the agency galleries and art institutions, so they are rarely known.
If we look at Bacon's art from a comprehensive perspective, his early stage (before 1944) is in a state of study, practice and communication, and there are basically no works left. Picasso's works had a great influence on him. In 1944, he painted a masterpiece: the three couplets of characters based on the bitter portrait of Jesus, which entered the independent creative period of the latter half of his life. In the late period after Bacon's great success in art, he mainly created oil painting stick on paper in his travels, which has been accompanied to the end of his life.
Bacon's works are exhibited and published by a special agency. Many picture books, books and articles are available for reading. I think that Bacon's works can be divided into two different categories: oil painting on cloth and oil painting stick on paper. It's not only the distinction between the quality of painting materials, but also the distinction between his closed life and his different life. It is the difference between Bacon's art genealogy in his two moods: the former is the main body of Bacon's creation period of several decades. In fact, his creation mood in this period is full of theme consciousness and purposeful appeal. Although for the sake of originality, he presents images by chance, by accident and by luck, this seemingly unconscious action almost favors him Is it his theme to show that Bacon's inner cause of success is hidden thoroughly enough that he does not need to identify the painting method that has remained unchanged for decades and no longer ask for self transcendence? I think Mystery has left the lucky things at the lucky moment. Any successful artist has to accept this final test. Bacon formed his unique style through his unique way of writing, and aroused widespread heated discussion at the same time - the public attention forced him to keep on this style and repeat the familiar process in the basic paradigm. Perhaps he felt the deviation of success from freedom, and then he gave up the confinement of the studio and went into the land of nature - we can feel a more free artistic atmosphere from his paper works. The paper-based art interpretation needs to determine its unique value through the artist as a whole.
At the beginning of the writing, it leads to the dislocation of philosophy and art, which is the dislocation of freedom in the sense of ontology. Philosophy attempts to establish a common paradigm of human intelligence, and the result is bound to give up the ghost like roots of natural disorder; art seems to be reversed here, and the innovative requirements for works are bound to surpass the existing patterns and common paradigms that have been formed, and on the whole appear as human beings' experiments on the existence of endless possibilities, or even the pursuit of adventure. Therefore, artists often rely on subconscious intuition to blend into the diffusion state of super knowledge in the marginal fuzzy zone to capture the mystery of accidental psychic. Bacon's art teaches us a lesson, but you can't draw like bacon, because bacon can't decide how to draw himself. If the analogy is Bacon's way, it should be said that the way to learn Bacon's painting is to let you draw in your own way. The more fundamental truth is that you are you, you can't be you like any other. Bacon's fundamental lesson is that you can't draw like him or any other. You can only release your inner life. This is the myth of your life.