沒錯，我就是女巫

Stella Wang

Yes， I am a Witch

坦白講，我們都活在一個道德家們深憂的禮崩樂壞的時代，對待藝術(shù)的包容性也遠不及之前。值得理解的是，太平盛世、和平年代，很多行徑難逃 “無病呻吟”，“炒作無下限”的尷尬。然而，有那么一些人、一些群體，遺世獨立多年，他們專注創(chuàng)作，無暇顧及其他，也便在惶惶然后熬出了頭，為藝術(shù)真身正了名。

2015年，紐約現(xiàn)代藝術(shù)博物館（MOMA）高調(diào)宣布舉辦名為“小野洋子·一個女人的展覽（1960-1971）”的個人展出。這是繼1971年洋子于此地非正式亮相后的首次復(fù)出，紐約藝術(shù)圈對待洋子這次40年后的回歸如省親般的熱情，也讓這位毀譽參半的女性藝術(shù)家再次出現(xiàn)在主流藝術(shù)圈的視野中。

Yoko Ono made her “unofficial” debut1 at the Museum of Modern Art in New York City in 1971， by advertising a “one woman show” that didnt actually exist. What a difference four decades makes. “Yoko Ono： One Woman Show， 1960–1971，” a new MOMA exhibition of her work opening May 17， is a belated recognition of the importance of Onos conceptual and performance art2 in the 1960s.

去妖魔化

“請用三個詞形容一下你心目中的小野洋子”，這是筆者動筆撰文前拋給友人們的一個問題。答案并未出乎“列儂”、“遺孀”、“女巫”等字眼其左右；但同時也收獲了其他的答案—“執(zhí)著的藝術(shù)家”。在眾多答案中，也平行見到了“純粹的藝術(shù)家”、“溫存的女人”、“執(zhí)拗的文人”等描述。近半個世紀，洋子的角色標簽中總被冠以夫名，她卻深諳不虞之道，在各種身份間逡巡往返，似乎也不并十分介懷人們對她有所偏倚的關(guān)注。歷經(jīng)幾十年的沉淀，我們見到了一位面對千夫指但依然高產(chǎn)創(chuàng)作的跨界藝術(shù)家，更見識了一位從事先鋒藝術(shù)的亞洲女性于眾口鑠金的年代中踽踽獨行。于是，這一次，筆者決定燙酒談藝，不神化、更不妖魔化這么一位撩起裙子橫亙在東西方文化間的女性藝術(shù)家。

Artistically misunderstood， derisively known as the most famous widow in the world and vilified as the catalyst for the breakup of the most famous music group of all time， Yoko Ono in actuality is an uncompromising artistic visionary who was already an avant-garde3 superstar before she met John Lennon. Today， Yoko is finally recognized as an influential artist who pushes the boundaries of4 the art， film， music and theatre media.

一個先鋒藝術(shù)家

生于一個富庶的日本中產(chǎn)家庭，小野洋子從小便開始接受較為保守正統(tǒng)的文化教育。18歲那年隨家人遷居美國后，洋子離經(jīng)叛道的藝術(shù)生涯便如潘多拉的魔盒般被徹底打開。從父母處襲承而來的藝術(shù)細胞逐漸在這個年輕女孩身上發(fā)酵。洋子一心熱愛并積極投身先鋒藝術(shù)，她憑借著自己的哲學(xué)、詩學(xué)及音樂教育背景，進行了藝術(shù)上的各種嘗試。起初，洋子這種近乎激進的藝術(shù)創(chuàng)作并不為主流藝術(shù)圈所接受，直到遇見了她的第二任丈夫——時下圈內(nèi)小有名氣的爵士音樂家、制作人安東尼·考克斯。

Yoko Ono （whose first name translates to “ocean child”） was born on February 18， 1933 in Tokyo. When she was 18， she moved to America with her family and settled in the affluent suburb of Scarsdale， N.Y. Attending the prestigious Sarah Lawrence College in New York， Yoko dropped out to elope with her first husband， Toshi Ichiyanagi. It was while living in New Yorks artsy Greenwich Village that Yoko discovered the world of avant-garde artists. Once absorbed in the scene， she began her life long association with art beginning with informal events then segueing into poetry while developing her fascination for conceptual pieces. Alienated as an “artistic radical5” for years her work was ridiculed or ignored. That began to change once she began her working relationship with American jazz musician/film producer6 Anthony Cox， the man who would eventually become her second husband.

一個無籍藝術(shù)家

小野洋子是個肅殺的反叛主義者，她因涇渭分明的性格得罪了不少固守邊界的大佬們，這種特質(zhì)在她的創(chuàng)作生涯和私生活中均可見一斑。然而其中，有兩條她高調(diào)恪守的原則：其一，與任何派別保持曖昧距離，盡管時下風靡一時的激浪派一再拋出橄欖枝，洋子也以自己渴望“純粹的藝術(shù)”為理由直言拒絕；其二，即使是在美國文人知識分子極力擺脫歐洲影響而推崇亞洲藝術(shù)家的后二戰(zhàn)時期，洋子也從未賣弄和炫耀過自己的亞洲標簽。

Yoko thought of art as pure instruction， paintings that are described rather than realized， which predates conceptual art7. Besides， she was very cautious about dealing with her Asian label even at the age when Americans were passionate about Asian culture. She once said “I didnt label myself. I thought I was me， just doing my thing.”

其實，小野洋子遭人詬病早在與約翰·列儂（前披頭士樂隊主唱）的結(jié)合前便開始了，因為她的各路作品在不同的藝術(shù)邊界間游離展開，以跨媒介的藝術(shù)形式出現(xiàn)在眾人面前，而這種行為觸怒了主流。然而，該道法卻深諳激浪藝術(shù)之精髓，也難怪有關(guān)人士對于洋子一再拒絕“激浪派”感到不解甚至憤怒。此法不啻“火盆都跨了，卻依舊標榜自己是黃花閨女”的即視感。準確地說，激浪派并不是一個運動或者一個派別，而是一個網(wǎng)羅眾生相的松散組織。“無邊界”是這個團體的唯一法則，吸收了包括藝術(shù)家、作曲家、設(shè)計師在內(nèi)的各路從藝人士，并綜合了未來主義、新達達主義以及杜尚的現(xiàn)成品概念。他們崇尚“表現(xiàn)”，形式高度囊括了觀念藝術(shù)、視覺藝術(shù)、反藝術(shù)、不確定性、無意義作品與文學(xué)、城市規(guī)劃、建筑設(shè)計等等（此處省略一萬字……）并勾兌成劑，一并施于渴望著變革的藝術(shù)家與觀者身上。一言以蔽之，洋子與激浪派所身體力行的便是：愛誰誰，誰愛做啥就做 啥。

Yoko Ono was an occasional member of Fluxus8， whose founder George Maciunas， her friend during the 1960s， admired her work and promoted it with enthusiasm. And Maciunas invited her to more formally join the Fluxus group， but she declined because she wanted to remain independent. Fluxus – a loosely organized group of artists that spanned the globe， but had an especially strong presence in New York City. Fluxus is described as， “a fusion9 of Spike Jones， gags， games， Vaudeville， Cage and Duchamp.” And it is noted for blending different artistic media 10 and disciplines in the 1960s. They have been active in performance， Neo-Dada11 noise music and visual art12 as well as literature13 ， urban planning14， architecture15， and design.

一個創(chuàng)造藝術(shù)事件的藝術(shù)家

從最開始的概念藝術(shù)到行為藝術(shù)直至實驗電影，小野洋子用作品堵住了悠悠眾口，將瀲滟了的歲月打磨成漿，越熬越香。但凡在網(wǎng)絡(luò)上叫囂酣暢、用詞可怖的，大多是那些看圖說話的人。事實證明，親歷洋子展覽的觀者一般選擇靜默，且感同身受地體味那一絲肅靜。接下來的時間，讓我們感受一下她于眾多作品中受人關(guān)注度較高的兩部系列作品：

Among all the art roles that Ono takes， she is widely accepted as an explorer of conceptual art and performance art and she was also an experimental filmmaker16. Now， lets enjoy part of them.

切片

小野洋子的作品將“破壞性”這個母題與人際間的各種親疏關(guān)系相互關(guān)照。這種考量特別展現(xiàn)在她那部發(fā)人深省的行為藝術(shù)作品“切片”之中。作為“破壞藝術(shù)研討會”的有機組成，“切片”是她當時眾多創(chuàng)作中的經(jīng)典之作。從1964年于日本的初次亮相到紐約卡納基音樂廳的艷驚四座，從倫敦與愛人的初次觸電到幾十年后的巴黎再展，這部作品經(jīng)久不衰。女體靜坐臺上，隨機邀請觀眾上臺并剪下她身上的一寸衣服直至渾身赤裸，宣泄結(jié)束。會羞愧嗎？會憤懣嗎？會暴躁嗎？在短短的9分鐘內(nèi)，僅把這一切消化為一場單調(diào)脫衣秀的人著實狹隘了。這是一個事關(guān)男人與女人、智者與非智者的博弈；是一個受害者與施暴者的抗衡。

Onos work related destruction to interpersonal， often intimate， human relations. This element was particularly thought-provoking17 in Cut Piece， one of many actions she did as DIAS （Destruction in Art Symposium）. Ono had first done the performance in 1964， in Japan， and again at Carnegie Hall， in New York， in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing， covering her breasts at the moment of unbosoming. Cut Piece entailed a disrobing， a denouement of the reciprocity between exhibitionism and scopic desires， between victim and assailant， between sadist and masochist： and， as a heterosexual herself， Ono unveiled the gendered relationship of male and female subjects as objects for each other.

許愿樹

“許愿樹”是比較典型的參與式或互動性藝術(shù)創(chuàng)作，即：觀眾需要參與到創(chuàng)作中來的一種藝術(shù)表達形式。這個裝置作品于1981年初次登臺展出，期間，觀者受邀將寫有自己愿望的紙條系在愿望樹上。

“許一個愿，

把它寫在一張紙上，

將紙折疊系在一棵許愿樹的枝條上。

請叫你的朋友也如法炮制，

不斷許愿，

直到樹枝上掛滿愿望為止?！?/p>

The Wish Tree project is an example of Onos participatory art/interactive artwork18and an ongoing installation art19series as well， started sometime after 1981， in which a tree native to a site is planted under her direction. Viewers are usually invited to tie a written wish to the tree. Her 1996 Wish Piece had the following instructions：

Make a wish

Write it down on a piece of paper

Fold it and tie it around a branch of a Wish Tree

Ask your friends to do the same

Keep wishing

Until the branches are covered with wishes.

“世界上，總有一個人和你剛見面，便相互吸引，人們稱其為反向人”，猛然聽起來似童話故事中的登對伉儷，其實不然。按相學(xué)原理分析，這種反向關(guān)系實則是此消彼長，但凡其中一方之氣力已達盡百，另外一方則即將亡去。我以為，小野洋子和列儂便是彼此的反向。是的，若您心心念念等著讀浪漫愛情，這里應(yīng)該就是了。但遺憾的是，世說紛紜，竟沒人能言準，這段人盡昭著的愛情故事是悲是喜。我只能說，有一種愛情熾烈到足以抵御排山倒海，強大到能夠讓人變成撲火的飛蛾。當從紀錄片中看到依偎在列儂懷中的小野洋子任憑周圍人潮喧沸、聽任討伐時，我相信，那時他們對待愛情的篤定；我也相信，當寡居多年后的洋子語調(diào)平和地談起與列儂的生活點滴時，漾在嘴角的笑意絕非虛情假意。他們這場陰陽相隔的愛情故事也不需要再由世人續(xù)寫了，畢竟是人家的書，就由他們自己執(zhí)筆完成 吧。

論眾人口誅也好，筆伐也罷，她便是小野洋子，一個先鋒藝術(shù)的實踐者，一個不甘落寞的前衛(wèi)藝術(shù)家，一個那些年我們從流言中聽說的女人。