刘野夫：和核美美
2021.9.21 (Tue) 11:00-20:002021.9.22 (Wed) 11:00-20:002021.9.23 (Thu) 11:00-19:002021.9.24 (Fri) 11:00-19:002021.9.25 (Sat) 11:00-19:002021.9.26 (Sun) 11:00-19:00The project will be presented at Magician Space Beijing office from September 21 to October 16
艺术家刘野夫（b.1986, 北京）专注于影像与综合材料的创作。他受到中国民间文化的影响，又钟情于带有意识流的黑色幽默，常用戏谑的手法调侃混乱与不安的社会。通过日常生活场景及现成品，呈现历史、民族和记忆带来的意识形态及刻板偏见。在《和核美美》中（“和核美美”源于“和和美美”，原意指中国传统文化中对和睦关系的一种美好愿景。）刘野夫基于北京市井生活，虚构了一个关于全球化、地缘政治、经济的未来景观。在这个荒诞的现场，艺术家以世俗的语言揭示了对“全球-地方”概念的想象，平实却尖锐地指出了当下保守派与自由派、精英与草根之间的固有冲突，意识形态的自反性，以及它们在现实环境中的共同失效。
2019-2021
单频高清录像，彩色，有声
Single channel HD video, color, sound
13'52"
无论是乌龟模型、文玩核桃（massage walnut把玩核桃），陶土等物质材料，还是以市井生活来引发对未来疆域与政治格局的想象，都隐含了一种“以和为美”之意。在录像《和核美美》（2019-2021）中，刘野夫不但虚构了历史上黑喇嘛（Danbiijantsan，1862-1922）与斯文·赫定（Sven Hedin，1865-1952）的冲突、当下大爷下棋间的吹捧，还渗透了中华草龟与韬光养晦政策的隐喻和模棱两可的关系。艺术家幻想着未来印度洋战乱，马六甲海峡被海盗控制，中东海上油路被切断，可能改道巴基斯坦进入喀什口岸，生态小农经济在黄河流域复兴。中国对青藏高原的改造使印度洋暖湿气流进入塔里木盆地，新疆再次成为中亚绿洲。亚洲大批移民跨过白令海峡，美洲作为新的“东方”被再次开拓……作品将人物生活与物质客体进行混合，开启了一个关于地缘政治板块漂移的茶话会。在《和核美美》的现场，陶泥小人吹着笛子尾随乌龟，悠然自得。刘野夫以“堂吉柯德式”的隐喻凸显了集体共识如何作为一种政治手段，将个体的诉求渗入到玩世现实主义的表达中。空间的另一侧，沙堆上手写的VE RI TAS字样，来自于艺术家在塔克拉玛干沙漠游玩时对哈佛大学校徽的回想。随着电风扇的人造风而逐渐消逝《真理的真》（2021），这一跨文化与地域的臆想，精准地传递出刘野夫对于普世文明与价值标准的质疑。在《黑喇嘛单挑斯文赫定》（2021）的装置中，刘野夫以文玩核桃和盘子等道具，呼应了录像中上世纪初瑞典探险家斯文·赫定遭遇戈壁土匪黑喇嘛的场景。他将材料的原始属性与符号意义进行并置，引导出个人价值与国家使命的关系。这些保留了意识形态的物质客体，不仅表现了革命、反抗、斗争，更突出了迂回、妥协、等待、周旋等与之共存的生存手段。它模糊了地域与时间的边界，呈现出现代性进程服务于统治、以国族发展为导向的核心价值和暴力本质。Liu Yefu (b.1986, Beijing) focuses on video and mixed material creations. Influenced by Chinese folk culture, Liu is interested in the expression of black humor with a stream of consciousness style, playfully comments on the chaos and restlessness of social realities. By shooting daily life scenes, combined with carefully selected ready-made products in line with his fictional plot, Liu mapping the ideology and stereotypes brought by history, nationality, and memory. In Hehemeimei (“hehemeimei” originates from Chinese “和和美美”, which means a beautiful vision of harmonious relations in Chinese traditional culture.), Liu made up a future landscape which based on scenes of street life in Beijing, about globalization, geopolitics, and economy. Liu envisions the notion of “global-local” in secular and matter-of-fact language that poignantly points out the existing conflicts between the conservatives and liberals, the elites and the grassroots, as well as the reflexivity of ideology and their unanimous idleness in reality.By they the fake turtle, massage walnut, clay and other materials, or through the Beijing street life scenes to imagine the future of territorial and political structures, all these senses imply the meaning of Harmony is Beauty. In video artwork Hehemeimei (2019-21), Liu not only made up the conflict between the Ja Lama (Danbiijantsan, 1862-1922) and Sven Hedin (1865-1952) in history, the boasting of old men playing chess but also penetrated the metaphorical and ambiguous relationship between the Chinese pond turtle and the policy of “hide our capabilities and bide our time”. The artist visualizes the imaginations where war rages over the Indian Ocean; the Malacca Straits is controlled by pirates; the seaway that transports crude oil to the Middle East is cut off, so it detours via Pakistan to arrive at the ports of Kashgar and the Small-scale peasant economy has been revived in Yellow River basin; China’s intervention on the Qinghai-Tibetan plateau brought in the warm the wet airflow from the Indian Ocean to Tarim Basin, and Xinjiang once again has become China's oasis in Central Asia; a large number of immigrants from Asia crossed the Bering Sea, turning the Americas the new "East". The mixing of people’s life and material objects has staged a tea party about the plates drift of geopolitics.At the scene of Hehemeimei, the clay figurine plays the bamboo flute on the side of the turtle leisurely. Liu Yefu quixotic metaphors highlight how collective consensus can serve as political manoeuvring, allowing individual pursuits to permeate into the cynical realist expressions. On the other side of the space, the word VE RI TAS, handwritten on a sand pile, comes from the artist recalling of the Harvard school motto while playing in the Taklamakan Desert. Slowly disappearing as an electric fan blows wind onsite (“V” for Veritas, 2021), this cross-cultural and trans-regional imagination accurately conveys Liu’s skepticism on the standard of universal civilization and value.In the installation Ja Lama singles out Sven Hedin (2021), Liu Yefu echoed the scene of Ja Lama randomly encountered the Swedish archaeologist and explorer, Sven Hedin at the beginning of the 20th century with props such as walnuts and plates. By juxtaposing the original properties and symbolic meaning of materials, Liu guides the relationship between personal value and national mission. These physical material objects that preserve ideologies not only show revolution, resistance, and struggle but also prominent the detour, compromise, and negotiation of survival that coexist with them. By blurring the boundary on the notion of region and time, it demonstrates the core values and violent essence of the emergence of a modernization process serving the rule and national development.
刘野夫出生于1986年，现工作生活于北京。他的创作受到流行文化及民间艺术影响，多采用录像、装置以及综合媒介，用戏谑的手法调侃现实社会的混乱与不安。通过挪用日常生活的场景、现成品和廉价材料，刘野夫将历史、民族记忆以及个人经验中包含的意识形态、刻板偏见一一呈现出来。刘野夫的主要个展：和核美美，2021巴塞尔艺术展艺创宣言单元，巴塞尔，瑞士（2021）；没有简单的象征，魔金石空间，北京，中国（2018）；第一集，魔金石空间，北京，中国（2016）。重要群展包括：表演社会：性别的暴力，大馆当代美术馆，香港，中国（2019）；广州空港双年展，广州，中国（2019）；历史之镜的碎片，Gene Siskel电影中心，芝加哥，美国（2019）；疆域：地缘的拓扑，OCAT研究中心，北京，中国（2018）；时间的狂喜：重塑认知的媒介，何香凝美术馆，深圳，中国（2017）；例外状态：中国境况与艺术家考察，UCCA尤伦斯当代艺术中心，北京，中国（2017）；VIDEOBOX, Le Carreau du Temple, 巴黎，法国（2017）；屏幕景观与数字身体，歌德学院文化中心，北京，中国（2017）；波普之上，余德耀美术馆，上海，中国（2016）；No Dice (I)，Kimberly-Klark画廊，纽约，美国（2015）等。刘野夫2009年毕业于首都师范大学，2014年在马里兰艺术学院获得艺术硕士学位。Liu Yefu (b. 1986, Beijing) currently lives and works in Beijing. Liu adopts video art, installation, and mixed media, whose practice influenced by popular culture and Chinese folk culture, playfully comments on the chaos and restlessness of social realities. By appropriating everyday life scenes, readymade, inexpensive materials, Liu presents the ideologies, clichés, and bias drawn from history, ethnicity and personal memories.Liu’s solos include Hehemeimei, 2021 Art Basel Statements Sector, Basel, Switzerland (2021); No Easy Symbolism, and Episode 1were shown at Magician Space, Beijing (2018, 2016); his works also have been exhibited at Performing Society: The Violence of Gender, Tai Kwun Contemporary, Hong Kong (2019); Guangzhou Airport Biennale, Guangzhou (2019); Shards from the Mirror of History, Gene Siskel Film Center, Chicago (2019); Frontier: Re-assessment of Post-Globalisational Politics, OCAT Institute, Beijing (2018); The Ecstasy of Time: Reframing the Medium of Knowing, He Xiangning Art Museum, Shenzhen (2017); The New Normal: Art and China in 2017, Ullens Center of Contemporary Art, Beijing (2017); VIDEOBOX, Le Carreau du Temple, Paris (2017); Digitale Körper in der Screen-Landschaft III - Projekte von Liu Yefu, Goethe-Institut China, Beijing (2017); OverPop, Yuz Museum, Shanghai (2016); No Dice (I), Kimberly-Klark, NY (2015), etc.Liu got BA from Capital Normal University in Beijing (2009) and MFA from Maryland Institute College of Art in Baltimore (2014).
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