地洞-监&控 | The burrow – Monitor & Control
2021
影像 Video
22’13’’
此次展览所展出影像作品均创作于2020-2021年。姚清妹将物理空间与身体政治、社交关系与安全距离、隐形区隔与日常生活作为这一系列创作的核心。该个展由名为《地洞》的艺术项目展开，通过多部并置、互为章节的影像相互交织，勾勒出一个封闭式社区包裹于安全壁垒中的全貌。它描述了一种数字社会的全景式管理，以及在闭环系统内所有穴居者的普遍困境。姚清妹以一种纪实又略带荒诞的影像语言展示了一个隐蔽在地下洞穴里的中控室，一群在训练中趋于疲惫的保安，以及与之对应的高饱和度的半自然风景。不断累加的图像、不可消解的技术故障、重复性的指令和无止尽的劳作，维系着看似稳定的内部结构和自我修复的外部景观。它暗喻了一种现代人被安全机器的数字噪音所穿透的魔幻现实。
与此同时，作品《距舞》于一所位于巴黎郊区的初中内拍摄完成。它以一种控制身体距离的“拉夫领”装置探索了社交安全与集体行动之间的悖论。行为影像《击剑-搏击的风景》则记录了一场以“手机-自拍杆”作为花剑的击剑搏击，展现了肢体与图像的交锋、身体与数字的触摸。
击剑-搏击的风景 | Fencing - Fight LandscapePerformance, three-channel HD video, color & sound
Yao Qingmei places physical space and body politics, social relationships, social distancing, invisible compartmentalization, and everyday life at the center of this series of video works presented in this exhibition, completed between 2020 and 2021.
The solo exhibition unfolds with an art project titled "The Burrow, " juxtaposing multiple and inter-connected chapters of videos toreveal the panopticon of a closed community encased in a series of security measures. This body of work portrays the panoramic surveillance of a digital society andthe universal plight of all cavemen within the closed-loop system. Yao Qingmei adoptsthe language of documentary film with an absurd tone to a central control room hidden in an underground cave, a group of tiresome security guards in training, against a high-saturation semi-artificial landscape. These cumulative images, insolvable technical errors, repetitive instructions, and endless toil sustain a seemingly stable internal structure and a self-renewing external spectacle. It alludes to a magical reality of the contemporaries penetrated by the digital noise of the security machine.
Meanwhile, Dysdance, filmed in a junior high school in a Parisian suburb, explores the paradox between social distancing and collective action with a "ruff collar" device that controls the distance between bodies. The performance video Fencing – Fight Landscape documents a fencing game with "selfie sticks" as the foils, showing a battle between the body and images, the digital and the tactile.
姚清妹，1982年出生于中国浙江省，现生活、工作于巴黎和温州。2013年毕业于阿尔松别墅国立高等艺术学院，获得法国国家造型美术硕士学位；2014年获得第59届Salon de Montrouge评审团特别奖；2017年获得保时捷首届“中国青年艺术家年度评选”大奖；2018年获得巴黎第68届“青年艺术创作奖”。姚清妹的实践打破了表演与其场地之间的界限，常通过对公共空间进行干预，以扰乱其现实和周围环境的规范。她的创作对政治和社会问题的机制提出质疑，通过挪用和错位的形式来探索象征性形式如何获取或丧失权力。幽默在她的作品中扮演着重要的角色，她往往以滑稽剧的诗意来揭示特定问题的荒谬性。她的创作提出了抵抗的多种不同方式，剧场表演和干预在讽刺和模仿的滑稽传统交织处确立其形式，同时其架构融合了剧场布景、服装、教学法、图像和文字的辩证法，以及现代舞蹈启发的编舞。主要个展：姚清妹：地洞，魔金石空间，北京，中国（2021）；双色视觉生物的四色梦，Liusa Wang 画廊，巴黎，法国（2018）；演讲贸易，白工坊，维尔弗兰切·德·鲁格，法国（2018）；蜕皮动物，魔金石空间，北京，中国（2017）；姚教授——三足鼎及其鼎纹研究，OCAT西安，西安，中国（2016）；为艺术博览会招聘乞丐，L'ART-O-RAMA，马赛，法国（2015）；一小时占据停车位，Paradise艺术中心，南特，法国（2015）；姚教授——姚清妹个展，魔金石空间，北京，中国（2015）；姚清妹个展，东京宫，巴黎，法国（2014）。重要群展、放映以及行为表演项目：Artists’ Film International，白教堂美术馆，伦敦，英国（2020）；工厂、机器与诗人的话—艺术中的现实光影，798艺术中心，北京，中国（2019）；偷单车的人，Para Site，香港，中国（2019）；比赛继续，舞台留下，广东时代美术馆，广州，中国（2019）；中国风景：2019泰康收藏精品展，北京，中国（2019）；一次彩排（现场表演），缓存空间，北京，中国（2018）；新冶金者，Julia Stoschek Collection，杜塞尔多夫，德国（2018）；呼吸—Lemaitre艺术影像收藏展，荷兹利亚当代艺术博物馆，荷兹利亚，以色列（2018）；Brace for Impact， De Appel策展项目，阿姆斯特丹市立美术馆，荷兰（2018）；兴起：中国当代艺术中的女性声音，中央美术学院美术馆、英国华人当代艺术中心与英国泰特美术馆联盟联合策划，英国（2018）；例外状态：中国境况与艺术考察2017，UCCA，北京，中国（2017）；Yes I can! Un portrait du Pouvoir，本雅明当代艺术中心，佩皮尼昂，法国（2016）；欧洲青年艺术家双年展，Kunstbygningen博物馆，弗罗，丹麦（2016）；以语为易，Rochechouart美术馆，罗什舒瓦尔，法国（2014）；艺术喜剧，Doute基金会，布鲁瓦，法国（2014）。Yao Qingmei (b.1982, Zhejiang) currently lives and works in Wenzhou and Paris. She achieved DNSEP with honors from Villa Arson, Nice, France in 2013, and was awarded the winner of Prixspécial du jury at the 59th Salon de Montrouge in 2014, the Prize “Young Chinese Artist of the Year” in 2017 and the 68th Prix Jeune Création of Parisin 2018.Yao Qingmei’s practice traverses the boundary between performance and its site, frequently enacting intervention in public space to perturb the parameters of its reality and surroundings. Her art is deep-rooted in a critical reflection into the formulation of political and social questions, exploring how symbolic gestures gain or lose power through forms of appropriation and displacement. Here, humor plays an important role in her work, using the poetics of comedy to expose the absurdity of a particular issue. Offering different methods of resistance, her theatrical performances and interventions find their form in an area overlapping burlesque traditions of satire and parody, which combine with framing devices influencedby theatre sets and costume, pedagogical lectures, the dialectic between imageand text, choreography inspired by modern dance.Major solo exhibitions include: Yao Qingmei: The Burrow, Magician Space, Beijing, CN (2021); The Tetrachromatic Dream of the Dichromats, Galerie Liusa Wang, Paris, FR (2018); La commerce du parole, Atelier Blanc, Villefranchede Ruge, FR (2018); The Ecdysiast, Magician Space, Beijing, CN (2017); Professor Yao, OCAT Xi’an, Xi’an, CN (2016); Recrute Mendicant/SDF pour unefoired’art contemporain, Marseilles, FR (2015); One Hour Occupy Parking Lot, Paradise, Nante, FR (2015); Professor Yao, Magician Space, Beijing, CN (2015); Yao Qingmei, Palais de Tokyo, Paris, FR (2014).Major group exhibitions, screenings and performances include: Artists’ Film International, Whitechapel Gallery, London, GB (2020); Factories, Machines and the Poet’s Words: Echoesof the Realities in Art, 798 Art Zone Buildings, Beijing, CN (2019); Bicycle Thieves, Para Site, Hong Kong, CN (2019); The Racing Will Continue, The Dancing Will Stay, Guangdong Times Museum, Guangdong, CN (2019); China Landscape: Selections from the Taikang Collection 2019, Beijing, CN (2019); One Rehearsal (Performance), CACHE, Beijing, CN (2018); New Metallurgists, Julia Stoschek Collection, Düsseldorf, DE (2018); Respire-Works from the Lemaitre Video Art Collection, Herzliya Museum of Contemporary Art, Herzliya, IL (2018); Brace for Impact, De Appel Curatorial Program, Stedelijk Museum Amsterdam, NL(2018); NOW: A Dialogue on Female Chinese Contemporary Artists, Co-organised by CAFA Art Museum, Centre for Chinese Contemporary Art, Plus Tate, UK (2018); The New Normal: Art and China in 2017, UCCA, Beijing, CN (2017); Yes I can! Un Portrait du Pouvoir, Centre d’art Contemporain Walter Benjamin, Perpignan, FR (2016); JCE Biennale 2015-2017, Kunstbygningen Museum, Vra, DK (2016); Le Commerce de la Parole, Museum Rochechouart, Rochechouart, FR (2014); La Comedie de l’Art, Fondation de Doute, Ville de Blois, FR (2014).
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