RTSM｜The Eighteen Scenes ：展望 & Jakub SIMCIK
The Eighteen Scenes | 十八个现场
Reflecting the Sharing Moment | Section Four
2020艺讯网线上展览
2020艺讯网英文版最新线上展览项目“Reflecting the Sharing Moment”（缩写为RTSM）正式开启，第四期“十八个现场”已上线！我们邀请了来自世界各地的艺术家，带来他们在2020的思考和创作。
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*第三期线上展览“孤岛”特刊即将上线，敬请期待！
As the last phase of 2020 "Reflecting the Sharing Moment", "The Eighteen Scenes" has shared18 artists/groups' artistic thinking of the year 2020. These scenes cannot fully represent the overall epitome of this year, but they are indeed true representations of some cross-sections.
In this section, we would like to introduce artists ZHAN Wang and Jakub SIMCIK, as well as their artistic reflections to the year 2020.
ZHAN Wang｜展望
"It was already the doomsday, but I'm back to reality again."
Zhan Wang (b. in 1962 in Beijing, China) graduated in 1996 from the Sculpture Department of the Central Academy of Fine Arts (CAFA) and currently lives and works in Beijing where he teaches sculpture at CAFA.
Zhan Wang is considered to be one of the most important contemporary artists in China whose artistic practice employs mediums such as, sculpture, installation, performance, photography and video. Zhan Wang’s practice is firmly rooted in the culture by which he has been surrounded with over the course of his life and traditional Chinese notions. Whilst the artist attempts to interpret the features of traditional culture from an individual perspective and by means of a distinctive creativity he is able to deduce a new and poetically transposition of the effects of history, traditions, the spirit and the natural world onto the human situation and perceptions.
In 1994, he exhibited the “Mao Suit” series for the first time; in 1995, he created the “Artificial Rocks” series. In 2010, Zhan Wang created the “My Personal Universe” series, while in 2017, he presented his “Forms in Flux” series for the first time, and he created the “Sensing” series in 2019. Zhan Wang’s latest solo exhibition was entitled “Zhan Wang: Objects of Idea”, showing 22 works of different creative directions from 1988.
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“Empty Body of COVID-19”
May 5th, 2020
“I flew directly from Taipei to Beijing on April 22nd and was quarantined at the hotel for 14 days in accordance with the regulations. During this period, I accidentally collected the used empty bottles of mineral water and left them with in a newcrown virus shape when I finished the quarantine. I hope they will not be too annoyed when tidying up the room. (The work is composed of 66 empty bottles of Binglu brand mineral water, created in Room 842, Xinhualian Lijing Hot Spring Hotel, Shunyi District, Beijing)”
"Soul"
"The Imagination of Living in Groups"
"The Imagination of the Bat"
"One day, I placed a shoehorn and a shoe brush diagonally crossing on the carpet. In the middle of a circular pattern, I found that the crossing is indeed prone to generate a mysterious power, but looking diagonally does not feel like looking straight. Looking from sideways will produce the power of deterrence, denial, and even belief, or the denial of belief? No wonder soldiers often use weapons to do this action. However, it seems that the cross in the front perspective looks more constructive. The two kinds of crosses lead to two different directions. Perhaps this is the difference between a cross and a sickle and axe? Later, I also put the hairdryer and iron provided in the hotel room on this cross pattern, creating some metaphors, thus providing more space for imagination."
"Oblique Cross —Shoehorn and Shoe Brush"
"Oblique Cross—Stir up Trouble and Handle Trouble"
"Stone Finger"
“After breakfast the next day, I took out a roll of toilet paper out of curiosity and looked at it, thinking that I should do something to prove that I would not be bored. So I opened the toilet paper and rubbed it with my hands, unfolding it bit by bit, until I finally pulled it all apart and rubbed every part through my hands. I put it on the ground and played for a while, then slowly rolled it back—it became a roll of toilet paper that had been manipulated. Compared with a new roll of toilet paper, its volume became larger and looser, but its height was still the same.”
"Drying the Wet Tissue"
"Anti-gravity"
"Cleaning"
“Scene from the Doomsday”
View of “Scene from the Doomsday”
“For the last piece of work, I chose a scene that I hoped for in my heart, namely, a great “Scene from the Doomsday”, a scene of ending, a scene of venting, a collapsed, decadent, mixed, anti-gravity, upside-down, and completely free scene that doesn't care about anything. Thus, I made an artificial "Doomsday Scene" according to the above logic of all the items I had collected and left in the room.
My method is to add things while taking pictures, just like the process of going upstairs. Each retake means improvement and refinement in my vision, which forms the interaction between me and materials and space. It is worth noticing that this is not an imitation, because there is no such scene, but there are similar doomsday pictures in history. The common purpose of these scenes forms an abstract logical backlash for me, and once again creates a new doomsday picture.”
—Cited from Zhan Wang, “Self-statement: Quarantine for 14 Days”
Originally Chinese version published on art.ifeng.com.
Translated and edited by CAFA ART INFO with artist Zhan Wang’s authorization.
Jakub SIMCIK
"Now I know the wolf"
Working with text and journalist methods are essential to Jakub Šimčik's artistic practice. His primary medium is video art, although he regularly ventures into other media and collaborative projects. His interest in the interdisciplinary mixture of literature and visual art has led him to a fruitful collaboration with author and artist Johanna Maxl. Past exhibitions include Belvedere 21 Vienna, Galerie für Zeitgenössische Kunst Leipzig, Galerie Eigen + Art Lab Berlin and Dum Umeni Brno. His work is included in the State of Art Collection Dresden and Collection Ivo Wessel.
Artist homepage: http://jakubsimcik.com/
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Podcast of "Now I know the wolf"—Dialogue with Mariette Auvray
I spent the first lockdown of Paris this spring together with a group of artists, writers and musicians at the Cité Internationale des Arts. The Cité is an artist in residence housing complex of about 1200 artists every year from all over the world. During the lockdown we were only allowed out of our houses for one hour a day and only when completing a signed declaration. We started to meet up in the courtyard of the main building while catching the early spring sun wandering across our concrete village square. Facing mass cancellations of our events, exhibitions and concerts, we all asked: What now? How do we want to work?
I decided to capture this moment with a series of intimate interviews. The first episode "Now I know the wolf" is with the film maker and musician Mariette Auvray. Getting sick with the virus made her reflect upon her relationship to work and form a closer bond with her voice.
Listen to it and let me know what you think! How has your relationship to work changed? I'll be updating the page with a new episode once every few weeks so make sure to subscribe so you don't miss out on the next one! The next one is going to be with Tunisian musician Neysatu.
*Scan to QR code to follow more episodes of the podcast
Lockdown Life © Jakub Šimčik
Image, Video, Podcast and Text Courtesy of the Artists.
Edited by Sue and Emily/CAFA ART INFO
About the Exhibition
关于展览
The Eighteen Scenes
Reflecting the Sharing Moment | Section Four
2020艺讯网线上展览 | 第四回
Launch Date: 2020.12.30
Participating Artists
(in alphabetical order of surnames):
CHEN Hui, Hannah COOKE, Dadawa, Michael EADE, FEI Jun, Erik JEOR, JIANG Jie, MA Lu, Martina MORGER, Buket SAVCI, Jakub SIMCIK, Elvire SOYEZ, WU Didi, YAO Lu, YUAN Wu, ZHAN Wang, ZHI Min, ZHOU Li
Curator: Emily ZHOU
Visual Design: Yizhi ZHANG
Organizer: CAFA ART INFO
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