Organhaus【10.26开幕】:《自传或1989年之后的虚构》蒲英玮个人项目
2019 器·Haus空间青年艺术家项目6#
自传或1989年之后的虚构
艺术家/ARTIST
蒲英玮
开幕/OPENING
2019/10.26（周六Sat.） 19:30-21:30
13:30-17:30
（逢星期一不开馆/ Close on Monday）
地址/ADDRESS
重庆市 九龙坡区 黄桷坪126号501基地1楼 器•Haus空间
126# Huangjueping Street of Jiulongpo Region, Chongqing, China
艺术总监 Director：杨述 Yang Shu
策展人 Curator：倪昆 Ni Kun
策展助理 Curator Assistants：潘昳苗 Pan Yimiao，
魏鼎力 Wei Dingli
展务 Exhibition Assistant：王健 Wang Jian
关于展览 / About Exhibition
十月革命前的某一天，列宁来到高尔基流亡的卡普里岛的家中。高尔基对列宁讲起了自己的童年和流浪生活。当时列宁全神贯注地倾听着，那双灼灼发光的眼睛习惯性地眯缝着。他对高尔基说：“您应该把这些全写下来，老朋友，应该写！这一切都是非常有益的，非常有益……”而后，在列宁的鼓舞下，高尔基创作了三部自传体小说《童年》（1912-1913）《在人间》（1914）与《我的大学》（1922-1923），作家通过对自己亲身经历的描绘，展示了十九世纪七、八十年代俄国历史上的一个复杂时期。而老沙皇统治下的俄国，则是一个张着血盆大口吃人的世界，他也毫不避讳地把沙皇比作大蜘蛛，把沙俄的统治机构比作蜘蛛网。他说：“这条看不见的线就像蛛网一样，以沙皇亚历山大三世等人为中心，通过各部大臣，再从省长大人，各级官吏一直到我们自己……这条线无所不通，无所不包，他像是无形的壁垒维持着沙皇千秋万代的统治。”今天，苏修叛徒彻底背叛了无产阶级的革命事业。新沙皇（意指斯大林）重新骑到了劳动人民的头上。当我们读到作品中那些揭发老沙皇专横暴戾的篇章时，不由得会想起新沙皇统治下苏联劳动人民的悲惨遭遇，而高尔基笔下那幅曾经的残忍图景重新在苏联国土出现。
One daybefore the October Revolution, Lenin came to Gorky's exiled home in CapriIsland. Gorky told Lenin about his childhood and wandering life. Lenin listenedattentively at that time and his burning eyes narrowed habitually. He said toGorky, "You should write all this down, old friend, you should write itdown! All of this is very beneficial, very beneficial ... "Then, inspiredby Lenin, Gorky created three autobiographical novels," Childhood "(1912-1913),"On Earth "(1914) and" My University "(1922-1923). The writershowed a complicated period in Russian history in the 1870s and 1880s bydescribing his own experience. However, Russia under the old tsar is a worldthat eats people with big mouths. He also compares the tsar to Okumo and theruling organization of Russia to spider webs.He said: "This invisible lineis like a spider web which centers on Tsar Alexander III andothersthrough various ministersfrom governors and officials to ourselves ... This line is omnipotent andall-encompassing, and it seems like an invisible barrier to maintain Tsar'srule for thousands of generations." Today, traitors in Su Xiu havecompletely betrayed the revolutionary cause of the proletariat. The new tsar(Stalin) has returned to the working people. When we read the works that exposethe tyranny and violence of the old tsar, we cannot help thinking of the tragic experience of the working peopleof the Soviet Union under the new tsar and Gorky's once cruel picture reappearsin the Soviet territory.
——改写《高尔基的三部自传体小说》
-RewritingGorky's Three Autobiographical Novels
原作者：呼和浩特铁路局工人评论组
Original author: Hohhot Railway Bureau Workers'Review Group
“他装好烟斗，燃着，立刻被青烟笼罩起来，他开始沉静地并令人难以忘怀地谈到农民是多么胆小多疑，他们害怕自己，害怕邻居，尤其是害怕外地人。他们得到自由还不到三十年，每一个人四十岁以上的农民，一生下来就是农奴，他们就记得这些，很难理解什么叫做自由。如果你简单地解释说，自由就是照我自个儿的意思去生活；可是到处都有官老爷，官老爷们却要干涉你的生活。是沙皇把农民从地主手里解放出来的，所以现在沙皇就是我们农民的唯一主人。如果你再追问他们什么是自由？他们会说，将来总会有一天沙皇会来解释什么是自由！农民非常信任沙皇，把他看做全国土地和财富的唯一主人。他们指望着有那么一天，沙皇给他们下一道自由的圣旨，到那时侯谁能拿什么就拿什么。大家都盼望着这一天，每个人都战战兢兢地、惶惶不安地活着，就怕错过这个实行大分配的重要日子。”
"He packed his pipe,lit it and was immediately enveloped in smoke. He began to talk calmly andunforgettable about how timid and suspicious the peasants were. They wereafraid of themselves, of their neighbors and especially of outsiders. They havebeen free for less than 30 years. Every farmer over 40 years old was born aserf. They remember all this. It is hard to understand what freedom is. If yousimply explain that freedom is to live according to my own will; But there areofficials everywhere and they want to interfere in your life. It was the tsarwho freed the peasants from the landlords, so now the tsar is the only owner ofour peasants. If you ask them again what freedom is? They will say that somedaythe tsar will explain what freedom is! Farmers have great trust in the tsar andregard him as the sole owner of land and wealth in the country. They arecounting on the day when the tsar will give them a free decree to take whateverthey can. Everyone is looking forward to this day, everyone is trembling andliving in fear and they are afraid to miss this important day of greatdistribution."
——改写《我的大学》
-Rewriting"My University"
原作者：高尔基
Originalauthor: Gorky
《革命现实主义字体：起义》
20x30cm，布面油画，油漆笔，石墨，蜡笔，喷绘布印刷，2019
Font of Revolutionary Realism：Revolution
20x30cm，oil on canvas，paint marker，graphite, crayon, ink-jet printing，2019
展览《自传或1989年之后的虚构》（PuYingwei1989）是蒲英玮继《游牧小说》（2017/北京蜂巢当代艺术中心）、《蒲英玮与吉姆·汤普森建筑工作室》（2017/上海J: GALLERY）、《宛若真实》（2018/巴黎萨托画廊）与《双重帝国》（2018/法国新中法学院）之后，艺术家第五次围绕个人经历与传记体叙述所开展的呈现。展览将用十件作品来回顾蒲英玮在重庆所进行的十日驻留，同时也回应了艺术家最初来到重庆学习与成长（2009）这迄今为止的十年历程。对于艺术家来说，重庆首先不是具体的重庆，而是关于一个启蒙与转变的故事；关于其第一次走出家乡、接受艺术的思想与教育、爱情与友谊；抑或是红歌与打黑、城市的变迁与社交软件的兴起……这一切都在2009年，当蒲英玮作为一名美术学院的大一新生来到重庆而开始，至今他仍然生活在这种种过往所牵扯出的线索之中。在时长为十天的驻留中，艺术家将整个重庆的气息作为一种创作的感性材料。在此期间，走访与重访、观看与交谈、写作与创作、回忆与感怀都被艺术家指认为是一种反思性的产出。这种生产最终指向的是我们当下的现实处境。而这场回顾之旅也将伴随着展览的现场与作品、讨论以及文章的持续发布而逐渐展开。
The exhibition "Autobiographyor Fiction After 1989" (Pu Yingwei1989) is Pu Yingwei's fifth presentationaround personal experience and biographical narration after "NomadicNovel" (2017/ Beijing Honeycomb Contemporary Art Center), "Pu Yingweiand Jim Thompson Architecture Studio" (2017/ Shanghai J: GALLERY),"Like Real" (2018/ Paris Sartor Gallery) and "DoubleEmpire" (2018/ France New China Law School). The exhibition will use 10pieces of works to review Pu Yingwei's 10-day stay in Chongqing, and also torespond to the 10-year history of the artist's initial study and growth inChongqing (2009). For artists, Chongqing is not a concrete Chongqing at first,but a story of enlightenment and transformation. About his first time out ofhis hometown and accepting artistic thoughts and education, Love & Friendship;Or is it red songs and the fight against crime, changes in the city and therise of social software ... All this started in 2009 when Pu Yingwei came toChongqing as a freshman at the Academy of Fine Arts, and he is still livingamong the clues involved in these past. During the ten-day stay, the artisttook the breath of Chongqing as a perceptual material for his creation. Duringthis period, visiting and revisiting, watching and talking, writing andcreating, recalling and feeling are all regarded by artists as a reflectiveoutput. This kind of production finally points to our current reality. However,this retrospective tour will gradually unfold along with the exhibition site,works, discussions and continuous publication of articles.
《革命现实主义字体：对伤痕美术的临摹》
20x30cm，布面油画，油漆笔，石墨，蜡笔，喷绘布印刷，2019
Font of Revolutionary Realism：The imitation of Art of Scars
20x30cm，oil on canvas，paint marker，graphite, crayon, ink-jet printing，2019
“蒲英玮”
“PU YINGWEI”
关于形象1/3
“是否可以想象这样一种新身份的到来：它不会被任何既定形态所认领，也不会成为任何权力的祝酒词，它潜伏于现实的复杂性当中伺机而动；可以在任何时间，任何地点，作为任何问题的探讨背景被重新生产出来。”
——《新行动伦理备忘录》
About Figure 1 / 3
Can you imagine anew identity like this will arrive: one will not be defined by any existingforms, nor will it become a toast proposed for any power, lurking in thecomplexity of reality it’s ready to stir at right time; it can be reproducedanytime, anywhere, as a context in which all problems can be discussed.
——The Memo of NewAction Ethic
关于形象2/3
蒲英玮转达我写下这些文字:他说在他目前为止并不算漫长的二十几年生命中，他从未看清过自己，也从未记住过自己。谈话是他一如既往的呓语，时常谈过了就忘，也时常在言行中表露真实。之后通过那些和他交谈过的人的口中我依稀察觉到，他是一个飘忽不定的人。有人曾经说他是黑人、白人、或是亚洲人，也有人曾经看到他的身影出没在城市的广场、乡村的小径或是热带的雨林。没有人可以清晰地记得他到底长什么样，但恰好我作为他为数不多的信任伙伴，对于他每次重要的谈话我都有所了解。我渐渐通过这些谈话编织出了一个他的肖像，结果则令我意外而又欣慰：那是一幅我见过的最普通的肖像，你可以在他的面孔上看到任何人和任何事件的影子。而说到他下面的这些感悟，他很坚持，他曾一再强调这些言辞就像菲利普·索莱尔斯的那本著作“一部真正的小说——回忆录”一样真实，他也在相当多的场合提起那本他爱不释手的蒂莫西·嘉顿艾什的《档案：个人史》。出于好奇，我找到这两本书来读，我开始理解了蒲英玮的狡猾，同时也开始同情他。在我写下这些文字的时候，他一再叮嘱我说这些呢喃文字是他所致力于研究的一本绝对意义上的理论，或一本关于一切的象征。
About Figure2 / 3
Pu
Yingwei conveyed me to write down thesewords: He said in his current
twenty years of life, he never saw himselfclearly, and never remembered
himself. The way he talks always like adaydreaming, often forget what
have been talked about, but expresses truefeelings. Then through the
mouths of those who talked to him, I vaguely awarethat he is an erratic
person. Some people once said that he was a Black, aWhite, or an Asian;
some people have seen him in a city square, a country'strails, or a
tropical rainforest, no one can reemerged his appearance in mind.While
just as his few trusted partners, for each of his important discourse
Iknow a thing or two. I gradually weave a portrait through these
fragmentaryconversations; the result is surprising and gratifying: it is
the most commonportrait that I have seen; one can catch a shadow of any
person and any eventin his face. As referring to the following
insights, he repeatedly insistedthat these words were as true as
Philippe Sollers' book, A True Novel -Memoirs, and he also mentioned Timothy Garton Ash's File: PersonalHistory in
quite a number of occasions. Out of curiosity, I found the twobooks to
read; I began to understand a cunning Pu Yingwei, but also began
tosympathize with him. When I wrote these words, he told me that he
treated thewhisper words as an absolute sense of theory that he is
committed to his study,or a symbol of everything.
关于形象3/3
蒲英玮，曾用名蒲英桐，1989年出生于山西太原。普通家庭，独生子女。其母亲是一名市立医院的医生，日常爱好看电视剧，最远的地方去过海南。其父亲是一名卫生监督所的公务员，日常爱好书法与古玩，最远的地方去过上海。在童年时期，他的家庭居住在一间五十平米的两室一厅中，他每天步行去不远的地方上小学。在2000年，他家搬到了一间八十平米的三室一厅，房屋由其父亲的单位分配所得，他开始骑自行车上学。由于蒲英桐的学习成绩总是稀松平常，他的父母决定给他改名，因为“蒲桐”听起来很像“普通”。最终，在2002年将要进入初中之前，他开始使用一个新名字，蒲英玮。
2002年，他进入小学对口的市立初中就读。学校离家很远，但其父亲的单位分配了一辆面包车，父亲便借用这辆车每天接送他上下学。同时，家里买了第一台电脑，蒲英玮开始学习上网与打游戏。最集中的一段时期是2003年的年初，非典爆发导致学校停课，蒲英玮的母亲也被派去隔离区照顾病人。他每天白天在家里玩电脑，并在父亲下班回家之前关掉。几个月后母亲从隔离区回来，非典结束，生活照旧。2005年，蒲英玮由于美术特长被市里一所中等高中录取，进入学校的普通班学习。由于蒲英玮的学习成绩依旧稀松平常，同时他与他的父母了解到通过美术专业可以考取一个相对好的大学，于是大家一起决定了他的第一个人生规划：艺术家-蒲英玮。
2009年，他报着成为艺术家的想法进入了一所美术学院学习油画，接受了从古典主义到超现实主义的技法训练。他与他的家人此时想让蒲英玮之后成为一名大学老师，在有一个稳定的工作的前提下以继续他的艺术。同时他也在大学里遇见了他的女朋友，然后相恋。某年暑假的一天，蒲英玮偶遇了一个多年不见的朋友，并得知了他正在法国念免费的公立大学。在短暂的交谈了解之后，蒲英玮与他的女朋友决定一起去法国继续学习。随后又过去了两年，蒲英玮得到了去法国的签证，而他的女朋友则没有；于是他独自前往，他与他的家人们也开始了两地分居的生活。在他来到法国的第一年，他在一个靠近巴黎的小城市-勒芒学习法语。他常常会去巴黎看展览，去卢浮宫、在玛黑区逛街买复古的衣服、或是去塞纳河边上的书市闲逛。而后他搬家到了里昂，这也是他第一次搬到一个拥有郊区的法国大城市居住。他的公寓处在华人区与穆斯林区之间，旁边有大金塔超市与土耳其烤肉快餐厅。他开始有了一些法国朋友，法语也有了些许进步；他们经常在一起交谈，谈论文化与政治，或是谈论爱情。蒲英玮开始能够完整地表达自己所想，然而他却发现他的所想与原来不再相同了。同时，他保持着定期去巴黎的习惯，但现在他更多地是去鲁瓦西，依夫，圣丹尼，或是其它的巴黎郊区。他回家也越来越晚，他开始觉得他与身边的人愈发相似。终于，在来到法国的第二年，蒲英玮适应了一个他在一年之中更多被叫到的名字：Yingwei PU
About Figure 3 / 3
Pu Yingwei, used name PuYingtong, is the only child in an ordinary family. His mother is a doctor at amunicipal hospital, she likes watching TV dramas; the fastest place his motherhas been to is Hainan. Pu Yingwei's father is a civil servant at a healthsupervision Institute, and he likes writing calligraphy and collecting antique,the fastest place his father has been to in Shanghai. During Pu Yingwei'schildhood, his family lived in a fifty-square-meters two-bedroom apartment, Hewalked to primary school from home everyday. In 2000, his family moved to aneighty-square-meter apartment with three bedrooms, this place is distributed byhis father's employer, since then, Pu Yingwei started to go to school bybicycles. Because Pu Yingwei's school record was barely scraped through, hisfather thought the reason is that Pu Yingwei's original name "Putong"has the similar pronunciation with the word "common". So beforehe got in middle school in 2002, he decided to use the new name, Pu Yingwei.
In 2002, he entered the municipalsecondary school, partner of his primary school. The school was distant fromhis home, therefore his father borrowed the minivan allocated to his company todrive him to and pick him up from school. Meanwhile, his family bought thefirst time a computer, which allowed Pu Yingwei to learn to use the internetand play games. The most intensive period was in early 2013 when the SARSoutbreak caused the closure of schools, Pu Yingwei’s mother was also sent totake care of the patients in the quarantine. He played on the computer duringthe day and shut it down before his father came back from work. Several monthslater, his mother came back from the quarantine, the SARS was over, and lifecarried on as usual. In 2005, Pu Yingwei received anoffer from a high school in the city because of his ability on fine art, heentered into a “common” class to continue his education. Because that his studywas still pretty average, and that his parents learned that specialty on fineart can get him into a relevant better university, they therefore, decided hisvery first life plan: the Artist—PuYingwei.
In 2009, withthe dream of becoming an artist, he began to study oil painting in an academyof fine arts, where he received training of skills from classicism tosurrealism. Back then, the idea of Pu Yingwei and his family was that he couldbecome a college teacher, so that he could continue his pursuit in art whilehaving a stable job. During his college years, he met his girlfriend and theyfell in love. One day during the summer holidays, Pu Yingwei came across afriend that he hadn’t seen in years, and learned that he was studying in a freepublic university in France. After a brief conversation, Pu Yingwei and hisgirlfriend decided to go together to France for further study. Two years later,Pu Yingwei got the visa to France, while his girlfriend didn’t, so he wentalone, and he and his family began to live apart. In the first year in France,he was studying French in Le Mans, a small city close to Paris. He used to seeexhibitions in Paris, visit Louvre, buy vintage clothes in Marais, or idleabout in the book market by the Seine. He then moved to Lyon, which was thefirst time he lived in a large French city with outskirts. His flat was betweenthe Chinese district and the Muslim district, next to the Golden dragonSupermarket and a kebab restaurant. He began to have some French friends andmade some progress in French. They would often have conversations together,about culture, about politics, or about love. Pu Yingwei was gradually able toexpress his thoughts, yet he found that they were no longer the same as before.At the same time, he kept the habit of going regularly to Paris. But now, itwould usually be Noisy le Grand, D’ivry, Saint Denis or other suburban areas ofParis. He went back home later and later, and began to feel that he’s becomingmore and more similar to those around him. Finally, in the second year inFrance, Pu Yingwei adapted to the name he was more often called by in a year: Yingwei Pu.
关于艺术家 / About Artist
蒲英玮 PU Yingwei
蒲英玮，1989年出生，现工作、生活于北京。2013年毕业于四川美术学院，获学士学位；2018年毕业于里昂国立高等美术学院，获硕士学位并获得评委会最高嘉奖。蒲英玮的工作以对现实境况的私人体察为路径所展开，他认为个体的经验与记忆是世界存在的诚恳证词。通过展览、写作、出版、讲演等不同形式的实践，艺术家进行着对政治历史文本的个人化重访与戏仿，并将这些跨越了种族、国家、语言、殖民等宏大命题的叙述悉数降落在其非虚构的个人史写作上。近期的个展/个人项目包括：“双重帝国”，新中法学院，里昂（2018），“宛若真实”，GalerieSator画廊，巴黎（2018），“蒲英玮与吉姆·汤普森建筑事务所”，J: GALLERY，上海（2017）；“游牧小说”，蜂巢当代艺术中心，北京（2017）；近期的群展包括：“恋舞神曲”，泰康空间，北京(2018),“登陆舒适区?”, 泰康空间-日光亭项目，北京(2018)，“疆域-地缘的拓扑”，OCAT上海馆/OCAT研究中心，上海/北京（2017-2018）；“小说艺术”，OCAT深圳馆，深圳（2018）；“全球定位”，乔空间&油罐艺术中心项目空间，上海（2017）；“教学相长-第三届实验艺术文献展”，中央美术学院美术馆，北京（2017）。他曾获得约翰·莫尔绘画奖（2012），入围华宇青年奖（2018），文章《泛灵主义与庸俗物质》入围IAAC国际艺术评论奖（2015），影片《访谈录》入选法国卡昂Si Cinéma电影节（2018）。同时，蒲英玮把自身所切身经历的中西方游牧与全球化浪潮视为一种当代性流亡，其作品也试图描述中国本土境况在与其他文化语境的相遇中互为参照并且相互阐明的关系。2016年，当“后真相”成为年度词语后蒲英玮开始虚构写作，并认为母语写作与翻译工作是处于 “他者”位置的身份构建与语境生产行为。而这种生产则朝向着一种脱离了既定意识形态窠臼的，一种可能的新身份的到来。
PuYingwei,1989 Born in Taiyuan, China. Lives and works in Lyon andBeijing, received his BFA from Sichuan Fine art Institute, DNSEP (MFA with Félicitationdu jury) from École nationale supérieure des beaux-arts de Lyon. Pu Yingwei bases his work upon his personal investigationof realities, as he believes that the experience and memory of individuals arethe cordial justification of the world’s existence. The artist is revisitingand parodying political and historical text in a personal way through hispractice of various forms, including exhibition, writing, publishing andlecturing, and working in his writing of a nonfictional autobiography thenarratives that involve such broad topics as race, country, language andcolonization. Recent soloexhibitions/projects: Double Empire, Nouvel Institut Franco-Chinois, Lyon(2018); If only it were true, Galerie Sator, Paris (2018); PuYingwei and Jim Thompson Architects, J: GALLERY, Shanghai (2017); Roman Nomade, HiveCenter for Contemporary Art, Beijing (2017); Recentgroup exhibitions: Dance With It, Taikang Space, Beijing (2018); The ComfortZone At A Distance, Taikang Space-Light Pavilion, Beijing (2018); Frontier:Re-assessment of Post-Globalisational Politics, OCAT Shanghai/OCAT Institute, Shanghai/Beijing (2017-2018); Fiction Art, OCAT Shenzhen,Shenzhen(2018); I Do (not) Want To Be PartOf Your Celebration, Qiao Space & TANK Shanghai ProjectSpace, Shanghai (2017); Reciprocal Enlightenment, CAFA, Beijing (2017). Hewon the John Moores Painting Prize (2012). HuaYu Youth Award (2018). The article “Animismand Vulgar Materials” has been shortlisted for the IAAC (International Awards for Art Criticism) prize (2015). His film “Interview” has been shortlisted for Caen Si Cinéma Festival (2018). Also, Pu Yingwei views the nomadic life he’slived in China and the West and the tide of globalization as a type ofcontemporary exile, and tries to describe in his works the intertextuality andmutual clarification between China’s domestic situations and other cultural contexts.In 2016, after “post-truth” became the word of the year, Pu Yingwei began hisfictional writing, in the belief that first-language writing and translatingare the identity construction and contextual production as one among the“others”. And such production is ushering in a new possible identity that isrid of any established ideologies.
关于器·Haus空间青年艺术家项目
“Organhaus年轻艺术家计划”是今年的重点项目，10位来自不同城市的青年艺术家加入到这项工作中，在结合艺术家自己的阶段性工作思考的前提下，充分考虑在地语境和艺术实践的结合，并以此尝试呈现“艺术-社会”实践的多元面相。
第一回合/童文敏，“石头Stone”个人项目发布（2月）
第二回合/宋兮，“培训信仰“（3月）
第三回合/曲嘉男，“活物—美术馆空间的系列行为“（4月）
第四回合/李消非，“我是一群人”（Part 1：5月26日-6月7日，Part 2：9月13日-10月1日）
第五回合/朱骏腾，（8月-10月）
第六回合/蒲英玮，（10月）
第七回合/谢冰鑫，（10-11月）
…………（行进中...)
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Organhaus Art Space
邮箱/E-mail：organhaus@vip.163.com
官网/Website：organhaus.com
地址/Address：重庆市 九龙坡区黄桷坪126号501基地1楼 器·Haus空间 /
126# Huangjueping Street, Jiulongpo Region, Chongqing, China