对应的非对应性
展览时间：2018年7月5日 - 8月21日
Corresponding Non-Correspondence
Exhibition Period: 5th July - 21st August, 2018
其他
正在展出 | 王鲁炎个展“对应的非对应性”
"对应的非对应性“北京公社展览现场
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北京公社现正在展出王鲁炎个人展览“对应的非对应性”，这是艺术家王鲁炎在北京公社的首次个展，展览时间将持续至2018年8月21日。
王鲁炎认为事物存在于关系之中，而关系无不呈现其对应性。人们所做出的每一个判断与抉择，都是在与事物形成对应性关系时做出的。然而那些盖棺定论且无可质疑的对应性关系，已无需人们对其进行判断与抉择。质疑是思想的基础而不是相信。王鲁炎试图以质疑性的艺术方式，对那些司空见惯不再导致人们思考的对应性现象提出疑问。比如人们在彼此“面对”的表象背后，是否隐藏着与其相悖的“背对”本质？人们彼此交流时欲要缩短的距离，是否才是交流不可或缺的需要？对应于目标的相反方向，是否才是行走者正在去往的目的地？
Correponding Non-correspondence / 对应的非对应性 / wood frame, paper sculpture / 木框、纸雕 / 46 x 34 x 18 cm /2018
艺术家试图借助本次展览呈现对应性关系中的悖论，且作为问题的观察者而非回答者。质疑与困惑在其作品中始终占据着主导地位，质疑性的思想不是将无知变成已知，而是从一个困惑进入到另一个更加需要思考且更为深刻的困惑。困惑使思想保持鲜活，思想一旦不惑则意味着思想的终结，而思想一旦终结个体则会消亡，王鲁炎此次个展的作品即充满了困惑。
The Living thinkers of the death / 死亡的活的思想者 / wooden board, mixed media / 木板综合材料 / 44 x 72 x 15.5 cm /2018
这次展览将展出王鲁炎近年来创作的有关“对应的非对应性”系列的近百件作品,这些作品均以不同的视角共同面对各种对应性关系中的悖论。艺术家通过使用报纸、乳胶、纸板、丙烯颜料、塑料盒、捡拾来的木盒等唾手可得的材料，呈现了从观念的产生到作品生成、从工作室实践到展览现场呈现的过程，艺术家在创作中以自我质疑、自我否定的方式使思想保持鲜活。王鲁炎认为，原有的方案总会因各种出乎意料的原因而有所改变。艺术家将过程性的草图视为“正式作品”，在创作中不断提出问题并对其进行视觉方式的逻辑思辨与论证，呈现了对草图艺术语言使用方法的探索。
对于王鲁炎而言，悖论中的判断是彼此否定的，其作品中的判断亦是通过质疑向其相反概念逆转的否定性判断，即面对即是背对，背对即是面对；左行即是右行，前行即是后行；他者即是自我，自我即是他者，其对应性关系令对于它的辨别无从判断。但若不判断，是否还会存在自我？如果判断总是错的，自我是否将难以确立？自我由一系列明确的意愿所实现，每一种意愿都是结论性的观念，因而自我如同作品一样也是某种结束了的形式。可是如果想使作品——即自我是“活”的，就不能让它终结于结束。而作品终将会以某种物理形式“死亡”，只有思想——艺术家不断赋予作品的观念才能使其保持鲜活。
然而，欲使作品永不终结需要满足一个苛刻的前提，即作品中的疑问需要令艺术家无法回答，或者其回答将被必须做出的后一个回答所否定。王鲁炎的作品所具有的循环往复永不停止的思想，是不可结束于某一判断的否定之否定的思想。对王鲁炎而言，这是不可终极于结束的活的思想，也是艺术家将艺术作为思想工具的基本原由。
关于艺术家
王鲁炎, 1956年生，是中国现当代艺术发展史中的重要参与者，曾经先后参加过1979年在中国美术馆外小公园栅栏上举办的《星星画展》和1989年在中国美术馆内举办的《中国现代艺术大展》。王鲁炎于1988年与顾德新合作创作了《触觉艺术》；1988-1995年与顾德新、陈少平组成“新刻度小组”，小组于1991年参加在日本福冈举办的《中国前卫艺术家展（非常口）》，1993年参加英国牛津现代美术馆举办的《沉默的力量》，1995年与德国零小组艺术家约克尔(Guenther Uecker)合作在德国新柏林艺术协会(NBK)举办《约克尔与“新刻度小组”的对话》展。1995年新刻度小组解散后，王鲁炎以独立艺术家的身份继续创作。1996年他参加在澳大利亚昆士兰美术馆举办的《第二届亚太当代艺术三年展》，1998年参加在美国纽约亚洲协会P.S.1当代艺术中心举办的《开放的本体》展，2002年参加在中国广东美术馆举办的《重新解读: 中国实验艺术十年(1990–2000)》首届广州当代艺术三年展，2007年在中国深圳OCAT当代艺术中心举办个人展览《被锯的锯?》，2010年在韩国首尔整体美术馆举办个人展览《王鲁炎》，2013年在中国北京芳草地展览馆举办个人展览《王鲁炎：图 * 寓言》，2014年在法国圣埃蒂安现当代美术馆举办个人展览《王鲁炎》，2015年在中国国家体育馆北京鸟巢艺术中心举办个人展览《行》，同年他的大型装置作品《网》在摩纳哥海洋博物馆展出，他的大型装置作品《被向下的向上体》于2015年在俄罗斯莫斯科叶卡列尼娜基金会与中国国家博物馆巡回展出，2016年在外交公寓12号空间展出其个人展览《交流》，其个展《2017-2018王鲁炎》目前正于鸭绿江现当代美术馆展出。
Beijing Commune is pleased to present the artist Wang Luyan's new exhibition “Corresponding Non-correspondence”. This is Wang Luyan's first solo show at the gallery, and it will continue until August 21, 2018.
Wang Luyan considers that all things exist in relationships, and relationships all present their correspondences. Every judgment or choice made by people is made when it forms a corresponding relationship with things. However, for those uncontroverted and indisputable correspondences, there is no need for people to judge or make decisions about them.Questioning is the basis of thought rather than belief. Wang Luyan attempts to question the conventionalized corresponding phenomena which no longer lead people to think in a skeptical way. For example, is there a substance of “back”hidden behind the representation of “face”? Could the distance that people tend to shorten be an indispensable demand when they communicate with each other? Is the opposite direction corresponding to the target the destination that the walkers are going to?
The persons facing away while facing towards / 面对的非面对者 / newspaper, latex, plastics / 报纸、乳胶、塑料 / 14 x 16.5 x 6 cm /2017
The artist attempts to present the paradox in the corresponding relationship through this exhibition as an observer rather than a respondent. Question and confusion always occupy a preponderant position in hisworks. The thought of questioning is not merely to transform ignorance to awareness, but to move from one confusion to another which requires more deep thinking. Confusion keeps the human mind fresh, whereas the uncontroversial mind means the end of the mind. Once the mind ends, the individual will no longer exist. Wang Luyan’s works in this exhibition are filled with various confusions as well.
Divided persons crossing the interval / 穿越间隔的间隔者 / white cardboard, corrugated cardboard / 白卡纸、瓦楞纸板 / 43 x 102.5 x 20 cm / 2017
This exhibition will showcase dozens of the artist’s latest works in the series of "Corresponding Non-correspondence".Those works all face the paradox in various correspondences from different perspectives. Through the use of everyday materials, such as newspapers, latex, cardboard, acrylic paints, plastic boxes，wooden boxes and others, the artist presents his creative process from generating concept to generating works, from the practice in his studio to the presentation in this exhibition.The artist keeps his mind fresh during the creative process by means of self-questioning and self-denial.The artist believes that the original project will be changed for various unexpected reasons. He regards the procedural drafts as “formal works”, constantly raises questions during his creation and logically speculates and demonstrates them in a visual way. This reflects Wang Luyan’s exploration of using draft as art language.
The transformation of uncertain directions / 不确切方向的转换 / wooden board, mixed media / 木板综合材料 / 50.5 x 40 x 40 cm / 2018
As mentioned by the artist, the judgments in the paradox are mutually negated. Thejudgment in the artist’s works is also negative by questioning the reverse of the opposite concept. For the artist, the "face" is the “back”and vice versa; to the left is to the right; going forward is going backward;the other is the self and vice versa. Those corresponding relationships make it difficult to judge their distinction.
Substitution / 置换 / wooden board, mixed media / 木板综合材料 / 88.5 x 1 16 x 19 cm / 2018
However, will there still be self if we do not judge? If the judgments are always incorrect, will the self be difficult to be established? The self can be fulfilled by a series ofclear wills, each of which is a conclusive concept. Thus, the self is in a certain finished form likes those works. But if the artist wants the work——the self to be “alive”, he cannot end it at the end. The work will eventually “die” in some physical forms,while only the thought——the concept that the artist constantly endows the works with, could keep it alive.
Nevertheless, to make the work never end requires satisfying a harsh premise, that is, the questions for the works need not to be answered by the artist, or whose answers would be denied by the latter answers. The thought in Wang Luyan’s works is in an infinite cycle, which will not end in negating certain negative judgments. For Wang Luyan, the alive thought will not end to the end. It is also the basic reason why the artist uses art as a tool of thought.
About the Artist
Wang Luyan was born in 1956, and he has been a major participant in the developmental history of Chinese modern and contemporary art. He was a part of the historic Stars Art Exhibition, held along the fence outside of the National Art Museum of China in 1979, and the China / Avant-Garde Exhibition, held inside the National Art Museum of China in 1989. In 1988, together with Gu Dexin, he created Tactile Sensation. Between 1988 and 1995, he was a member of the New Measurement Group, together with Gu Dexin and Chen Shaoping. He has been featured in many important exhibitions over the years, including: Exceptional Passage—China Avant-garde Artists Exhibition, Fukuoka, Japan, 1991; Silent Energy: New Art from China, Museum of Modern Art Oxford, Oxford, 1993; Uecker Sends a Letter to Beijing (a collaborative exhibition with Group Zeroartist GüntherUecker), New Berlin Art Society (NBK), Berlin, 1995; the Second Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane,1996; Inside Out: New Chinese Art, Asia Society and P.S.1 Contemporary Art Center, New York, 1998; The First Guangzhou Triennial—Reinterpretation: A Decade of Experimental Chinese Art, Guangdong Museum of Art, Guangzhou, 2002; the solo exhibition Sawing or BeingSawed?, OCT Contemporary Art Terminal, Shenzhen, 2007; Wang Luyan, Total Museum, Seoul, 2010; Wang Luyan: Diagramming Allegory, Parkview Green Exhibition Hall, Beijing, 2013; Wang Luyan, Muséed'art moderne et contemporain de Saint-Etienne, 2014; and Walking, Beijing National Stadium Bird’s Nest Art Center, 2015.That same year, his work Net was exhibited at the Oceanographic Museum of Monaco, while Downward Force on Upward Moving Objects was presented at the Ekaterina Foundation in Moscow and the National Museum of China. In 2016, his solo exhibition Communication was presented in the Space of DRC No.12 in Beijing. His exhibition 2017-2018 Wang Luyan is now shown in the Yalu River Art Museum in Dandong.
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