策展人语&艺术家自述 | 关系——2021中国当代艺术邀请展

相聚热土系列展之关系——2021中国当代艺术邀请展BEYOND THE PERSPECTIVE·2021 CHINESE CONTEMPORARY ART INVITATION EXHIBITION
主办 Organizer深圳美术馆  Shenzhen Art Museum
展期 Duration2021年8月4日至8月22日 August 4th - August 22nd, 2021
艺术总监 Art Director陈履生 Chen Lvsheng 
学术主持 Academic Host彭 锋 Peng Feng
策 展 人 Curator游  江  孙  粹You Jiang  Sun Cui
策展助理 Exhibition Assistant邓丽君  张  腾   邓正杰Deng Lijun  Zhang Teng  Deng Zhengjie
设计 Designer一木设计 YIMU
地点 Venue深圳美术馆  Shenzhen Art Museum
摄影 Potographer张腾 Zhang Teng 
鸣谢 Acknowledgement深圳市宣传文化基金 Shenzhen Publicity and Culture Fund
参展艺术家(按照姓氏笔画为序) Artists（Order By Strokes of Surname）王叶子、余加、应天齐、李政德、李景湖、陈劼、杨光、黄一山、姚明峰、戴耘Wang Yezi  Yu Jia  Ying Tianqi  Li Zhengde  Li JingHuChen Jie  Yang Guang  Huang Yishan  Yao Mingfeng   Dai Yun               展览组委会Organizing Committee主    任：张燕方
Director:Zhang Yanfang 副 主 任：王子蚺Vice Director:Wang Ziran 委员：（按姓氏笔划排列）Committee Member (Order By Strokes of Surname）万黄婷  王子蚺  陈履生 张燕方 赵伟东  覃京侠 游 江 黎晓阳Wan Huangting  Wang Ziran Chen Lvsheng Zhang Yanfang Zhao Weidong Qin Jingxia You Jiang Li Xiaoyang 

从“背景”到“前景”

From“Background”to“Foreground”

文/ 游江

Author/You Jiang

一颗种子蕴藏着宇宙，而浩瀚的宇宙又有多少互为关系的尘埃？当代艺术家的实践，有些时候就是要打破人们习以为常的认知和经验，提供一种新的思考框架，艺术家通过对一定对象的艺术化处理，将那些文化和精神的承载物通过“有意味的形式”串联起来，展现出一种观察世界的视角。

As a seed has a universe in it, how many dusts are there in the vast universe that are closely interrelated? The practices of contemporary artists sometimes have to break the perception and experience that people are used to and take for granted, so that they can provide a new frame of thinking. Through the artistic modification to objects, artists have the objects carrying our cultures and spirits linked up in a meaningful way, and present us with a perceptive for us to observe the world.

“历史并不重复，但总在押韵”（马克·吐温）。我们看世界，“世界”看我们。世界的变化有时候取决于一些慢变量，它们的作用往往让人视而不见，但是在历史的长河中却缓慢而坚定的朝向一个方向进行变化，从小溪汇聚成河。今天，我们不能孤立的看待某一事件和现象，也不能用某种二元论般的腔调、静止的不变的思路去对待现实发生的各种变化，我们需要需要时刻保持更新并搭建自身的认知系统，超越表象和理性的局限，把个体、事件或者说要素还原到一个动态复杂系统当中，看到要素之间的影响、碰撞与化学反应，而依托于一定“现成品”的当代艺术则从一定程度上打开了一扇我们理解自身与世界关系的窗口。

History does not repeat itself, but it rhymes. (Mark Twain) When we are watching the world, it is watching us too. Changes to the world sometimes depends on some slow variables. We usually turn blind eyes to their roles, however there is an undoubted law that the world is changing in its way slowly but unswervingly, and the subtle changes will grow over time from quiet brooks to raging rivers. Today, we cannot blindly take any event or phenomenon as an isolated one, nor can we examine the changes in our physical world using the dualist approach or by taking them as still and unchanging. We need to keep updated all the time and build our perception systems, dig deeper than the surface and go beyond the limitation of reasoning. We should put the individuals, events or elements into a dynamic and complicated system, see the influence conflicts and chemical reactions between various elements. The contemporary arts that are based on “readymade” to certain extent have opened a window for us to understand our relationship with the world.

在中国当代艺术的创作中，我们看到很多艺术家大量使用现成品进行创作，而他们与现代派以来的艺术家不同是，出于视觉性呈现的局限性，当下对于现成品的使用不再是要持续探讨艺术边界的问题，亦或是“技艺”与“观念”之间博弈的问题，艺术家也不是通过艺术作品简单的描绘和反映社会，而是在全球化的语境中，面对不息变动的世界，将自己作为方法，依靠真实的行为与过程，通过“被看见”和“意义化”的现成品，将艺术的意义最终凝结在材料之中。而这些来自于日常的材料，在艺术家的转译下，不仅超越其自身的物性，而且强化了其自身在当代社会语境中的独特性，艺术家让这些积淀着真实的本土经验的“材料”，从“背景”转向了“前景”，让原本不可见的经验获得了一种“可见性”，成为可感知的审美对象。

During the creation of contemporary art in China, we can see that many artists are using many readymade. Unlike the modern artists, because of the limitation on visual presentation, the artists today are not arguing about the boundary of arts or arguing about “Skills” and “Concepts”. On the other hand, artists are not reflecting the society by simple painting on the artwork, but they use themselves as a method in the context of globalization when facing the constantly changing world. Through their real actions and process and by using the readymade that are “Seen” and “Signified”, the artists finally put the meaning of arts into the materials. Through the translation by artists, the materials that are daily and common are given a meaning beyond their purpose as a material, besides they become unique in a social context. It is the artists that push the “materials” with local experiences from the “Background” to “Foreground”, so that the experience that was once “Invisible” becomes “Seen” now. They become targets with perceptible beauty.

点线面是艺术构成的要素，也是认知世界的一个系统。通过创造性的转换，艺术家在作品中让“物”与人、“物”与空间"、“物"与材料之间进行对话并传递出丰富的意义。从凝结着经验、情感和精神的一个一个碎片化的“点”，一定历史阶段具有趋势和线索意义的“线”，再到不断迭代的世界图景和景观社会的“面”，当代艺术家从“关系”的视角，向我们呈现了对于世界的审视、认知和思考。

Dots and lines are not only basic elements in art, but also a system for us to understand this world. Through creative transformation, artists launch a conversation between “Objects” and human, “Objects” and space, and “Objects” and materials, out of which significance is created and given out. From the broken “Dots” that carry the experiences, feelings and spirits, though the “Lines” that travels over time and carry trends and clues, to the “Faces” that are constantly iterating world images and spectacles, the contemporary artists are presenting us their unique observation, perception and reflection of the world from the viewpoint of “Beyond the Perspective”.

关系——你，我，世界

Beyond The Perspective – You, Me, And the World

文/孙粹

Author/Sun Cui

2020年一场突如其来的新冠疫情打破了熟悉的格局、改变了世界的进程，在焦虑、迟疑和等待中，我们迎来了后疫情时代：社交距离和抗疫已然进入了我们的日常。在我们还没来得及反应时，你 我，世界已经发生了悄然的变化。

In 2020, an unexpected coronavirus epidemic broke our comfortable patterns and changed the world. With some anxiety, hesitation and expectation, we came to the post-epidemic age: social distancing and anti-epidemic measures have become our new normal. You, me, and the entire world have changed quietly before we take any action.

也是在这种变化中，我们开始停顿下来，总结过往，思考未来。当人们认为特别日常、正常的生活方式、思维习惯变得不可触及亦或抵达之时，我们才发现这个世界开始变得不同，而你我也在不断地与世界、与彼此的距离与撕裂中逐渐地抽离出来。这时，大家开始真正思考“关系”这一语汇的涵义。

Also because of these changes, we began to pause to summarize and reflect about the future. When our ways of living and thinking that were once comfortable and common have become now untouchable and unreachable, we are surprised to find that the world becomes a little different and that the people, like you and me, are being peeled off from one another. At this moment, people begin to truly reflect on the meaning of “looking beyond the perspective”.

人类与自然的关系、人类与环境的关系、人类与城市的关系等等这些到底是怎样的关联，一直以来，这都是人类的终极命题。每一代人有着每代人的使命。但终其原点，从宏观上讲是人类与世界的关系；从微观的角度，是人类与自身的关系：怎样认知自我，又怎样认知世界的问题。如牛津大学社会人类学教授项飚在《把自己作为方法——与项飚对话》一书中所提到：“想清楚究竟我能做什么，我跟世界的关系是什么。我认为世界上所有的人都有这个问题，都得搞清楚自己是谁，否则都会有这种危机，除非完全盲目地被主流裹挟进去。”只有理清这个看似直白的问题，也才能解决根本的“关系”，这在当下尤显重要和迫切。

There has always been an ultimate question what the relations are between human being and the nature, the environment, and the cities. Each generation has a purpose. However, as we go back to the origin, this is about the human relationship with the world from the macro perspective and the human relationship with itself from the micro perspective: how should we perceive the world and ourselves? As Xiang Biao, a professor of Social Anthropology at the University of Oxford, put it in his book Self as Method: In Conversation With Biao Xiang: To figure out what I can do and my relationship with the world is a question that everyone in this world has. People have to find out “who am I”. otherwise they will be in trouble unless they let themselves kidnapped by the mainstream.” The only way to solve our relationship problem is that we have to straighten out the question that seems so plain. This is especially important and urgent today.

科技在后疫情时代发挥着举足轻重的作用，在全球区块链技术兴盛的潮流中，去中心化看似是一种趋势，但去中心化的结果往往是在建构一种新的中心主义。而作为深陷潮流、人类灾难中的我们又该如何应对和自洽？“把自己作为方法”可能是有效的认清自身、认知世界的一种方式，也是了解世界的具体的开始。

Technology is playing a decisive role in the post-epidemic world. In the trend of blockchain technologies, it seems that decentralization is a trend, but the final result of decentralization is usually to build a new center. Then how should we react and remain self-consistent, as we have been deeply trapped in the trends and human catastrophe? “Self As Method” may be an effective way for us to understand ourselves and the world, and also a concrete start for us to understand the world.

本次展览聚焦“关系”这一主题，邀请10位当代艺术家对主题进行回应，从艺术家的个体经验出发，通过选择各自不同的艺术媒介以此表达对世界与自我的认知、以及自身与世界的关系，尤其与所处环境的关系与哲思。同时，他们用创作亦为我们提供了一个认知世界与自我关系的窗口。

The exhibition is focused on the theme of “Beyond The Perspective”, and 10 contemporary artists were invited to give their comments on the basis of their personal experiences. The artists are invited to share their insights and understanding to the world and self as well as their relationship with the world, especially the environment they are in. Also, they provide a window for us to understanding our relationship with the world.

未来虽不可预测，但未来仍将继续处于隐约的“关系”之中。

Though unforeseeable, future will still be there waiting for us to look beyond the perspectives.

 
作品现场&艺术家自述Art works&Expression
应天齐作品现场应天齐：作品选用2014年芜湖万人捡砖艺术活动中使用过的木箱组合而成,152只实体木箱组合成巨大的箱体造型,其中有34个视频播放市民的现场留言动态影像,实物木箱是承载市民捡砖活动的现成品,视频是当年捡砖人留下的依依心声物和动态记录,这些元素通过重新组合形成强烈的视觉冲击力,体现了“众声之声”的无穷力量和热爱古城的市民的眷眷深情。I build this artwork out of the wooden boxes used in the “Pick A Brick” activity in Wuhu in 2014. The 152 wooden boxes were joined together to make a huge box-like structure. Among them, 34 boxes are used to play the video messages and records taken by the local citizens during the activity. The structure of wooden boxes produces very strong visual impacts. The boxes were used by the local residents in the brick-picking activity, and the video clips were the valuable thoughts of activity participants. Together, they have shown us the greatest power of “Sound of All” and the passion and love for the city.

余加作品现场

余加：人、故土、迁徙、劳动、生存、城市...沧桑巨变，有多少自然形态的＂故乡＂变成了城市街道高楼工厂，眨眼间＂故乡＂让多少人仅成为一种记忆、一种文化梦境。此作品先将农民工的手印在地形图上，随后将重叠的地形图切成手型体块并用螺纹钢紧紧固定之，以此来表达现实中人、土地、建筑和环境之间错综复杂的关系。People, land, migration, labor, survive, city … everything has changed so much that the natural country has been turned into roads, buildings and factories. Almost instantly, the country collapse into memories and dreams in our heads. The artwork has handprints impressed on the topographic map, has them cut and fastened together by screw-thread steel bars. This expresses a relationship and raises a question over the past and efficient use of land resources in the future.


戴耘作品现场

戴耘：我想从中国人认识观察世界的一种重要方式，来阐释一下对这次展览主题“关系—2021中国当代艺术邀请展”的理解认识。"格物致知"是一个汉语成语，意思是探究事物原理，进而从中获得智慧（或从中感悟到某种心得）。出自《礼记·大学》：“致知在格物，物格而后知至。”

I am going to explain my personal understanding to the exhibition theme “Beyond The Perspective – 2021 Chinese Contemporary Art Invitation Exhibition”, following the ways Chinese people observe and understand the world. Ge Wu Zhi Zhi is a Chinese idiom meaning that people have to explore the roots of matters to gain wisdom (or insight). The idiom originated from the Book of Rites · Great Learning: Study the nature of things and knowledge follows.

“六法”出自南朝谢赫的六法论即气韵生动、骨法用笔、应物象形、随类赋彩、经营位置、传移摸写六个方面。其实这六法就是我国艺术前辈们在多年实践、研习、讨论总结出来的一套艺术法则、审美标准、价值取向。那么今天我们在艺术创作中如何运用和体现六法，我以为还是从六法生成的源头来琢磨，不要过于拘泥于成文成典的法则，观察生活、体察物象，探究事物原理即所谓“人与物/物与物/物与人”之间的关系！

The Six Principles were firstly established by Xie He of the Southern Dynasties, specifically: Spirit Resonance, Bone Method, Correspondence to the Object, Suitability to Type, Division and Planning, and Transmission by Copying. The six principles were a set of rules of art, aesthetic criteria, and value orientation. Then, how should we apply and demonstrate the six principles in our art creation? I believe that we have to go back to the origins of the Six Principles and free ourselves from the written codes. We have to look beyond the common perspectives, closely examine the lives and matters around us, discover their underlying principle and reveal the so-called “human-nature” relationship!

陈劼作品现场陈劼：前些时日开的花，某个时间会凋谢。无论你关注或不关注，世间的变化是恒常进行着的。“加减乘除”可以架构的游戏，在这一运算法则尚未确立之前就有踪迹可循。所有可以为我所用的规则，都浸润着人的活动轨迹。方法是便捷和美丽的，它绑附着效率，或前进或后退，或完全消失殆尽。规则在未进行真理性认定之前，它已然是存在于各类关系之中的。关系是事物和人存在的基础体现，它有时是需要被发现的，它也不容你抛弃和抹掉。而在特定的变化中，“关系”是有态度和立场的“进入”、“领悟”，或“打开”。在迭代和变化的进度里，关注又反思情境和行为，可能是时代之需及某种反应的必然。在创作领域，媒材和技法统摄技术观念。The flowers that bloomed a few days ago will wither at some point. Whether you percieve it or not, changes in the world are constantly going on. The games structured by "Addition, subtraction, multiplication, and division", can be traced back to before the algorithm was established. All the usable rules are infiltrated by the trajectory of human activities. The method is convenient and beautiful, it binds efficiency, either goes forwards or backward, or disappears completely. Before the rule is proved true, it already existed in all kinds of connections. The connection is the basic manifestation of the existence of things and people. Sometimes it needs to be discovered, and it shall not be abandoned or erased. In a particular change, "connection" is "entering", "understanding", or "opening up" of attitudes and positions. In the progress of iteration and change, focusing and reflecting on the situation and behavior may be the necessity of the times and some kind of response. In the creative field, the media and techniques dominate technological concepts.李景湖作品现场李景湖：马赛克作为廉价而实用的建筑外墙材料，在上世纪80-90年代，随着南方沿海城镇的大发展时期而大面积的被使用在快速建立的各种建筑物上，成为那个高速发展的时代符号和建筑标志物。马赛克总是作为一片群体出现和被使用的，它与当时突然大量出现的农民工一样一个大形群体的总称谓。我曾经和大多数人一样，习惯性地以“农民工”这个群体性标签看待身边的工人。而随着与这些“农民工”的个体交往日多，我发现他们每个人都是各有各的性格特点，也有不同的生命轨迹，是一个个活生生的“个体”，和我们一样有悲欢离合，有喜怒哀乐，有血有肉。一直对工人个体的差异性感兴趣，直到有一天，我在一个废弃的建材市场看到满地散落的各式各样马赛克颗粒时，突然觉得这些马赛克每一个颗粒就像我们身边的“农民工”个体。每一个无论大小、材质、颜色都千差万别，而又各具个性。马赛克是由一块块独立的颗粒组成，“农民工”也是由一个个个人构成的。在这个作品中，我用一粒粒独立的各异的马赛克和小瓷片代替一个个活生生的工人。我从深圳回到东莞的17年，生活在镇中心的城中村，周围的农民房和出租屋住着一个个家庭或情侣。这些在周边工厂上班的务工者因工厂安排的集体宿舍不适合情侣居住，所以都出来租住面积很小的套间。在2017年间我看着他们在狭小、挤迫的空间里出双入对，共同面对艰辛的生活而相互扶持、不离不弃，使我深刻的体会到一句话——陪伴是最长情的告白!Mosaic is a cost-effective and useful exterior wall decoration material. In the 1980s and 1990s, as the coastal cities in south China developed quickly, mosaic was extensively used on many buildings, which made it a symbol and mark of the fast-developing age. Mosaic always appeared in a large number, just like the rural migrant workers at that time. Like most others, I used to label the workers around as “rural migrant workers”. As I approached this group of people more and closer, I found that each of them had a valuable personality, different life tracks, and a living individual who had their own stories, sadness and joys, just like us. I was interested in the differences between those individuals, until one day I saw a lot of mosaic scattered here and there at an abandoned construction site. I suddenly realized that each of the mosaic piece were just like a “rural migrant worker” around us. From size to material and color, the mosaic pieces differed from one another in over one thousand ways, but each of them had a unique characteristic. Mosaic was composed of a large number of independent pieces, so was the group of “rural migrant workers”. In this artwork, I used different pieces of mosaic and small ceramic pieces to symbolize the living individuals of rural migrant workers. In the 17 years after I returned to Dongguan from Shenzhen, I lived in the villages in the town center, with my neighbors being various families and couples living in the farmer houses and rental houses. The workers moved out of the dormitory provided by the factories they were working for, because the group living was not suitable for lovers. They moved out and lived in the small apartments rented in the neighborhood. In 2017, I watched them leaving for work and return home in couples and living in the small and crowded apartments. They supported each other during the hard times and would not abandon their partners. This reminded me of a saying that companionship is the most touching expression of love!杨光作品现场杨光：利用日常生活中拆卸下来的旧电线为雕塑材料创作作品，制造新景观，使得作品有了多重的当代意义。作品本身就已包含了人与自然的关系，体现都市的现代文明与自然生态之间的语义冲突，它意味着作品不仅仅只是一个观看的对象，而且是一个思考的对象，观念化的对象。My artworks and sculptures are built from scrap wires from the daily life which give them new and contemporary meanings. The artworks have already had the human-nature relationship as a part of them. They are presenting people the conflicts between the modern civilization in big cities and the natural ecosystems. This means that the artworks are not merely objects for people to watch, but also for people to reflect on and form their concepts.黄一山作品局部黄一山：我的创作根植于一种自发性的画面语言研究，采用“工匠”式的方法去铺设画面的空间。这使得我可以有效地把一些绘画不确定性的因素排除在外，又使得综合性的材料和工艺性自然而然地被纳到我的工作范畴之中。当繁复的劳作形成了画面一个的局部或背景墙面，这种凝固感让我觉得十分的“牢靠”，由底层逐渐地往表层叠加，最后形成一个整体。在操作上具有一定的不可逆性，促使我在创作的过程中要保持高度的逻辑思维，物料感与画面叙事形成某种交融。这是一种反绘画的绘画，我一直在借用这样的方式去探索绘画的边缘。My art creation is deeply rooted in a spontaneous research on the art languages which allow me to develop the art space like a “craftsman”. This makes it possible that the uncertain factors can be effectively excluded from the art creation process, besides, the mixed media and the process become very naturally a part of my artworks. As the laborious job finishes and a local part or the background have been created on my works, the solidification makes me feel very “secure”, so that I can add more elements on the base until the final piece is set making it an integral whole. The operation is irreversible, so I have to stay logical throughout the art creation process and let the materials fit and match my expected narrative. This an anti-art art creation, and I am using it to explore the furthest edges of arts.

姚明峰作品现场

姚明峰：近期作品围绕海洋和陆地等相关问题进行探索与研究。以填海为线索，试图探讨地缘、边界、景观以及资本等元素如何在新的空间中被建构。创作中使用多种材料与媒介，并通过调查研究，数据可视化等方式将观念图像化与视觉化。I recently conducted exploration and research work around the issues related to oceans and land. To land reclamation for clues, trying to explore the geography,  boundary, landscape and how the capital and other elements are constructed in the new space. Various materials and media are used in the creation, and concepts are imaged and visualized through investigation and research, data visualization and other methods.

李政德作品现场

李政德：越是进入摄影，越是感觉直接记录摄影的优势与劣势。这是个可以及时考古的时代。人们习惯的环境与物件时时刻刻在改变，所有的一切迅速更新迭代，来不及回味。The more photos I took, the stronger I feel the pros and cons of photorecording.This is an age when everybody can be an archaeologist any time they want. The environment and surroundings people are familiar with keep changing all the time. Everything is iterating quickly before we can.该系列分为虚构之地、虚构之物与虚构之人三个部分。三个部分相对独立，每件作品也具备独立性，不强调显而易见的关系。所有的作品都来自于现实世界的刺激，利用海量的照片素材进行的拼贴挪用。通过后期对于色彩、构图、质感、光影的改造重构，在一定程度上抽象出了我对世界的观察、思考和提问。The whole series is composed of three parts: the imaginary land, the imaginary things, and the imaginary people. The three parts are independent from one another, and each artwork is independent. I do not draw attentions to the obvious connections.All the artworks are produced because of incitation in the physical world, and created from a mass number of photos by collaging. Through the modification and restructuring of colors, composition, texture, and shadows in the post-processing steps. To some extent, my observation, reflection and questions of the world are extracted from these images.这是一场二次元的个人视觉狂欢。考虑到很难有财力和空间在现实中实施，所以在平面的效果处理上尽可能的在完成度上下功夫，使得 “纸上谈兵”的计划成为可能。This is a personal visual carnival for the two-dimension world. As it is very hard to have the artwork implemented in the physical world due to fund and space limitations, I spend almost all my energies on the 2D effects of the artworks, making the “World on Paper” possible.

王叶子作品现场

王叶子：在当代语境下以如何定义一个物体或是某种关系为主要创作方向。试图在作品中构建新客体从而探索美学的剩余价值。In the contemporary context, I use how to define an object or a certain relationship as the main creative direction, and try to construct new objects in my works to explore the surplus value of aesthetics.

（深圳市文化广电旅游体育局）