「拟像新展预告」齐泽克：无聊是每一个真实行动的开始
齐泽克：无聊是每一个真实行动的开始
Zizek：Boredom is the beginning of every authentic act.
展览时间 Exhibition Dates：2021/6/6-2021/7/11
开幕时间 Opening Time：2021/6/6 15:00
Exhibition Preview
看，他们来了！
Look, here they come!
2020年八九月期间我和拟像空间的负责人渣克周商量能不能做一个有意思的艺术项目，我们几次谈话逐渐聚焦在了00后这一艺术家群体身上。
首先，我和他感兴趣的是这一代年轻人新鲜的想法和不一样的生活以及思维方式，我虽然那时说不清他们的不同是什么，隐隐觉得他们与我读大学时的时代背景和周遭环境发生了很大的变化，大环境和小生态都在变化，屏幕和数据，社交网络，移动互联网环境中长大的一代和我的经验和体验差距甚远，我对他们充满好奇心，这算是这个展览计划的起点；其次，今天的专业展览空间内和艺术生态中年轻人的群展越来越少，我想起2009年前后我所经历的黑桥和环铁的艺术区时代，那时和我相仿的年轻人一起策划展览，虽然展览不甚有影响力，但十年后我依然记得那些开幕式上真诚和热情的交流，我觉得那是艺术年轻时应该有的样子，我一直着迷艺术年轻时的样子，朴实，生猛而又有创造力。
拟像空间一直以来也关注青年艺术家，因此以展览和艺术为名，能让有创造力的年轻人聚在一起是值得做的事情。虽然我不确定多年之后他们是否还记得这个展览，甚至于还做不做艺术，我想这样的体验是值得珍惜的；第三，在这个展览计划筹划的过程中我对于00后这一代艺术家有了直观的认知。2020年年底本来要启动的展览计划因为疫情原因临时转变为线上。在这种线上转换过程中，00后艺术家群体显示出了他们的创造力以及对于社交网路的娴熟程度。
在线上展览的策划过程中他们体现出的素质包含对于当代艺术体制了解，对于传播的熟悉，以及对于创作媒介的开放。因此之前线上展览“寒假作业”部分显示出他们的整体面貌，这为紧急调整到六月的线下展览提供了更充足的调整周期，同时也让我和渣克更期待线下展览的呈现。
综上是对于展览缘起的介绍。
Exhibition Preview
During August and September of 2020, Zachariah Zhou, the director of Simulacra, and I talked about making an interesting art project together. Our several conversations gradually focused on the millennial generation as group of artists.
To start with, Zack and I were interested in the fresh ideas, distinctive lifestyle, and different thinking mode of this young generation. I couldn't tell what their differences are but vaguely felt that current era had changed significantly from the background and surrounding environment when I was in the college. The general environment and smaller scale “ecosystem” are constantly changing. This generation raised under the environment with the screen and data, social medias, and mobile internet, which far apart from my experience. I am curious about them, and this is sort of the starting point of this exhibition project.
Secondly, there are fewer and fewer group exhibitions of young people in today's professional exhibition space and art ecology. Thinking back to 2009, the era of the Black Bridge and the Huan Ti art district, a group of young people like me curated exhibitions together. Those exhibitions were not very influential, but ten years later I still could recall the sincere and warm communication at those opening ceremonies. I've always been fascinated by art when it was young -- unpretentious, raw, but creative.
Exhibition Preview
Simulacra has always focused on young artists, thereby famous for art and exhibition. Being able to bring creative young people together is something worth doing. Although I am not sure if they would remember this exhibition years from now, or even if whether they still make art, I think such an experience is something to cherish.
Thirdly, during the planning process of this exhibition project, I got an intuitive understanding of the millennial generation of artists. The exhibition program that was to be launched at the end of 2020 was temporarily shifted to online due to the epidemic. This group of millennial generation artists showed their creativity and mastery of social networks through this shifting.
The qualities they demonstrated through the planning process include their understanding of the contemporary art system, familiarity with communication, and openness to creative media.Therefore, the "Winter Vacation Assignment" section of the previous online exhibition shows their general looking. This online exhibition provides a more adequate adjustment period for the urgent shifting offline exhibition in June. Also, Zack and I more look forward to the presentation of the offline exhibition.
All above is the introduction to the origins of this exhibition.
Exhibition Preview
线上展览部分主题为“德勒兹：既然我们每个人本身都是复数，这已经堪称人数众多了”；而在线下展览部分则调整为“齐泽克：无聊是每一个真实行动的开始”。这两个看上去极其严肃的主题在我看来和展览本身形成了一种反差。中国的艺术家和艺术研究者的视野中，德勒兹和齐泽克无疑是两个耳熟能详的人物，此外还有福柯，阿甘本等。这个名单可以拉很长，但是很惭愧的是我并不太了解这些哲学家。我是一个看到哲学就犯困的人。对于齐泽克和德勒兹我的了解不多，我只读过齐泽克的《笑话》，这本书甚至不算学术著作。这两个展览具体都是渣克周的主意，而我只是从中凭借直觉选择合适的。在我看来，线上部分“德勒兹：既然我们每个人本身都是复数，这已经堪称人数众多了”可以理解为“众人皆我”；“齐泽克：无聊是每一个真实行动的开始”可以理解为“无聊研究”。接下来线下展览部分我们不约而同的和《三联生活周刊》的《无聊研究》专题产生了呼应，《无聊研究》这一期的副标题为“无聊通往创造？”，其中还举了艺术家的例子，“无聊通往创造”很贴切的表达了这次展览的总体感受。
窦唯的《高级动物》开篇念叨着：“自私、无聊、变态、冒险、好色、善良、博爱、诡辩、能说、空虚、真诚、金钱，噢，我的天！”窦唯1994年的歌曲中这么写颇具预言性。今天这个歌词拿出来简直是现实写照，一点不过时。今天的00后叫窦唯都应该是大爷了，当时念叨“无聊”的窦大爷终究还是大爷。本次展览因为同期混进了非00后生人，包含若干95后，所以本次展览群体成了泛00后艺术家群体。本篇作为为本次展览写的第一篇文字，等到展览拉开帷幕，应该会有更深刻的体会。
—段少锋
Exhibition Preview
The theme of the online exhibition is "Deleuze: Since each of us is a plural, this is already large number of people", while the offline exhibition is adjusted to "Zizek: Boredom is the beginning of every real action". In my view, these two themes, which seem extremely serious, form a contrast to the exhibition itself. Deleuze and Zizek are undoubtedly two familiar figures to Chinese artists and art researchers, along with Foucault, Agamben and others. The list could be long, but I'm ashamed to say that I don't know much about these philosophers. I am a person who gets sleepy when I read philosophy. I don't know much about Zizek and Deleuze; I've only read Zizek'sThe Joke, which is not even considered a scholarly work. Both exhibitions were specifically the idea of Zack Zhou, but I just chose the right one from them by intuition. In my opinion, the online section "Deleuze: Since each of us is a plural, this is already a large number" can be interpreted as "Anybody is me"; "Zizek: Boredom is the beginning of every real action " can be interpreted as "boredom research". The next part of the offline exhibition coincidentally echoes the "Boredom Research" issue of SFW, which is subtitled "Boredom Leads to Creation?" The subtitle of this issue of Boredom Research is "Boredom Leads to Creation?", in which the artist's example is cited. "Boredom Leads to Creation" aptly expresses the general feeling of this exhibition.
The opening lines of Dou Wei's "Advanced Animals" recite, "Selfish, boring, perverted, adventurous, lustful, kind, fraternal, sophomoric, articulate, empty, sincere, money, oh my!" It was quite prophetic that Dou Wei wrote this song in 1994. We had to admitted that the lyrics is the true reflection of today and not outdated at all. The millennial generation should call Dou Wei as uncle. That ‘Uncle Dou’ who chanted "boring" at the time is still the ‘Uncle Dou’ after all. This exhibition also includes non-00s people, several people of 95s, so the exhibition group has become a pan-00s artists group. As the first composition for this exhibition, till the exhibition opened, the article would have a more profound experience.
—Shaofeng Duan
Exhibition Preview
#1
直到我们可以
Till we could
我们在当代语境下尝试定义自我身份，去探索与强调每一种身份的可能性，对于这些多元角色，我们是否需要为其寻找一个准确的定位，亦或是放弃定义并承认其流动的本质，我们如何在传统认知中构建我们的自由念想？于是乎，我们不得不发问，我是谁，我们是谁？
We are trying to define our identity in the contemporary context, exploring and emphasizing the possibilities of each identity. Do we need to find a precise position for multiple identifications or abandon the definition and acknowledge their fluid nature? How do we build ourthought liberty within the traditional perception?So, we have to ask, who am I, who are we?
伽让
+run
垡头煮饭婆，创作以行为与装置为主。
Home-based cook , Work mainly based on performance and installation.
酉良
You Liang
一个视觉艺术家，一个东方嬉皮，一个城市流浪汉，一个玻璃制品，一只金色小狗。目前专注于实践私摄影、行为艺术、装置艺术和艺术书出版。
A visual artist, an oriental hippie, an urban drifter, a glass object and a golden puppy. Currently focusing on practising private photography, performance art, installation and art book publishing.
凌佳宁
Ling Jianing
一个女裁缝
A seamstress.
沈靖浩
Shen Jinghao
出生于四川，中央美院在读，近期创作是穿成个女的。
Born in Sichuan, studying at CAFA, indulging in dressed as a woman recently.
孟倬
Meng Zhuo
勤劳的散步人
Industrious stroller.
#2
无题
Untitled
由并不存在的词语“丝滑”展开的一切。
All start from the non-existent word "SILKYNESS".
佘璐芸
1ceas
女,1997年
作品主要关心的领域: 第二工业范围下的美学与社会现象; 解构严肃艺术状态。
female,b.1997
The main areas of interest are, aesthetics and social phenomena in the context of the secondary industry; deconstruction of the state of serious art.
安思潼
ast
女，2000年
female,b.2000
曹文青
Cao WenQing
女，2000年，天蝎座，A型血
（以上信息有两条是假的）
female,b.2000,Scorpio, blood type A
weibo：@施的夺
IG：@ov4al
七幺
Qiyao
1996年出生于福建福州，2019年毕业于湖北美术学院雕塑系，现中央美术学院实验艺术学院硕士研究生在读。
born in 1996 in Fuzhou, Fujian Province, graduated from the Sculpture Department of Hubei Academy of Fine Arts in 2019 and is currently a master's student at the School of Experimental Art of CAFA.
黄子玥
Huang Ziyue
旧媒体艺术家，作品涉及影像、装置、行为等。从2017年起进行对“饭圈”文化现象的田野调查，并担任各大流量明星后援会会长。
An old-school media artist whose works involve video, installation and performance. She has been conducting field research on the cultural phenomenon of the "fan circle" since 2017 and is the president of fan clubs for major celebrities.
#3
网
network
一多互摄，重重无尽，因陀罗网。我们在封闭的自我审视、表达，自顾自的翩翩起舞时，身后的细丝却把我们吊到高空。无一人是孤立的，无一事是超然外物的。你或停或走，网或疏或密，时时在变亦始终未变。
One more than one, non-form in all form, Indra's net (vast and limitless).While we are dancing in sealed self-examination and expression, the thin wire hoisted us high into the air. No one is isolated, nothing is beyond. You may stop or go; the net may be sparse or dense. It is always changing or never changing.
张予婷
Amy Zhang
我已经什么都没有了，但一切都尚在我预料之中。
I no longer have anything, but everything is still as I expected.
王梓瑜
Tiffany Wang
2000年出生于北京，中央美术学院实验艺术在读，愿望是30岁前养猫。
Born in Beijing in 2000, studying experimental art at CAFA, with the wish to have a cat by the age of 30.
姚忻怡
Cindy Yao
平衡拟像与真实的时尚界图像公主
Balancing images with objects, the Queen of Fashion Images.
刘竹洋
Zhuyang Liu
你觉得这句话是真的吗
Do you think these words are real
Website : www.zhuyanger.com
曲鸣飞
BANZHIMOGU.
cafa实验艺术科技工作室在读，胶片摄影师，玩具艺术家，装置艺术家。
A film photographer, toy artist, installation artist, and a student at CAFA's Experimental Art and Technology Studio.
#4
城市共有
City Public Sharing
城市是复杂性和秩序性的经验集合，也是陌生感和亲密感共存的公共空间，以社会生产为主导的实践方式决定了空间生产的方式，产生的特定空间模型塑造着民众的空间观念。最终，全体社会成员都在被建构的城市空间中行动和物质化。
非固态作为本次展览的策划者与创作者，三位创作者从共有的建筑学背景出发，基于对于城市空间的观察解剖，以新媒体的手段，希望构建一个既非经验的也非先验的，游荡于自然与文化之外的城市第三空间，以空间意识的他者形式呈现一个作为多元联结体的共有城市。
The city is the experience collection of complexity and order, also is the public space where strangeness and intimacy coexist. The social production-oriented practices determine the way space is produced. The specific spatial model produced shape Shaping the spatial perception of the population. Ultimately, all social members would act and be materialize in the constructed urban space.
Non-Solid State as the curator and creator of this exhibition, from a shared architectural background, based on the observation and dissection of urban space, used new media to construct a third space of the city that is neither empirical nor a priori, wandering outside of nature and culture, presenting a shared city as a pluralistic linkage in the form of a spatially conscious other.
雷宏才
Hongcai
宏(Macro)是雷宏才的跨媒体艺术项目。从视觉声音再到空间的多重身份让他不断重新反思科技与感受力间的模糊边界，而对算法生成和交互电路的熟悉让他更好的体会其中的手工与系统性。正如“宏”在编程中简洁语法的作用，宏(Macro)会以更加精炼的方式来观察信息时代的社会与生活。
Macro is Lei Hongcai's cross-media art project. His multiple identities from visual sound to space allow him to constantly rethink the blurred boundaries between technology and sensibility, while his familiarity with algorithmic generation and interactive circuitry allow him to better appreciate the manual and systematic nature of it. Just as the 'macro' serves as a concise syntax in programming, Macro will be a more refined way of looking at society and life in the information age.
柳逸轩
Liu Yixuan
中央美术学院在读，长期关注电影、建筑、城市及其背后相关的景观社会、空间生产等议题，以空间、图像、影像为主要创作媒介，游弋于虚拟与真实的边界。
A student at CAFA, Liu has long been concerned with film, architecture, the city and the related issues of landscape society and spatial production behind them, using space, image and video as the main creation medium, cruising around the border between the virtual and the real.
曹施熠
Sheen Cao
普通建筑学教育体系中貌似普通的刺头青，臆想都市漫游者，长期以无计划、无意识的方式从事多种低俗艺术活动。
A seemingly commonplace hothead in the general architectural education system, a hypothetical urban wanderer who has been engaged in a variety of vulgar artistic activities in an unplanned and unconscious manner for a long time.