我们什么时候可以？
拟像空间当前正在展出“齐泽克：无聊是每一个真实行动的开始”，其中展出了20余件泛00后艺术家的作品，作为Z时代的新一代，我们对此向他们提出了几个问题，问题关于当今艺术在他们心中的价值，以及这一代艺术家的创作想要表达什么。
Simulacra currently exhibit "Zizek: Boredom is the Beginning of Every Authentic Act", which features over 20 works by pan-millennial artists. As the new generation of the Z-era, we asked them a few questions about the value of art from their perspective today, and what this generation of artists wants to express.
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.
《红》，彩虹旗，2021
The Red，2021，Medium: Rainbow Flag
Exhibition View
我比较关注“集体”这个概念，体现个体与其之间的依存和对抗。
I am more concerned with the concept of "collectives", which reflects the dependence and confrontation between individuals and themselves.
土耳其作家帕慕克小说《我的名字叫红》讲述的有爱情，谋杀，在看似美好的背后实则包裹着冲突。“今天事实上我们对于性少数群体的讨论包裹在含蓄包容的态度中，这使得讨论变得愈加隐晦艰难，这一群体面对的问题，在社会上呈现出了避而不谈的情景。”我寻找了国内挂有彩虹旗场所，这些场所涵盖慈善基金会，公益组织，学院社团，娱乐场所等，我会去往这些场所，用剪刀将这些彩虹旗上的红色部分剪下，再将剪下的部分缝合形成新的完整的旗子。
我其实不喜欢“一对多“地去聊作品的构思，我虽然会不断推敲自己的思路，但我不想将这些思路用语言传达，特别是这种Q&A环节，所以我们就聊些杂七杂八的，在布展的过程中我遇到了很巧合的事情，我缝合的旗子大小和拟像的玻璃窗大小是一样的，所以我就把红旗贴在玻璃窗上，模拟出了灯箱的效果，挺好的。
展览结束后其实陷入了一些焦虑，最近有很多新的方案无法实施，主要还是因为出租屋太小了，没地方做，之前有朋友开玩笑说，我做的东西都可以被折叠放进一个小盒子，一点也不占地方，仔细想想还真是这样，要不就根据这个思路，做一个创作来表达北京的生存焦虑，但一想到这里又觉得太装了，絮絮叨叨的真麻烦。
My Name is Red, written by Turkish author Pamuk, is about having love, murder, behind with the spurious beauty but wrapped in conflict. "The fact that today our discussion of sexual minorities is wrapped in an implicitly inclusive attitude makes it difficult to discuss, and the problems faced by this group present a scenario of avoidance in society." I searched for affirmative with rainbow-flagged venues in China, including charitable foundations, charitable organizations, college clubs, entertainment venues, etc. I would go to these places and use scissors to cut out the red parts of these rainbow flags, and then sew the red strips of fabric together to make a red flag.
To be honest, I don’t like to talk about my idea of the work in a "public" way. Although I will keep polishing my thought, but I don't want to convey these ideas in words, especially this kind of Q&A session. So how about we just talk about something else? In the process of setting up my work, I found out something quite coincidental. The red flag I sewed is as large as the window at Simulacra. So I decided to put my red flag on the glass to simulate the effect of a light box, which was quite good.
After the exhibition, I fell into some anxiety. I had many new proposals that could not be implemented recently, mainly is because of my apartment was too small and there was no enough room for them. A friend make fun of that everything I created are portable, which could be folded and put into a small box, not take up any space at all. When I think about it, it's quite true. I should either make a creation based on this idea to express Beijing's survival anxiety. But when I think about it, I think it's too pretentious and troublesome to ramble on.
凌佳宁 Ling Jianing
一个女裁缝
A seamstress.
《身份 证》，2021，光栅材料，扫地机器人
IDENTIFICATION Card, 2021,Medium: Grating material, Sweeper
Exhibition View
从自己出发就是想多做一些能和观众互动的东西，多做，注意细节，负责自己的作品。
From myself, I want to create more things that can interact with the audience, do more, pay attention to details, and be responsible for my own works.
自己这次展出的是一个“身份证”——我把自己各个时期的不同的形象以一个夸张放大版的身份证去展示了出来。在制作过程中感谢伽让、阿佘和小曹提的建议，想到后来用光栅这种材料去把几张图放大放在一个板子上展示，这样观众在运动中会更直接的感受到图像的变换。这个作品出发点是我自己的一个疑问，对我自我的身份认同上，我们真的是一成不变的吗？从上一代给我们传递信息来看，似乎一个人的身份和形象是稳定的、二元的，这包括我们的性别、性格，它们最终塑造一个稳定不变的人格。但在如今这个时代，从我自身出发，我觉得这些其实都是在一个流动的状态里，就像观展的各位看到的我的身份证一样，它是会随着运动不断变换的。
What I exhibited this time was an "IDENTIFICATION Card " - I displayed different images of myself from different periods in an exaggerated and enlarged version of my ID card. Thanks to +Run, She and Cao’s suggestions of using lenticular material to enlarge several images on a board, so that the audience would feel the transformation of the images more directly during the movement. The starting point of this work is my own question: are we unchanging in terms of self-identity? From the messages passed to us by the previous generation, it seems that one's identity and image are stable and binary, which includes our gender, personality, and they ultimately shape a stable and unchanging personality. But today, from my own perspective, I feel that these are actually in a state of fluidity, just like my ID card seen by those who view the exhibition, which is constantly changing with movement.
沈靖皓 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.
《椰子的单相思》，2019，单屏影像装置 彩色有声 2分28秒 尺寸可变，立柱式话筒地毯喷绘海报木质显示器盒
Coconut’s secret love, 2019，Classification: Single screen video installation ，Color audiovisual, Changeable size ，Duration: 2 mins 28 s ，Medium: Stand Microphone, Carpet, Airbrush Poster, Wooden Monitor Box
《壁花小姐》，2021，行为表演记录双屏影像彩色有声 4分11秒
Miss Wallflower, 2021, Classification: Behavioral Performance Recoding,Medium: Dual-Screen Imaging, Color Audiovisual,Duration: 4mins11s
Exhibition View
今天的艺术好多高科技啊，我有点摸不着头脑，跟不上脚步。
我自己的创作总是由某种难以抑制的冲动牵引着，我想它应该不是存在于某本书籍中的真理，它应该是我生活的全部体验。
I feel that today's art is full of high technology, which makes me a bit confused and unable to follow.
My own creations are always pulled by some uncontrollable impulse, and I think it should not be a truth that exists in some book, it should be the whole experience of my life.
《椰子的单相思》是一首描述暗恋的歌曲，在这首歌曲中少女的爱意像甜蜜但又坚硬的椰子一样，被深藏在心中。这好像是一个寓言式的故事：在一些文化中，女性从来不是爱欲的主体，她们总是被幼化弱化成更适合男性观看的模样。这样的观看早已经跳脱出了原有的文化范式，偷拍的镜头出现在日常的每个角落，镜头两端的权力关系决定了谁是主体谁是客体，谁是狩猎者谁又成为了猎物。
另外值得思考的是，这些观看不但入侵了我们更塑造了我们。在这首自导自演的mv中，我的表演一方面是为了对自己的身份作出回应，但我更希望可以呈现出一个得以逃脱桎梏、多样的、复杂的、流动的身体。这样的身体提供了一个错位，抑或是截断，目光因此而变得失焦。
延续我对“观看”问题的关注，在这次新创作的《壁花小姐》中，我将偷拍的视角更加公开化。壁花小姐原指在聚会中被目光忽略的女性，但在我的表演中壁花小姐疯狂地劫掠每位观众的目光。她的身体转换成为一个主动地、积极地、渴望被观看的身体，她使得所有赤裸灼热的目光都被消解，所有难以启齿、不可言说的情愫都得以释放。
我更愿意让自己成为一个观察者，与其说我创造了一些观看的视角，不如说我呈现了一种惯常的体验。这种体验存在于任何日常的缝隙中，日复一日，我们即被观看，又是观看者。
Coconut’s secret love is a song describing a crush in which a young girl's love is hidden deep in her heart like a sweet but hard coconut. It seems to be an allegorical story: in some cultures, women are never the subject of love desire, they are always infantilized and weakened into a shape more suitable for male viewing. This kind of viewing has long since broken out of the original cultural paradigm, with clandestine shots appearing in every corner of daily life, and power relations at both ends of the camera determining who is the subject and who is the object, and who is the hunter and who becomes the prey.
It is also worth to considering that these viewings not only invade us but also shape us. In this self-directed music video, my performance is partly a response to my own identity. But more than that, I hope to present a body that is able to escape its shackles, diverse, complex and fluid. Such a body provides a dislocation or a cut-off, and the gaze becomes unfocused as a result.
Continuing my focus on "viewing," in this new production of "Miss Wallflower," I take a more overt view of surreptitious photography. While Miss Wallflower originally referred to a woman who was ignored by the gaze at a party, in what I have done Miss Wallflower frantically preys on the gaze of every viewer. Her body transforms into an active, aggressive body, eager to be watched, She allows all naked, burning gazes to be dissolved and all unspeakable, unspeakable feelings to be released.
I prefer to make myself an observer, rather than creating some perspective of viewing, I present a habitual experience. This experience exists in the cracks of any daily routine, day after day, where we are both the watched and the viewer.
孟倬 Meng Zhuo
勤劳的散步人
Industrious stroller.
《同志们好》，2021，材料:综合材料
Salute to TONGZHI! , 2021,Medium: Mixed Material
《两位新娘举行了婚礼后, 将牧师绑起来送给了上帝》，2021，
弹簧床、头纱、音响、蜡、灯泡
After the Wedding of Two Brides, They Tie Up the Minister and Dedicated Him to God, 2021
Medium: Bedsprings, Veil, Audio Speaker, Wax, Light bulbs.
Exhibition View
我觉得做艺术最重要的是要闲，有时间跟自己呆着，但最近一段时间学校毕业展布展和导览每一天都让我累得随时可以睡着，让我写点什么我只想哭，因为脑子都是麻的。太累了...... 我是个勤劳的散步人。最喜欢干的事情是散步，大多数写的东西都是散步时候写的。
I think the most important thing in making art is having lots of leisure time that could get alone with yourself. But recently my graduation exhibition and guiding makes me tried to fall asleep at any time, let me write something I just want to cry, because the brain is numb. Too tired ...... I am a diligent walker. My favorite thing to do is walking, and most of the my writing are written while walking.
Exhibition View
拟像的展让我挺开心的，当时还没有那么忙，我给这次的展览做了两个作品，《同志们好》和《两位新娘婚礼过后将牧师绑起来送给了上帝》我以两种完全不同的思路来做它们。
《两位新娘》的方案出发自我现实生活中的一次恶作剧，作品中看似模糊的立场又跟我的身份对立，这个作品的早期推进带给我一种兴奋感。
但在制作的过程中因为手严重烧伤了特别不方便，呈现效果并不是特别理想，感觉之后可能会重做吧。
《同志们好》我觉得就是一个比较观念的作品，因为内容更为简单于是想了比较多的展出形式来丰富展厅。最后呈现效果我觉得还挺好的吧，但也有点遗憾的部分，主要也是太忙了......两个展同期开幕身心疲惫。
希望早点回归散步生活。
The exhibition at Simulacra I wasn’t that busy when it started. I made two works for this exhibition -- Salute to TONGZHIand After the Wedding of Two Brides, They Tie Up the Minister and Dedicated Him to God. But I used two opposite perspectives to creating them.
The proposal of "Two Brides" started from a prank in my real life, and the seemingly ambiguous position in the work was in opposition to my identity. And the early advancement of this work brought me a sense of excitement. But during the process of creating, one of my hands was badly burned. The inconvenience caused the rendering effect not ideal. Maybe I would redo it later.
ForSalute to TONGZHI, I consider it as a more conceptual work. Because the content is simpler, so I thought maybe using more diverse forms to enrich the exhibition hall. The final presentation effect I think is quite good, but also a bit of regret part, mainly too busy ...... Two exhibitions opened at the same time makes me physically and mentally exhausted.
I hope to return to walking life soon.
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.
《无处可逃》，2021，艺术微喷，跳板
Nowhere to Run , 2021 , Medium: Giclée, Springboard
Exhibition View
在体制、文化和艺术思维多重因素的影响下，艺术涵盖的表现形式与体系越来越宽泛，我注重于在作品中尽可能的体现自己的身份特质，例如明显的性别、地域特征，这是响亮的个人宣言。
Under the influence of multiple factors of institutions, culture and artistic thinking, art increasingly covers wider range of expressions and systems. And I focus on reflecting my own identity as much as possible in my works, such as obvious gender and regional characteristics, which is a loud personal statement.
在中国，千禧的性少数群体活在错觉的泡泡里。Queer baiting的影视剧，在同温层里喊得大声的口号，被泛滥地生产的彩虹符号，一同编织了这个真空泡泡。
我在新世纪走向开放的钟声里产生了错误的认知，出柜出得像跳崖，在高速坠落的半空中发现幻觉的隔膜弱质芊芊。
“中国”的“千禧年”的“性少数群体”有什么特征？这种特征在我看来不是群体性的，而是时代性的。而这种时代性并不向上，如果要我形容，我觉得我们是无处可逃的一代。
在布展过程中我的摄影作品尽可能的呼应了空间环境与整体视觉语言，孤立、悬挂的铁笼，明显的暗示，矛盾的体现了我们所处的时代不能明说的暗涌。
In China, the millennial sexual minority lives in a bubble of illusion. ‘Queer baiting’ films and dramas, slogans shouted in the stratosphere, and the rainbow symbols produced in abundance all weave this vacuum bubble together.
I got the wrong perception from the chimes of the new century towards openness. My coming out experiences just like jumping off a cliff but found out that the illusion diagraph is week as fiber in the halfway of high-speed falling.
What are the characteristics of the ‘sexual minorities’ of the ‘millennial generation’ in ‘China’? In my opinion, this characteristic does not present as a group, but an era. If I had to describe it, I would say that we are a generation that has nowhere to go.
During my curating, my photographs echoed the spatial environment and the overall visual language as much as possible. The isolated, hanging iron cages, with their obvious hints, paradoxically embody the undercurrents of the times we live in that cannot be explicitly stated.