「展览回顾」怎么会有这么无聊的展览？

我们的社会总是期盼着新一代的出生和成长，但它始终没有准备好迎接新的一代，或者不如说，社会对新一代的迎接总是伴随着误解。新的人群的出生催生了新的针对他们的意识形态。“贴标签”——这便是我们的社会迎接新一代的特有方式。当前，在新世纪出生的“00后”们，与成长年代的“80后”和“90后”一样，总是面临着突如其来的标签化。

Our society has always looked forward to the birth and growth of a new generation, but it has never been ready to welcome the new generation, or rather, society's welcoming of the new generation has always been accompanied by misunderstandings. The birth of new people gives rise to new ideologies against them. "Labeling" - this is the way our society welcomes the new generation. Currently, the "post-00s" born in the new century, like the "post-80s" and "post-90s" in their formative years, are always faced with sudden labeling.

00后们成长于共和国的繁荣阶段。在00后的成长时期，经济市场化不断深入，（总体上来看）物质财富相当富足，互联网和移动互联网已深入日常生活的每一个角落，交通和信息的便利也让中国更加了解世界并日益加深着两者的相互影响。相比之下，80后和90后则是生长在物质相对匮乏、国际政治存在极大波动、国内政策出现较大变化的时代。

The post-00s are growing up in a period of prosperity for the Republic. The post-00s are growing up in a period of deepening marketization of the economy and (on the whole) considerable material wealth, where the Internet and mobile Internet have penetrated into every corner of daily life, and where access to transportation and information has made China more aware of the world and increasingly influenced the interaction between the two. In contrast, the post-80s and post-90s grew up in an era of relative material scarcity, great volatility in international politics, and major changes in domestic policies.

Exhibition View

社会给“00后”贴上了怎样的标签呢？除了“叛逆”、“自由散漫”这些青春期群体所共有的特点，其最具特色性的或许可以被归结为“网络时代的孩子”、“政治和历史虚无主义”以及“物质享乐主义”。但这是他们的真实状况吗？

What kind of label has society given to the "post-00s"? In addition to "rebellious" and "free-spirited", which are common characteristics of the adolescent group, perhaps the most characteristic ones can be attributed to "children of the Internet era", "political and historical nihilism" and "materialistic hedonism". "Political and historical nihilism" and "materialistic hedonism". But is this really their true condition?

语言常常是一种欺骗，社会为一个群体贴上标签，如此便认为自己了解了这个人群，而真正的认识应该在个体性中寻找。这不仅在于，一个群体的特性应该在其最具代表性的个体中寻找；并且更重要的是，群体总是不可被完全化约的，个体总是拒绝成为社会对他们的评价，他们以自己的言行抵制着群体的标签。这次泛00后艺术家的群展（“齐泽克：无聊是每一个真实行动的开始”）给了我们一次机会，通过这代人真实的作品来了解他们的自我认识和对社会的认识。

Language is often a deception, as society labels a group of people so that it thinks it knows them, when the true understanding is to be found in individuality. This is not only because the identity of a group should be found in its most representative individuals, but also, and more importantly, because a group cannot be completely defined, and individuals always refuse to be judged by society, and they resist the group label by their own words and actions. This group exhibition of pan-post-00 artists ("Zizek: Boredom is the beginning of every authentic action") gives us an opportunity to understand their self-perceptions and their perceptions of society through the real works of this generation.

Exhibition View

齐泽克说过：“无聊是每一个真实行动的开始，没有无聊，就没有创造性。”当然，早在之前，海德格尔等一些哲学家就已经深入分析过“无聊”。甚至早在古希腊，亚里士多德那句“哲学出于闲暇”的名言也可以被解读为“哲学出于无聊”。以此来看，此次展览的主题最契合曹文青的系列作品，这些作品试图呈现艺术家对家庭生活空间的思考。家庭空间中人与人的关系是最基本的社会关系。对00后来说，由于他们缺乏社会生活经验，家庭空间对他们来说显得是最“人性”的空间，甚至是唯一的社会交往空间（学校里的师生关系总还是呈现出某种抽象性，同学之间的关系也并未将社会关系各个方面的内容充分发展出来）。但是，恰恰是在关系中，我们才能察觉到某种“非关系”。这也就是通常所说的“在人群中反而感到分外孤独”。曹的作品以一种戏谑化的方式表达了她对家庭场景中人与人之间关系的怀疑。一进门，迎接客人的是一只空空的鸟笼，里面蹦出一句中国人十分熟悉的话：“来都来了，还带什么东西啊？”（应为：来就来吧，还带什么东西啊？）随后是喝茶、用餐以及餐后的场景，这些作品反映出来的目光是一个儿童式的怀疑目光：关系的规范仿佛是一只无形的鸟笼束缚着人们，家庭交往中人们总是在维护着某种关系（常常是小心翼翼地），而事实上，人与人之间的关系常常显得相当虚无，并不比儿童过家家的游戏真实多少。这就是海德格尔所讨论的三种无聊中的第二种，即“在某事中感到无聊”。艺术家十分敏锐地选取了“客人进入家庭”的这一事件来进行创作，一个陌生他者的闯入就像显影液，使得原本不可见的关系得以呈现出来，并显现出它的某种荒谬性。但在形式上，如何更加彻底地展现这种荒谬呢？

Zizek said, "Boredom is the beginning of every real action, and without boredom, there is no creativity." Of course, some philosophers such as Heidegger had already analyzed "boredom" in depth before. Even in ancient Greece, Aristotle's famous saying "Philosophy comes from leisure " could be interpreted as "Philosophy comes from boredom". In this light, the theme of this exhibition is most fitting for Cao Wenqing's series of works, which attempt to present the artist's thoughts on domestic living space. The relationship between people in the family space is the most basic social relationship. For the 00s, because of their lack of social experience, the family space appears to be the most "human" space for them, and even the only space for social interaction (the teacher-student relationship at school is still somewhat abstract, and the relationship between classmates does not fully develop all aspects of social relationships). But it is precisely in the relations that we perceive a certain "non-relationship". This is what is often referred to as "being alone in a crowd". Cao's works playfully express her suspicion of human relationships in domestic scenes. Upon entering the house, the guest is greeted by an empty birdcage, from which comes a familiar phrase: "Why bring anything as you are here?" (read: just come, what else do you need to bring?) This is followed by scenes of tea, meals, and after-dinner, which reflect a child's skeptical gaze: the norms of relationship seem to be an invisible birdcage that binds people, and in family interactions people are always maintaining certain relationships (often carefully), when in fact the relationships between people often seem rather vague and no more real than a child's playfulness. This is the second of the three kinds of boredom discussed by Heidegger, namely "boredom in something". The artist is very perceptive in choosing the event of a "guest entering the home" to create his work, and the intrusion of a strange other is like a developer that makes the otherwise invisible relationship visible and reveals a certain absurdity of it. But how to show this absurdity more thoroughly in the form?

在第二种无聊之后，海德格尔分析了第三种无聊，即“深度无聊”。深度无聊下，世界整体坍缩，本真的自我凸显出来。不过很遗憾，我们在此次展览中并没有看到有作品能够将此种无聊展现出来（当然，这很难表达，甚至是不可表达的），倒是许多作品都不乏作为乏味的无聊。

After the second kind of boredom, Heidegger analyzes the third kind of boredom, namely "deep boredom". In deep boredom, the world as a whole collapses and the true self comes to the fore. But unfortunately, we do not see any works in this exhibition that can show this kind of boredom (of course, it is difficult or even inexpressible), but many works are not lack of boredom as tedium.

Exhibition View

齐泽克所谓“无聊是每一个真实行动的开始”，指的就是在“深度无聊”之后，个体意识到了自己的本真存在。在此之后的自我认识与自我行动，倒是此次展览中许多作品的主题。凌佳宁呈现了一张硕大的身份证，我们或许可以称之为“Identities Card”，它在不同角度呈现出不同的形象，其寓意是显白的，并且（作为艺术作品）太过显白了。

By "boredom is the beginning of every authentic action", Zizek means that after "deep boredom", the individual becomes aware of his or her true existence. Self-awareness and self-action after that is the theme of many works in this exhibition. Ling Jianing presents a large ID card, which we might call "Identities Card", which presents different images from different angles, and its symbolic meaning is obvious, and (as an art work) even all too obvious.

Exhibition View

沈靖皓、伽让和孟倬三位艺术家的作品也不仅是对自我与社会关系的一种思考，其本身也以各自的方式构成一种行动。沈靖皓的变装行为以一种戏谑的方式面对了性别评价固化的严肃问题。伽让和孟倬则以作品的方式参与到一种关于身份的行动中去。且不说这些作品的水平如何，对00后充满偏见、认为他们虚无主义的人倒是可以来看一看，说不定会把自己的偏见丢掉一些，丢在拟像空间。

The works of Shen Jinghao, +jan and Meng Zhuo are not only a reflection on the relationship between self and society, but also constitute an action in their own way. Shen Jinghao's cross-dressing act confronts the serious issue of solidified gender evaluation in a playful way. +jan and Meng Zhuo, on the other hand, engage in an action about identity in the form of their works. Not to mention the level of these works, people who are prejudiced against the post-00s and consider them nihilistic can take a look at them, and maybe throw away some of their prejudices in the Simulacra Space.

Exhibition View

但无聊并不一定会让人走向本真的自我，面对无聊，人们常常会以游戏和消遣的方式来排解。有人说：“观念艺术必须要有一个好‘点子’。”这句话说的是，观念艺术就是要发明一种新的游戏，而游戏的规则必须有趣。蹩脚的观念艺术要么无力发明一种新的规则，要么充满乏味，而乏味比无聊更让人难以忍受。NSSD小组对城市符号的拆解倒是充满了游戏趣味，他们对日常生活中的微小事物进行拆解，将城市中随处可见的东西以一种游戏化的方式来重新呈现它们，或者将其无用化，或者增添一些奇怪的符号，以此恶搞和反讽：垃圾桶的底部也有更深处，盲道向着墙面延伸到天上，公园的常见的“太空漫步机”被安上了一对“发光的眼睛”……这些作品乍看起来让人眼前一亮，相当俏皮，但如果仔细回味，却更让人觉得无聊。或许他们是想表现一次又一次抵抗无聊的失败，以此说明这就是我们生活的现实。

But boredom does not necessarily lead one to one's true self; in the face of boredom, people often resort to games and diversions to get rid of it. Someone said, "Conceptual art must have a good 'idea'." This statement says that conceptual art is about inventing a new kind of game, and the rules of the game must be interesting. Lame conceptual art is either incapable of inventing a new rule, or it is boring, and boring is more unbearable than boring, but the NSSD group's dismantling of urban symbols is full of playfulness, as they dismantle tiny things in everyday life, re-presenting them in a playful way, either by rendering them useless or adding strange symbols, in order to spoof and satirize them. In this way, they spoof and ironize: the bottom of a garbage can is deeper, a blind alley extends into the sky towards the wall, a pair of "glowing eyes" are placed on the common "spacewalker" in the park... ...These works look bright and playful at first glance, but if you look back, they are more boring. Perhaps they are trying to show the failure to resist boredom again and again, as a way to show that this is the reality of our lives.

Exhibition View

动物会无聊吗？海德格尔说动物不会无聊，因为动物的世界是封闭的。我们很高兴有艺术家的作品能以自己的方式提出这个问题。姚欣怡的作品通过影像的方式呈现了她给黑猪上的一节课，课程内容很简单：教猪认识时尚品牌，艺术家不厌其烦地重复着一个个的品牌名词，但这只黑猪爱搭不理，只对她投递的食物感兴趣。在这个作品中，这只猪完全符合人们心目中对“蠢”、“傻”、“土”的刻板印象。但从猪的眼睛来看，这些难道不是充满着无聊吗？这些毫无意义的名词以及它们所代表的时尚文化，乃至于人类本身，都比不上他面前的菜叶来得实在。犬儒主义者第欧根尼曾对面前的亚历山大大帝说：“不要挡着我的阳光”，这位“猪儒”先生或许比他更为彻底，因为它对人类已经无所谓到连拒绝都懒得拒绝了。

Do animals get bored? Heidegger says that animals are not bored because their worlds are closed. We are happy to have an artist's work that asks this question in its own way. Cindy Yao's work presents through video a lesson she gave to a black pig. The lesson is simple: teaching the pig about fashion brands, the artist repeats one brand term after another without any trouble, but the black pig is indifferent and only interested in the food she pitches. In this work, the pig perfectly fits the stereotypes of "stupid", "silly" and "rustic". But from the pig's eyes, aren't they full of boredom? These meaningless terms and the fashionable culture they represent, and even man himself, are no more real than the vegetable leaves in front of him. The cynic Diogenes once said to Alexander the Great in front of him, "Don't block my sunlight", but this "pig" is perhaps more thorough than him, because he is so indifferent to human beings that he doesn't even bother to refuse.

00后艺术家只是一个特定的群体，并不能代表所有的00后。但我们仍然可以通过这个展览管窥这个群体的意识与行动。00后生长于一个科技日新月异的时代，这也是我们的正在经历的时代。这些作品反映出了一个总体的特征，那就是被用作异化手段的现代科技，在这些艺术家手里成为了艺术创作的工具和艺术思考的内容。多元主义也在这些作品中以各种方式或隐或显地表达出来，它是我们这个时代真正有建设性的精神之一。尽管这些作品总体上不够成熟，甚至在作品的具体制作工艺上相当粗糙，但这些艺术家大多能诚实地面对自己，他们对社会有所思考、对艺术充满热爱。我们相信，时间会加深他们对艺术的理解；我们希望，社会能为他们提供更广阔的成长空间。

The post-00s artists are only a specific group and do not represent all post-00s. However, we can still get a glimpse of the consciousness and actions of this group through this exhibition, which grows up in an era where technology is changing rapidly, which is also the era we are experiencing. These works reflect a general characteristic that modern technology, used as a means of alienation, has become a tool for artistic creation and a content for artistic reflection in the hands of these artists. Pluralism, which is also expressed in these works in various ways, implicitly or explicitly, is one of the truly constructive spirits of our time. Although these works are generally immature and even quite crude in terms of the specific production process of the works, most of these artists are able to face themselves honestly, they think about the society and are full of love for art. We believe that time will deepen their understanding of art; we hope that society will provide them with a broader space for growth.

文 | 多马

Written by |  Thomas