LINSEED | 展览预告 | 王雪冰：绿光与蝎
艺术家自述：
儒勒·凡尔纳的《绿光》中，在夏季的海上，日落时分会偶然散发出的罕见的绿色闪光，如果足够幸运，就能捕捉到那一瞬间的绿光。就像夏末那样，假如一个普通的日落代表着死亡，那么日落产生的绿光就象征着爱与重生的奇迹。小说不断将主人公的故事浪漫化，而她自始至终在试图寻找的是无法捕捉的东西。
在其他语境下，绿光的含义则大相径庭。例如在1982年达里奥·阿尔根托执导的经典铅黄电影《坦妮布丽》（Tenebrae）中，绿色是其中一个谋杀场景的背景色。夜晚那令人毛骨悚然的绿色照明映射出折叠变化的图案，让人不寒而栗，避而远之。
另一方面，我患有这种奇怪的“疾病”：我的嘴里不时会长出一种如同蝎子般的生物，而它的两个前爪会附在上颚上。解决病痛则需要很大的勇气拔掉它。而这极度痛苦和费力的治疗过程与对绿光的追求无异。但是一旦摆脱了它，你就会升入一个梦幻般的伊甸园世界。我父亲永远是那个帮我将其拔出嘴的人，因为母亲和其他所有人都害怕得不敢帮忙。有一次，我在山顶上等他，他骑着摩托车过来，从我的嘴里带走了这该死的东西。然后，我们突然身处穆赫兰道，却是在英国的某处乡间。我骑上他的车，像往常一样，开始和他一起探索新的地方，背后传来Burial的歌曲《Come Down to Us》。与此同时，我一直在等下一只蝎子的出现。
这些中等大小的画作所描绘的是欲望和恐惧的意象，正如绿光和蝎子之间反复地相互角力与交融。这些画的有趣之处在于，它们使廉价和奢侈的物品上都散发出无法消除的光芒，同时呈现了虚幻与现实的多重世界。就像凡尔纳的小说一样，这里的绿光和蝎子，在绘画内外，都卸去了才智的伪装。
LINSEED will present artist Wang Xuebing’s first solo project The Green Light and the Scorpion from September 26 to November 22, 2020.
After living in Los Angeles for many years and graduating from the University of California, Los Angeles, Kiki Xuebing Wang continued her study in London, UK, and acquired her Master of Arts degree from the Royal College of Art. Wang’s paintings explore a twisted view of modern consumerism through the lens of luxury fashion and other objects of desire. Taken down from the spotlights and high pedestals, peeled off from massive billboards and commercial campaigns, the trending garments portrayed are trapped, marginalized, displaced, and obscured in the paradox of scale, location and value, examining the possibility to transform the non-valuable into the valuable, and to discern fictions from realities.
Artist's Statement:
On the other hand, I suffer from this weird disease: at times, a scorpion-like creature grows in my mouth. Its two front claws are attached to the hard palate in the cavity. It takes much courage to pull the scorpion out from it, that is, to cure. Excruciating and exhausting is the therapeutic process, not unlike the quest for the green ray, but once you are rid of it, you will ascend into a fantastic, Edenic world. My father would always be the one to pull it out of my mouth because my mother and everyone else is too scared to help. One time, I was waiting for him on top of a hill. He came over on his motorcycle and snatched the damned critter out of my mouth. The place we were in suddenly became Mulholland drive but somewhere in the English countryside. I got on his bike and explored the new places with him. And it’s like that every time, with Come Down to Us by Burial playing in the background. I am always waiting for the next scorpion.
Portrayed here among the small group of moderately sized paintings are objects of desire and fear, like pairing the green ray and the scorpion, repeatedly combatting and collapsing each other. Interested are the paintings in shedding impossible lights on cheap and luxurious objects alike, and in unfolding multiplicities of fictions and realities. Just like in Verne’s novel, here, the green rays and the scorpions within or without the paintings aim at escaping knowledge and intellect.
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