墨方Mocube | 韩五洲：精心熬制，祝您健康！Han Wuzhou: Wish You Good Health
韩五洲：精心熬制，祝您健康！
Han Wuzhou: Wish You Good Health
策展人：李逦
Curator: Aporia Li
2020.11.21, 4pm. – 2021.1.11
从身体感受出发，用匍匐的姿态生活和创作是韩五洲一贯的方式，与以往展览不同的是，这次艺术家试图“飞升”向超现实之境，那里高于理想，低于生活。
展厅一角，一个可容纳一人的“逃生舱”（《塔的三个形式-3》2020），连接了现实和想象中的另一个宇宙。而这个“任意门”的材料是几百个被吃空的白色药瓶。
“逃生舱”的彼端是“亘古系列”摄影中缥缈无垠的外星旷野，这里的土层显然与地球截然不同，看起来更加绚丽静谧。画面中心矗立的微型“飞行器”几乎隐没在粗糙的沙砾之中，似乎随时会被风暴吞噬。它们的主人可能早已离开多时，甚至被遗弃在这永恒的荒原之中。洒落地上的粉粒和其上零星遍布的彩色玻璃弹珠与“亘古系列”遥相呼应，仿佛让人回到童年的游戏时光。由于身体不好，不能蹲和跑，弹球游戏成了艺术家从未触及过的童年美梦。
缓慢、长久、间歇的疼痛下，人的躯体和精神乃至生活会受到怎样的影响？这是韩五洲早已习得的处境，也成了他生存和思考的原点。阿道司·赫胥黎《美丽新世界》中野蛮人将鞭子狠狠抽打在自己身上时，痛苦、克制和忍耐成了某种必要的品质，是充满智慧和超越神性的，这种痛感也让生存本身变得更加真切和震撼，人们依此寻到生命的起点和能量的源泉。由于疼痛，身体的感受被强调，艺术家的躯体虽被“禁锢”，精神却凭创作游弋。“塔系列作品”在这里承载的某种精神意向，与疼痛、疗愈和希望有关，通往神性。浮屠亦佛亦塔，逐级累积的药瓶和药丸，带领着观者探寻“塔”中神迹。
与生命之重相反，韩五洲是一个有独特幽默感的人，有时不露声色，抖出个冷包袱，愚己娱人。像安阳老家千万老百姓，被生活挤压出善于打趣的能力，也积攒了对付痛苦的智慧，因为总有个念想。
虽然自幼常年服药，各种偏方也尝试了个遍，2015年2月，韩五洲还是阴差阳错拜了个“神医”，开始了又一段多舛的康复之路。其间他做了《邓医生的桌子》（2015）和《几个抽屉》（2016），这两件算是《十年》（2003-2013）的延续，它们的材料都是韩五洲多年服药攒下的胶囊壳与药盒，数以千计。药则被身体逐一分解、吸收，在心底化成了念想。
听“神医”的话，闭关治病的五个月里，韩五洲必须严格按时辰服药，温药的火候也不许半点马虎，平常的饮食作息禁忌更是不胜枚举，随药方的变化而更新。病人几乎杜绝了社交、娱乐、欲望和懈怠。在这样严苛的用药纪律之下，人反而沦为药的工具人。繁琐的吃药流程更像是一种仪式，一点一滴在心里累积着笃信的能量，这似乎不像治疗，更像是一种精神上的规训。念力好比方剂中的君药，笃信成了引子，君臣佐使主次有序。
疾病也成了某种隐喻的本体，指向对生活朴素的期许。药不只是疗愈身体的材料，而是一个希望，一种精神上的安抚与寄托。吃药这件事成了修行，是艺术家的一部分，也是连接躯体与外部世界的一个锚点。以药为圆心，建立的物事、人际、周遭、天地，形成了一个场域，推动着艺术家趋向某个结果，它也许是“亘古系列”超越肉身和精神的无人之境，在那里没有人也没有神，一切都是原初的状态；也许是《几个抽屉》（2016）密密麻麻“破壳而出”的微小希望。这取决于艺术家通过创作，如何调整自我与外部世界的关系。
此次在墨方空间展出的“塔”、“抽屉”、“亘古”三个系列作品，是艺术家弥补缺憾、暂避痛苦的手段，是慰藉，也成就了全新的生命形态和思考方式。就像爱德华·蒙克（Edvard Munch）所说：“我无法摆脱我的疾病，因为我的艺术中有很多只是因为它们而存在。”
不出所料，在“神医”费尽心力的调理之下，韩五洲康复的愿望还是落空了。大量服药加上严格忌口，使身体亏空了不少，体力还不如治疗前。正觉懊恼，转头一看，药袋子上写着—“精心熬制，祝您健康！”又觉些许宽慰。
Physical perception being the fundamental, Han Wuzhou's consistent pattern of behavior is to live down to earth and create with a prostrate gesture. Unlike previous exhibitions, this time, the artist tried to exceed to the surreal field, where it is higher than ideal and lower than life.
In the corner of the space, an "escape pod", Pagoda 3, 2020, that can accommodate one person connects reality and another imaginary universe. The material of this "dimension door" is hundreds of white medicine bottles that have been emptied.
On the farther side of the "escape pod" is the eerie alien wilderness in the Eternally Immutable series of photography. The soil here is noticeably distinct from the one on earth and looks more florid and tranquil. The miniature "aircraft" standing in the center of the picture is almost hidden in the rough gravel, seeming to be swallowed by the storm at any time. Their owner may have been away for a long time or even have abandoned them in this eternal wasteland. The powder particles and the coloured glass marbles are scattered on the floor, echoing the Eternally Immutable series. It seems to bring the audience back to childhood game time. Due to problematic health, the artist was unable to squat and run. Pinball has become a childhood dream that he has never touched.
Under the sluggish, lengthened, and intermittent pain, how will a human's body, spirit, and life be affected? This is a situation that Han has long learned, and it has become the origin of his survival and thinking. Aldous Huxley’s Brave New World has mentioned, when the barbarian lashed his whip on himself, pain, restraint, and endurance became necessary qualities, which full of wisdom and transcendence. This pain also makes survival itself more appalling and real, causing all beings to find the origin of life and the source of energy accordingly. The pain emphasizes physical affections. Though the pain has imprisoned the artist's body, his spirit is cruising through creating. The Pagoda series carries the spiritual intention related to pain, healing, and hope, leading to divinity. The Stupa exists as Buddhist Pagoda and vice versa. The accumulation of medicine bottles and pills guides the viewers to explore the miracles in the Pagoda.
Contrary to the weight of life, Han Wuzhou is a person with a unique sense of humor. He keeps his countenance and tells anti-humor jokes to fool himself and entertain others. Like thousands of fellows in his hometown Anyang, life has squeezed out of their ability of making fun of it. They have also accumulated the wisdom to deal with pain because there is always faith.
Although he has taken medicine all the year-round since he was young and has tried various remedies, in February 2015, Han still entrusted a "prophet” by mistake and began another arduous journey of recovery. In the meantime, he made Dr. Deng's Table, 2015, and the Hive of Hope, 2016. These two pieces are considered as the continuation of Ten Years, 2003-2013. The materials are thousands of capsule shells and medicine packaging boxes of what he had taken and accumulated over many years. Each tablet had broken down and absorbed by the body, where it turned into a hope of recovery at the bottom of the tummy.
Listening to the prophet’s prescription, during the five months of isolation for treatment, Han must take the medicine strictly according to the hour, and the cooking time and temperature of the medicine must not be sloppy. The daily dietary and sleep pattern was also made rigid in order to support the treatment and updated frequently following the changes of the prescription. The patient has almost eliminated social interaction, entertainment, desire, and slack. Under such strict medication discipline, one is reduced to a tool of medicine adversely. The cumbersome process of taking medicine is more like a ritual, bit by bit accumulating convictional energy in the heart. It does not seem like a treatment but a spiritual discipline. The psychokinesis has dominant the prescription, and sincerity has become an ingredient. They build up a network and intertwine with each other.
Illness has also metamorphosed into the ontology of a specified metaphor, pointing to the expectation of simple life. Medicine is not just a material for healing the body, but a hope, a kind of spiritual comfort and sustenance. Taking medication has become a practice, a part of the artist, and an anchor point connecting the body with the external world. Medication as a center is emitting the things, the interpersonal, the milieu, world, and earth. All these matters have formed a field, which pushes the artist towards a particularized result. It might be the place in the Eternally Immutable series – an unmanned state, where transcends the flesh and the spirit. Where is no god, and everything is in its original state; perhaps it is the tiny hopes that broke out of the shell densely in The Hive of Hope. It depends on how the artist modulates the relationship between himself and the external world through art making.
The three series Pagoda, The Hive of Hope, and Eternally Immutable exhibited at Mocube this time are the means for the artist to remedy defects and to avoid the pain. They are the comfort, and they have also created a new life form and way of thinking. As Edvard Munch once confessed that he could not get rid of his sickness, because a lot of his art existed only because of them.
Unsurprisingly, Han's wish for recovery was still in vain under the painstaking care of the prophet. On the contrary, taking plenty of medications as well as the extreme diet has exhausted his body. Han’s physical strength is even worse than before. He felt remorseful and angry. But when he turned his head and saw the medication bag. It said, "Made with affections, wish you health!" He felt somehow relieved.
关于艺术家
韩五洲，1980年生于河南北部山村，现居住于北京城乡结合部。作品涉及装置、录像和摄影。他通常使用生活中随手可得的材料，诸如塑料、废弃物、消费和消耗品进行艺术实践和创作，善于以自身为参照，对生存空间进行思考，并对社会性议题作出反应。
个展&个人项目:“千祥宏集万里峥嵘”，墨方，北京，2017；“大风”，龙口空间，北京，2015；“风的外衣”韩五洲个人项目，黑芝麻空间，北京，2014；“YELLOW”韩五洲个人项目，我们说要有空间于是就有了空间，北京，2014。部分群展：“于无声处，劳作而等待”，墨方，北京，2020；“山河画廊”，龙口空间，北京，2017；“北京诗人”，荷兰Marres当代艺术中心，荷兰，2016；“我是他者”，深圳国际城区影像节，深圳，2016；“蜕变”第四届中国-意大利当代艺术双年展，北京，2016 ；“绵绵若存走岷江”，成都，2016。
关于策展人
李逦（Aporia Li）艺术空间总监、艺术作者、策展人。目前工作生活于北京与洛杉矶。
毕业于北京电影学院，获艺术硕士学位。作为艺术作者，先后为颜磊、叶凌瀚等艺术家撰写画册评论文章，并为艺术论坛ARTFORUM、《艺术当代》、《典藏今艺术》、《VISION》等专业艺术媒体撰写展评及专栏文章。
2017年担任798墨方空间总监，全面负责主持空间的展览项目及长期的战略发展。
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地址：北京市朝阳区酒仙桥路2号798艺术区706北2街
开放时间：周二至周日10:00-18:00（周一闭馆）
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