【展览回顾】陈劭雄个展

继2007年的“看见的和看不见的，知道的和不知道的”，和2009年“信则有”之后，博而励画廊推出陈劭雄的第三次个展，于2016年10月29日开幕。此次陈劭雄个展展出的作品，跨越艺术家近20年创作生涯，展览将呈现陈劭雄于90年代创作的《视力矫正器3》《风景－2》《警察与小偷》《改变电视频道便改变新娘的决定》等录像装置作品，以及自2005年以来的水墨动画系列录像作品。

生于广东汕头，毕业于广州美术学院的陈劭雄，80年代中期开始介入广州实验艺术界，生活、创作于中国最为繁忙的大都市之一——广州，对都市题材的关注正是是陈劭雄早年与林一林、梁钜辉、徐坦在广州组成艺术小组“大尾象”时就开始的艺术实践，这些经历造就了陈劭雄对城市精神状态的敏锐洞察力。近30年来的艺术创作始终不断重新定义着观看与感知的方式，以一种隐晦的方式折射时代对个体的投射。

Boers-Li Gallery is proud to announce Chen Shaoxiong’s third solo exhibition opening on the 29th of October, 2016. This is Chen's 3rd solo in the gallery, dating back his first exhibition "Visible and invisible, Known and Unknown" in 2007 and second solo “Seeing is Believing" in 2009. This exhibition will feature video installations from the 90s like Sight Adjuster 3, landscape-2, cop and theif, Change the TV Channel, Change the Bride's Decision along with his ink series since 2005. 

Chen was born in Shantou, Guangdong and enrolled in the Guangdong Academy of Art. He has been actively engaging in the experimental art circle in Guangzhou since the mid-80s. Explorations of the urban life have permeated Chen’s creative output since his early involvement with the “Big-Tail Elephant” group. His experience of growing up and living in one of China's most buzzing metropolises cultivated his keen insight into the urban state of mind. Over the past 30 years, his creation has been redefining the way of observing and perceiving things, reflecting the effects this era has exerted on the indviduals in an obscure way.

▲陈劭雄，视力矫正器3，1996，双频录像装置，有声，彩色，7’50’’

Chen Shaoxiong, Sight Adjuster3, 1996, dual channel video installation, sound, color, 7’50’’

▲陈邵雄，改变电视频道便改变新娘的决定，1994，装置，新娘婚纱，带画框及文字的玻璃，随机播放节目的电视

Chen Shaoxiong, Change the TV Channel, Change the Bride’s Decision,1994, installation, wedding dresses, framed glass with lettering, television with random program

陈劭雄 简介

陈劭雄1962年生于广东，毕业于广州美术学院版画系。他是中国当代艺术史上最重要的艺术团体“大尾象”的成员之一。

艺术家的观念艺术运用了多种艺术媒介，包括摄影、录像、装置及水墨绘画，以此来研究中国日新月异的城市风景。通过想象的或是虚构的背景，艺术家记录下现实存在的城市的狂躁节奏和荒谬现实：家庭的生活片断、社会政治的敏感话题、来自娱乐业的传闻、夜生活，甚至非法性交易等事件都是艺术家所关注的题材。

陈劭雄先是使用传统的艺术媒介——水墨进行绘画，进而将它转化为影像这样的技术媒介。在当代生活中，我们每天都会面对越来越多特别的问题，于是，这样的一个混合体：简单的风格加上如上的技巧，使作品变得重要。陈劭雄的作品通常审视的是他的家乡——中国南方迅猛的城市化进程与其不断变化的环境，人的状态，图像的统治力，全球化的美学，以及公共或集体记忆。

Chen Shaoxiong, born in 1962 in Guangdong and educated in the printmaking department of the Guangzhou Fine Art Academy, is a founding member of the Big Tail Elephant Collective, one of the most important artistic collectives in the history of contemporary Chinese art.

The artist’s conceptual work employs a variety of media, including photography, video, installation and ink painting, to investigate the dynamics of China’s rapidly changing cityscapes. Often set against the background of an imaginative or imaginary skyline, the artist records the hectic pace and absurdity of everyday existence: fragments from family life, political issues, rumors from the entertainment industry, restaurants, nightlife, and prostitution. 

Chen Shaoxiong begins with the directness of media such as traditional ink painting and transforms it into technical media such as video; it is a combination of this and the uncomplicated manner in which the everyday confront more extraordinary issues of modern life that gives the work added import. Thematically, his work often deals with the rapidly urbanizing and constantly changing environments of his home province in southern China, the nature of the crowd, the dominance of the image, the aesthetics of globalization, and public or collective memory.

十月二十九日下午四点，陈劭雄在博而励画廊开幕。此次展览是陈劭雄在博而励画廊的第三次个展。此次陈劭雄个展展出的作品，跨越艺术家近30年的创作生涯，展览将呈现陈劭雄于90年代创作的《视力矫正器3》、《风景 2》、《改变电视频道便改变新娘的决定》等录像装置作品，以及自2005年以来的墨水系列录像作品。诸多知名艺术家、收藏家纷纷到场支持。

Boers-Li Gallery is honored to announce the opening of solo exhibition of "Chen Shaoxiong" on the 29^th of October, 2016. This is Chen Shaoxiong’s 3^rd solo with BLG, dating back his first exhibition “Visible and Invisible, Knownand Unknown” in 2007 and second solo “Seeing is Believing” in 2009. This exhibition will feature his works over 30 years of his career, with early installations, videos, photographys and works based on ink painting.

展览现场

▲陈劭雄个展现场

Chen Shaoxiong's exhibition view

生于广东汕头，毕业于广州美术学院的陈劭雄，80年代中期开始进行艺术实验，生活、创作于中国最为繁忙的大都市之一——广州。对都市题材的关注正是陈劭雄早年在广州组建的艺术小组“大尾象”时就开始的艺术实践，他们如“城市游击队”一般，在保持个体独立的前提下的集体行动——介入非典型性的城市发展空间（建筑工地，烂尾楼，大街，停车场等）以捕捉飞速发展的城市变化。陈劭雄敏锐的洞察力，使他近30年来的艺术创作始终不断地关注与思考中国特有的社会发展以及中国与全球等问题，以他独有的幽默方式来表达他的艺术观念和立场。

Chen Shaoxiong(born in Shantou, Guangdong) has been a driving force in the experimental art circle in Guangzhou since the early 90's. Explorations in urban life of the most dynamic place in those days, Guangdong, have permeated his creative output since his early involvement with the “Big-Tail Elephant”group(Liang Juhui, Xu Tan, Lin Yilin). Acting as the creative “City Guerrillas”, members of this group maintained independence under collective action—intervening untypical development space within the city such as construction sites, streets, parkinglots etc. Over the past 30 years, Chen Shaoxiong's profound engagment in the urban life and influential works has redefined the way people observe things.

生活在90年代广州，陈劭雄感受到的是城市生活所带来的“时间的弯曲”，而沉浸于哲学与艺术理论的研究使对艺术语言形式的探索也构成该时期艺术创作的重点。1991年，陈劭雄的行为作品《七天的沉寂》奠定了其艺术地位，尔后的作品开始试图重新定义空间和时间的概念。1996年创作的《视力矫正器》，用两个相机原理的皮腔的视觉装置引导着观者的双眼，分别引向两处播放着相连而又相断的图像内容的屏幕。观看者的双眼及大脑在试图拼合不同信息以寻找其内在逻辑关系的同时经历了“观看”方式的挑战，而作品也实现了对观者的“视力矫正”。正如艺术家所言：“我们所看到的不是我们所想到的，我们所想看的不是我们所应该看的。”正如《风景2》中熟悉的城市风景上那些重叠的不相干的图像，构成的不仅是荒诞感，也是整个社会剧变对个体产生的影响。《街景》系列中，陈劭雄在飞速的城市变化里更多地被日常生活所吸引，诉诸于最简单，普通的相机记录不断变化的城市景观，以拼贴方式，重构出便携式的景观。

Chen Shaoxiong's thoughtful approach to research into the Chinese as well as western thinking positioned him as an explorer of conceptual reflection and contemporary art production. In 1991, he defined his position in the art world by taking a seven days period of silence to work himself in the format of aperformance and distance himself from painting. The works are meant to be aresearch in redefining space and time in relation to how perceive these dimensions. In Sight Adjuster, he uses two cameras to redirect theviewer’s eye, leading the eyes in two independent directions to two monitors that play related yet disruptive and incoherent scenes. The redirection of  the eyes is challenging the mind of the viewer by forcing together various sequential streams of information. This procedure of"adjusting"changes the ways people see by putting into question our accepted ways of “seeing”. As the artist puts it: “what we see is not what we think, and what we want to see is not what we are meant to see.” Just like inhis other works, overlapping or sometimes disturbing imageries, may cause the first sight a sense of absurdity, at the same time generating an alternative way of interaction between social-cultural dynamics and the individual composure. This is dramatically visualized in the “Streetscape”series. In these series of photography and photographic installations, Chen Shaoxiongintermixes fragments of his daily life - sometimes very personal -with variousglobal urban scenes. He captures the changing landscape, or better to say “cityscape” into an imagery and collaging them to reconstruct a new, portable landscape.

▲陈劭雄，视力矫正器3，1996，双频录像装置，有声，彩色，7’50’’

Chen Shaoxiong, Sight Adjuster3, 1996, dual channel video installation, sound, color, 7’50’’

自2005年起，陈劭雄创作了一系列水墨录像作品，艺术家不断反思水墨画这一中国传统的绘画语言，作品《墨水东西》中，陈劭雄把日常的周遭的事物不知不觉地一一罗列，时间的形状随着景物的消失而慢慢显现，一连串生活中所触，所用，所拥有的事物，定义着我们存在的事物，一本护照、一个水龙头、一个胸罩和一本艺术杂志都在艺术家一丝不苟的描绘下传递出一种无常。在墨水系列作品中陈劭雄想表达的仍然是时间和物质的传统命题。用传统的水墨画反映现实的世界，并与新媒体技术的融合，是对传统文化在当下展示的可能性的有益探索。

 This perspective shift on human activity plays throughout Chen Shaoxiong's so-called "Ink video" in which he transforms traditional Chinese ink painting - concerningits subject as well as its technique - into contemporary animated video. In hiswork Ink Things, he categorizes his surroundings as a continuously changing decor in which typical scenes disappear as time passes. In this way the artist "portrays" our daily objects: a passport, a water tap, a bra or an art magazine etc. In these iconic "ink series",Chen Shaoxiong stresses on the means of time and traditional materialistic proposition by using traditional ink painting to reflect on the current reality while integrating new media and technology.

▲陈劭雄，墨水日记，2006，单频录像，有声，黑白，3’

Chen Shaoxiong, Ink Diary, 2006, single channel video, sound, black and white, 3’

在陈劭雄镜头下的各色各样的人、事、物，由集体按压指纹组成的城市标志性建筑风景图，亦或是城市风景与乖张图案的组合，这些熟悉而又陌生的场景观和事物，使陈劭雄发展出的这一套感知方式与叙事，带来的是在戏剧的，在全球化与城市发展背后，是关于“真实世界”的思考。

Chen Shaoxiong has kept redefining the way of perception, and reflecting how the impact of time has exerted on individuals. The way of perception and narrating he develops—various people and things under his lens, a collective imagery of historical architectural sites reproduced by a series of finger pressing oncanvas, or the combination of city landscape and perverse images, brings the puzzling questions about the reliability of people’s perceptions towards the“real world”.

BLG LAB是由博而励画廊与艺术家们共同发起，旨在突破常规展览空间的限制，结合Pop up store、休息区、展览、放映、座谈及现场表演等形式，为艺术家搭建一个更加开放的实验性平台。我们将持续发掘当代艺术领域新的可能性，就当代艺术与公众形成进一步的对话。BLG LAB is an open collaborative platform for artistic research, experimentation and creation as well as talks, screenings, exhibitions, Pop up store and performances, taking contemporary themes and innovative artistic strategies out of the gallery and into an ongoing dialog with the public.