23.耿建翌系列作品 | Geng Jianyi
耿建翌
《之所以为经典》
1997年
书，纸上水彩
26.5 x 20 x 2 厘米
72页（双面）
艺术家和香格纳画廊惠允
Geng Jianyi
For as much...Being the classical
1997
Book, watercolour on paper
26.5 x 20 x 2 cm
72 double pages
Courtesy of the artist and ShanghART Gallery
《之所以为经典 (61)》
2000年
书，纸上水彩
26.7 x 19.3 x 2 厘米
72页（双面）
艺术家和香格纳画廊惠允
The Reason Why Classic Is (61)
2000
Book, watercolour on paper
26.7 x 19.3 x 2cm
72 double pages
Courtesy of the artist and ShanghART Gallery
《之所以为经典 (73)》
2000年
书，纸上水彩
26.7 x 19.3 x 3.7 厘米
72页（双面）
艺术家和香格纳画廊惠允
The Reason Why Classic Is (73)
2000
Book, watercolour on paper
26.7 x 19.3 x 3.7 cm
72 double pages
Courtesy of the artist and ShanghART gallery
《之所以为经典 (94)》
2000年
书，纸上水彩
26.5 x 19.4 x 2.2 厘米
72页（双面）
艺术家和香格纳画廊惠允
The Reason Why Classic Is (94)
2000
Book, watercolour on paper
26.5 x 19.4 x 2.2 cm
72 double pages
Courtesy of the artist and ShanghART Gallery
《之所以为经典 (130)》
2000年
书，纸上水彩
26.7 x 19.4 x 3.5 厘米
72页（双面）
艺术家和香格纳画廊惠允
The Reason Why Classic Is (130)
2000
Book, watercolour on paper
26.7 x 19.4 x 3.5 cm
72 double pages
Courtesy of the artist and ShanghART Gallery
《之所以为经典》
2000年
书，纸上水彩
26.5 x 20 x 2 厘米
72页（双面）
艺术家惠允
The Reason Why Classic Is
2000
Book, watercolour on paper
26.5 x 20 x 2 cm
72 double pages
Courtesy of the artist
《十秒浸泡（12）》
1999年
书，纸上水彩
19.8 x 12.5 x 0.7厘米
25页（双面），线装本
艺术家惠允
Ten Seconds Immersion (12)
1999
Book, watercolour on paper
19.8 x 12.5 x 0.7cm
25 double pages, thread-bound
Courtesy of the artist
《 泡（40b）》
1999年
书，纸上水彩
19.6 x 12.5 x 0.7厘米
25页（双面），线装本
艺术家惠允
Immerse (40b)
1999
Book, watercolour on paper
19.6 x 12.5 x 0.7cm
25 double pages, thread-bound
Courtesy of the artist
《阅读方式》
2001年
书，红色墨水
26.6 x 19.1 x 5.7 厘米
354页（双面），硬装本
艺术家惠允
The Way of Reading (89)
2001
Book, Red Ink
26.6 x 19.1 x 5.7cm
354 double pages with a hardcover
Courtesy of the artist
《怎一个“的”字了得》
1999年
书，灰色包装
25.7 x 19.2 x 2.7厘米
84页（双面）
艺术家惠允
How Could a “De” Character be Enough?
1999
Book, grey packet
25.7 x 19.2 x 2.7cm
84 leaves in hardcover
Courtesy of the artist
《直到磨平》
1998年-1999年
17 x 17 x 1.5厘米
折页开本，红色墨水
艺术家惠允
Till It Turns into Flat
1998-1999
17 x 17 x 1.5cm
Accordion Multi-Fold, Red Ink
Courtesy of the artist
（从左至右 From Left to Right）
耿建翌，1962 年生于河南郑州，2017 年因病逝世，生前生活工作于杭州
Geng Jianyi, born in Zhengzhou, Henan, 1962, lived and worked in Hangzhou before dying of illness in 2017
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耿建翌在其一生中不断尝试绘画、行为、摄影、装置、影像及纸本等不同的媒介，深挖可见的形式背后不可见的逻辑。“无”对于耿建翌来说几乎是最重要的一个字。在创作过程中，他有意识地置自身于无知、无为、无用的状态，也因此对于人们习以为常的认知保持无畏的质疑。
本次展览展出了耿建翌以孩童般玩乐的方式“做”的一系列书册：《直到磨平》（1998—1999年）中艺术家将一块印章磨平，却在过程中每过一段时间就用印章在书页上郑重地留下落款，当落款从清晰到模糊、直至无法辨认时，印章所代表的身份也逐渐消失。《之所以为经典》系列由一叠纸的边缘被反复刷上颜料，使颜色逐渐向纸张中心渗透，最后装订成册制成。在《之所以为经典》系列、1999年的《泡》和《十秒浸泡》中，不同质地和装订方式的书册以不同时长浸入到颜料中，使颜色逐渐向纸张中心渗透，在每一个対页上形成有着微妙差别的对称图案。而同年的《怎一个“的”字了得》中，艺术家又和几乎没有任何含义的助词“的”过不去，执着地将一本书中除了“的”以外的文字涂黑，再在另一册书本上相应地用黑色方块突出“的”字的位置。至2001年的《阅读方式》，人们则被邀请手沾印泥按照自己的习惯从头至尾翻阅一本空白的书，将读者和作者“本末倒置”……尽管“书写”已被抽空，这些书本却仍能满足人们一页页的翻阅，浏览每页的细微不同，反而凸显了书本的结构——作为信息生产、传递、记录、读取的载体，长久以来书本其形式已超越内容被视作智慧和权威的代表。从这个角度上看，这些无字、无用之书是对某种意识形态加之于人的暗示的提醒。
Geng Jianyi has worked with different mediums such as performance, photography, installation, video, and books, and explored the invisible logic behind visible forms. "Nothingness" is a key concept for Geng Jianyi. He consciously placed himself in a state of ignorance, inaction, and uselessness, which still today challenges the traditional idea of the artists' roles and skills.
The series of works presented in this exhibition are created by Geng in a child-like manner. In Till It Turns into Flat (1998-1999), the artist polished a seal then pressed it heavily on a book to imprint the mark of the seal every once in a while, so that the identity represented by the seal gradually disappeared when the seal changed from clear to fuzzy until illegible. In the series of The Reason Why Classic Is, Immerse (1999) and Ten Seconds Immersion (12) (1999), the empty books with different textures and binding methods were soaked in the liquid dye for various durations. As the watercolour run and bleed towards the centre of the books, it forms a symmetrical pattern with subtle differences on each spread. In another work How Could a "De" Character be Enough? (1999), the artist focused on the Chinese “de” characters found on each page. He blacked out all the words on the book except the “de” characters and highlighted the same position of "de" with small black squares in another book. In The Way of Reading, the viewers had dipped their hands in coloured ink pastes and flipped through the empty book from the first page to the last, changing their positions from readers to authors. Although the meaning of "writing" has been emptied, the books still require an act of reading from the viewers. This underlines the construction of the book, as a vehicle of information, production, dissemination, recording and reading, and demonstrates how the form of a book had become a representation of wisdom and authority, surpassing its context for a long time. In this perspective, these books with no words, no usefulness and no wisdom are debunking how the ideology works through cultural mediums.
《KID MATTERS》
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