21.汪建伟系列作品
汪建伟
《“…或者事件导致了每⼀个⽆效的结果。” No.14》
2013年
综合材料－橡胶、⾦属
126 x 100 x 2 厘米
《“…或者事件导致了每⼀个⽆效的结果。” No.15》
2013年
综合材料－木材、橡胶
60 x 61 x 3 厘米
《“…或者事件导致了每⼀个⽆效的结果。” No.16》
2013年
综合材料－木材、橡胶
98 x 85 x 3 厘米
《“…或者事件导致了每⼀个⽆效的结果。” No.17》
2013年
综合材料－⽊材、橡胶
70 x 81 x 3 厘米
（从左至右）
Wang Jianwei
"…the event matured, accomplished in sight of all non-existent human outcomes." No.14
2013
Mixed media-rubber, metal
126 x 100 x 2 cm
"…the event matured, accomplished in sight of all non-existent human outcomes." No.15
2013
Mixed media-wood, rubber
60 x 61 x 3 cm
"…the event matured, accomplished in sight of all non-existent human outcomes." No.16
2013
Mixed media-wood, rubber
98 x 85 x 3 cm
"…the event matured, accomplished in sight of all non-existent human outcomes." No.17
2013
Mixed media-wood, rubber
70 x 81 x 3 cm
(From left to right)
汪建伟，1958年出生于四川省遂宁市，现生活工作于北京
Wang Jianwei, born in Suining in Sichuan Province 1958, lives and works in Beijing
“我希望我的工作就是在跟物打交道，而不是按我设定的路线和目标去处理物。任何一个你们看到的那些叫“作品”的东西，正好是我摸着石头过河的最近的那块石头，那下一个石头在哪儿呢？可能就是半年之后到来的东西。”
——汪建伟
此次展出的汪建伟的四件作品均出自其《“…或者事件导致了每⼀个⽆效的结果。”》系列作品，首次展出于艺术家2013年于北京长征空间举办的同名个展，作品名及展览名引自法国诗人马拉美谜一般的诗作《骰子一掷》。四个尺寸、形状甚至材质不同的黑色几何形体难以简单地被定义为雕塑或绘画，是汪建伟多年来围绕事物与认知的不确定和中间态的持续实验的片段。汪建伟多年来在创作中试图去除附加的概念和明确的关联，回归于“物”的本真，就如他所说：“……我们看现在的美术、艺术正是在用一种被已知所包围的理解方式去解决已知的问题，这实际上是一个坏的循环。”
"I hope my job to be simply playing with objects, instead of dealing with them in a way preset by me. Whatever you see as a piece of 'work', is always a stone nearest to me in the river which I'm trying to get across, and where will be the next stone that I can rely on？It could be something emerged after six months."
——Wang Jianwei
The four pieces displayed in Building and Dreaming are taken from the series "…the event matured, accomplished in the sight of all non-existent human outcomes." by Wang Jianwei, presented for the first time in his homonymic solo show at Long March Space in 2013. The title was quoted from A Throw of the Dice Will Never Abolish Chance (Un coup de dés jamais n'abolira le hasard), the symbolist poetry of Stéphane Mallarmé. Featuring different sizes, nuanced materials and alternating thicknesses, the four works are part of a long-term exploration of the uncertainty of substance and consciousness, and are difficult to define as either sculptures or paintings. For many years, Wang has attempted to extirpate redundant concepts attached to material and to touch the core of the "object". As the artist once put it, “The approach of looking at art today is to solve and understand the existing problems in ways that we've already known, which amounts to a poor circulation."
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