展期 / Duration: 2020.03.07 - 03.31
开幕 / Opening: 2020.03.07, 15:30 - 18:30
地址 / Address: 中国上海市愚园路1088弄愚园公共市集202室
Room 202, Yuyuan Public Market, Lane 1088, Yuyuan Rd, Shanghai, China
弥金画廊翟翌个展《隐椟》现已开幕，展期延长至3月31号。展览介绍可见于 翟翌：造神，及匣中窥灵| 艺术汇 展评
届时，我们荣幸的邀请到翟翌和王智一作为本期的对话嘉宾。对谈，是近距离了解艺术家艺术理念和创作故事的有效途径。通过两位艺术家一问一答的对谈形式，我们或许能够进一步窥探翟翌的艺术迷宫。
本期嘉宾：
翟翌
王智一
Q：王智一 WANG ZHIYI
A：翟翌 ZHAI YI
Q： 单看作品会感觉你是一个有信仰的人，你认为目前有哪些是值得你去关注与相信的呢？
A：事实上我并没有具体的宗教信仰。但由于在学习传统国画的过程当中会接触到一些宗教题材绘画，所以确实会受到一些宗教观的影响。目前感触较深的是佛教中讲"无缘大慈，同体大悲，自他相换"。我们很难做到这样的绝对纯洁与绝对高尚，一方面要看到别人的悲喜；另一方面，看不到别人的悲喜则是"无明"。个人也许很渺小做不了什么，但是要看到，去“看”很重要。
Q：的确，在我试着去看的过程中，不难发现：在你的画面内，出现了大量时空纵横的内容与体裁，我很好奇你是如何去整理与组织的，可以展开讲讲吗？
A：盒子不仅仅是一个物理空间，所有盒子对我来讲，是房间，更是迷宫。"墙壁"是用来填满图像的框架，我一般会先创造一个心理空间，再填充图像，图像布置会根据我当时的相关经历——那些看过的书籍和关注的问题所展开，再整合到"墙壁"上。例如早期的盒子中主要以元代壁画、敦煌壁画为线索，我汲取其中感兴趣的片段，再组合到自己的画面中，形成新的故事。在偷窥的系列作品中，以秘戏图为线索，盒子成为中式庭院的围墙，围城之内是欲望的庇护所。
▲ 窥之四，翟翌，绢本设色，59x59cm，2019
Q： 庇护所是一个很私密的个人领域，它暗示出某种被保护的潜意识。此间，很多画面的细节中都透出出这种被“保护的隐藏”。那么，你怎么看待自己的绘画，以及你认为哪些显露或隐藏是让你兴奋的或志趣所在？
A："隐藏"对我来讲就是东方的一种审美情趣，是含蓄的隐喻：显露出来的是现象，隐藏的那部分是设计的小谜题——太直白的袒露会让我觉得无趣。即使在画面中，不管是被抹去的神像面孔，还是遮挡一半的画面，或者显露出来的人物身体也好，动物触须也罢，并不影响对画面的阅读，反而你脑补出来的部分会更加的完整与迷人。
Q：这让我联想到东方哲学中，有很大一部分是讲究含蓄的，但很奇怪，东方的春宫图确实又非常引人入胜。你虽然运用了其中一些元素：屏障，遮挡，姿势，仪态……但你的表述和前人又有很不一样的地方，明显需要极大的勇气——这里面似乎有一种关于人自身的本性，关于描摹这种“本性”，你觉得它们难在哪里？
▲ 窥之二，翟翌，绢本设色，59x59cm，2019
A：对我而言，挑战在所难免。绘画当然很难，难在如何温柔又不低俗的去表达情欲。举例而言，盒子系列当中有一组作品叫“窥”，在创作这组作品期间，我查阅了一些中国古代秘戏图的资料。在查阅资料的过程里，我注意到了一些有趣的部分：中国古代绘画中女性偷窥者的存在。中国古代春宫图并非像日本浮世绘直接大面积突出人物器官与交媾之景，而是搭建一间书房或庭院或卧室或宅邸等私人场所，再安排人物入场。而偷窥的行为发生在两种人身上：一种是画中角落处的偷窥者，另一位“偷窥者”就是观者本人。第一种偷窥者通常以女性居多，女性偷窥的对象是男女主体，而男性的偷窥对象一般是女性裸体。女性偷窥者通常为男主人家中佣人、妻妾这样的角色。在古代一夫多妻的家庭豢养关系下，女性数量在家族中明显高于男性，因此大多时间里女性属于“被闲置”的状态，可以说，“偷窥”这种行为是画者为她们安排的抒发情欲的方式。第二种“偷窥者”是画家在创作过程中，估计被安排给观画者的，画家通常把“偷窥”的最佳位置留给观者，观者如同被画家邀请一般，使得这种窥视变得“名正言顺”起来。我在创作"窥"这组作品用“纸盒”搭建了一个可以遮挡的隐蔽空间。在画面中，有意的设置了一些障碍物，让观者去寻找隐藏的躯体与细节，眼睛作为视觉接收的主体，被安排在画面中最显眼的位置，去窥视房间里的行为——当然，同时也是在完成一场与观的者对视。
▲ 翟翌个展《隐椟》展览现场
Q：“窥视”这点让我也受到启发。对了，我同时也很好奇：这些作品中的动物，在“对视”的状态中也显得非常意味深长，我记得你好像是挺喜欢动物的，对吧？你有养过哪些动物吗？你怎么看待动物在你作品中的出现于位置？
A：是，目前养了两只猫和一些乌龟。基本上画面中大部分动物的图像也是有一些隐喻和来源，例如交颈鹤的图案来自汉代画像石上的交颈鸟。在时间和地域上，交颈鸟象征着阴阳和谐，头颈缠绕，有男女亲密之意。在唐代的瓷枕上也有交颈鸟纹样，瓷枕属于私人寝具，其实，交颈鸟的纹样也呼应了暗春宫的隐喻。在作品《陨石》当中，虎的纹样来自汉代漆翣。虎象征物欲和勇气，而白马是流逝的时间，其他作品里的蛇或者触手是欲望，缝隙中的太阳鸟是光明与重生等等。
Q：细细看来，手与眼，脚与身形……很多肢体动作虽然无言，但也有意，你觉得它们的姿态最吸引你的是哪些？同时，它们又在暗示着什么？
A：吸引我的地方大概是手指轻拈的佛手的那一瞬间——神像通常是人们把一切美好事物特征寄托组合在一个整体上的美学表现：其实佛手也是通过拉长手指比例，调整动作后形成的审美产物，本身就具有美感。另外佛手本身也具有一定的象征意义，佛手象征着有福之手，能够拿到人人心中有、人人手上无的东西。眼睛不需要刻意吸引，目光本身就是最吸引人的东西。我之前说过：要看到，其实去“看”很重要。
▲ 迷宫，翟翌，纸本设色，88x111cm，2015
Q: Just by looking at the works, I can feel that you are a believer. What do you think is worth your attention and belief?A: Actually, I don't have a specific religion. However, in the process of learning traditional Chinese painting, I will come into contact with some religious paintings. Hence I will be influenced by some religious views. At present, my deep feeling about Buddhism is that it is difficult for us to be so absolutely pure and noble. On the one hand, we must see the happiness and sorrow of others. On the other hand, not seeing others' happiness and sorrow is ignorance. Individuals may be too small to do much but to see, to "see" is important.Q: Indeed, in the process of trying to see, it is not difficult to find: in your pictures, there are a lot of contents and constructs in space and time, I am very curious about how you organize them, can you expand on that?A: A box is more than just a physical space. All boxes to me are rooms and mazes. "Walls" are frames that are used to fill the image. I usually create mental space and then fill the images. The layout of images is based on my relevant experience at that time -- the books I have read and the issues I am concerned about. For example, in the early boxes, I mainly took the Yuan dynasty murals and Dunhuang murals as clues. I absorbed the fragments of them that interested me and combined them into my own pictures to form a new story. In the “Peeping Series”, the box becomes the wall of the Chinese courtyard with the clue of the secret play and the sanctuary of desire inside the besieged city.
▲ 陨落的翅膀与重生之门，翟翌，绢本设色，59x59cm，2019Q: Sanctuary is a very private personal realm that implies some sort of protected subconscious. This "protected hiding" is revealed in many details of the scene. So, what do you think of your paintings and what do you think is exciting or interesting to see or hide? A: "Hiding" to me is a kind of Oriental aesthetic taste, an implicit metaphor: what is revealed is the phenomenon, and the hidden part is the little puzzle of design -- straightforward disclosure would make me feel boring. Even in the picture, whether it is the face of the god that has been erased, or the picture that is half blocked, or the body of the figure or the tentacles of the animal that is revealed, it does not affect the reading of the picture. On the contrary, the part you imagine will be more complete and charming.Q: It reminds me of eastern philosophy, there is a large part of it that is reserved. However, it is confused that Oriental erotic pictures are really fascinating. You use some of these elements: barrier, shelter, posture, deportment... But there is something very different about your statement from traditional ones, and it obviously takes a lot of courage -- there seems to be something about the nature of people themselves, about describing this "nature," and what do you find difficult about them?
▲ 陨石，翟翌，绢本设色，120x140cm，2019A: for me, challenges are inevitable. Painting is, of course, difficult, especially difficult in how to express the erotic desire properly. For example, during the creation of the “Peeping Series”, I consulted some materials of ancient Chinese Erotic Colour Prints. During my search, I noticed something interesting: the presence of female voyeurs in ancient Chinese paintings. Instead of using a large area of the paper to highlight the scene of human organs and coitus like Japanese Ukiyo-e, it is very common to see a private place such as a courtyard or a bedroom in Ancient Chinese eroticism. When the place is built, the characters are arranged to enter. The voyeuristic behavior happens to two kinds of people: one is the voyeur in the corner of the painting, and the other "voyeur" is the viewers themselves. The first type of voyeur is usually female, they are usually domestic servants, wives, and concubines of their male masters. In the ancient polygamous relationship, the number of women in the family was significantly higher than that of men, so women were "idle" in most of the time. It can be said that the behavior of "voyeurism" was the way the painter arranged for them to express their erotic feelings. The second kind of "voyeur" is the painter in the process of creation. The painter usually leaves the best position for the viewer. The viewer is invited by the painter so that this kind of peep becomes "legitimate" up. This group of works uses the "cardboard box" to build a hidden space that can be blocked. In the picture, some obstacles are deliberately set up to let the viewer search for hidden bodies and details. The eyes, as the subject of visual reception, are arranged in the most prominent position in the picture to peep at the behaviors in the room -- of course, they are also completing a scene of eye contact with the viewer.
▲ 翟翌个展《隐椟》展览现场
Q: I'm also curious: the animals in these works are also very expressive in the "eye contact" state, and I remember you kind of like animals, right? Have you ever had any animals? What do you think about the place of animals in your work?A: yes, I have two cats and some turtles at present. Basically, the images of most of the animals in the picture also have some metaphors and sources, for example, the design of the crane comes from the cross neck bird on the stone in the Han dynasty. In terms of time and place, it symbolizes the harmony between Yin and Yang. You can also find such patterns on the porcelain pillow In the Tang dynasty. The porcelain pillow belongs to the private bedding, so in fact, the cross neck bird echoed the erotic part of the relationship between lovers. In the work “Meteorites”, the pattern of the tiger comes from Han dynasty lacquer. The tiger symbolizes material desire and courage, while the white horse is the passing of time, the snake or tentacle in other works is desire, the sunbird in the gap is light and rebirth, etc.Q: On closer inspection, hands and eyes, feet and body... Many gestures are wordless but intentional. What do you find most attractive about their gestures? At the same time, what do they imply?A: What attracts me is probably the moment when the finger is gently touching the Buddha's hand -- the God is usually the aesthetic expression that people put all the beautiful things together as a whole. In fact, the Buddha's hand is also the aesthetic product formed by lengthening the proportion of the finger and adjusting the action, which is beautiful in itself. In addition, the fingered hand itself also has a certain symbolic meaning. The fingered hand symbolizes the blessed hand, which can get things from everyone's heart. The eye does not need to be deliberately attracted, the look itself is the most attractive thing. I've said this before: to see, it's important to see.
▲ 折叠，翟翌，绢本设色，59x59cm，2019
王智一
Wang Zhiyi
生于1991年，是一名游牧性质的复合型工作者。他曾就读于湖北美术学院设计系和壁画与综合材料绘画系，并同时兼顾研究艺术理论及展览实践。现阶段，他关注的策划内容是艺术个体的真实际遇以及其创造力发生的根本动机。另著艺文散见于艺术论坛，艺术界，艺术世界，艺术碎片，艺术汇，美术文献、假杂志，泼先生及典藏等。
翟翌
Zhai Yi
1990 出生
2013 本科毕业于湖北美术学院中国画系中国画专业
2018 研究生毕业于湖北美术学院中国画系工笔人物方向
1990 Born
2013 Graduated from Hubei Art University
2018 Graduated from Hubei Art University
个展
2020 隐椟, Gene Gallery弥金画廊,上海,中国
Solo Exhibition
2020 Hidden Box, Gene Gallery, Shanghai, China
群展
2019 第九届中国画节“时代传承心墨相映”当代院风师生作品展,潍坊鲁台国际会展中心,山东,中国
2018 “门里门外”迁想妙得映物华——第三届美院毕业生优秀作品展,有润美术馆,南京,中国
“一年之寄”当代中国画名家作品邀请展,中国书画杂志社美术馆,北京,中国
2017 第四届“三回”艺术作品展,湖北美术学院,武汉,中国
2016 艺术深圳,美术文献艺术中心,深圳会展中心,深圳,中国
“异曲同工”湖北省工笔学会第二届工笔画大展,武汉,中国
“万象——遇”暨湖北美术学院青年艺术家伯乐计划系列展,武汉拾柘,武汉,中国
2015 “诚信超市——边渡空间两周年纪念展",边渡空间,武汉,中国
“风潮泊岛滨”当代水墨四人展,武汉白社,武汉,中国
2014 “为中国画——全国高等艺术院校花鸟画教学研讨会作品展",中央美术学院,北京.中国
2013 “千里之行”八大美院优秀作品展,中国美术学院,杭州,中国
Group Exhibitions
2019 "Inheriting the spirit of times and drawing with ink", Weifang Lutai international Exhibition Center, Shandong, China
2018 The third excellent works exhibition of graduates of the academy of fine arts, Yourun Art Museum, Nanjing, China
"A year to send", Painting and calligraphy magazine art museum, Beijing, China
2017 The 4th "three times" art exhibition, Hubei Academy of fine arts, Wuhan, China
2016 Art Shenzhen, Shenzhen convention and exhibition center, Shenzhen, China
The second fine brushwork exhibition of Hubei Institute of fine brushwork, Wuhan, China
"Vientiane -- yu", Wuhan Shituo, Wuhan, China
2015 "Integrity supermarket" -- the second-anniversary exhibition, Biandu Space, Wuhan, China
"Wind wave onshore" contemporary ink and wash exhibition, Wuhan Baishe, Wuhan, China
2014 "For Chinese painting -- Flower and Bird painting Exhibition", CAFA, Beijing, China
2013 "A journey of a thousand miles" CAA, Hangzhou, China
往期回顾 LOOKING BACK：
| 弥金GENE | 灾难面前，艺术何为？ |
| 弥金GENE | 冯至炫《旋转太阳宫》 |