PINK PUNK PARK | 艺术家介绍：冯至炫
“明媚公园设计方案”
文/弥金画廊
冯至炫擅长对材料的探索和创造性使用。在展览《PINK PUNK PARK》中，冯至炫在拟设的温州岛民身份背后，使用触手可及的材料创造丰盛的当代神话。他的雕塑并非将具体的生活颠倒，而是将现实中的符号异化，以鲍德里亚所宣称的虚拟消费与真实恐慌为养分来实现一个王国的构建——它透明且坚硬，与我们平行，似乎不需要属于也不特定产生于任何所谓的文化，也不必要刻意背负任何历史背景。他称自己的艺术实践为“在全球本土化的时代，以异域情调为题材的纪念碑设计”，他在作品在坦然接受景观异化本质的同时成为了某种新的景观。
冯至炫的雕塑常以触手可及的材料作为基础，采用翻模的方式实现负形到实体雕塑的转化，最终通过不断附加外来的材质（碳，石英，金粉等）以达到稳固的混合状态。艺术家在过往参与公共雕塑实践的经历中常常思考，雕塑的内部结构为何不被雕塑本身包括在内？工艺所需要采用的聚氨酯泡沫是否具有除去功能以外的现实意义？雕塑形成后剩余的负形又是否有机会成为主角？在逐步进入个人创作的过程中，艺术家尝试将雕塑的内外空间进行颠倒，将内部结构向外显现而使其成为不得不被重视的一部分。冯至炫将聚氨酯泡沫从建筑材料中剥离的过程也正是他对当下加速运转社会的窥探。对外来图像的截取和混合材料的注入也同样促使着雕塑本身愈发贴近焦虑的社会本质。《诸神的黄金乡》是一个雕塑装置，通过金色的喷泉和解构的躯干拼凑一个神话图像。音频部分摘取了苏慧廉（W.E.Soothill, 1861）拼写的《新约圣书》温州话版本中的一段文字“So-yí nyí -dà-ko höé shá-tih, Ziè-tì-ge chaò-foh ź djüe k‘à yí-kwaih-nang, gi-dà-ko whaì t‘ing-djah”，其中文翻译是“所以你们当知道，神的救恩如今传给外邦人，他们也必听受”。冯至炫假设3000年前温州的大潮退从未发生，瓯人仍然是一个居住在东海的海洋游牧民族。并以此为切入点，试图在丰盛和增长的当代神话中，寻找不同的信仰。《明媚公园设计方案》是一个具有滑梯功能的雕塑。冯至炫改写了望夫石的传说，塑造一块望海石。“相传3000年前，有一位渔民日夜向海水褪去的方向远眺，但望穿秋水，也不见海水的归来。他朝思暮想，最终精诚所至，化作一块望海石。3000年后，人们围绕的望海石建造了明媚公园，望海石被雕琢成了一个滑梯供孩子们玩耍娱乐。”
加速的资本主义导致原始文化的瓦解，本土性和全球化却在坍塌的缝隙中相互滋养。如同冯至炫作品反复出现的喷泉景观，以物易物地将现实中异化了的符号往复嵌入无穷的循环之中，随即构建起一个环形的、自圆其说的神话故事。当下的一切快速且丰盛，对我们的吞噬无序且暴力。那么，与其在摧毁景观中抵抗空虚，不如让我们积极的沉浸于充满无限想象的幸福时光里，通过凝视绝对异化了的景观以实现个体与景观真正的剥离和自我于景观的彻底解放。
"Sparkling Park Design Scheme"
Author/ Gene Gallery
Feng specializes in the exploration and creative use of materials. In the exhibition PINK PUNK PARK, Feng uses accessible materials to create a contemporary mythology behind his proposed identity as a Wenzhou islander. His sculpture is not a concrete life upside down, but the real symbol of alienation, to baudrillard claims of virtual consumption and real panic for the construction of nutrients to achieve a kingdom - it transparent and hard, and we are parallel, seems not to belong to a particular produced in any of the so-called culture, also don't bear any historical background. He calls his artistic practice "the design of exotic monuments in the era of glocalization," and his work becomes a kind of new landscape while accepting the alienated nature of the landscape.
Feng Zhixuan’s sculptures often use materials within reach, and are often transformed from a negative structure to a physical entity through casting means; then the artist adds extra materials (charcoal, quartz, powered gold, etc.) to maintain a stable hybrid state. As he is often involved in public sculpture projects, the artist actively questions: why is the internal structure of a sculpture excluded from the sculpture itself ? Is it possible that the poly-urethane foam used in the process is more than functional, and is meaningful in a real sense? Once the sculpture is finished, is it possible for the leftover negative space to be an artwork? As Feng develops his practice, he tries to turn the sculptural space inside out, reveals the internal structure and makes it a component that has to be accounted for. Stripping polyurethane foam from construction materials, Feng also eagerly and discreetly examines the accelerated contemporary society. Additionally, shots of foreign images and insertions of hybrid materials bring the sculptural works closer to the nature of the anxious society, and closer to greater complexity and instability.
<GODLAND SKYPIEA> is a sculptural installation that pieces together a mythical image through a golden fountain and a deconstructed torso. The audio uses words written in The Wenzhounese version of the New Testl by W.E. Soyi: “So-yí nyí -dà-ko höé shá-tih, Ziè-tì-ge chaò-foh ź djüe k‘à yí-kwaih-nang, gi-dà-ko whaì t‘ing-djah”,the Chinese translation is "so when you know, god's salvation to the gentiles, now they will listen to the". Feng hypothesizeds that the Wenzhou tidal wave never receded 3, 000 years ago, and that the Ou people were still Marine nomads who lived in the East China Sea. With this as an entry point, Feng tries to find different beliefs in the contemporary myth of abundance and growth. <SPARKLING PARK DESIDN SCHEME> is a sculpture with a slide function. Feng Zhixuan rewrites the legend of Wangfu stone and shapes a Wanghai Stone. "Legend has it that 3,000 years ago, a fisherman looked day and night in the direction of the sea receding, but looked far beyond the autumn waters, but the water did not return. He yearned for it so much that he became a stone. Three thousand years later, the park has been built around the Sea Watch stone, which has been carved into a slide for children to play."
Accelerated capitalism leads to the collapse of primitive culture, while indigenous nature and globalization nourish each other in the cracks of collapse. Like the recurring fountain landscape in Feng's works, the dissimilated symbols in reality are repeatedly embedded into the endless cycle by bartering, and then a circular and self-explanatory fairy tale is constructed. Everything in the present is fast and plentiful, devouring us, disordered and violent. Then, instead of resisting emptiness in destroying the landscape, let us actively immerse ourselves in the happy time full of infinite imagination, and realize the real separation of individuals and landscapes and complete liberation of self from the landscape by gazing at the absolutely alienated landscape.
展期 / Duration: 2020.11.08 - 12.07
开幕 / Opening: 2020.11.08, 16:00 - 19:00
地址 / Address: 中国上海市黄浦区鲁班路68号花样年·卢湾68四楼
4F, Huayangnian·Luwan68, Luban Rd., Huangpu District, Shanghai, China
往期回顾 LOOKING BACK：
迁址新展 | 冯至炫、刘川、于航《PINK PUNK PARK》 | |
弥金GENE | 雷童个展“#吃鸡#《风景》Loading@绝地求生”展览现场 |