归零重构丨10位参展艺术家介绍
零 成都大浦当代艺术馆开幕展
Zero
Tuff Contemporary Art Museum Opening exhibition
开幕酒会 Opening Exhibition
2019年4月29日下午四点
展览时间 Exhibition Reception
2019年4月30日-7月30日
展览地址 Exhibition Address
成都天府新区华阳街道向阳街79号
成都大浦当代艺术馆 A空间
项目执行馆长 Exhibition director
马利
策展人 Curator
毛唯辛/何雨
参展艺术家 Exhibition artist
董金玲 北京丨 何利平 成都 丨 计文于×朱卫兵 上海丨 金锋 上海丨 贾煜 西宁丨 申凡 上海 丨
史金淞 北京丨 刘广云 柏林丨蒂姆·乌尔里希斯 柏林丨 乌苏拉·纽格鲍尔 柏林
DongJinling HeLiping JiWenyu&ZhuWeibing JiaYu JinFeng ShenFan ShiJinsong LiuGuangyun TimmUlrichs UrsulaNeugebauer
刘广云 《弹道－新汉德词典》影像装置 2013
刘广云 柏林
旅德艺术家刘广云90年代定居德国，每年都会回到中国工作好几个月。如此频繁地往返于中德之间，以至于他都记不清在国际航班上花费了多少时间。正如评论家米歇尔描述的时差 Time X标题中的不确定变量X，实际上就暗示了那种从不确定性衍生出多样性的处境特征。当然，该作品涵盖回顾了每次旅行中跨越多个时区和严重时差带给他的折磨和困扰，它不仅仅意味着这些跨洲旅行带来的不眠之夜导致的作息紊乱，还意味着每次旅行之后，他都不得不去面对重新适应自己选择生活的国家和祖国的种种困难。以至于他经常会问自己：在中国与德国之间不断寻求着某种平衡的过程中，当我提到我时，这个我意味着谁？刘广云将自己置于这种悖论之中，通过抵抗时间和外部世界的袭扰，从而接近艺术自身的状态将隐秘个人的生活转化成历史考古。通过对图像的再创作，形成对日常生活的干预用相对私人化的语境去反抗身份带来困扰，而东西方文化的冲突同时也让艺术家总是不由自主的将作品拖入地缘政治里从而形成了他作品构建表达的必然机制。
史金淞《灰度》影像装置 2013-2018
史金淞 北京
史金淞职业生涯始于对日常生活的观察，主要兴趣在于研究艺术语言的本质与极限。以一个美学上的暴君对艺术的反思：我们是否能在艺术本体上看到你想看到的一切？不要想，而要看！他想把世界简化到纯粹的逻辑里，史金淞实际上在试图建构这种乌托邦的幻想，营造一个虚妄的形而上的意义和价值。在他的表达中，生活连同人类经验都是折射了众多共同问题的一个棱镜，在这种情况下，日常生活是个人的生活状况里摒除了不完美和不确定的新世界。史金淞 2008年制作的题为短松的作品就借鉴了苏东坡为了纪念他的亡妻而写的诗。各种有着鲜明特色的树木通常都有着隐喻的含义，从一般的生命之树到长寿的桃树，坚定踏实的松树，松树则代表永恒不朽的精神。在中国文化中，从水墨画到诗歌，松树都具有诗意的本质。而灰度 3.72度是史金淞最微妙、最不直接、亦令人难忘的作品之一。尽管如此，它依旧包含了所有让史金淞深感迷恋的元素，将极简派艺术发展到了极致，代表着艺术家在抓取历史遗迹本质中所获得的最伟大的成就。
金锋《关于暴力美学的研究方案之一》装置 警用橡胶棍 尺寸可变 2016
金锋《忧郁Ⅱ》装置 泥塑、涂鸦及报纸 2019
金锋 上海
朗西埃说到审美/政治时，他是把审美包涵着政治的，而不是政治大于审美。某种意义上说，艺术就是超越政治的异感，审美大于政治。艺术家金锋是一个作品有很大争议，或者说能够引起很大争议的艺术家；金锋也是一个被忽视的艺术家。他对当代艺术的形式和传达的抽象思想更感兴趣。他的作品始终执著于先锋实验倾向而真实、直接、暴力是金锋一贯的创作方式，而这往往也是会带来痛感的。在关于暴力美学的研究方案之一中，金锋将800根警棍削解，得到胶皮及内部钢条两部分。胶皮彼此以钉子相连，平铺于墙上，远看似乎蕴含着某种规则，但离近细看，则是以随意性的方式分布。而钢条则竖直插在墙上，组构成中学几何题的图式，同时在灯的照射下形成影子，就像画静物时的暗面与用来形成立体感的阴影一样，使作品更加真实。在削、剥、切、割后，金锋将警棍这一最为常见，也最易让人想到暴力语境的物品不断解构，在精神上，也对暴力一词不断分析，在一刀刀的繁琐中，去探究暴力的本质与根源。在艺术家看来，这是用美学和思考的手段，把警棍从暴力归位理性和秩序，纳入其理论的框架中。而近期作品忧郁Ⅱ来源于丢勒1514年的一件版画作品忧郁Ⅰ。通过对丢勒死亡年代的推测，展开一系列跨时空的对问题的罗列与探讨。作品试图在虚幻的对接与对话中，使得今天的相关问题重新回到历史的语境中加以考察。
申凡《标点-001-3》木板上综合材料 90x120cm x3 2005
申凡《标点-001》三联-木板上综合材料 90x120cm-x3 2005
申凡 上海
作为上海抽象艺术的代表人物之一，艺术家申凡的创作方法希望确认一种属于自我的感知，他的办法是通过对被既定的感知加以否定，用排除法找到属于自我的部分。他选择拆解文字的通道，强暴式留下标点。摆脱文本主体的架构而造成阅读障碍，让文本自行设置。艺术家被放逐于作品之外，从而被简化的标点游离于文字当中成了剩余物。涂掉文字，留下标点。这是一场文本的灾异，文字被精心的密封起来了，标点密封了文字其外在性既有，又没有，因而迷失了，成了被盗走的剩余被窒息的秘密。
计文于x朱卫兵 《林子大了什么样的鸟都来》装置 190x170x150cm 23x28x11cm 2010
计文于x朱卫兵 《瓦全 》装置 78x135x38cm 2012
计文于x朱卫兵 上海
日常平庸的生活，同时又隐喻着存在便是一种荒诞的思想背景。计文于、朱卫兵这对夫妻搭档的艺术家，可以发现他俩的艺术创作有着对日常平庸生活的一种嘲讽、幽默的话语方式，调侃和质疑我们现实的存在，并以既温和又荒诞的方式凸现出我们生存的本质。计文于、朱卫兵夫妇选择用布来完成作品是选择了一种材质，就像他们常说的布这材料有挑战性。一块布裹上了棉，圆不圆、方不方的形，布难于塑造，不可能有精确的再现，它不由你来编排，它随着自己的个性。布温柔，骨子里又很倔强，它经常给我们带来意外。布需要艺术的敏感来把握，在缺陷中显出它的特点，给我们带来了太多新的可能性。制造一种场景和日常化叙事是计文于和朱卫兵作品的重要特征，我们看到，在这些作品中，穿着黑色西装的小人在拍照留念、开会、观景、手持花朵、看电视等这些日常化的场景被特定成符号反复在他们的作品出现，从而形成对日常和现实的反讽与暗喻。它们即在自我之中又在自我之外，认识的行为与认识的对象是合而为一的事。它与自我的精神挣扎，与外在世界之冲突的折射有关联。而人作为一个谜团似的复杂生存，是两个世界的交叉点。于是，便觉得我是一个生活的旁观者但是我最最关心的是：人们对一样东西感兴趣的背后原因，是什么让他们这样兴致勃勃。
董金玲《我从深处求告》行为，图片，视频 1080x1920 2019
董金玲《董金玲》行为影像 1080x1920 2010/2011
董金玲 北京
董金玲同名作品董金玲在她的作品阐述里这样描述，降生到这个星球后我领取了两个礼物：一个是女性的身体，另一个是承继父姓后专属的名字：董金玲。人类文明的进程中女性最神圣的天职就是繁衍，我也不例外：2011年7月7日，晓弗出生。生产之前我做了这样一个决定：让自己的其中一个乳房不做哺乳，让它停止为人类的繁衍工作。我偏执地只用左侧乳房哺乳，由于乳腺的发育左侧乳房过度膨胀，右侧乳房三个月后也已经不再分泌乳汁，左右乳房的大小也愈发明显。这使视觉上身体的对称性变了，观念上作为乳房的从属性也变了，为此我左边的乳房就不再是乳房了，她是董金玲，一件我私藏的艺术品。作为一位艺术家同时又兼具女性和母亲，董金玲放弃一个乳房不做哺乳，而是作为艺术家的创作的材料，变成一个和身体紧密结合的思维。把艺术置于人类繁衍之上，重新确立关于身体的物质属性。从而回到身体，是人的弱点，思想，就是人的尊严。
何利平 《MC.行为参考-我天生与艺术有关》行为图片 2016
何利平 成都
只要心中有沙、哪里都是马尔代夫得以广泛传播的成都艺术家何利平，行为设计简单轻松：裸露上身，穿一条沙滩裤，外围一条白色浴巾的何利平肩扛一袋沙，通过十字路口人行斑马线，在人行道边铺开2平方米的沙，手持一杯果汁，摆出沙滩上晒太阳的各种造型。作品真正的名称是给我两平方米，我会把它做成沙滩，然后静静地躺在上面思考人生，图片被上传到网络后，被网友——那些后制品艺术家重新赋名。这件作品让很多人说表达了万千屌丝的心声和生存状态，其实就是真实有力又富有诗意，很好的呈现了当下人们生存状态和心理期待。
贾煜 《无用之刃》17—21*0.8—1.2*0.8—12cm不等 铬钢 2016-2017
贾煜 西宁
生活在青藏高原的当代艺术家贾煜是一位少言寡语极其安静的基督教徒，无用之刃这组作品从某个角度也映证了这一点，16把刀具质地坚硬而明亮，与其个人气质暗合。贾煜将这组作品命名为埜铩，字面意思是旷野上受伤的羽毛，极抒情，然而这抒情的质地却是如此坚硬。
蒂姆·乌尔里希斯 Timm Ulrichs 《人体避雷》行为图片 1977/1979
蒂姆·乌尔里希斯 Timm Ulrichs《 终结》眼皮纹身 1970
蒂姆·乌尔里希斯 柏林
Timm Ulrichs被认为是德国最具影响力的观念和行动艺术家之一。为了避免任何标志性的风格，他在包括雕塑、装置、表演艺术、视频、摄影、具体诗歌在内的一系列媒介中工作。1959年，他创立了绝对艺术／无意义主义／即兴主义之宣传中心 Werbezentralefür Totalkunst, Banalismus und Extemporismus， 并开始扩展当时有限的艺术概念。他以现成品理念为基础，尤其是以库尔特·施威特斯 Kurt Schwitters的作品 莫斯坤斯特 Merzkunst为基础，展开了具有历史意义的前卫艺术项目: 将艺术与生活链接。他从20世纪60年代开始诠释杜尚观念艺术的概念，使自己的生命、日常生活、身体成为艺术的主体和客体。从那时起，Ulrichs 称自己为完全的艺术家，从那时起，他一直致力于跨学科的，异质的作品。
作为第一件 有生命的艺术作品 关于Ulrichs的Ulrichs，他展示了自己，测量了自己的身体，把自己作为一个有生命的避雷针，暴露在生与死的现实中。他实践一种艺术游戏的方式，把现实与虚构联系在一起，他给眼睑纹身终结 The End这一词语的作品就是其中一款艺术游戏。他创造了一种具有微妙讽刺意味的身体艺术，有意使自己远离通常被称为身体艺术的冲击效果。他的语言游戏、无谓的同义反复、和行动都在直面什么是艺术和什么样的艺术仍然可以是艺术史之中的艺术这样的问题。
乌苏拉·纽格鲍尔（Ursula Neugebauer）《遗产》12张摄影图片 2003
乌苏拉·纽格鲍尔（Ursula Neugebauer）《毛发》妓女毛发制作 2014
乌苏拉·纽格鲍尔 柏林
柏林艺术大学教授著名艺术家乌苏拉·纽格鲍尔觉得艺术有必要在政治上、社会上和道德上负责任吗? 还是只有美才能证明一件艺术品的价值？她创作了遗产Nachlass, Legacy 这一作品: 以死者公寓为特色的照片。死者的出现是基于他或她的缺席; 也就是说，可见的公寓内部使人联想并重构死者的生活。为了给这些场景拍照，还必须进入公寓。被恐惧、惭愧、恐惧和悲伤的混杂心情所深深触动了: 走进一间空房间，问自己，这些不再有人居住的公寓里还存有什么。处理的另一个重要主题是，通过以宗教动机出发的头罩来抑制或消除身体的活力和它的表达。除此之外，她还拍了一部电影: 关于三个隐藏自身头发的女人， 一个是正统的犹太人，一个是穆斯林学生，一个是基督教修女，通过毛发的概念把这三名女性联系起来，并在私人和公共领域的背景下阐明了宗教、女性、身体和空间的角色。一个人的身体作为身份的表达，其人格完整性以一种微妙的方式被探究，尤其是，当覆盖某人的头发被当做她对身体不舒适的直接表达之时，或覆盖在头发上的布似乎是一种没有生命甚至是死亡的隐喻时，就更是如此。
Liu Guangyun settled in Germany in the 1990s. He returns to China every year and works there for several months. He travels so frequently between China and Germany that he cannot count the hours he has spent on international flights. As the writer Michael Stoeber highlights, the indefinite variable “X” in Time X suggests a diverse array of situations derived from uncertainty. Of course, this work encapsulates the numerous time zones he crosses with every trip and the torment and confusion he experiences at the hands of severe jet lag. It highlights the confusion between work and rest caused by the sleepless nights on these intercontinental trips, but it also shows that, after every trip, he must confront re-adjusting to the various difficulties of his home country or the country in which he has chosen to live. In the course of finding balance between China and Germany, he often asks himself: “Who am I when I say ‘I?’” Liu Guangyun places himself within this paradox; by resisting time and the harassment of the outside world, he approaches the state of art itself, transforming a hidden personal life into historical archeology. Through the re-creation of images, he intervenes in everyday life, using relatively private contexts to resist identity-driven predicaments; the clashes between Eastern and Western cultures also mean that the artist’s work always involuntarily engages with regional politics, constituting an inevitable mechanism that drives the voice in his work.
Shi Jinsong’s professional career began with the observation of everyday life, but he is primarily interested in researching the essence and limits of artistic language. He reflects on art through the lens of an aesthetic tyrant: Can we see everything you want to see in art? “I don’t want to think; I want to see!“ He wants to simplify the world into pure logic, and he actually attempts to build this utopian fantasy, fabricating metaphysical meanings and values. As he expresses it, life and human experience are prisms that refract numerous common issues. In this sense, “everyday life” is a new world in which an individual has banished all imperfection and uncertainty from his or her life. Short Pine, created by Shi Jinsong in 2008, draws on a poem that Su Dongpo wrote to commemorate his departed wife. Trees with notable characteristics are often given symbolic meanings—from the ordinary tree of life to the long-lived peach tree and the resolute pine tree. Here, pine trees represent an eternal, immortal spirit. In Chinese culture, pine trees have a poetic essence in everything from ink painting to poetry. Grayscale 3.72 is one of Shi Jinsong’s most subtle, indirect, and unforgettable works. Even so, the work contains all of the elements that deeply interest him; he has developed minimalism to its ultimate point, and it is his greatest achievement in capturing the essence of historical vestiges.
When Jacques Rancière talked about aesthetics and politics, he said that aesthetics contain politics, so politics is no greater than aesthetics. In a sense, art has a strangeness that transcends politics, so aesthetics are greater than politics. Jin Feng is an artist whose work is controversial, or can cause immense controversy, but he has also been overlooked. He is more interested in the forms of contemporary art and the abstract ideas conveyed. His work has always had avant-garde and experimental tendencies, and truth, directness, and violence have always been part of his creative method, an approach that often causes pain. In Research Document on Violent Aesthetics No. 1, Jin Feng dissects 800 truncheons into their exterior rubber and interior steel. The rubber skins are linked together with nails and laid out flat on the wall. From a distance, they almost seem to follow a set of rules, but on closer inspection, they are distributed randomly. The steel rods are stuck into the wall at a right angle, creating something akin to a diagram in a middle school geometry problem. At the same time, the lights cast shadows, and like the shadowed surfaces that are used to create three-dimensionality when painting still-lifes, they make the work seem more “real.” By paring, peeling, cutting, and severing, Jin Feng deconstructs the truncheon, a common object, but also one that is very easily associated with violence. The work analyzes the spirit of violence, and in the minutiae of every cut, he explores the essence and origins of violence. In Jin’s view, he is using aesthetic and intellectual methods to bring the truncheon from violence back to rationality and order, incorporating it into his theoretical framework. His recent work Melencolia Ⅱ is inspired by Albrecht Dürer’s 1514 print Melencolia I. Based on the date of Dürer’s death, Jin enumerates and explores issues that span time and space. Through this imagined connection and conversation, the work attempts to bring modern questions back into a historical context for further examination.
As one of the key figures in Shanghai abstract art, Shen Fan uses a unique method to affirm his own perceptions. By negating established perceptions, he employs an elimination method to find something all his own. He chooses to disassemble text, leaving nothing but the punctuation. In casting off the structure of text itself and creating obstacles to legibility, he leaves the text to find a place for itself. The artist is banished from the work. The simplified punctuation scattered throughout the “text” becomes superfluous. The text is removed, leaving behind the punctuation. This is a disaster for text; the texts had been carefully sealed by the punctuation. The punctuation’s external power is both present and absent, and so it is lost, becoming a stolen “surplus” and a stifled secret.
Everyday life is underpinned by the idea that existence is absurd. The work of husband and wife team Ji Wenyu and Zhu Weibing has a satirical, humorous way of discussing everyday life, mocking and questioning our real existences and highlighting the essence of our existence in gentle yet absurd ways. When Ji and Zhu use cloth to make their work, they are choosing a material that they admit is very challenging. They add cotton padding to the cloth, creating forms that are neither round nor square. Cloth is hard to shape, so it cannot be used for precise representation. It does not lay as the artists want it to; it seems to have a will of its own. Cloth is soft, but it is stubborn at heart, and it often catches them by surprise. Cloth requires the sensitivity of art, and its character is highlighted by its flaws, providing us with many new possibilities. Creating tableaus and utilizing everyday narratives are important characteristics of their work. In these pieces, little people wearing black suits are engaged in everyday activities, such as taking group photos, having meetings, looking at scenery, holding flowers, and watching TV. These people are special symbols that repeatedly appear in their work, creating satires of and metaphors for the everyday and the real. They are both inside and outside themselves; the act of thinking and the object of that thinking have become one. The spiritual struggle between it and the self are connected to conflicts with the external world. As enigmatic, complex existences, people are the intersection point between these two worlds. Therefore, the artists feel that they are bystanders to life. However, what they care about most are the reasons why people are interested in the same things, or what things spark their interest.
In Dong Jinling’s eponymous work, she tells a story. After being incarnated on this planet,received two gifts: a woman’s body and Dong Jinling, a name inherited from her father. The most sacred duty of women in human civilization is reproduction, and she is not an exception. Xiaofu was born on July 7, 2011. Before giving birth, Dong decided to make one of her breasts unable to produce milk, stopping its participation in human reproduction. She used only her left breast to breastfeed, and because of the development of the mammary gland, her left breast began to swell. Three months later, her right breast no longer produced milk, and the size difference between her left and right breasts became increasingly obvious. This changed the visual symmetry of her body; conceptually, this also shifted the subordinate properties of her breasts. As a result, her left breast is no longer a breast; she is Dong Jinling, an artwork for her private collection. As an artist, and also a woman and a mother, when Dong stops using her breast for breastfeeding and uses it as an artist’s creative medium, it becomes a concept intimately connected to the body. Placing art above human reproduction re-establishes her material agency in her body. Here, the body represents humanity’s weakness and ideas represent humanity’s dignity.
Chengdu artist He Liping exploded into the limelight with As Long as There’s Sand in Your Heart, You’re Always in the Maldives. The performance is simple and relaxed in design. The artist is shirtless, wearing a swimsuit and a white towel wrapped around his waist. He carries a bag of sand across a pedestrian crossing at an intersection and lays out two square meters of sand on the sidewalk, then he lies down on this “beach” holding a glass of juice and takes in the sun. The real name of the work is Give Me Two Square Meters and I Will Turn It into a Beach, Then Quietly Lie on It and Think About Life. After pictures were uploaded, the work was renamed by post-production “artists” on the internet. Many people have said that this work expresses the aspirations and circumstances of thousands of “losers,” but it is actually a powerful and poetic piece, and a good presentation of lived circumstances and spiritual expectations today.
Contemporary artist Jia Yu, who lives on the Qinghai-Tibet Plateau, is a quiet man of very few words, and in a way, his series Useless Blade reflects this. The sixteen blades have hard, brilliant qualities, which match his temperament. Jia named this work “yesha,” which literally means “feathers injured in the wilderness.” The name is lyrical, but this lyrical quality also has a rigidity.
Timm is considered one of Germany’s most influential conceptual and performance artists. In order to avoid well-known styles, he has worked in a range of media, including sculpture, installation, performance, video, photography, and poetry. In 1959, he established the Werbezentrale für Totalkunst, Banalismus und Extemporismus (Central Advertising Agency for Total Art, Banalism, and Extemporism) to expand the limited concept of art at the time. With ready-mades, particularlyKurtSchwitters’work Merzkunst, as a foundation, he developed a project of the historic avant-garde: linking art and life. Since the 1960s, he has interpreted (Duchamp’s) ideas of conceptual art, turning the artist’s own life, everyday life, and the body into the subjects and objects of art. Since that time, Ulrichs has called himself “a total artist,” and he has devoted himself to interdisciplinary, unusual works.
In his first living work of art (Ulrichs About Ulrichs), he shows himself and measures his body, turning himself into a living lightning rod revealing the realities of life and death. He engages in artistic games that link reality and fiction; the words “The End” tattooed on his eyelids represent one such game. He creates subtly ironic body art, consciously distancing himself from the shock tactics usually associated with the medium. His linguistic games, pointless tautologies, and actions confront questions such as “What is art?” and “What kind of art can still be art historical?”
Universität der Künste Berlin professor and noted artist Ursula Neugebauer asks, “Must art bear a political, social, and ethical responsibility? Or is beauty the only thing that proves the value of a work of art?” In Nachlass (Legacy), she takes unique photographs of the apartments of people who have died. The presence of the deceased is rooted in his or her absence, which is also to say that, the interiors of these apartments make the viewer think of and reconstruct the life of the person who died. In order to photograph these apartments, Neugebauer had to enter them. She was deeply touched by a mixture of fear, shame, and sadness when she walked into the empty room and had to ask herself what else was present in an apartment in which no one lives. In treating another important topic, Neugebauer interrogates religious hair coverings as the restraint or elimination of physical vitality and its expression. This work is a film about three women who cover their hair—an orthodox Jewish woman, a Muslim student, and a Christian nun. The concept of hair links these three women, and connects to the roles of religion, women, the body, and space in the private and public realms. A person’s body as an expression of identity and integrity is explored in a subtle way, particularly when their feelings about their hair are articulated as discomfort, or when the cloth on their hair seems to be a metaphor for a “life unlived, or even death.”