展览预告｜一群斑马横穿马路——沈少民作品展

深圳·光明国际公共艺术季

一群斑马横穿马路——沈少民作品展

艺术家 | 沈少民

策展人 | 冯博一

开幕时间 | 2023年11月29日

展览时间 | 2023年11月29日-2024年3月10日

展览地点 | 光明文化艺术中心美术馆2F展厅A

深圳市光明区宣传文化事业发展专项资金项目

主办单位 | 中共深圳市光明区委宣传部 深圳市光明区文化广电旅游体育局

承办单位 | 盛世再现（深圳）文化艺术发展有限公司 深圳华侨城文体产业管理有限公司

执行单位 | 光明文化艺术中心 科学+艺术联合实验室

学术支持 | 深圳大学本原设计研究中心公共艺术研究所

技术支持 | 深圳市人工智能与机器人研究院

开幕论坛 | 当代艺术关键词

论坛时间 | 2023年11月29日 14:30-16:30

论坛地点 | 光明文化艺术中心美术馆4F报告厅

发言嘉宾 | 杜曦云、胡斌、沈少民、王乃一、钟刚（按姓氏拼音排序）

论坛主持 | 冯博一

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策展人语 

沈少民：设置和跨越障碍

文 / 冯博一

题释

“一群斑马横穿马路”是沈少民写的一首诗《我是我自己的规则》中的一句，也是唯一的一句。当“自然”物种的斑马游荡在“人工”的现代化城市时，斑马条纹与仿生的交通标识的交叠、纠缠，构成了一种极具画面感的混杂、模糊和不确定的境遇。而作为这次展览题目，则比喻出自然生态与社会环境的间隔，意味着从空间界限到空间位移，或在“居间”驻足的距离显现，甚至一线隔空的荒诞。这是沈少民诗歌想象的视差错觉，也是他机智的障眼法。在我看来的这种设置障碍和跨越障碍，便成为他艺术创作的基本诉求，抑或也是他不断思考和反省、探索和批判的立足之地。

时间

沈少民以“时间”作为测试世界变化的一个尺度，成为他这次个展作品的主线之一，如《时间机器》、《分寸之间》等。他通过单体或复数的钟表将循环往复的时间进行折叠，象征出时间所隐含的前行与消逝、激进与后退，以及始终处于永无休止的矛盾之中。一方面这是对现状做出直白、着力的表达，以回应人们在心底已经产生的共识与感知；另一方面意味着我们正处在社会转型的时间断裂带上，一切都变得扑朔迷离。而感应“存在与时间”的并行，也就成为他艺术创作的共识与历史的现实依据。时间不仅是世间万物变化的表现，还可以作为唯一存在的见证。仿佛他是一位时间的捕手，用震荡的钟摆来重新拾起时间的刻度与重量。

互动

沈少民《声音的记忆》是将我们随身的耳机放大并形成雕塑；《声音的距离》则以动态装置将音乐转化为尺度，呈现音乐的张力。这一设定与公众日常生活建立了直接的互动，产生出切身亲近、共情的密切关系。在这一过程中，他创作的诗歌和观众的介入方式，使个人的私密性与大众的公共性之间，建构并转化出共鸣、交互视听的话语界面，从而摆脱和超越了传统公共艺术作品的单一形态。这是他对公众参与的平等交流和尊重姿态，弥合了艺术家与观众、作品与参与者之间的隔阂，演绎了一种共生、共享的“在场”情境。

经典

沈少民在经过他“处理与被处理”的《和解》、《玫瑰骗局》、《物质碎片》系列作品中，以超写实手法将艺术史中具有经典意义的，且对中国当代艺术产生深远影响的艺术家——马塞尔·杜尚、约瑟夫·博伊斯和安迪·沃霍尔，塑造成一座座逼真的雕像，又安置在暗黑的几何结构之中。这既是他对经典的一种态度和方式，也是他对经典所形成的认知方式和叙事规则的反思与挑战，而这种“互为图像”关系，还是他对代表性艺术家原有创作意识形态的颠覆与拆解。当在经典内部处理经典，并用残留在经典中的能量破坏其控制力时，他的创作可以说改变了以往经典的价值和方向，让这些熟悉的形象陌生化，开始摆脱经典力量与规则后的自由。同时，使这些耳熟能详的经典所提供的标准变得短暂而不可靠，也在忍俊不禁的诙谐与幽默中，体会出犯忌般的快感而耐人寻味。当代艺术的概念和界定，不仅有现实批判的属性，还有对艺术系统本身的判断。尽管它并不传达所谓的正确，却给予我们已经被普遍认为是寻常、固定的事物而赋予更多别样的视角及可能。

寓言

沈少民的大型装置《中国鲤鱼》是他制作了二千条仿真硅胶鲤鱼，并置于一个超大的渔网之中。鲤鱼本身的生命，以及在我们传统文化、消费文化的寓意，成为他利用的象征和隐喻的符号资源。实际上，他以重构与置换的方式对自然生态不断被破坏的一种带有警示与预知作用的视觉显现。现代化的影响涉及人类生活的各个领域，尤其是生存的自然环境。但在认识论上对于人类主体无限能力的崇拜，以及经济领域对于自然资源的过度开发，正是现代化得以滋生的土壤，造成我们深陷其中，无处逃遁。因此，这种带有警醒式的寓言，体现的是一种趋同文化的心理暗示，我们更应将这种暗示理解为一种超越现实的反思方式。可以说这是沈少民与我们之间对现状及未来的多维感应，更是他对自然环境、生态危机的焦虑，以及提示出一种警觉的张力作用。或许正是在这种表象背后隐藏着深刻的社会问题，才能在美术馆的现场，显示出沈少民不露声色的洞察力与表现力，并引起观众对人类生存境遇在心理和意识上的认同危机。仿佛“我们”的周围就是“它们”的现在。

镜像

在沈少民的《我和我自己》里，镜中之境与像外之相，如同让你走进了一片迷宫，神秘而又充满诱惑。作为观者，我们几乎始终在寻找这座迷宫的出口，这个动作贯穿于我们的整个审视过程。但是走向出口的路径总是显得扑朔迷离，多年积累的视觉经验在这里似乎一点也用不上了，一切都要重新体验。有时前方出现一片亮光，我们以为那就是指引我们走出迷宫的希望，殊不知仍是自己的幻觉和虚妄。显然他不是一个乐观的预言家，而是一个迷茫在边缘的关注者和边界的穿越者。

结语

沈少民始终对中国自然与社会的生态环境充满了关切，同时他又用艺术家的眼光面对着中国的急剧变化，表现了他的想象、憧憬和问题意识。而提供的这些不可或缺的警醒线索又指引你穿过黑暗。他在跨越了似真性之后，远比很有现实感的艺术表现有了更多的想象空间，凸显了他在新的语境中自由穿越这些媒介与界限的能力。他的作品里有许多我们需要的能量和想象，一种艺术所能把握的无限变动。他在生命之河里涉渡，看世间万物的生长。

我们一生中有诸多障碍，有些障碍并非他人为你设置，而是你为你自己设置。设置和跨越障碍正是沈少民要做的事儿，也是他赖以生存与表达的工作方式。已故诗人顾城在《一代人》中写到：“黑夜给了我黑色的眼睛，我却用它寻找光明”。而全诗也只有这两句。

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艺术家简介 

沈少民：当代艺术家、纪录片导演、诗人

深圳大学本原设计研究中心公共艺术研究所主任

深圳市人工智能与机器人研究院 科学+艺术联合实验室艺术总监

现工作生活于深圳、北京、悉尼。擅长多领域跨媒介创作，作品涵盖装置、影像、纪录片、观念绘画、诗歌、公共艺术等。

主要大型个展：“一群斑马横穿马路”、“沈少民的科学简史”、“中国鲤鱼”、“这里没有问题”、“算了吧，风”、“一号工程”、“磕头机”、“盆景”、“歼-X”等；

策划重要展览：“问题演绎”；

重要国际展览：悉尼双年展、利物浦双年展、釜山双年展、基辅双年展、上海双年展、广州三年展、深港城市建筑双城双年展、澳门双年展等。

主持设计的“云美术馆”荣获 2022 AMP 美国建筑大师奖展览空间类别最高奖“Best of Best”、2022 年法国巴黎DNA 设计大奖“市民空间类别大奖”、2022 台湾金点设计奖；2017 年作品《峰会》被评为香港巴塞尔最受瞩目的十件作品之一；

纪录片：《我是中国人》、《消失的村落》、《色达日记》、《一个人的寺庙》；

诗集：《我是我自己的结果》、《我扶起自己的影子》；

作品被国内外众多美术馆、机构、大学、基金会及藏家收藏。

策展人简介 

冯博一：男性，生于60年代北京。汉族；群众面目；历史本科；已婚；B血；鼠相；天秤座，上升为处女。从80年代末至今，擅长策展、评论、编辑工作。

Shenzhen · Guangming International Public Art Season

A Herd of Zebras Crossing the Road 

- Shen Shaomin Art Exhibition

Artist | Shen Shaomin

Curator | Feng Boyi

Opening | Nov 29, 2023

Duration | Nov 29, 2023 - Mar 10, 2024

Venue | Exhibition Hall A, 2F, Art Museum of Guangming Culture and Art Center

Publicity and Cultural Development Special Fund Project, Guangming, Shenzhen

Organizers | Publicity Department of CPC Committee of Guangming District, Shenzhen; The Culture, Radio, Television, Tourism and Sports Bureau of Guangming District

Co-organizers | Shengshi Zaixian (Shenzhen) Culture and Art Development Co., Ltd; Shenzhen Overseas Chinese Town Cultural and Sports Industry Management Co.,Ltd

Execution | Guangming Culture and Art Center; Science + Art Joint Lab

Academic Support | Public Art Research Institute of Benyuan Design and Research Center, Shenzhen University

Technical Support | Shenzhen Institute of Artificial Intelligence and Robotics for Society

Opening Forum | Contemporary Art Keywords

Time | Nov 29, 2023 14:30-16:30

Venue | Lecture Hall, 4F, Art Museum of Guangming Culture and Art Center

Speakers | Du Xiyun, Hu Bin, Shen Shaomin, Wang Naiyi, Zhong Gang (in alphabetical order)

Host | Feng Boyi

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Preface

Shen Shaomin: 

Setting Up and Crossing Barrier 

by Feng Boyi

Annotation of the Theme

A Herd of Zebras Crossing the Road is one and the only line of verse in I Am the Rule of My Own, a poem written by Shen Shaomin. When the “natural” species of zebras wander in the “artificial” modern city, the zebra stripes overlap and entangle with bionic traffic signs, constituting a mixed, fuzzy and uncertain situation full of pictorial art. The theme of this exhibition, on the other hand, serves as a metaphor of the gap between natural ecology and social environment, which means the distance from spatial boundary to spatial displacement, or stopping “in between”, even arousing the absurd sense of a line separating the space. This is the parallax illusion of Shen Shaomin’s poetic imagination, and also his witty cover-up of art. This way of setting up and crossing barrier, in my view, has become the basic appeal of his artistic creation, or it is also the foothold of his continuous thinking vs. reflection and exploration vs. criticism.

Time

Shen Shaomin uses “time” as a scale to test the changes of the world, which has become one of the mainlines of his works in this solo exhibition, such as Machine of Time and Between Instancy. He folds the cycles of time with single or plural clocks, symbolizing the forward vs. elapse and radical vs. backward implied in the time, and its being in the state of endless contradiction. On the one hand, it is a straightforward and vigorous expression of the status quo, in response to the consensus and perception that have been generated in the hearts of people; On the other hand, it signifies that we are in the time fracture zone amidst the social transformation, where everything becomes illusive and confusing. And sensing the parallelism of ”existence and time“ has turned into the realistic basis of synchrony and diachrony of his artistic creation. For him, time is not only the manifestation of the change of all things in the world, but also the witness of the only existence. It is as if he was a catcher of time, using the oscillating pendulum to pick up the scale and weight of time again.

Interaction

In his work Memory of Sound, Shen Shaomin intends to enlarge our portable earphones and form them into a sculpture; Distance of Sound, in another way, uses dynamic installation to transform music into scale, presenting the tension of music. This setting establishes a direct interaction with the daily life of the public, producing a close relationship of personal intimacy and empathy. In this process, the way he creates poetry and the audience intervenes help construct and transform a resonant and interactive audio-visual discourse interface between the personal privacy and the publicity, thus getting rid of and surpassing the single form of traditional public art works. This is his attitude toward equal communication and respect for the public participation, bridging the gap between artists and audiences, works and participants, and deducing a symbiotic and shared “presence“ situation.

Classic

In his series of works Reconciliation, Fraudulent Scheme of Rose and Material Debris, which he has “processed and been processed”, Shen Shaomin uses hyper-realistic techniques to shape the artists with classic significance in art history who have a far-reaching influence on the Chinese contemporary art - Marcel Duchamp, Joseph Beuys and Andy Warhol - into lively realistic sculptures, which are then installed in dark geometric structures. This is his attitude and way toward the classics, and also his reflection and challenge on the cognitive style and narrative rules developed in him from the classics, and this “mutual image” relationship is also his disruption and decomposition of the original creative ideology of representative artists. When dealing with the classics from within and destroying its control with the energy remaining in the classics, it can be said that his creation has changed the value and direction of the previous classics, making these familiar images unfamiliar and setting himself free after getting rid of the forces and rules of the classics. Meanwhile, the standards provided by these familiar classics become transient and unreliable, and his creation also makes people feel a taboo-like pleasure and lingering thought in the wittiness and humor. The concept and definition of contemporary art not only have the attribute of realistic criticism, but also the judgment of the art system itself. Although it does not convey the so-called rightness, it gives us more different perspectives and possibilities for what have been generally accepted as usual and fixed.

Allegory

Shen Shaomin's large installation, Chinese Carp, consists of 2,000 simulated silicone Chinese carps that he has created and placed in an oversized fishing net. The life of the carp itself, as well as the implied meaning in Chinese traditional culture and consumer culture, become the symbolic resources of symbolism and metaphors that he uses. In fact, in the way of reconstruction and replacement, it is a visual manifestation with warning and foreknowledge of the continuous destruction of the natural ecology. The impact of modernization involves all areas of human life, especially the natural environment for human existence. But the epistemological worship of the infinite capacity of the human subject, and the overdevelopment of natural resources in the economic field, are exactly the breeding ground for modernization, in which we are trapped, with no way to escape. Therefore, this warning fable reflects a psychological hint of convergent culture, which should be understood as a way of reflection beyond reality. We can say that this is a multidimensional induction between Shen Shaomin and us about the current situation and the future, and more his anxiety about the natural environment and ecological crisis, and a reminder of alerting tension. Perhaps it is the profound social problems hidden behind this appearance that can show Shen’s unemotional insight and expressive force on the scene of the art gallery, and arouse the audience to identify with the psychological and conscious crisis of human existence. It is as if the surrounding of “us” was the present of “them”.

Mirror

In Shen Shaomin’s Me and Myself, the scene in the mirrors and the sight outside the realm are like guiding you into a labyrinth, where it is mysterious and fully alluring. As viewers, we are almost always looking for the exit to the labyrinth, and this action runs through the whole process of our examination. But the path to the exit is always confusing, the visual experience accumulated over the years seems to be of no use here, and everything has to be experienced all over again. Sometimes, a bright light appears in front of us, which we think is the hope to guide us out of the labyrinth, not knowing that it is still our illusion and fantasy. Obviously, he is not an optimistic prophet, but a confused observer on the edge and a boundary crosser.

Conclusion

Shen Shaomin has been concerned about China’s natural and social ecological environment, and he has expressed his imagination, vision and consciousness of questioning in the face of the rapid changes in China with the eyes of an artist. And these indispensable clues of alertness will guide you through the darkness. After crossing over the plausibility, he has far more imaginary spaces than the artistic expression with strong sense of reality, highlighting his ability to freely traverse these media and boundaries in new context. There is a lot of energy and imagination in his works that we need, a kind of infinite variation that art can seize. He wades in the river of life and observes the growth of all things.

We have many barriers in our life, some are not set by others, but by yourself. Setting up and crossing barriers is what Shen Shaomin wants to do, and it is also the way on which he lives and expresses his work. The late poet Gu Cheng wrote A Generation:“The black night gave me black eyes, still I use them to seek light.” And there are only two lines in the poem.

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Artist's Profile

Shen Shaomin：Contemporary Artist, Documentary Director, Poet

Director of the Public Art Research Institute, Benyuan Design and Research Center, Shenzhen University

Art Director of the Science + Art Joint Lab, Shenzhen Institute of Artificial Intelligence and Robotics for Society

Currently based in Shenzhen, Beijing (China), and Sydney (Australia). Multi-disciplinary and cross-media, notable works span installation, video, documentary, conceptual painting, poetry, public art, among other formats. 

Recent large-scale solo exhibitions: A Herd of Zebras Crossing the Road; Shen Shaomin's Brief History of Science; Chinese Carp; There is No Problem; Let it Be, Wind; Project No.1; Kowtow Pump; Bonsai; Fighter-X. 

Recent curated exhibition: The Deduction of the Question.

Participated influential group exhibitions: Sydney Biennale; Liverpool Biennale; Busan Biennale; Kiev Biennale; Shanghai Biennale; Guangzhou Triennial; The Shenzhen-Hongkong Bi-City Biennale of Urbanism/Architecture; Macao Biennale.

Leading designer of The "Cloud Art Museum" which was honored with the highest category award, Best of Best, of 2022 AMP (The Architecture MasterPrize) ; the Paris DNA Design Award 2022, the "Civic Building" Category, and the Taiwan Golden Pin Design Award 2022. Summit was selected as one of the 10 most impressive exhibits in 2017 Art Basel Hong Kong. 

Documentary films: I am Chinese; The Vanishing Village; Sertar Diary; One Monk Temple.

Published poetry book: I Am the Result of Myself; Propping My Shadow.

Notable works have been collected worldwide by art galleries, institutions, universities, foundations and collectors.

Curator's Profile

Feng Boyi: Male, born in Beijing in the 1960s. Han Nationality; Political Status: Masses; Bachelor of History; Married; B-type blood; Chinese Zodiac: Mouse; Libra, rising to Virgo. Career: From the late 1980s to the present, he is good at curating, commenting and editing works.

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