卓凡

Recommendation for Zhuo Fan

在卓凡的《每分钟，产生泡沫的速度是……》中，如果把大量涌现的肥皂泡沫（真泡沫）视为时下现实的一种表征的话，那么可以把雕塑（做成的）泡沫视为现实基础的表征。充满泡沫的现实之所以如此张扬，一定有其更深层的架构在支撑。这个看似坚硬的，我们习惯承认的架构其实可能也是脆弱不堪的。尽管它看起来很强大，并不断制造着光怪陆离的现实幻境。

—刘礼宾

In Zhuo Fan’s work Foams produced Speed…Per Minute, if we regard a great number of foams (the real foams) as a characterization of the reality, we can also view the foams made by the sculpture as a characterization of the realistic foundation. The reason why the reality filled with a large sum of foams is so aggressive that it is supported by a deeper structure. This structure seems to be tough and easily accepted by people, but actually it may be quite fragile, even though it looks strong and constantly creates lustrous and dazzling dreamland of reality.

--Liu Libin

 

邬建安

Recommendation for Wu Jian’an

“文明史”的书写已经有诸多版本，在这样的历史中，从野蛮到文明的进化是人类进步的明证。这些叙事对“文明”背后的话语系统以及权力控制缺少更多的反思。邬建安通过他的创作质疑这种“文明史”的合法性、真实性。他心目中有一部“野蛮史”，他通过他的创作恢复“野蛮”所蕴含的能量，揭示“文明”遮羞布下的血腥与残酷。

—刘礼宾

There are various editions of “civilization history” and the evolution from barbarism to civilization during the course of history serves as the evidence of human beings’ progress. These narratives lack necessary reflections on the discourse system behind the “civilization” and power control. Wu Jian’an tries to question the legitimacy and authenticity of this “civilization history” through his works. There is a “barbarism history” in his heart, and he wants to restore the energy of “barbarism” through his works and reveal the bloodiness and cruelty concealed behind the so-called “civilization”.

--Liu Libin

 

金江波

Recommendation for Jin Jiangbo

金江波在对社会的积极介入中，发现了中国在超速进程中的气喘吁吁、汗流浃背的狼狈一面。他的摄影作品大多呈现这一现实。由于具有了田野调查式的客观和冷静，他的摄影作品成为展示“盛世中国”场景的一个有效文本。不同于摄影作品的零度书写，在《天使的云》中，金江波深入现实（抑或称为历史）的深处搅拌，使其沉渣泛起。这些沉渣具体化为鲜活的生灵（倒悬的鸟），在“天使”的名义下，成为阴森的“云”。

—刘礼宾

While actively involving in the society, Jin Jiangbo finds a difficult situation during the process of development at top speed in China, which is presented by most of his photography works. Thanks to the field investigation -- like objectiveness and calmness, his works become an authentic text that shows the scene of “a prosperous China”. Different from the zero description of the photography works, Jin Jiangbo probes into the reality (or the history) in his Angel’s Cloud, stirs the sediment at the bottom of it and makes the floating sediment concretized as a vivid creature (a suspended bird), which becomes a gloomy “cloud” in the name of the “angel”.

--Liu Libin

 

刮子

Recommendation for Guazi

近几年，中国行为艺术创作处于低谷，除了何云昌等几位优秀的行为艺术家之外，绝大多数行为艺术家（姑且称之“艺术家”）的创作使人看到的是创作者的浮躁和冲动，偏狭和肤浅。乃至到当下，行为艺术创作几乎成了“闹剧”、“恶作剧”的同义词。在这样的情形下，年轻艺术家刮子的创作显得弥足珍贵，他对主体自我的深入挖掘，对身体呈现在艺术作品中的度的控制，都显示出他作为一位年轻行为艺术家的杰出素质。在《还有羽毛》中，他以自己三个多月的狱中收集羽毛的行为，在收集羽毛的艰难和沉重以及羽毛的轻盈形体之间形成了有效的对比。这一对比将个体在时下社会中的无奈，以及个体对自由的追求（以及如影随行的沉重）表现得恰到好处。《就这样》则表现出这位年轻艺术家的决绝和坚定。他不停地撞击墙体，并把每一次撞击以刻度明示。最后一撞，刮子晕倒在坚实的墙体下。如果说《还有羽毛》把对自由的向往借助最后羽毛的呈现意象化了，《就这样》则把追求自由的悲剧命运行为化了。

—刘礼宾

During recent years, the performance art in China is at the bottom. Most of the creations of the so-called performance artists show their fickleness, impulsion, insularity and superficiality except a few outstanding ones such as He Yuanchang. Therefore, at present, the creation of the performance art nearly equals to “farces” and “practical jokes”. Under this circumstance, the creation of Guazi, a young artist, is very valuable. He is qualified as a young performance artist because of his thorough understanding of the subjective self and the control of the body representation in artistic works. He used to collect feathers in the prison for three months and finishes his Feathers, which shows an effective comparison between the tough process of collecting the feathers and the lightness of the feathers, expressing the helplessness of individuals in today’s society and the individual pursuit of the freedom (and the sense of heaviness everywhere). That’s It shows the firmness and determination by hitting the wall continuously and marking every collision with clear scales. Guazi finally fainted beside the solid wall. If we agree that Feathers visualizes the desire for freedom through the presentation of the feathers, then we can also say That’s It makes the tragedy of pursuing freedom more concrete.

 

尚一心

Recommendation for Shang Yixin

尚一心打破了固有的绘画空间，通过不同尺寸、不同位置的画框并置，且以光照的视觉语言重构了一个个新的时间逻辑。静谧、有序的视觉整体与其画面内在的细碎与无逻辑的逻辑之间形成了极具意味的张力关系。在这里，时间与空间的张力反而被削弱或消解，毋宁说它超越了简单的时空关联。

—鲁明军

Breaking the inherent space of painting, Shang Yixin reconstructs a couple of new temporal logic with the visual language of light by the juxtaposition of frames of different sizes and positions. A peaceful and orderly vision and a subtle and illogical logic inside the painting form a meaningful tension connection. Here the tension of time and space is weakened or dispelled, or we can also say the simple relationship between time and space is surpassed.

--Lu Mingjun

 

李飞霖

Recommendation for Li Feilin

或许是因为太过理性，李飞霖在创作中总是无法回避他的直接经验。据他说，近作“捕虫记”系列就来自他现下的真实生活，因为租住的地方到处都是蟑螂，蛆，苍蝇，各种虫子。当然，是否经验也并不重要，关键在于如何表征经验，怎样应用修辞。在这个意义上，我们很难看得出来他是经验的，还是先验的，抑或超验的。虚构而不失真实，荒诞而又不失反省，袒陈现实的残酷及其不确定性，直逼人卑微的内心及其反抗和无奈。

—鲁明军

Li Feilin is always too rational to avoid his direct experience during the creation. According to his statement, his latest works Insect Catching series come from his life experience right now, for the room he rents is full of cockroaches, maggots, flies and other insects. Of course, the key to success is not experience itself, but how to characterize the experience and how to take advantage of the rhetoric. From this point of view, it is difficult for the viewers to identify if an artist is experienced, transcendental or transcendent. Both fictional and never lack reality, absurd but introspective, Li Feilin’s works reveal the cruel and uncertain reality and describe the humble inner world of the individuals and their rebellion and helplessness.

--Lu Mingjun

 

靳勒

Recommendation for Jin Le

作为石节子村直选村长的靳勒不仅在偏远的西北乡村推介当代艺术，而且还以最为朴素的方式建造了世界上最具特色的美术馆：石节子美术馆。今年春节，首届石节子电影节也在此开幕。据说，这是世界上最贫困的美术馆，也是世界上最小的电影节。……尽管从一开始，靳勒就将这一切实践作为其艺术的一部分。但随着介入的深入，发现艺术已然不是艺术。——不管是对于作为艺术家的他，还是对于村民而言。殊不知，这本身就是一种新的话语方式的开启。

—鲁明军

As a village chief directly selected by the villagers of Shijiezi Village, Jin Le not only promotes modern art in the remote village of Northwest China, but also establishes the most unique art gallery in the world with the simplest method: Shijiezi Art Gallery. And the first Shijiezi Film Festival was opened here during the Spring Festival this year. It is said that the art gallery is the poorest one, and the film festival is the smallest one in the world. From the very beginning, Jin Le regards all the practice as part of the art, but as the intervention becomes deeper and deeper, he realizes that it is no longer art, neither for him, the artist, nor for the villagers. And this actually is the beginning of a new mode of discourse.

--Lu Mingjun

 

陈彧凡

Recommendation for Chen Yufan

陈彧凡以点的铺排方式“叙述”《山海经》，“书写”《庄子》，……。这是一种绝对的个体叙事，也是一种绝对的内心观照。因为只有他自己知道他在说什么。甚或说，这是自我与历史的一次次私密对话。有意思的是，如此却呈现了《山海经》、《庄子》及其他的另一番“景致”。“景致”当中，隐涵的是自我对于物与理的体悟和对于时间和空间的感知。更重要的是，这样一种“叙述”方式也同时改变了他者既有的观看和判断逻辑。

—鲁明军

Chen Yufan narrates The Classics of Mountains and Seas and writes Chuang Tzu by the arrangement mode of the dots. This is an absolute individual narrative as well as an absolute inner witnessing. Only himself knows what he is talking about, or we can also say they are private dialogues between himself and the history. While interestingly, another aspect of The Classics of Mountains and Seas and Chuang Tzu is thus presented, which show the artist’s consciousness of objects and reasons and his perception of time and space. More importantly, this way of narration also changes others’ original logic of vision and judgment.

--Lu Mingjun

 

詹蕤

Recommendation for Zhan Rui

詹蕤的作品因为其手段的极端，已经走向了彻底的观念主义。在他的作品中，已经彻底放弃了所有的主观的视觉经验判断，他将自己变成了一个只为了完成某种“自然规律”而存在的工具而已。天气的变化、股市行情的变化，这些都是无法以人的意志为转移的客观存在，詹蕤仅仅是通过视觉来完成这种变化的现象存在。那么，这些是他所要表现的“对象”吗？——也不是！在这里，他只不过是找到了他自己并不能主观驾驭的、但是又必须要“有所依据”的某种“依据”而已。

Because of the extreme method, Zhan Rui’s works present completely the conceptualism. His works has abandoned all subjective judgments of visual experience and turned himself into a tool to realize a certain “natural law”. The change of weather and the ups and downs of the stock market are all objective existence independent of human will, and Zhan Rui only reveals the existing phenomenon of the change through the vision. Then, are these the “objects” he wants to present? –Absolutely not! Here he only finds certain “evidences” that cannot be based on by himself but has to be there.

据此，我们似乎可以发现，在面对詹蕤的“作品”的时候，我们会失去所有的判断依据：它是“绘画”？，还是“装置”？；甚至会对它们是否还能否称之为“艺术品”而发生怀疑。但这些都不是问题的根本，“形式”仅仅是他所要借助的一个“外壳”，而他所要表达的观念也正是这种人在似乎“有所依据”，而实际上又失去了所有的“依据”的失重状态下，既往的视觉知识系统到底能给以我们什么的经验支撑？——或许“它”是那样脆弱的不堪一击！

—吴鸿

Thus we seem to find that while facing Zhan Rui’s works, we have lost all the basis of judgment: is it a “painting” or a “device”? We may even question if the works can be called “works of art”. But there are not the fundamental problems. The “form” is only a “coat” that he wants to take advantage of, and the actual concept he wants to express is what kind of support the original visual knowledge system can bring us in the weightless state where people seem to “have some evidence” but actually lose all the “evidence”—perhaps “it” is just so weak and fragile!

--Wu Hong

 

易鹤达

Recommendation for Yi Heda

易鹤达是我所见到的最难以用概念来归类的艺术家之一。他长期归隐于自己的生活方式之中，而似乎与社会不发生任何关系。在经历了自己各种五光十色的生活方式之后，他最终归于一种简单的内心诉求。同时，在尝试了各种技法、材料、媒介之后，他也找到了一种最单纯的语言方式。这两个“过程”在现阶段对于他而言是合而为一体的。所以，“形式”对于他来说已经不再是一种目的。他每天的工作仅仅就是在重复着一种看似枯燥、无聊的过程。这个过程也是他自己内心的一种修为，重复，最终是为了消解“重复”的意义；强调，最终是为了强调这种“强调”的虚无；丰富，最终是为了归为单一。但是，当我们将这个意义逻辑颠倒过来的时候，似乎又会豁然开朗，繁华之后归于平淡，人生和宇宙的意义似乎就体现在这个时间的最本质性的没有尽头的线性重复之中。

—吴鸿

Yi Heda is the hardest one to be classified by concept among the artists I have ever seen. He secludes in his own way of life and seems not to be involved in anything happened in the society. After experiencing different life styles, he finally seeks a simple inner appeal. Meanwhile, after experiencing various skills, materials and media, he finally finds the simplest language method. For him, these two “processes” mingles with each other at present. Therefore, the “form” is no longer an aim. His everyday work is only the repetition of the seemingly dull and boring process, which is one kind of inner accomplishment: to repeat is to eliminate the meaning of “repetition”, to emphasize is to emphasize the nihility of “emphasis”, and to be color is to reduce to the simplest style. However, when we reverse this significance logic, everything seems to be suddenly enlightened. The hustle and bustle is passing in a twinkle, and only plainness lasts forever. The meaning of life and universe seems to reflect on the essential endless linear repetition of time.

-- Wu Hong

 

杨志超

Recommendation for Yang Zhichao

杨志超的行为作品的意义是体现在一种不温不火、有计划、有步骤的过程中。他长期以来将自己的身体，已经围绕“身体”的各种概念性外延作为实施自己作品的试验场。从这个“试验场”中我们可以看到，他既可以追问一种生理性的“内力”，也可以拷问一种社会性的“张力”，而最感人的地方在于，当这种个人性的内力遭遇社会性的外力的时候，从中所爆发出来的张力是他的作品中最有价值的支点。他的作品《爱情故事》将线索放置在一个漫长的个人私密生活空间中，通过将自己的私密性信息暴露在公众面前之后，我们却又可以从中发现大量的生理性和社会性的信息。同时，在这个过程中，我们又可以体验到各种悖论式的关系：感性与理性、情绪化与数据化、私密性与仪式性、偶然性与逻辑性、个人性与社会性，等。这些都是在他以身体为试验场的长期过程中所体现出来的各种“身体”属性之间纠葛、碰撞之后爆发出来的人性张力。

—吴鸿

The meanings of Yang Zhichao’s behavioral works lie in a mild process with a certain plans and steps. For a long time, he regards his own body as a “testing field” of his works revolving around different conceptual extension of the “body”. We can see that in this “testing field”, he can question not only a physiological “internal force”, but also a “social tension”. The most touching part is that, when the individual internal force encounters the social outside force, the tension exploded from the encounter is the most valuable fulcrum in his works. His Love Story places the clue in a long and private living space, and after exposing his private information to the general public, we can in turn find a lot of physiological and social information. Meanwhile, during this process, we can also experience different paradoxical relations: sensibility and ration, emotion and digitization, privacy and ritual, occasionality and logic, personality and sociality, etc. These are all tension of humanity exploded from the collision of physical attributes during the long process that taking his body as the testing field.

--Wu Hong