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墨虎恺：“加拉泰亚困境，抑或弗兰肯斯坦博士和皮格马利翁先生的奇案”｜胡庆雁个展“空洞的，多余的”将持续开放至12月30日

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麦勒画廊北京胡庆雁个展“空洞的，多余的”将持续开放至12月30日。

Hu Qingyan's solo exhibition Absent & Superfluous at Galerie Urs Meile Beijing will continue through December 30.

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加拉泰亚困境，抑或弗兰肯斯坦博士和皮格马利翁先生的奇案

The Galatea Dilemma, or the Strange Case of Dr. Frankenstein and Mr Pygmalion

文：墨虎恺译：贺潇

by Christopher Moore, translated by Fiona He

谁才是怪物：是造物者还是他的造物？这种不确定性推动了玛丽·雪莱作于1818年的小说《弗兰肯斯坦》的叙事，这部作品的另一个标题《现代的普罗米修斯》援引了希腊的神话人物，他用泥土创造人类，后因违抗众神之意盗走火种送给人类。造物之谜在皮格马利翁的故事中转化为艺术创造被再次重演。这位雕塑家爱上了他亲手雕刻的象牙少女像，于是祈求爱神阿佛洛狄忒赐给他如雕塑一样的妻子。当皮格马利翁回到家后，他亲吻她的嘴唇，而雕塑真的苏醒过来，她的象牙身体开始变成温热的血肉：加拉泰亚拥有了生命。这个故事最著名的版本出自于奥维德《变形记》里的描述，而皮格马利翁还有许多不同的派生物，比如匹诺曹、白雪公主，以及乔治·伯纳德·萧伯纳有关教育和英国阶级制度的剧作《皮格马利翁》（1913）。同样，普罗米修斯的故事也在不断地变形和延伸，它们通常更令人不安：从《弗兰肯斯坦》到奥雷德利·斯科特指导的《普罗米修斯》（2012），再到最近亚历克斯·加兰的《机械姬》（2015）。这些警世故事还包含了另一种相关的歧义性：创造的欲望 vs.造物的欲望。欲望驱动造物者对爱（皮格马利翁）或知识（弗兰肯斯坦）的渴求，而欲望的对象也将最终获得其自身的自主性，无论是生活、爱情，或是仅仅为了成为一件独立于其创造者的艺术品，这些都有待开放性的解读。这是所有造物者、神明、艺术家、父亲和母亲所无法逃避的困境。

Who is the monster, the creator or his creation? Ambiguity drives the story of Frankenstein, Mary Shelley’s 1818 novel, alternatively titled or, the Modern Prometheus, the Greek god who created man from clay, then in defiance of his fellow gods, gave the secret of fire to humans. The creation myth is reprised as artistic endeavor in the story of Pygmalion, the sculptor who fell in love with his ivory carving of a woman and prayed to Aphrodite, the goddess of love, to grant him a living wife exactly like his sculpture. Returning home, he kisses her lips and she comes alive, her ivory form metamorphosing into living flesh: Galatea lives. The story is most famously recounted in Ovid’s Metamorphosis, but Pygmalion has many descendants, variously including Pinocchio, Snow White, and George Bernard Shaw’s play about education and the English class system, Pygmalion (1913). Equally, the Promethean stories also metamorphose and metastasize,

but these are generally more disturbing: from Frankenstein to Ridley Scott’s own Prometheus (2012) and recently Alex Garland’s Ex Machina (2015). These cautionary tales also contain another, related dichtomy: the desire to create vs. the creation’s desire. Striving for love (Pygmalion) or knowledge (Frankenstein) is driven by desire but the very thing desired eventually bares its own autonomy, whether to live and love, or simply to become an artwork independent of its creator, literally open to interpretation. It is the inevitable dilemma of all creators, gods and artists, and mothers and fathers too.

胡庆雁是一个雕塑家，一位通过雕刻和构建物质来创造形式的艺术家。他在空间中创造物体，而不像画家那样创造着空间的图像。胡庆雁的作品一直关注于材料的本质，从他早期的作品开始，他就用木头和其他材料变形来制造链状结构。近些年，他更加深入地对那些具备雕塑家使用潜力的材料展开实验，其中包括彩绘的形式。

Hu Qingyan is a sculptor, an artist who fashions form by carving and constructing matter. Hu makes things in space as opposed to a painter who makes images of space. His work has always focused on the nature of the material, beginning with his early work in which he created chains from wood and other material transmogrifications. In recent years he has experimented more with the potentiality of what constitutes a sculptor’s material, including the painted form.

在《Contemporary Painting I》（2018，布面油画（收集而来的大量他人油画作品在分割裁剪后重新拼接缝合而成），195 x 160 cm，木框: 150 x 130 cm）中，胡庆雁将艺术家朋友或学生们遗弃的画作拼接缝合在一起。初看起来，这件墙面作品使用了传统的画布框，似乎与安吉拉·德·拉·克鲁兹等艺术家所实践的“延伸的绘画”（Expanded Painting）有几分异曲同工之妙，展现出一种墙面浮雕的抽象效果。但随着我们深入挖掘，就会发现罪恶的细节渐渐浮现：作为食人肉者的普罗米修斯。在作品《肉色》（2018，布面油画（收集而来的大量他人油画作品在分割裁剪后重新拼接缝合而成），尺寸可变）中，数张肖像被皱皱巴巴地堆在地板上，他们面朝诡异的角度凝望，身体相互缠绕和交织。

In Contemporary Painting I (2018, oil on canvas (a lot of oil paintings collected from other people are spliced and stiched after cutting), 195 x 160 cm, frame: 150 x 130 cm), Hu takes the abandoned canvases of his artist friends and students and sews them together. On first acquaintance, the wall-mounted work, which employs a traditional canvas stretcher, seems to play on similar notions of “Expanded Painting”, as practiced by artists such as Angela de la Cruz, resulting in an abstract wall-mounted relief. As we keep looking though, the details of the crime emerge: Prometheus as cannibal. In Flesh Color (2018, oil on canvas (a lot of oil paintings collected from other people are spliced and stiched after cutting), dimensions variable) a sheet of portraits lies in a crumpled heap on the floor, faces gazing out at strange angles, their bodies intertwined and tangled.

《Contemporary Painting I》，2018，布面油画（收集而来的大量他人油画作品在

《Contemporary Painting I》，2018，布面油画（收集而来的大量他人油画作品在分割裁剪后重新拼接缝合而成），195 x 160 cm，木框: 150 x 130 cm

Contemporary Painting I, 2018, oil on canvas (a lot of oil paintings collected from other people are spliced and stiched after cutting), 195 x 160 cm, frame: 150 x 130 cm

《肉色》（2018，布面油画（收集而来的大量他人油画作品在分割裁剪后重新拼接缝合而成），尺寸可变,墨虎恺：“加拉泰亚困境，抑或弗兰肯斯坦博士和皮格马利翁先生的奇案”｜胡庆雁个展“空洞的，多余的”将持续开放至12月30日,皮格马利翁,加拉泰亚,墨虎恺,弗兰肯斯坦博士,奇案,｜胡庆雁个展,油画,麦勒画廊,胡庆雁,怪物

《肉色》（2018，布面油画（收集而来的大量他人油画作品在分割裁剪后重新拼接缝合而成），尺寸可变

Flesh Color, 2018, oil on canvas (a lot of oil paintings collected from other people are spliced and stiched after cutting), dimensions variable

位于展厅正中的是作品《空山》（2018，黄色大理石，170 x 110 x 95 cm）。这件大约与人等高的巨型石块被断开为三截，并从内部挖空。从不同角度看上去，它像是一只蛋、一个房间、一座圣所、一间监狱、甚至是一口石棺。它所承载的隐喻可指性包含了诸多生命周期。从某种意义上说，它模拟了一只核桃般的颅骨，也就是我们思想的摇篮，但同时也比拟了孕育我们生命的子宫。整场展览都关注着我们身体的建筑；揭示了我们想要知道是什么支撑身体、并使之运作的欲望：对知识、创造和成为神的欲望。我们拥有创造一个怪物的欲望，创造一个像真人那样有能力思考和感受的怪物，这种想法可能依旧显得傲慢，甚至古怪，这在目前仍然超出人类的能力，涉及到超人类的力量。然而，我们的神话不断描绘着创造的欲望，并从根本上揭示了我们的自我繁殖和重造自我的欲望。

At the heart of the exhibition is Empty Mountain (2018, yellow marble, 170 x 110 x 95 cm). A large rock, roughly the height of a person, has been cut into three pieces and hollowed out. At different times it could be an egg, a home, a sanctuary, or perhaps a jail, or even a sarcophagus. Its metaphoric possibilities contain many lifecycles. In a sense, it mimics a walnut-like cranium, the cradle of our ideas but then again, also the womb from which we came. The whole exhibition is concerned with the architecture of our bodies; the desire to know what holds them up, what makes them tick: the desire for knowledge, to create, to be gods. The desire to build a monster, one capable of thinking and feeling like a real person, still seems arrogant, eccentric even, involving superhuman powers currently, still, beyond human capacity. Yet our mythologies speak constantly to our creative desires, and fundamentally to our desire for self-procreation; the desire to re-create ourselves.

《空山》，2018，黄色大理石，170 x 110 x 95 cm,墨虎恺：“加拉泰亚困境，抑或弗兰肯斯坦博士和皮格马利翁先生的奇案”｜胡庆雁个展“空洞的，多余的”将持续开放至12月30日,皮格马利翁,加拉泰亚,墨虎恺,弗兰肯斯坦博士,奇案,｜胡庆雁个展,油画,麦勒画廊,胡庆雁,怪物

《空山》，2018，黄色大理石，170 x 110 x 95 cm

Empty Mountain, 2018, yellow marble, 170 x 110 x 95 cm

米开朗基罗曾说，他并没有创造雕塑，而只是把它们从石头中解放出来而已。在美猴王的故事里，孙悟空从石头里蹦出来，并且具有了完整的形体和不朽的生命；后来，他通过道家的实践获得了强大的超能力，包括力量和变身术。然而，他违背天庭秩序，被关在五指山下。就像《西游记》所描写的那样，他为了获得救赎的机会，跟随唐三藏去西天取经。孙悟空是混乱和创造的代理者，他能够变出众多分身。也许，胡庆雁的《空山》就是一只裂缝的蛋，而它的标题也暗示了这可能是一座山的监狱——只不过我们所看到的不是孙悟空。孙悟空不见踪影，我们无法知晓他到底使用了什么法术。但奇怪的是，我们似乎总想控制我们的造物，这来自各种欲望的混合物，交织了傲慢和终极的恐惧。那么，究竟谁才是怪物？

Michelangelo spoke of how he did not create his carved sculptures but instead released them from the marble which imprisoned them. In the tale of the Monkey King, Sun Wukong is born fully-formed and immortal from a stone. Through Daoist practice he acquires extraordinary supernatural powers, including strength and metamorphosis. Yet after rebelling against heaven, he is imprisoned under a mountain by Buddha. Subsequently he is offered a chance of redemption by travelling with the monk, Tang Sanzang, to retrieve Buddhist sutras, as recounted in the classic novel, Journey to the West. The Monkey King is both an agent of chaos and creation. He can clone himself into a multitude. He can destroy and make havoc. Maybe Hu Qingyan’s Empty Mountain is the broken egg but its name suggests it might also be the mountain prison. We cannot see Sun Wukong though. He has gone, and we don’t know what tricks he is he up to. Strange though that we should want to control our creations, coming from a peculiar mix of desire, arrogance and ultimately fear. So then, who is the monster?

墨虎恺：“加拉泰亚困境，抑或弗兰肯斯坦博士和皮格马利翁先生的奇案”｜胡庆雁个展“空洞的，多余的”将持续开放至12月30日,皮格马利翁,加拉泰亚,墨虎恺,弗兰肯斯坦博士,奇案,｜胡庆雁个展,油画,麦勒画廊,胡庆雁,怪物