【GCA展览推介】途中镜子 | 单元二：游牧 & 变奏

途中镜子/Heterotopia On the Route

出品人：黄中华

艺术总监：杨述

策展人：倪昆

展览统筹：易晓婷、文玮

展期/Duration：2018年2月3日-2018年4月1日

参展艺术家：董勋、蔡回、王俊、任前、童文敏、何利平、李勇、陶辉、杨述、杨健、厉槟源、余果、Alfred Kurz、Neringa Naujokaite、Wu Zhi、Alexej Tchernyi、Terae Kei Ichiro、Clemens Wilhelm、Luke Warm、Robert Pufleb、Markus Sepperer、Peter Nelson、Gabriele Horndasch

经济全球化最日常的景观来自游牧、抵达，文化的在地重构，在经历最初的对抗抵抗之后，慢慢的呈现以融合和再生为特征的共生型生产。此情景拉平了差异，更在事实上制造出新的在地景观。个体性、差异化重新获得重视，身份的重塑将在更为开阔的维度里展开讨论。

The most common everyday landscape of economic globalization lies in the nomadic travel, the arrival, and the local reconstruction of culture. After going through the initial phase of resistance, follows the gradually symbiotic production featuring fusion and rebirth. Individuality and differences regain attention. The recreation of identity will hence be discussed in wider dimensions.

MC.行为参考系列 / "MC. Performance Art Reference"

 行为影像，13' 02"，2016

《MC.行为参考》系列由四件作品组成（行为艺术、杂种文化、我天生与艺术有关、小贩和3毫克的快乐）。RAP本来就有一种强烈的批判现实的精神。MC系列作品主要还是跟艺术本身有关，再结合自己的观点和影像，最后真实的呈现出来。用这种方式一是想突破边界，就是用行为影像、加上自己写的歌词，自己唱出来，类似于MV这样一种多元素的结合。这次是一个尝试。还有另外一个思考，就是对于当下现实生活中发生的一些事，我们始终是站在一个中立者的立场，用事不关己的立场来看待当下发生的一些事情。我其实也是站在这样的立场上，把一些社会事件或是对现实的思考融进作品里，结合说唱的形式，以一个旁观者的身份来说这样一个事情。

Artwork Description: MC Performance Reference Series is composed of four artworks: Performance Art, Hybrid Culture, Art/Life Relationship, as well as Hawker and Three Milligrams of Happiness. Rap music was originally imbued with critical awareness. MC Series is primarily concerned with art, enmeshing the artist’s perspective together with the medium of video, integrating elements together. This methodology seeks to break through boundaries, using performance video in which I rap my own lyrics, producing in the end an artwork which resonates with its multiple media as a music video. This is a test. And there something else I’m concerned with, a few things going on recently. We tend to take a neutral stance on these events, as if they’re not happening around us. I’ll incorporate these social events together with the real-life concerns they generate into my artwork. I’ll pull all the elements together into rap format. In this way, as witness and bystander, I will say what needs to be said.

verschichtet-global #x 

是一个正在进行中的作品系列,应对于中国受全球化,城市化和殖民期后历史变化的影响,快速转型为市场社会的情况。 我的作品尝试去融合平行的世界,这些世界一开始看起来似乎完全不同,后来当我们更加仔细的观察各种情形,会发现他们相互融合。我依靠运用复杂的图层面板和构造,并通过或多或少 的复杂方式混合交织数字图像创造出了这个作品。

中国香港和中国大陆不同的社会环境,以及全球发展都为我创造的过程提供了灵感。20 世纪过去十年资本市场在中国的不断扩大。中国在这方面所取得的成就,为我们阐释了建立稳固的, 有凝聚力的社会的新方法。

就像中国社会在我们能想象到的不同层面都在发生着变化,我自己存档的那些照片被相互堆叠在 Photoshop 中。在拆解与构造的过程中,它们融合在一起,遵循图片自身的特殊规则,顺着图形、 颜色和对象。

verschichtet-global #x is an ongoing work series dealing with China’s fast transformation to a market society due to the effects of globalization, urbanization and historical changes in the

postcolonial society.

My work tries to merge parallel worlds which seem totally different at first sight but finally belong to each other if you observe the circumstances more carefully. I do that by means of

complex layers and constructions I create by interweaving digital images in a more or less complex way.

The different social and political systems in Hongkong and Mainland China, as well global developments have been an inspiration to that process.

In former times of traditional China Confucianism was an important cohesion for society. In the 20th century, the big communistic leaders tried to achieve a stable society by using

propaganda and ideologies, once religion was killed. Since the rise of capitalism in China during the last decade of the 20th century and his ongoing story of success, this is the new way of

building stability and cohesion.

Are these forces of change going to transform the political system again? Do we observe the development of a hybrid system of communistic tradition and neocapitalism?

Like Chinese society is changing in all different levels we can imagine, photos from my own archive are stacked above each other in Photoshop. In a deconstructing/constructing process

they are merged into each other by following special rules which are embedded in the pictures itself, along shapes, colors and objects.

无境的延伸（文征明）/ "Extensions of a No-Place (Wen Zhengming 文征明 )"

5频道录像动画: 循环，2013

这个动画影片依据滚动条绘画，建筑及计算机游戏的概念制作，以说故事的方式探索地景。我建构一个重新诠释文征明〈仿赵伯骕后赤壁图〉的数字版本。透过「失落的人」──我对于苏东坡在原始画作中的自我响应──这个角色探索想像的地景。「失落的人」遇见第二个角色「啊看」，由台湾表演艺术家阿甘（甘耀嘉）所饰演。数位地景中的树木为澳洲沙漠的黑蓝灌木(Maireana pyramidata)，如同文人地景画扭曲的松树，因长期生长在严峻的环境造成其迷你、歪曲的形态。覆盖地景的白色方形瓷砖则代表乌托邦的网格线──尝试用建筑来合理化我们周遭的变化。影片分为五个各自独立的屏幕，可任意地自由排列。

This video animation explores landscape as a storyteller, based on scroll painting, architecture and computer gaming. I created a digital reinterpretation of Wen Zhengming’ s Imitating Zhao Bosu's Illustration of the Latter Red Cliff (仿赵伯骕后赤壁图), which becomes an imaginary Landscape explored by the character, The Lost Man - my autobiographical response to the wanderings of Su Dong Po in the original painting. The Lost Man also meets A Kan (啊看), a second  character played by  Taiwanese performance artist Nick Kan. The trees in this digital landscape are the Black-Blue Bush (Maireanapyramidata) of the Australian desert, which, like the gnarled pines of the literati landscape, are miniaturized and contorted due to their long lives in harsh environments. The white square tiles covering the surface of the landscape represent the utopian grid - the architectural attempt to rationalize the variations in world around us. The video is divided into 5 separate screens, which can be arranged in any order.

小 a 和阿 b/ "Little a and little b"

摄影 / Photography

游戏是文化本质的、固有的、不可或缺的、决非偶然的成分。人有千万不同，规则是一清二楚，于是需要游戏的空间出现，破坏与重建、修补与剪裁、讨价与还价、言欢或敌对、抗争或妥协、竞争或团结……在看似死气沉沉的条框里，文化总是活跃不羁的，因为，人是活的。

Playfulness is an essential, innate and indispensable element of human culture. Each individual is unique, yet the rules that apply to all people are set the same – hence arises the space of playfulness. Destruction and rebirth, revisions and adaptations, bargaining, joyful talks or hostility, resistance or compromise, competition or unitedness… Within the seemingly lifeless trammels of rules, culture stays animated and unrestrained, because people are alive.

椅子 / Chairs

2014 , 摄影 /Photography

数码微喷 / Inkjet print , 120cm*120cm , 34.54*34.54cm*5

在我的工作中，我用现实的微小变化来使看不见的事物可见。日常的材料被结合起来创造一个新的语境——变为一种非常有价值和非凡的东西。例如把撒盐罐变成一个吊灯，结合来自灯光广告的字母创造一个恐吓邮件。在我的摄影作品中，我展示了日常生活常见的事物，这些事物的美常被忽略。

“椅子”系列就是其中一个例子。我在重庆街头发现了这些椅子。它们有着不同的外观，因为经过多年的使用，它们被不断修复和改造。但在原型上，他们看起来都一样。我把工作室的白墙当作背景，制作了这种单纯的椅子的图像，它不带有任何会使人分心的元素。现在可以看到椅子主人所留下的所有那些美丽的变化，错误和时间的痕迹。这张椅子的照片正在讲述其一生的故事。

Within my work I use little changes of the reality to make unseen things visible. Everyday Material is combined to create a new context. Salt dispensers become a chandelier, something very valuable and extraordinary, letters from light-advertises are combined to create a threatening mail. In my photographic work I show things, which are part of daily life, but unseen in their beauty.

The Yi Zi series is one example for such a series. I discovered these chairs in the streets of

Chongqing. They have different conditions because of their age and they mostly where repaired and transformed. But in the origin they all looked the same. I used the studio with white back to make images of the chairs without anything around which distracts. Now it was possible to see all those beautiful changes, mistakes and traces of time which were left by the chairs owners. Now the image of the chair was telling a story of its life.

德黑兰的黄昏/The Dusk of Teheran

单通道超清录像，彩色 ,4 分 14 秒，2014

在伊朗，很多女性的权利被以保护女性的名义所压制，婚姻法框架下的女性总是被动的。娱乐是被禁止的，女性歌手更是不能公开演唱的，而在香港这个有自由传统的地方，女性可以更自由的追寻自己的感情，理想，生活方式，我选择让一个在剧院工作的伊朗女孩在私人汽车里重新演绎了香港已故女明星梅艳芳生前在演唱会上的一段与粉丝的对话，这段对话呈现了梅艳芳对爱情与婚姻的自由追逐，我试图寻找不同民族，不同地域的人在相同故事的框架下，呈现出来差异性与共同点。

In Iran, many rights of women are suppressed under the name of protecting women. Women are always in passive position in the frame of marriage law. Entertainment is forbidden for women and female singers are not allowed to give open performance. HK is a traditional place advocating for freedom and women in HK may freely pursue for their own love, dream and lifestyle. I chose to have an Iranian girl, who worked for a theater, reproduce a dialogue between the deceased HK female star Anita Mui and her fans in private car. The dialogue shows the free pursuit of Anita Mui for love and marriage. I am attempting to seek for the differences and common points presented by people from different nations and areas in the same story frame, and also hope to show the attitude of Iranian women toward life and emotion through such a kind of performance and review the free space for people under the governance of totalitarianism.

笑迎八方宾客/ " Number one out of Eight"

2013 , 录像装置 /Video installation

尺寸可变 / Variable size

我抵达重庆不久后，两位来自欧洲的艺术家带我去乡下旅游。

我们被山脉和水库包围，我们是美丽的冬季景观中唯一的游客。我们不时地穿过印着白色大字的红色横幅。

回到重庆主城，我向同事询问这些横幅的含义。其中一句话让我感到惊讶，因为我得到了两种不同的翻译：

"Guests from All Directions, Welcome with a smile" 和

"Guests from Eight Directions, Welcome with a smile"

作为一个欧洲人，当我想到“All Directions”（四面八方）时，我指的是是四个方向。在中国，当人们说“All Directions”时，人们显然会想到八个。

这个差异激发了我创作了一个8通道的视频装置，视频在重庆北站附近的一座四车道大桥的施工现场进行拍摄。我发明了一种模仿这几个汉字“笑迎八方宾客”的舞蹈，在桥的建筑工地上面向八个方向跳了八次舞。在面向东方进行录音时，一个男人在我舞蹈前进入了现场并坐下。

Shortly after my arrival in Chongqing, two European artists took me on a trip to the countryside.

We were the only visitors in a beautiful winter landscape, surrounded by mountains and reservoirs. From time to time we passed by red banners on which big white characters were printed.

Back in the megacity Chongqing I asked my colleagues for the meaning of the inscriptions. One quotation surprised me, because i got two different translations:

"Guests from All Directions, Welcome with a Smile" and

"Guests from Eight Directions, Welcome with a Smile"

When I, as a European, think of "all directions", I mean four directions. In China, people obviously think of eight, when they say "all directions".

This difference inspired me to create an 8-channel video installation, filmed on the construction site of a former 4-line bridge near Chongqing Bei. I invented a dance imitating these Chinese characters 笑迎八方宾客, filmed the dance eight times toward eight directions on the construction site of the former bridge. While recording toward the east, a man entered the scene and took a seat, before I performed the dance.

金鸡的诅咒之漂浮物组合/The Curse of the Golden Chicken - Floating Chinoiserie Compositions

2016 , 摄影 /Photography

数码微喷 / Inkjet print ， 50*70cm*5

（欧式）中国风（Chinoiserie）是一种奇异的现象。它的灵感来源自对整个东方世界的印象，但是却是完完全全的欧洲风格。真正的欧式中国风并不是病态的或者是对中国物象的无力模仿，它们是可触知的，以及渗透到西方世界现实里的空想象之物：一个异乎寻常的、遥远缥缈的国度，因为它的富裕程度而成为一个传说。尽管时间尽逝，它依旧保持着云雾缭绕般的神秘，顽固地将外来者拒之门外，只有极少数外来人能够进入这个国度，一睹风采。”

——道恩?雅各布森写于1999年

Chinoiserie（欧式中国风）：受第十七世纪法国及欧洲的洛可可时期风格影响的法国艺术运动。

“中国风”来源于“汉语”这个法语单词“Chinois” - 它被定义为纯粹由西方观念所创造出的的“中国美学”。随着中国与欧洲的贸易不断增长，中国风在18世纪开始流行起来，并催生出了通过装饰艺术，室内设计，建筑，园林设计，文学，戏剧和绘画等来体验中国文化的愿望。中国风的流行清楚地表明了欧洲人渴望沉浸在异国情调和遥远未知的“Cathay”（中国）之中。

我对这一运动的兴趣来源于一种文化试图理解另一种文化时产生的错误信息。由于视觉装饰是通过工匠的手进行过滤，并传递到另一个文化国度，信息本身变得模糊：中国成为一种心理结构：关于中国的想法成为新的现实，真正的中国现实并不重要而且在慢慢消失。中国风是关于文化观念的一种模拟，美学符号在“翻译中损失“，并被缩小为形式和构图。

中国风是中国，只是不是现实的中国。这是一个脑海中的中国。

我对这个想法感兴趣，因为我自己的文化认同是模糊的，幻想、故事和现实共同构成了这个框架。荷兰 - 印尼 - 中国 - 澳大利亚的成长背景已经通过家庭告诉我关于历史事件、迷信、照片、印刷品等等一连串破碎的信息，这些都是在几次迁徙过程中，通过外部的政治因素强加给我的。

2016年12月我在器空间展出了一系列关于中国风的作品，旨在传达这种审美体验，以及文化间发生的错误信息。这次展览的作品是我对流散身份发展兴趣的延伸。

 “Chinoiserie is an oddity. It is a wholly European style whose inspiration is entirely oriental. True chinoiseries are not pallid or incompetent imitations of Chinese objects. They are the tangible and solid realisations in the West of a land of the imagination: an exotic, remote country, fabled for its riches, that through the centuries remained cloud-wrapped, obstinately refusing to allow more than a handful of foreigners beyond its gates” - Dawn Jacobson, 1999.

Chinoiserie: A French art movement influenced by the Rococo period in 17th Century France and greater Europe. 

“Chinoiserie” is derived from the word Chinois, the French word for ‘Chinese’ - it is defined as a purely Western concept created in the “Chinese aesthetic”. Chinoiserie became popular in the 18th Century as Chinese trade with Europe grew and developed a desire to experience Chinese culture through the decorative, and fantastical motifs adorning decorative arts, interior design, architecture, garden design, literature, theatre and painting. The popularity of Chinoiserie clearly showed the European thirst for immersing themselves in the exotic and unknown faraway ‘Cathay’ (China).

My interest in this movement stems from the intersection of misinformation that occurs when one culture attempts to understand another. As visual decoration is filtered through the hands of artisans and delivered into the homes of another culture, information reality becomes blurred: China becomes a mental construct: The idea of China becomes the new reality, and the reality of China becomes unimportant, and fades away. The Chinoiserie is a simulacrum of cultural ideas, where aesthetic symbols become ‘lost in translation’ and are reduced to form and composition.

Chinoiserie is China, just not the real China. It is a China-of-the-mind.

I am interested in this idea, as my own cultural identity is blurred and exists within a framework of fantasy, storytelling and reality. My Dutch-Indonesian-Chinese-Australian background has been delivered to me through the fragmented stories told to me by my family about historical events and superstition, photographs and print media through several stages of migration, primarily enforced by external political factors.

These works are a series of Chinoiserie compositions that were originally exhibited at Organhaus in December 2016, and were intended to carry this idea of the aesthetic experience and the misinformations that occur in-between cultures. The works in this exhibition are an extension of my interest in the evolution of diasporic identities.