惦记 / Life Time
2003.2/2 - 3/21
Artists：Bai Yiluo, Hong Hao, Jiang Zhi, Liu Ye, Yang Fudong
There is a kind of emotion, things that are unforgettable no matter how large or small, a mild angst without any cause, a subconscious belief, hidden in the heart, always wanting to do something. This emotion contains memory of the past, and influences every year of the future. You always want to seize these opportunities, use them while you are alive, completing and fulfilling the miniscule hopes and dreams of a life, a generation. Things always have an effective time limit, and the incredibly brief among them will sometimes become our opportunities and lucky shots, or perhaps our regrets and afterthoughts. Some are not so brief, but we need to expend a lot of time before we can understand them, and these we call fate.
We have rarely seen revolutionary leader portraits in the last twenty-some years. In Bai Yiluo's photographs, these portraits vaguely take shape out of the faces of more than 2000 men, women, children, and elders. Is it that the years have made them gradually fade away, or that they will never completely disappear from people's lives? Perhaps they can live in peace with each other. Bai Yiluo worked on this piece for three years before finding a suitable form for it to take. The 2100 people presented were photographed at Bai Yiluo's request by friends living in his hometown near Luoyang, Henan province.
Ruan Lingyu was a movie star in Shanghai in the 1930s, and her suicide is the direct impression she has left upon people living today. In Liu Ye's paintings, the painter borrows Ruan Lingyu's portrait and models on it the title of life. This "life" is of course the painter's own. The distance between generations turns retrospection into a subjective preservation of spirit, and the painting has come about in an individual style cultivated by the painter over a long time. From the matter with which he comes into contact, the artist finally draws a feeling of himself, he presents this sort of summation in his work "cigarettes", with the red colour, the pine trees, the sun, and the girl smoking.
"Mumu"is a toy that Jiang Zhi has created, the leading player in countless dreams of his. In these reveries, Jiang Zhi luckily experiences the complete range of human emotion in another world. Now, she has turned from a tiny angel several inches tall into a person, and she has come to the city, to the place where city meets the country, still enmeshed in a dreamland of which she is both actor and director. Jiang Zhi plays with his own emotions from the edge of reality, and the life of "Mumu" exists in different editions. This is one way for Jiang Zhi to experiment with different types of existence.
In"An Estranged Paradise," Yang Fudong creates a character, Zhuzi, who looks idle. But we can feel his essence, as if we actually knew him, prying about inside his heart. Zhuzi is always thinking about his health, continually going to the hospital for examinations. This is like finding a reason for a state of mind, an emotion. Then there are his interactions with his girlfriend,where we can sense the wishes and attitudes he never clearly articulates. However, he is still a level-headed person. He sees the world and its everyday life, he understands himself, and in this way, he is no longer young.
In prints depicting the world map, Hong Hao turns land into sea and sea into land; he even reverses their outlines. But we can still enjoy the pleasure of looking at a map. The contours and pictures do not depict the real world, just as we, inhabitants of a changing world, are lingering somewhere between hosts and guests. And in the years we have to live, our opportunities all have an expiration date. Time is meaningful only because of life.
人民No.3 127×470cm 数码照片 2002
The People No.3 127×470cm digital photo 2002
The People No.3 ( detail )
1968 Born in Luoyang, Henan Province, China, Lives in Beiing
2001 Visibility, Bejjing, China
2002 Run Jump Crawl Walk, East Art Center, Beijing, China
China Contemporary Art, Sao Paolo, Brazil
1. A kind of natural environment breeds a kind of person.
2. Lt is said that there is enough fat on a person's body to make seven pieces of soap, enough iron to make a medium-sized nail, enough phosphorus for two thousand matches...
藏经2123页 世界地貌新图 56×78cm 丝网版画 2000
Selected Scripture 2123 The New World Physical 56×78cm 2000
1993 后八九中国新艺术/香港 悉尼 伦敦
2000 上海双年展/中国 上海
2002 广州三年展/中国 广州
1965 Born in Beijing
1985 Graduated from Attached School of Central Academy of Fine Arts
1989 Graduated from Central Academy of Fine Arts,lives in Bejjing
1993 China 's New Art: Post’89 Hong Kong, Sydney, London
2000 Shanghai Biennale, Shanghai, China
2002 Guangzhou Triennale, Guangzhou, China
I have been interested in maps for a long time, especially historical maps, because they have a certain relationship to our accustomed ways of seeing. Otherwise, we see world maps as the most direct and economical way to represent the world, they regulate our perspective and coordinates in looking at the world. The world political map, for example shows how different cultures and powers regulate geography. The existence of these powers makes them legal and certain, and at the same time, it provides a kind of standard visual foundation for managing relations with others. In this way, people use the same critical yardstick, a kind of inertia, whereby regulations become customs, and customs become nature. My logic is thus: in revising the world map we revise our worldview.
童话木木在2002-2003年的深圳 垃圾烟 71×25cm 黑白照片 2002
Fairy Tale: Mu Mu in Shengzhen, 2002-2003, Smoke on Garbage 71×25cm black and white photo 2002
童话木木在2002-2003年的深圳 空地 71×25cm 黑白照片 2002
Fairy Tale: Mu Mu in Shengzhen, 2002-2003, Vacant Land 71×25cm black and white photo 2002
1971 Born in Yuanjiang, Hunan Province. 1995 Graduated from China Academy of Fine Arts, Hangzhou. Lives in Shenzhen.
1999 Post-Sense Sensibility, Alien Bodies &Delusion, Beijing China
2002 The 4th Gwangju Biennale, Gwangju, Korea
2002 The 1st Guangzhou Triennale, Guangzhou,China
It is still the continuation of this poetic state. But at that time she had already experienced the sting of life. Mumu is not a sweet angel as before, but a deep black shadow, looking at natural world completely without feelings. A shadow unwilling to expose her face, she can only be ambiguous, full of disbelief and confusion about herself. And the world she faces is clear beyond comparison-meaning, in the way "she” wishes to see it. I live now in this maturing city, and no matter what kind of city it is, my life is already tied to it...I really like those theatrical, very strong scenes, scenes that look like stages, half-real half-fake. I really can't tolerate leaving those images on printing paper.
烟 180×360cm 布面丙烯 2001-2002
Cigarette 180×360cm acrylic on canvas 2001-2002
阮玲玉Ⅱ 60×45cm 布面丙烯 油彩 2002
Ruan LinyuⅡ 60×45cm acrylic and oil on canvas 2002
1964 Born in Beijing. 1989 Graduated from Central Academy of Fine Arts, Beijing. 1994 Graduated (MFA) Hochschule Der Kunst Berlin, Lives in Beijing.
1995 New Anecdotes of Social Talk, Beijing,China
1998 It's Me, Beijing, China
2002 High Summer, Duisburg, Germany
“every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul."
-From Oscar Wilde's "The Picture of Dorian Gray
陌生天堂 35mm 黑白影片 76分钟 1997/2002
An Estrange Paradise 35mm film 76 minutes black and white 1997/2002
1999 后感性 异形与妄想/中国北京
1971 Born in Beijing.
1995 Graduated from China Academy of Fine Arts, Hangzhou. Lives in Shanghai
1999 Post- Sense Sensibility, Alien Bodies& Delusion, Beijing China
2001 Yokohama Triennale, Yokohama, Japan
2002 Documenta 11, Kassel,Germany
....Petty literati movies are like walking in the rain on rainy days. It is your emotion at that time, the dream you are troubled to leave; it is every bit, every drop of your being; it is the life you believe; it is the books you have read. Perhaps it is not a hat; whether it has a bit of money, a bit of desire, a bit of culture, a bit of fantasy then it is a "petty literati movie,"...
.... I love the rainy season, so wet, everything covered in mist. In terms of time, this movie gives me a feeling of distance. I feel like it is something without tense, a trance. And I don't think this is because the it was shot five years ago. This is the feeling I was going for at the time. To present a rainy season, but not present a year, and not reveal the character's identity. This kind of season belongs to every year, but when this time comes, everyone still feels a sigh of emotion. You can be melancholy or happy, but you don't have to expect it. Year after year, it will break your heart at this time. There's no way to say what kind of image it is. But as to whether this is after all a movie set in the present, something that must be said, in what sense do you think it has any definite relationship to time? At the very least it has connection to those of us who grew up in this generation, our emotions, experiences, a range of similar feelings. Moving on, the English word "estranged" translates directly into the Chinese word "shuyuan,"which means alienated. It's a bit like living here, but not knowing it.
翻译 | 田霏宇
Translator | Phlip Tinari
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