杨韬的艺术实践包括绘画、雕塑、装置等媒介，其作品形式与内容多元，用他的话说，至少可分成三个阶段，“红色”、“虚构”、“控制”系列。尽管艺术家不断转移其表达手段，杨韬近十年的创作在方法论上为观众呈现清晰连贯的线索，即对图像生产进行干预、和艺术作品在场景中的轻介入。杨韬的创作方法为艺术作品进入当代公共领域提供了直观、可参考的经验，在不失去实验意味的同时重新定位作品在公共空间的角色，使得艺术实践在日常方方面面的多边关系中实现甚至超越其天然的调节、调味及调停功能。
干预的褶皱研究-彼此
Intervening Research on the Fault-related Fold-Mutuality
综合材料 mixed media 140 × 55 × 90 cm 2014
Yang Tao's artistic practice includes painting, sculpture, installation and experimental media. His works are diverse in form and content. As stated by the artist himself, his artistic corpus can be divided into at least three stages, which respectively can be associated with three series: "Red", "Fictional", and "Control". Although Yang Tao has constantly experimented with different means of expression, his creation in the past ten years was characterized by a clear and coherent approach in terms of methodology: this is evident especially in the involvement of the artist in the process of image production and in the moderate intervention of the artwork into the scene. Yang Tao’s method provides intuitive and referenceable experience for the concept of artworks entering the contemporary public space. While never losing the experimental character, Yang Tao’s method reconfigures the role of the artwork within a public space while enabling his art practice to achieve and even transcend its function of regulating and mediating in all aspects of daily relationship with the surrounding space.
干预的褶皱研究-情爱
Intervening Research on the Fault-related Fold-Love
综合材料 mixed media 148 × 115 × 55 cm 2014
对图像生产过程进行干预，主要表现为对元图像进行二维或者三维的覆盖、缠绕、扫描等再创作手段。在此过程中，元图像的造型从物体材质到视触观感皆发生变化，观看杨韬的作品时，习惯性的视觉重心很可能被转移，譬如雕塑由其媒介性质造成的向心感与重力的指向性突然消失，令人熟悉的艺术史绘画经典失去色彩和生动的面目等等。这种反向干预手段就实际观看效果而言，唤起了观者对内容本身的自觉和追寻。杨韬在一次访谈中提及自己不再关注造型、因为造型不过是个人风格，伊曼努尔·康德也表达过类似的观点，他曾提到古罗马的箴言“唯有色彩与品位不可讨论”。
The practice of intervention in the image production is mainly achieved through a manipulation of the original image which is subject to a process of two and three dimensional overlaying, intertwining and scanning. In this process, the material and the visual and tactile perception of the meta-image is subject to change. When we look at Yang Tao's work, the usual visual focus is likely to be shifted, like in a sculpture where the materiality undermines the sense of centripetal convergence and gravity or in a classic painting where color and vivid appearance fade away. However, in terms of actual visual result, this kind of reverse intervention method arouses the viewer's consciousness and tendency to pursue the essence and the content of the work itself. Yang Tao mentioned in an interview that he no longer pays attention to modeling, because modeling reflects just a personal style. Immanuel Kant also expressed a similar view and stated that “In matters of colour and taste, there can be no disputes”.
滑动查看作品细节 Swipe to check the detail
图像生产-3号 Image Production No.3 综合材料 mixed media
图像生产-19号 Image Production No.19 综合材料mixed media 121.5 × 101.5 cm 2017
当然手段本身也值得关注：说起覆盖和包裹，不难联想到大地艺术家克里斯托·克劳德和珍妮·克劳德的实践。被这对艺术伉俪用布料彻底包裹起来的不止德国国会大厦、罗马墙、塞纳河畔上的新桥等人类建筑物，还有迈阿密的岛屿，悉尼附近的海岸、瑞士公园里的树木等等。上面提到的都是巨大而惊人的户外项目，此类覆盖由于其铺天盖地的尺寸和强烈的结合时代的工业气息，常常是令观者赞叹而发人深省的。杨韬的覆盖却指向一种内向而循序渐进的交互——譬如在北京侨福芳草地可以看见的作品《空束》，一道由628根近80米长的细丝线包裹而成的光束从建筑物十层的侨福当代美术馆附近出发，直达商场LG2层的中央广场；在光束洒下的圆形阴影中，是一尊被粉彩色丝线织物包裹的坐佛。令人惊奇的是，《空束》作为一件无论从物理高度还是技术层面都相当宏伟的室内装置在侨福芳草地空间里起到相得益彰的效果：场景中的作品不再被客体化，它同空间交融，成为难以剥离的质的整体。
The method itself is also a subject of discussion. When it comes to covering and wrapping, it is natural to think about the practice of land artists duo Christo and Jeanne Claude. They wrapped a large variety of objects including not only buildings such as the Reichstag, the Roman Wall, Pond Neuf, but also the islands of Miami, the coast near Sydney, the trees in a Swiss park and so on. The above-mentioned are all huge and amazing outdoor projects. Due to their overwhelming size and to the industrial social context of the time, their coverages are often visually impactful and also thought-provoking for the viewers. Yang Tao’s practice of wrapping is aimed at achieving an internal and gradual system of interaction. An interesting example of his artistic method is the work Empty Bundle displayed at Parkview Green FangCaoDi: a beam of “light” made by 628 silk threads nearly 80 meters long dominates the building. Departing from the Parkview Museum Beijing on the 10th floor, threads point directly to the central plaza on the LG2 floor of the shopping mall; in the circular shadow cast by the light beam sits a Buddha wrapped in pastel silk fabric. This magnificent indoor installation is integrated within the space of Parkview Green both from a physical and technical point of view. The work is blended within the space and it becomes an entity which cannot be detached from the surrounding environment. 
空束 Empty Bundle 综合材料 mixed media 2014空束 Empty Bundle 综合材料 mixed media 2014除了和建筑本体的关系以外，《空束》和空间里的行人也保持着一般公共艺术作品少有的温馨关系：就造型和色彩而言夺目却不突兀，其自身的体量引导和延展了行人的视线；由于丝线和丝线之间存在一定空间，场所得以没有被艺术作品一分为二地割裂；从物理的角度来说仍然成立，因其空气分子在最小的程度内被物件排挤开，实现了真正的轻介入。尽管一定程度地被安保人员阻止，场内的孩童仍孜孜不倦地试图用弹奏竖琴的姿势拨动悬空的丝线；成年观众则倾向于从不同角度、不同楼层高度进行观看，外加芳草地建筑ETFE膜和三层透明玻璃罩天顶为空间带来实时多变的自然光线，杨韬的装置雕塑作品是其对待艺术实践的态度体现，即艺术从物质和精神本质来说都不应该孤立于公众或者刻意区别于日常场景。因此，杨韬至今已开展多项公共和实验艺术项目，试图采集日常能量，从常规中突围。
The artwork Empty Bundle establishes an interactive relationship with the building and space around it but also with the viewers in a very original way which is rarely seen in other examples of public art in China. In terms of shape and colour, it is eye-catching but not obtrusive, and its own volume guides and extends the sight of the viewers; because there is certain space between the silk threads, the space is not divided into two parts by the artwork; from a physical point of view it is a unitary element. The air molecules are squeezed away by the object to a minimum, and therefore a moderate intervention is achieved. Children often play with the silk threads of the artwork simulating the act of playing the harp: adults prefer to watch it from different angles and different floors of the building. The ETFE film and the three-layer transparent glass ceiling of the building brings different shades of light in different moments of the day, emphasizing the installation and the space around it. Yang Tao’s installation sculptures reflect his artistic conception: art should not be isolated from the public both from a material and spiritual point of view and it should enter the everyday life. Therefore, Yang Tao has carried out many public and experimental art projects so far, trying to gather daily energy and break through the routine.
杨韬2019年实验项目 Yang's experimental project in 2019宗教从各个维度对杨韬来说都是更加隽永和普世的主题。选用佛像进行图像干预从根本上提示着艺术家对其存在意义的肯定，类似虔诚的基督徒导演李沧东在其作品《密阳》中发起的讨论。其实古印度佛教在最初也是不允许塑偶像的，佛像的塑造从公元一世纪之后才开始。在中国，佛陀的基本样貌从唐代往后几乎没有改变，在公众中传递可靠信息的同时渐渐成为一个具体所指被弱化的符号。再试图联想伊斯兰教徒的着装礼仪，正是在身体轮廓和面部特征被大面积覆盖的情况下，伊斯兰女性的眼睛常常尤其令人难忘。艺术家杨韬无论是采用丝线包裹方法覆盖佛像或是其干预式的图像再生产实践，均提示着表象下的意涵，强调看似存于无处、实则无处不在的精神世界。
Religion is a meaningful and universal subject matter addressed by Yang Tao in his artistic practice. The process of image- intervention is embodied in the way the artist manipulates the image of the Buddha and it shares conceptual similarities with the discussion initiated by the devout Christian film director Changdong Lee in his work Milyang. In fact, ancient Indian Buddhism did not allow idols to be molded at first, so the practice of carving Buddha statues only began after the first century AD. In China, the basic iconography of the Buddha has hardly changed since the Tang Dynasty. While delivering reliable information to the public, it has acquired a symbolic value. Try to think of the etiquette of Islam. It is precisely because of the fact that the body and most of the face are covered that the eyes of Islamic women are visually very impactful. Whether the artist Yang Tao uses silk threads to wrap the Buddha’ statues or he manipulates the original image using different methods, the aim is to strengthen the symbolic connotation of the image, increasing its spiritual character. Encounter: Yang Tao's artistic practice
Q
如何看待您的作品《空束》与侨福芳草地形成的独特关系？
What do you think about the unique relationship between your work “Empty Bundle” and Parkview Green FangCaoDi?
A：在侨福芳草地这个作品的创作结构非常复杂。可以理解作品是将空间转换为一个背景化的创作方法，在作品与空间的关系上形成了一个反转，艺术作品占据或者干预室内负空间的一种创作方法。作品在色彩、形态、24小时与自然信息之间的交互状态等方面都有比较丰富的变化，这是架上艺术无法体现的一种综合结果，同时作品与公众信息产生的交互的关系中也被多次次折叠而显现出更多元的一种立体关系。The creative structure of this work in Parkview Green Fangcaodi is very complicated. You can imagine the surrounding space functioning as the artwork’s background. This is a reversal in terms of creative concept: indeed, the artwork occupies or even interferes with the space around it. In terms of form and color it is very rich, it is a 24 hours interactive work, subject to many changes. It is very difficult to achieve this visual effect with an artwork on easel. Moreover, the audience can establish a multi-layer and interactive relationship with this kind of experimental works.平行密码 Parallel 综合材料 mixed media 30 × 18 × 46 cm 2016作品的空间跨度非常大，观看感受方面不断地被室内已有的建筑构件如廊桥、立面结构、电梯结构所切割或阻挡，作品很难被找到单独存在的状态，这样就脱离了所有艺术作品要单独成立的形态。大家可以明显的感受到，侨福芳草地所有的作品，在被相机记录时都可以框在一个相对完美的构图里，都有各自完整的构图，和空间环境各方面，会有一个比较完整的关系。而这件作品，是需要消费人群介入真实场景后和作品及空间共同构建成一个最朴实又最冲突的场所。在廊桥上移动的人，以及商业空间里面各种原有的建筑结构，都和作品之间发生了矛盾且共存的状态。
The artwork displays also a multi-dimensional character. The visual continuity of the work indoor is often interrupted by elements inside the shopping mall like the bridge, elevators and other architectural structures. It is difficult to conceive this work as an individual piece of art: we can say that it breaks away from the traditional way of presenting artworks as independent entities. Other works in Parkview Green Fangcaodi can be easily photographed within a defined visual frame: they display a unitary structure that interacts with the surrounding environment. However, in the case of my work, when the customers walk into the shopping mall, a strong visual impact and collision is achieved between the work itself and the surrounding environment. People walking on the bridge as well as the architectural structure of the surrounding commercial space create a sort of visual clash and interference with the artwork.这一切恰恰是我所追求的冲突关系，因为作品在公共空间里，我认为艺术不仅只应该强调自身，而是要强调它和更多元的、各种存在事物之间的关联。However, it is exactly the representation of this complicated relationship that we are trying to achieve: a work in a public space doesn’t just exist for itself, but it has to take into account different aspects and elements of the surrounding environment. 滑动查看更多 Swipe to check more彩色手稿 Colored Manucript 综合材料 mixed media 2008
Q
您的作品包含不少宗教元素，是如何构思的？
Your works contain religious elements. How are they conceived?
A：我选择了识别度非常高的一种宗教象征。佛像本身是宗教偶像，但佛教又讲“不注于像”，实际上它并不希望大家对偶像有崇拜，因为实像不是那个东西。但为了迅速地能够把我的创作方法贴合在一个识别度最高的象征上，我选择了佛像。在这个作品的创作方法里我不再研究造型问题，因为造型无非就是每个人的风格。雕塑而言，有的偏抽象、有的具象，它还是解决关于图像生产的问题。但我已经完全跳离了关于图像生产这个层面的创作。In the process of creation I choose religious symbols everybody is familiar with. Like for example the image of Buddha which is a religious idol. In Buddhism, the worship of idols is not that important. Buddhism does not focus that much on images, because the image is not the most important thing. However I chose Buddha because its image is part of our collective consciousness and therefore the public can easily relate to it. Actually, within the creative process, I no longer focus on modeling. In terms of modeling, everyone has his own style and taste. A sculpture can be abstract or figurative. In any case, this solves the issue of the reproduction of the image. However I break away from the issue of image reproduction. 侨福当代美术馆当前展览：芳草地欢迎您III—侨福当代艺术收藏展C展厅现场 On-view Exhibition at The Parkview Museum Beijing: Welcome to Parkview Green III - Parkview Contemporary Art Collection 杨韬作品 平行密码 Parallel by Yang Tao我其实是希望用刚才提到的一个关键词，就是干预，用一个最轻的物质，也看似很廉价的物质，很简单的一种工作方法和工作技能去包裹一个没有实像的、被时间长期打磨之后能够继续顽强存留且不断被放大的宗教化的一个形态，一个宗教的崇拜物。我觉得宗教对抗时间的能力是最强的，你看权利更迭，唐宋元明清、各国资本，包括美第奇家族等等，他们对抗时间的能力实际上是要靠现实社会中存在的能量排布去组合，永远占据优势位置，才能够对抗时间。但宗教不是。宗教主要谈的还是精神的生产和修复，我觉得无论任何人、任何身份或是任何圈层的能量都会更关注这方面。它走到终点或者在起点的时候其实都是宗教化的。它一定是虚的而不是实的。
What I want to emphasize is a key concept of intervention which consists in to using a very light and cheap looking material and in adopting very simple techniques and methods to wrap an image which is not real but can continue to persist and to keep a strong religious connotation even after being polished. This is what can be defined as a religious idol. I think religion is the most powerful weapon against time. Look at the changes of the ruling power throughout history, such as during Tang, Song, Yuan, Ming and Qing dynasties, but even in different countries like the Medici family in Italy etc. The ability of the ruling class to fight time relies on their ability to gather and combine all the energies within the real society. By occupying a dominant position, one can fight against time. Religion is different. It is about a spiritual elevation and enhancement. Any human being, regardless of his character, social status or social level, cherishes this aspect. At the beginning or at the end it must all be about religion, even though it is not real but virtual.
侨福当代美术馆当前展览：芳草地欢迎您III—侨福当代艺术收藏展C展厅现场 On-view Exhibition at Parkview Museum Beijing: “Welcome to Parkview Green III – Parkview Contemporary Art Collection”杨韬作品 平行密码 Parallel by Yang Tao杨韬雕塑系列作品《平行密码》当前在侨福当代美术馆展览“芳草地欢迎您III—侨福当代艺术收藏展”展出，欢迎前往：展览现场 | 芳草地欢迎您III — 侨福当代艺术收藏展 The sculpture series Parallel by Yang Tao is currently on view at “Welcome to Parkview Green III - Parkview Contemporary Art Collection”, The Parkview Museum Beijing. Click the link above for more detail.本文图片来自艺术家和芳草地画廊
photo credit to the artist and Parkview Green Art
杨韬1970年生于山西，现工作生活于北京。主要个展包括“寓言与场所“，芳草地画廊798，北京，2017，”空束“，侨福芳草地，北京，2014，“不存在的可能”，新加坡，2013；主要群展包括“鲨鱼与人类”，香港海事博物馆，2017，“迷宫III：危险关系 当代艺术邀请展”，北京，2009；公共项目包括“戈壁计划”，克拉玛依，2010，“长城计划”，嘉峪关，2010，等。
Yang Tao was born in Shanxi, China in 1970. The artist currently lives and works in Beijing. His main solo exhibitions include "Allegory and Site", Parkview Green Art 798, Beijing, 2017, "Empty Bundle", Parkview Green FangCaoDi, Beijing, 2014, "Impossible Possibilities", Singapore, 2013; his main group exhibitions include "On Sharks and Humanity", Hong Kong Maritime Museum, Hong Kong, 2017, "Labyrinth III: Dangerous Liaisons", Beijing, 2009; Public projects include "Gobi Project", Karamay, 2010, "The Great Wall Project", Jiayuguan, 2010, etc.Artworks on sale at Parkview Green Art, please contact us for more information.开放时间：全年开放 10:00-22:00
Opening Hours: Every day 10:00-22:00 E-mail: gallery@parkviewgreen.com
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