Northeastern Asian Records：Manchuria Railway，War Captives & Repatriation from 1900--1949日期 | Time：2020.10.24 - 11.29艺术家 | Artists: 王希奇丨Wang Xiqi
学术支持丨Academic Assistant：张燕楠丨Zhang Yannan
策展人 | Curator：付晓东丨Fu Xiaodong地点 | Venue：空间站 北京市朝阳区酒仙桥路4号798艺术区中一街 | Space Station, NO.4 Jiuxianqiao Rd, 798 Art District, Beijing
展览现场 | Exhibition Site
展览现场 | Exhibition Site
满铁 137 （文献资料）
展览现场 | Exhibition Site
日侨俘大遣返 179 （文献资料）王希奇创作的《1946》中，被遣返的不仅有侵略者，也有他们的妻儿老小。对这一史实的艺术再现，生动地表现出中华民族宽广的胸怀和高尚的人道主义思想。为了强化这一表达，艺术家王希奇没有按照传统的方式对这些人物加以塑造，作品中呈现的侵略者、殖民者并非是面目憎狞的野兽，亦非羸弱不堪的败者，他们是父亲、母亲、孩童和伴侣。卸去社会结构中的职责，他们是生命的存在。这一刻，他们重新回归日常生活，重新成为单个的人，获得了远离政治的自由。他们怀中的宝宝或释然，或喜悦地看着拥挤的人群，期待着即将开始旅程，政治意义中的“大遣返”于他们只是一次驻地的迁移。孩童纯洁的心灵并未理解民族主义视角的正义与邪恶，更未参透战争的残忍本质。他们是无辜的生命个体。
The Repatriation of Japanese Emigrants, as a historical event, is a trifle epilogue on the failure of Japanese colonial war in WWII, while the large oil painting The Repatriation is a significant work that perpetually opens the Narrow Gate to the gloomy part of man’s soul. This painting is not only a mirror but more like an instruction given by Zen Master Ju Zhi. It does not just reveal a historic event but means to propose an attitude of taking history as a mirror. It is a sin to forget history, but simply passing the old hatred over to next generations is a more terrible sin. From a particular perspective, The Repatriation tells people to learn from the past and to contemplate how to avoid the repetition of such a human tragedy as WWII.
满铁 23（文献资料）In a certain historical context, “repatriation” as a structuralism concept is opposite to “colonization.” An organized migration of people is considered as a kind of “colonization” while the individual moving from one place to another is called “emigration.” “Colonizing” and “emigrating” are quite different. “Colonizing” people somewhere is a way of governance and oppression can result in obedient moving. On the other hand, people will, as a result of their own choice, change their places of residence and “emigrate” to other places, and this is usually a struggle for a better life. If people are moved to a certain area to live by the ruling power for a particular purpose, then this kind of migration is not caused by seeking a means of living but is carried out for political purpose. “Migration and colonization” in this way can be seen as “aggression”.
Animals fight for territories for survival, so do human beings. An ideal situation is of course to live and let live. While, there will always be aggression and naturally, there is always resistance. This leads to the abandoning of “natural rights” to obtain “social rights” (Rousseau, The Social Contract). The forming of a society gave rise to the appearance of social authority, namely, the ruling class. That is to say, when people are resolute to safeguard the collective territory that surpassed their own homeland in size, the world has been divided into different countries. At that moment, the concept of homeland in people’s mind has evolved from the idea of an individual owning to the collective owning of a piece of land. Superficially, safeguarding territory is for the survival of a group of people, but in essence, it is for the maintenance of the range of authority. That is not the same as occupying a piece of land, which is the nature of animal. Territory, which essentially means the ruling class’s sphere of influence, has then transformed to mean the living place for individuals with a certain identity via national ideology.
When this piece of land that provides for people became a label for dividing them, groups formed by animals through blood ties and sexual relationships are seemingly more consistent with modern rationalism and the dream of freedom. In history, residents coming from a different place were regarded as aggressors when they entered into a piece of occupied land. Resisting aggression and expelling foreign enemies became glorious and just conducts. However, the nature of war is not for protecting people, but for maintaining the ruling class’s scope of governance. Therefore, even anti-aggression war is a kind of massacre but it is justified by ruling class with the blood of people, and in this way, the bloody nature of war is hidden. In fact, the existence of nation and country is the premise for modern large-scale wars. Putting too much emphasis on nationality and country is exactly the opposite of Marx’s communist ideals. Paying attention to individual fate, returning to family life, and seeking poetic residence should be the right path towards communism.
满铁 22 （文献资料）The painting The Repatriation enables audience to focus their attentions on mankind because it shows and studies an original condition of human experience without any political nature, when people were not grouped by ruling authority. Individual existence is the criteria of gains and losses, also good and evil, and this is individualism. Individual life and fate should not be sacrificed to satisfy the desires of the ruling authority. Only when people are clear of the negative effect brought by the internal identity of modern society, and to live as an individual but not as one of a collective identity, can we avoid the recurrence of incidents like “Auschwitz Event”.
满铁 152（文献资料）The aggressors and colonizers depicted in The Repatriation are not hideous looking beasts, nor are they fragile and frustrating losers. They are fathers, mothers, children and partners. Laying down duties of the social structure, they are natural existence of life. At this moment, they returned to daily lives and became individuals again, having regained freedom by being removed from politics. Babies in their arms are either at ease, or watching the crowds joyfully, looking forward to the upcoming journey. A political repatriation is just an emigration for them. The hearts of young and pure can not understand the good and evil judging from national perspective, let lone see through the cruel nature of war. They are innocent individuals of lives.
When adults mention the historic repatriation, they either feel proud and pleasant for defeating the aggressors and taking revenge, or feel sorry and sad for their compatriots’ sufferings and fighting during national declination. The Repatriation avoids the propaganda of the glorious image of the right side and it also doesn’t focus on portraying the disheveled appearance and misery of the defeated. Figures in the painting are more like passers-by in life. Sadness and misery are hidden in the portrait of complex figures with varying and distinctive expressions. There are neither typical characters nor neglected figures in the painting. Every individual is a real existence of life. From the perspective of existence of life, this kind of work of art has gone beyond the dimension of portraying the good and evil in traditional war paintings. It leads the viewers to reflect on and question the helplessness of fate and meaninglessness of existence under the control of ruling authority. To witness individual misfortune as collective groups is precisely an evil deed of mankind.
战俘 214 （文献资料）
Man exists in the social structure. Has it ever crossed your mind that we should live as a MAN when we are participating in social operation or allowing a kind of system to come into being or enabling someone or some groups to possess authority or when we obey man-made “God”? Has it ever dawned on you that the instinct to kill is actually an original sin of mankind? As an observer or reviewer of war, can we really escape from historical responsibility and get away with the “guilt of innocence”?
战俘 253 （文献资料）
With perfect integration of rugged style and delicacy, realism and romanticism, abstract background and concrete figures, The Repatriation stamped the “innocent but guilty” on every viewer’s memory. With the universal accusation, we will forgive innocent individuals under systems, and to focus our attention on the past and future which are looming yet gleaming. We will restudy the dedication and pursuit in human civilization, the darkness and sense of guilty in modernity. Just as Zygmunt Bauman says in Modernity and the Holocaust: “In praise of material progress which our civilization has brought, we have sorely underestimated its true potential”, namely, the ability of mass destruction, and “both creation and destruction are inseparable aspects of what we call civilization” (Modernity and the Holocaust, Zygmunt Bauman). When we are applauding social progress and blessings brought by scientific development, have we realized that the enlightening society which supports and encourages development of industrial civilization is creating “one dimensional man” (Herbert Marcuse) from generation to generation? Is this civilization which has grown out of control now burying human himself?
We believe the impact of the painting The Repatriation can awaken people reveling in scientific and civilization development to forecast consequences of war. Although blood-spattered scenes of mass destruction are covered up by long distance after you pressed the button, and glories of war and pleasures of killing are hidden subconsciously at the darkest corner of what we call awareness of hegemony, may the purity and detachment of art rouse the aimless men in the world.
10月24日下午四时，王希奇个展「东北亚纪事：1900—1949的满铁、战俘与遣返」在空间站开幕。The Group exhibition 「Post —— Literati Painting」opened in the Gallery Space Station at 4pm 19 September.
The show will be exhibited until November 29, 2020. 一九四六—王希奇个展，日本东京美术俱乐部，东京，日本一九四六—王希奇个展，日本舞鹤引扬纪念馆，京都，日本一九四六—王希奇个展，日本宫城县美术馆, 仙台，日本国家重大历史题材美术创作工程展, 中国美术馆，北京Mr. Wang xiqi, was born in Jinzhou, Liaoning province in July 1960, and graduated from Luxun Academy of Fine Arts with a master’s degree in Traditional Chinese Painting. He now is a professor and master tutor of the painting department of Luxun Academy of Fine Arts, as well as a member of China Artists Association.1946--Wang Xiqi Solo Exhibition, Japan Tokyo Art Club, Tokyo1946--Wang Xiqi Solo Exhibition, Japan Maizuru Repatriation Memorial Museum, Maizuru, Kyoto 1946--Wang Xiqi Solo Exhibition, The Miyagi Museum of Art, Sendai, MiyagiSelected group exhibitions:The 9th Chinese National Fine Arts Exhibition, National Art Museum of China, Beijing The 10th Chinese National Fine Arts Exhibition, National Art Museum of China, Beijing National Significant History Themes-Related Fine Arts Creation Program, National Art Museum of China, Beijing