【OCAT上海馆 | 作品介绍】王功新《两平方米有效空间》、《破的凳》，1995-2020

星标为《两平方米有效空间》（1995-2020）和《破的凳》（1995-2020）在本次展览现场所处位置

The star refers to the location ofTwo Square Meter Space

（1995-2020）and The Broken Bench（1995-2020）in this exhibition.

作品《两平方米有效空间》（1995-2020）第一次实现的地点于1995年，在北京一个传统胡同，艺术家的家中。外部的闭路监控摄像机拍摄了两平方米的房屋外角的传统砖块墙面，部分外墙已磨损和斑驳。当外角被投影到墙反面的内角时，原本的外角空间图像“挤入”内角空间结构中。通过影像媒介的独特可能性，外墙的监控画面被“约束”在内角中。因直角结构在投影的画面中被消解了，所以通过闭路监控所捕捉到的空间呈现出了一种失真感。

作品标题中的“两平方米”是一个模棱两可的事实，唤起我们对所处的真实和虚拟现实的三重调和——首先，砖块堆砌出现实中的两平方米空间；其次，监控录像记录了两平方米的外观；最后，现实中的两平方米被传输及投影到内部空间之中。由此，两平方米成为一个不确定的命题。不止于此，闭路监控的延时性打断、扰乱了途经外墙空间的参与者和内角空角的窥探者对于监控系统的感知，并激发了新的个人感受。（文/金曼）

Two Square Meter Space was first fully realised as an installation in the artist’s home in a traditional Hutong in Beijing in 1995. The CCTV camera outside captured the two square meter section of the traditional brick, partially rendered and worn external walls. When this image was projected into the reverse inside section of the wall, the outside perspective was visually forced upon the opposite internal perspective. Through the unique possibility of the video medium, the representation of the exterior wall is disciplined into the internal space. The natural perspective distortion of space is captured through the CCTV camera because the right-angled corner walls recede.

The title “2 Square Meters” is an ambiguous fact that calls for a reconciliation of at least three instances of our lived real and virtual realities. Firstly the concrete measurable reality of two square meters, secondly the video recorded appearance of two square meters, and lastly the reinstated two square meters projected into the internal space. Two square meters becomes an uncertain proposition. In addition, the delay between experiencing the outside wall as a participant and consequently being the voyeur, disrupts, destabilises and brings to attention personal spatial surveillance experiences. (Text / Kim Machan)

作品将中国传统手工制作的家具与文化意义上非特定的录像技术结合在一个嵌入小显示器的板凳上。这条板凳被切断，并通过复制了短缺部分的影像重新连接。沿着板凳断裂处，艺术家的食指冷静地描摹着板凳断裂的缝隙，记录着中断的存在，并回忆着缺席的一段板凳在时光中的流逝。在时间所带来的的矛盾感下——监视器被嵌入之前和之后，板凳“复活”在两个不同的媒介和两种不同的时间体验中，由此录像中对错位的过去的展示使当下更加清晰和突出，增强了在场感。（文/金曼）

The Broken Bench (1995-2020) marries traditional Chinese hand-crafted piece of furniture with the culturally non-specific video technology manifest in a bench embedded with a small video monitor. The bench is cut and re-joined to incorporate the video monitor and recording of the repair joinery maintaining the old bench’s ‘original appearance’. Along this join an index finger dispassionately traces the cut line, the record of the interruption, recalling the absent section of the bench in time passed. Pitting contradictory time instances, before and after the monitor was embedded, the bench is resurrected in two distinct mediums and two distinct experiences of time. The demonstration of the past in the video recording makes the present moment more lucid and accentuated, heightening the sense of ‘liveness’. (Text / Kim Machan)

图片版权 ©OCAT上海馆

Image copyright ©OCAT Shanghai

王功新1960年生于北京，1978年考入首都师范大学美术学院，1982年毕业后留校任教。1987年作为访问学者赴美国纽约州立大学，进行硕士研究生学习。2002至2007年在中央美术学院担任客座教授。2013年获英国伦敦“奥利弗”戏剧金像奖最佳影像设计大奖提名。2014年获得纽约州立大学荣誉博士。现生活创作在北京与纽约。

王功新的作品曾在圣保罗双年展、台北双年展、上海双年展、日本越后妻有三年展、日本和多利美术馆、东京森美术馆、旧金山现代美术馆、纽约MoMA PS1、伦敦V&A美术馆、纽约皇后美术馆、德国ZKM媒体艺术中心、柏林世界文化宫、英国泰特利物普美术馆、澳洲NGV国家美术馆、古根海姆美术馆、柏林汉堡火车站国家美术馆、白立方画廊、日本福岗美术馆、伦敦ICA当代艺术中心、纽约布朗美术馆、上海当代美术馆、OCAT上海馆、尤伦斯艺术中心与中国美术馆等展览与美术馆展出。

Born in Beijing in 1960, Wang Gongxin was admitted to the Capital Normal University academy of Fine Arts in 1978, and took the teaching post after graduation in 1982. In 1987, he went to State University of New York as a visiting scholar for master degree studying. He was a visiting tutor at Central Academy of Fine Arts between 2002 and 2007. In 2013, Wang was nominated for XL video Award of Best set design in 2013 “Olivier Award”. In 2014, he received Honorary Doctoral degree in SUNY (State University of New York). He lives and works in Beijing and New York.

Wang's has exhibited in the San Paulo Biennale, Brasil; Taipei Biennial; Shanghai Biennial; Echigo-Tsumari Art Triennial in Japan; Tokyo Watari Museum of Contemporary Art; Mori Art Museum in Japan, San Francisco Museum of Modern Art, MOMA PS1 in New York; Victoria and Albert Museum in UK; Queens Museum in New York; Museum for Contemporary Art ZKM in Germany; Haus der Kulturen der Welt in Berlin; Tate Liverpool in UK; National Gallery of Victoria in Australia; the Guggenheim Museum, New York; Hamburger Bahnhof - Museum für Gegenwart in Berlin; White Cube Hong Kong; Fukuoka art Museum in Japan; Institute of Contemporary Arts in London; The Bronx Museum of the Arts, New York; Power Station of Art in Shanghai; OCT Contemporary Art Terminal Shanghai; UCCA Center for Contemporary Art in Beijing and National Art Museum of China.

重新聚焦媒介：东亚录像艺术的兴起

展期：2020年12月27日-2021年3月21日

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展期：2021年1月23日-3月28日

扩频Amplifier：OCAT上海馆媒体艺术专号

截稿日期：2021年3月14日