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艺术家 | 杨振中「春分」—— “露台计划”第五期

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艺术家 | 杨振中「春分」—— “露台计划”第五期香格纳画廊杨振中露台计划艺术家 The Equinox 展期地点淮海中路1431号法国崇真艺客

杨振中：春分

Yang Zhenzhong: The Equinox

展期：2021/03/20-05/01

地点：淮海中路1431号（法国驻上海领事馆官邸）

艺术家 | 杨振中「春分」—— “露台计划”第五期香格纳画廊杨振中露台计划艺术家 The Equinox 展期地点淮海中路1431号法国崇真艺客

杨振中：春分

Yang Zhenzhong: The Equinox

2020 - 2021

柳树、桑树、水泥盆、营养土

Willow, mulberry, cement pots, nutritive soil

柳树 Willow: 220 x 180 x 346 | 桑树 Mulberry: 150 x 210 x 290

“露台计划”第五期很荣幸推出艺术家杨振中的新作:「春分」。本期「露台聊聊」的主题为“正向”。

“Project Terrace” is pleased to present artist Yang Zhenzhong's latest work “The Equinox”. The theme of this term's “Terrace Chat” is “Positive.”

露台计划第五期：「春分」

杨振中和Alice 陈的对谈（以下简称Y和A）

A：倒过来种的树竟然还能活！

Y：我咨询过一些植物专家，但是没有一个能肯定地告诉我是否能成功。一棵柳树，一棵桑树，都是上海本地常见树种。柳树已经冒芽了；希望桑树过一段时间也能冒出芽来，因为试抠过一点树皮看了看，枝条里头是绿的，有水分的。

A：这个作品您之前在泰国做过一次。

Y：是的。那是2018泰国双年展，展览概念是户外艺术。展前踩点是我第一次去甲米 Krabi，当地的气候、植被、环境让我深受刺激。那种极具生命力的旺盛的生物多样化，感觉是随便什么，无论怎样都能活。于是我就想，我要是把树倒过来种，可不可以在这个地方种活？但是因为从来没人干过这种事，所以没法预料成活的可能性。这给泰国主办方政府文化机构带来很大的压力，他们怕最后树不活，老百姓不高兴。所以一开始他们是不太能接受的，一直犹犹豫豫到最后。我那次的作品名字，也是一直没想好，到最后策划人打电话催我问这到底叫什么名字，我说干脆叫「To Be or Not To Be」吧。因为我觉得这件事整个的过程很契合这句话，无论是作品能否实施，还是树到底能不能活，都持续处于未知的带冒险性的境况。这句话还特别难以翻译成中文，最后就决定只有英文名字。

A：泰国倒种了十颗榕树活了八棵。毕竟是气根性植物，又是在热带，感觉那个比较容易种活。在上海那就难度系数太大了。从您艺术家本人的角度，是认为无论种活了没种活都可以，只要尽力了就行；还是说种活了是成功的，没种活是不成功的？

Y：我当然希望能种活啊，因为树倒种活了就更“奇观”。

艺术家 | 杨振中「春分」—— “露台计划”第五期香格纳画廊杨振中露台计划艺术家 The Equinox 展期地点淮海中路1431号法国崇真艺客

To Be or Not To Be, 杨振中 Yang Zhenzhong, 2018

A：「春分」和「To Be or Not To Be」，有不同之处吗？泰国已经做过一次了，为什么又想在上海的“露台计划”再做一次呢？

Y：就是因为“合适”。露台本来就是用来放植物盆栽的地方，所以觉得这个作品特别适合这个“露台计划”。

另外，在这个时间点，到这个地方，再做一次这个作品，它跟我这两年以来越来越强烈的一种感觉很有关系。这种感觉就是：这个现实世界可能已经不再往我们原来所理解的那个方向在发展了。

疫情，以及疫情为什么会发生，都与此有关。疫情本身不是根源，根源在更深的地方。疫情不会没原因的就自己发生，它可能是必然。疫情只是一个阶段，只是一个小结果，但是它闹得有点大，于是整个世界看起来可能就以此为外在标志转向了。

不仅是中国，我觉得是整个世界，它里面在发生一种东西，一种我没法用语言来描述的东西，这是一种有点粗暴和残酷的东西。

把树整个倒过来种，真的是很粗暴的一个行为。但是一个活物仍然会寻求一个生存的方式。不过从此它改变了，它往后是以一个不是我们原先所理解的方式在继续活了。就像这个现实，这个世界，我觉得今天它不再是我们原来理解的现实了。

同样是很粗暴的把树倒过来，在泰国还是种回地里，这回还硬栽进了花盆里。一方面也是因为在露台上你必须种在盆里，不可能直接栽进土里，但是栽进盆里更加是人类的一种干预行为。所以说「春分」和「To Be or Not To Be」是不一样的，「春分」延伸了，比泰国做的那次更有情绪。

A：您特别选在3月12号植树节来移树布展，3月20号春分这天开幕。作品名字也就定为「春分」。那柳树虽说身处不是由自己选择的极端境况，但春天一到，还是倔强地爆发出嫩绿的芽孢和新叶，看着觉得还挺励志的，挺“正向”的。

Y：其实什么都能跟正向联系上。正向（艺术研究会）这个名字很强大。

A：那咱们这一期露台聊聊就从“正向”展开？

Y：可以。

春分（细节），杨振中，2020-2021

The Equinox (details), Yang Zhenzhong, 2020-2021

A：无论外在形式还是内在逻辑，您是经常利用正反矛盾关系来做作品的。比如说：

让大活人自己亲口对着摄影镜头说“我会死的”；被剥掉整个外皮的按摩椅，已经无法给任何对象带去舒适按摩了，兀自持续运转大发噪音；无人值守的商铺里藏着监控，偷偷记录下人们的反应；在影像的世界里倒转城市放在手指尖上举起；一对停车场出入口的大型起落杆被挂在美术馆展墙之上继续工作，失去平日作用的起落动作，如鸟儿翅膀般优雅。

我觉得您有一种罕见的才能，您作品里那些转换过的“陌生化的日常”明明已经超级荒诞的同时，还是和“真实日常”不隔阂，还是那么活生生，有血有肉。模仿与嘲弄，幽默和歇斯底里的同时并不影响作品的温度感，还是可以马上直观感觉到您对人，对社会，对现实，发自内心的关心。

为此我写了一段比较书面的文字：

杨振中的作品中，超现实以艺术的名义成真，在成为超现实奇观的同时和还继续拥有深刻的现实主义的气质和温度，甚至指示出比现实更具现实感的深层现实。

这种超现实是扎根于现实，不会脱勾而去的超现实。在杨振中这里，理论概念和表面形式退后，成为了随着他以艺术之名的“想做之事”，或“所设定之程序”完成后的自然生成物。

Y：哦 …… 是吗？

正向艺术研究会出品

艺术家 | 杨振中「春分」—— “露台计划”第五期香格纳画廊杨振中露台计划艺术家 The Equinox 展期地点淮海中路1431号法国崇真艺客

春分，杨振中，2020-2021

The Equinox, Yang Zhenzhong, 2020-2021

Project Terrace Term V: The Equinox

A conversation between Yang Zhenzhong (Y) and Alice Chen (A)

A: Trees planted upside down can stay alive!

Y: I’ve consulted some botanical experts, none of them were confident that I’d succeed. I chose one willow, one mulberry, both very common trees in the Shanghai area. The willow has already sprouted; hopefully, the mulberry will sprout shoots too. I dug under the bark of the branches, and it is green inside, which means the tree is getting well hydrated.

A: You have done this before in Thailand.

Y: That’s right. It was for the Thailand Biennale in 2018. The concept of the exhibition was outdoor art. When I first visited Krabi, I was stimulated by its climate, vegetation, and environment. The vitality of the exuberant bio-diversity made it seem like anything can thrive there. So I thought if I turn the trees upside down, could they still survive there? Nobody has done this before, so we couldn’t predict the outcome. The project put a lot of pressure on the official Thai cultural Institution organising the Biennale because they were afraid that it would upset the local people if the trees don’t survive. So they were quite hesitant to accept my proposal until the last minute. I also struggled for a long time to come up with a name for the work. Finally, the curator called and asked me what it was called, I just simply said “To be or Not To Be.” Because the whole process really fitted with this line. Whether the proposal could be implemented, or whether the trees could survive in the end were very much hanging in a risky and unknown question. The sentence was also hard to translate into Chinese, so the work only had an English name.

A: Eight of the ten Banyan trees you planted upside down survived in Thailand. After all, they had air plant roots and lived in the tropics, so it felt easier. The plan is much harder to implement in Shanghai though. From your perspective as the artist, do you think it is the process and efforts that count and not the end result? Or do you think the work is only successful when the plants can live?

Y: Of course I want my plants to live. Because it becomes more of a “spectacle” when the trees can live upside down.

To Be or Not To Be, 杨振中 Yang Zhenzhong, 2018

A: Is there any difference between “The Equinox” and “To Be or Not To Be”? You have already done this in Thailand. Why do it again in Shanghai?

Y: Because it is very “appropriate.” A terrace is a place for potted plants. So I think it is particularly suitable for “Project Terrace.”

Also, making this work at this point in time, at this place, has to do with a feeling that’s been growing stronger in me for the past two years. The feeling is this: the reality is no longer moving in the direction we originally intended. The pandemic, and why it happened, has to do with this. The pandemic is not the root; the root comes from much deeper. It did not occur for no reason, and it may be inevitable. This pandemic is only a phase, a small consequence that turned into a bit of a big mess. So it became an external symptom of the world turning upside down.

艺术家 | 杨振中「春分」—— “露台计划”第五期香格纳画廊杨振中露台计划艺术家 The Equinox 展期地点淮海中路1431号法国崇真艺客

春分（细节），杨振中，2020-2021

The Equinox (details), Yang Zhenzhong, 2020-2021

Not only in China, but I think it’s all around the world: something happened that I cannot describe with words, something which is a bit violent and cruel.

It is really cruel to plant a whole tree upside down, yet a living thing will seek a way to survive. However, since its form has changed, it will no longer continue to live as originally intended.

Though it was similarly cruel to plant a tree upside down in Thailand, the trees were planted back in the soil. This time, they were forced into flowerpots. On one hand, you couldn’t plant a tree in the soil on a terrace. On the other hand, using pots is also a sign of human intervention. So “The Equinox” is different from “To Be or Not To Be.” “The Equinox” is an extension; it is more emotional than what I did in Thailand.

A: You chose to install this work on Arbor Day (March 12th), and then open the show on Spring Equinox (March 20th). The work is even called “The Equinox.” Even though this willow was forced into a rather unwanted extreme condition, it has stubbornly burst out with green sprouts and new leaves. It looks quite inspirational, and even “positive.”

Y: Anything can be positive. Positive (Art Research Centre) is a strong name.

A: Shall we develop this term’s “Terrace Chat” based on the word “Positive”?

Y: Sure.

春分（细节），杨振中，2020-2021

The Equinox (details), Yang Zhenzhong, 2020-2021

A: Whether in external form or internal logic, you often use contradictions to create your works. For example: asking living and breathing people to say “I will die” into the camera; peeling off the skin of a massage chair that can no longer provide comfort to anyone, and allowing it to continue to operate and produce loud noises; hiding a monitor camera in an unattended shop, secretly recording people passing by; flipping cities upside down on the tip of a finger, in the world of images; hanging a pair of large boom barriers, meant for parking lot exits, in an art museum where it loses its everyday lifting and falling functions, and appears as elegant as bird’s wings.

I believe you have a rare talent. Your works, while converting the “defamiliarised daily life” into deep absurdity, are not estranged from reality; they still seem to belong to the “real daily life” in flesh and blood. Imitation and mockery, humour and hysteria do not affect the sense of warmth of your works. One can intuitively feel your heartfelt concern for people, society, and reality.

To that end, I composed a piece of text in written form:

In Yang Zhenzhong’s works, surrealism comes true in the name of art. As surrealist spectacles, they continue to possess the temperament and warmth of profound realism, and even point to a deeper level of reality which feels more real than the real world. This surreality is rooted in reality and does not decouple from it. With Yang Zhenzhong, theoretical concepts and external forms have receded, and became natural outcomes following what he wants to do, or the completion of his pre-set procedures, in the name of art.

Y: Oh… really?

Presented by Positive Art Research Centre

(Translated by Jo Q Liu)

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杨振中，1968年生于浙江杭州，现工作生活于上海。作为艺术家，其艺术实践以观念艺术为主要方向，涉及录像、摄影、装置，甚至包括绘画、雕塑等艺术形式，长期活跃于全球当代艺术系统，并于2003和2007年两次参加威尼斯双年展主题展。作为策展人，从上世纪九十年代末起，他与上海的艺术家们共同策划并发起了包括“超市展”、“吞图”、“快递展”等十几场重要的的当代艺术展览和项目。杨振中的创作核心，一方面持续关注生死议题并以玩世不恭的态度强化社会中存在的大量矛盾与错乱，另一方面则是对城市日常与政治空间中的人、物、景观的转化和再利用。

重要个展包括：《我与博伊斯·杨振中：立方》，上海昊美术馆（2020）；《静物与风景》，北京唐人当代艺术中心（2018）；《始终》, 莫斯科MANEGE美术馆及展览协会（2014）；《不在此时》，上海OCT当代艺术中心（2013）；《不要动》，北京香格纳（2011）；《杨振中》，英国伯明翰IKON美术馆（2006）；《轻而易举》，上海比翼艺术中心（2002）。重要群展包括：《1989年之后的艺术与中国：世界剧场》，纽约古根海姆博物馆（2017）；《我们光明的未来：控制论幻想》，韩国白南准艺术中心（2017）；《前卫中国：中国当代艺术20年》，东京国立新美术馆（2008）；《全球化城市》，英国泰特美术馆（2007）等。其作品不仅参加了威尼斯双年展(2003、2007)、上海双年展(2002、2016)、广州三年展(2002、2005、2012)、亚太当代艺术三年展(2006)、里昂双年展(2013) 等国际大展，亦被纽约MoMA、古根海姆、英国IKON美术馆、日本福冈亚洲美术馆、法国国家现代艺术博物馆、瑞银集团等重要公私艺术机构所收藏。

YANG Zhenzhong was born in 1968 in Hangzhou, Zhejiang Province, and is currently based in Shanghai. As a practicing artist, YANG works primarily in the field of conceptual art with media that span from video, photography and installation to painting and sculpture. For decades, he is an active member of the international contemporary art scene and has showcased twice in the Venice Biennale (2003 and 2007). As a curator, he has collaborated with artists in Shanghai since the late 1990s and planned and initiated exhibitions including “Art For Sale”, “Dial 62761232: Express Art Exhibition”,“Hipic”and dozens of other important contemporary art shows and projects. YANG's creations have always been centring on the issue of life and death and highlighting the multitude of contradictions and disorders in the society with a cynical attitude on one hand. On the other hand, he translates and recycles the people, objects and landscapes in everyday urban life and political space.

Selected solo exhibitions include: Me & Beuys Yang Zhenzhong: Cube, How Art Museum, Shanghai(2020); Surveillance and Panorama, Tang Contemporary Art, Beijing (2018); Eternal Return | Вечное возвращение, Moscow Manege Museum and Exhibition Association, Russia (2014); Trespassing, YANG Zhenzhong Solo Exhibition, OCT Contemporary Art Terminal, Shanghai (2013); Don’t Move, Yang Zhengzhong Solo Exhibition, ShanghART, Beijing (2011); YANG ZHENZHONG, Ikon Gallery, Birmingham, U.K.(2006); Light As Fuck!, BizArt, Shanghai (2002). Selected group exhibitions include: Art and China after 1989: Theater of the World, Solomon R. Guggenheim Museum, New York, U.S.A.(2017); Our Bright Future: Cybernetics Fantasy, Nam June Paik Art Center, Yongin-si, Korea (2017); Avant-Garde China: Twenty Years of Chinese Contemporary Art , The National Art Center, Tokyo (2008); Global Cities, Turbine Hall, Tate Modern, London, U.K. (2007) etc. The artist’s works have previously exhibited in numerous prominent exhibitions including Venice Biennale (2003, 2007), Shanghai Biennale (2002, 2016), Guangzhou Biennial (2002, 2005, 2012), Asia Pacific Triennale of Contemporary Art (2006), Lyon Biennale (2013) and so forth. His works can also be found in collection of significant public and private institutes such as MoMA New York, Guggenheim Museum, Ikon Gallery (U.K.), Fukuoka Asian Art Museum, Musée National d'Art Moderne and the UBS Collection.

艺术家 | 杨振中「春分」—— “露台计划”第五期香格纳画廊杨振中露台计划艺术家 The Equinox 展期地点淮海中路1431号法国崇真艺客