{{sindex}}/{{bigImglist.length}}
{{memberInfo.real_name}}
{{commentname}}

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇

{{newsData.publisher_name}} {{newsData.update_time}} 浏览:{{newsData.view_count}}
来源 | {{newsData.source}}   作者 | {{newsData.author}}
【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客


展览“无独有偶:影像及其扩展场域”正在新世纪艺术基金会空间展出。接下来我们会陆续刊发参展艺术家的访谈,在这些访谈中他们将更为明确的总结各自的跨媒介实践经验,以及背后的相关思考背景与知识结构。


杨福东 

Yang Fudong


《是冰》是《无限的山峰》特别版本,由三部分完整构成。分别为展现僧侣在天台山上日常生活、劳作、休息的五屏彩色、黑白、无声的影像;《无限的山峰-是风之四》的摄影、丙烯和木板上素描作品以及在展厅中由不锈钢镜面特别构建的“冰面”装置。


【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客
【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客
【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

《无限的山峰—是冰》 Endless Peaks -It’s the Ice

2021

5屏彩色,黑白,无声视频

5-channel colour, black&white, silent video

木板,素描,丙烯,摄影

Photography, acrylic and drawing on wood panel

不锈钢镜面  

Stainless steel mirror



艺术家谈



在去年的个展“无限的山峰”中,我把整个展览以“绘画电影”的方式展开,其中的影像、摄影、绘画,包括黑色镜面以及通往二楼的洞口,都类似于电影中的分镜头,和整个展览空间形成一个综合体。“绘画电影”这个概念有点接近中国古代绘画长卷,长卷展开,从左到右,娓娓道来,是有一个叙事结构在其中的,一种连接的蒙太奇。现在在做《无限的山峰》画册,又有点像是书本电影、文本电影,但不是那种文字式的,有真实的风景图片、绘画、影像的截帧,可以触发读者的想象。如果你曾去看过那个展览,这种观看和阅读便可以一起构成一个电影的版本,不是那种九十分钟的标准电影,而是一种扩展的概念。和我之前的“图书馆电影”与“明日早朝”式的“美术馆电影”既区别又联系。

 

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客
【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客
【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客
【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客
【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

影像截帧 Still  

图片由艺术家和香格纳画廊提供|Image courtesy of aritist and ShangART Gallery


简言之,这是一种试图脱离一般叙事电影的、强调形式感的电影理念。此外,“意会”也很重要,这个概念是我们东方艺术中非常重要的点,中国文化中的含蓄都是不可言说的,只能意会,是微妙的,里面包含非常大的想象空间和精神深度,我的创作也是试着一直在靠近“意会”。这种意会也来自观者的自身理解。所谓“意会电影”就是想象中的电影,一部不可见、也未发生的电影,观众可以局部地去看每个作品,看完后形成一个看不见的、完整的概念,在心中达到一种想象,一种氛围。

 

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

杨福东|Yang Fudong

《无限的山峰—是风之四》|Endless Peaks - It's the Wind Ⅳ

2021 

木板,素描,丙烯,摄影| Wooden board, drawing, acrylic, photography 

30(H)×18(W)cm×3 pieces


我是学油画出身的,但今天我的绘画不可能再回到之前的认知和表达方式上。过去可能就是单纯地追求技巧,但现在画画时更多是要表达我的一些想法和观念,能不能用绘画够到它,表达出来。以前是靠电影来靠近“意会”,今天看看有没有可能通过绘画也靠近“意会”。我将不同的媒介创作并置在一起,人物素描、丙烯和摄影,形成一组“三联画”,就像蒙太奇画面,也是有意识地在突破其中的边界,形成新的叙事关系和结构。



杨福东

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

1971年生于北京。毕业于中国美术学院油画系,被誉为目前中国最有影响力的艺术家之一。从九十年代末起,杨福东就开始从事影像作品的创作。无论是摄影、绘画、电影还是装置,均以多重的文化透视、交错的时空体验形成独特的文化视觉诠释。


王旭

Wang Xu

遗产瀑布公园位于蒙特利尔公园市,临近文森特-普莱斯美术馆。在草地山坡上有一个阶梯式喷泉,其尽头有一个壁龛。它是由一名叫彼得-斯内德的房地产开发商在1920年代末建造的。起初为纪念他的希腊裔文化背景,竖立了一个被他称为“雅典娜”的女性大理石雕塑。这座雕像不久就神秘失踪了。直到2005年,蒙特利尔公园市历史学会竖立了一个“雅典娜”雕塑的替代品芙罗拉。无论是原塑像还是替代品,都不包含任何与希腊女神雅典娜相关的正确特征。


2016年,艺术家王旭授权非营利艺术组织Equitable Vitrines在有关遗产瀑布公园的提案中,使用他的雕塑作品《夏娃》(2015)。王旭在中国曲阳的一家大理石采石场和雕塑厂制作了“夏娃”。这座雕塑是他利用一座受损的圣经人物雕像,按照该厂的一名女工的形象,将其重新雕刻而成。这项提案建议暂时把“夏娃”和同样是从曲阳进口的替代品“雅典娜”并排放置在喷泉里。2017年,蒙特利尔公园市议会举行了一场关于该议案的听证会。而后,该议案遭到否决,Equitable Vitrines收回了其提案。


王旭的“四季花园”项目包括一件大理石雕塑《无题雅典娜》和一件影像作品《四季花园》。影像作品记录了“雅典娜”雕塑的创作过程,并穿插听证会当天关于“夏娃”雕塑命运的争论。在语言的夹缝里,两座雕像的命运变得不确定,艺术在语言的解释下也变得越来越抽象。


【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

王旭|Wang Xu

《四季花园》|Garden of Seasons

2019

双频录像,彩色有声|Two-channel video, color, 

sound

33'16"

《无题的雅典娜》|Untitled Athena

2021

大理石|marble

53×26×24 cm


艺术家谈


这次展出的作品来自我的项目《四季花园》(2019)。该项目是我为美国蒙特利尔公园市文森特普莱斯美术馆(Vincent Price Art Museum)的个展特别制作的作品,并得到了非营利性艺术组织Equitable Vitrines的支持。同时这个展览亦是针对市议会于一年前否决我的雕塑作品《夏娃》到访该市的回应。当时,蒙特利尔公园市召开了由支持者与反对者两派参加的议会,经过两个小时的辩论,最终议员举手表决否定了将《夏娃》安放到瀑布公园并与现存于喷泉顶端的景观雕塑芙罗拉(Flora)“碰面”的动议。

 

我在重新回顾议会内容的过程中,偶然发现现存于喷泉顶端的芙罗拉实际并非反对者所陈述并捍卫的“雅典娜”,它的形象与1920年以来“守护城市”的雅典娜存在着明显的差异。之后的资料也佐证了这一点,她们是截然不同的两个雕像。雅典娜的突然出现,事实上打破了我们原本对“夏娃”提议的畅想。自2001年中国加入世界贸易组织后,逐步变为了世界的工厂,15年前,来自河北曲阳的园林雕像芙罗拉和夏娃诞生。2002年,夏娃因为瑕疵被遗弃。2003年,美国人玛丽·杜思(Mary Duce )和查尔斯·卡特(Charles Carter)购得芙罗拉并把她当作雅典娜安放到蒙特利尔公园市瀑布公园的神龛内。15年后,夏娃被偶然发现,经过重新雕刻后作为一件艺术作品来到了美国参加展览。当我意外发现她们的故事后,便预想制造这样一场对话:通过在瀑布公园安排夏娃与芙罗拉见面,让游客去思考这些充斥在我们身边的“商品”在世间的故事,也借助这故事里的种种“意外”和“偶然”作为线索,去引发“什么是令这些意外和偶然连结到一起的必然性”的讨论。

 

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

影像截帧 Still 

图片由艺术家提供|Image courtesy of aritist


在夏娃被拒绝后,我很快陷入了对于雅典娜的兴趣之中。经过一段时间的查阅和学习郡志,我了解到“雅典娜”雕像的设立,最初是房地产开发商为吸引中产阶级移民到此而虚构的图腾,以达到售卖房产的目的。并且直至今日,曾经被安放在此的两件雕塑都不是雅典娜,但都“被迫”扮演雅典娜。这个错误之所以存在,不仅是人为的,也和当地复杂的移民史有关。而这个“错误”竟长达一百年,随着居民的陆续搬入,城市化的进程,蒙特利尔公园市不再是往日的不毛之地,已然发展为包容百万人的移民卫星城。来自四面八方的新移民也早已“善意”地接受了雅典娜的存在。基于这个偶然的发现,我向文森特普莱斯美术馆提出了方案请求,即制作一个新的、符合希腊神话标准的雅典娜雕像。这就是《四季花园》的主要内容。影像中穿插着听证会当天关于《夏娃》雕像命运的争论。在语言的夹缝里,与雅典娜同为雕像的夏娃,她的身份被反复的质疑,艺术在那一刻变得既具体又抽象。

 

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

王旭|Wang Xu

《无题的雅典娜》|Untitled Athena

2021

大理石|marble

53×26×24 cm


大学时我接受的是偏写实主义的雕塑训练。在五年的时间里,我进行了很多以人物为模特的写生练习。所以,对于人物的关注,并以肖像式的视角表现人物的状态,成为我之后创作的本能起点。后来我到了纽约继续学习,在读研究生的两年里,我逐渐开始将概念和表演性融入到创作和练习当中:我尝试使用非永恒的、易变质的、类似焦糖这样的材料创作雕塑,同时也尝试到室外使用雕塑进行表演。也是从那时起,我开始结合影像创作,对于同时在场的雕塑和身体进行拍摄,记录身体的运动和雕塑的变化,伴随雕塑的最终消失而结束身体的移动,镜头进而目睹了人的本能与物质性的遭遇。在我的作品中,非影像的部分必然会被时间消解,而在非影像的消失过程中,影像的部分是在偶发的生长着,类似一场质变,消亡让影像变成非影像的纪念碑。直到今天,我在创作时还会继续这样的惯性,用影像粘贴身体、动作和瞬间。

 

集体式的创作实践,让我体会到雕塑语言范畴之外隐含的弃权式的创作经验,对整体感的强化会延伸至雕塑作为行为结果——被制作的过程中:细节要满足整体感而被忽略掉;个体性在面对主体性会需要被隐藏。对我来说,雕塑制作本身的过程里一直都具有着一定的强迫力和盲目感,充实着无数时间的局部和触感细节。在创作影像的过程中,我可以释放矛盾感,甚至可以明确的表达抵抗,影像创作瓦解了雕塑的主体式经验,将创作意图的本体释放了出来。抑或说,不同于雕塑创作,我希望影像创作里是有抒情和浪漫的,这也许是我在观察和创作雕塑的过程中,剩余下来的态度和经验——意义被情绪瓦解,个体需要被解放。所以,二者之间不是简单的割裂或者合作关系,也不是不谋而合的共生,是本着不伤害但解放彼此的希望。

王旭

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

1986年出生于中国大连,主要从事雕塑和影像装置的创作。对王旭来说, 雕塑游离于物体、经验和社会实践之间,连结时间和个人记忆。



All five participating artists in the show once received their education from fine arts academies in either the department of oil painting or that of sculpture. These experiences are more or less lasting and continue to affect the artists’ later practices in subtle and ambiguous ways, eventually inducing them to take on distinctive strategies in each of their expanded practices: in Yang Fudong we see his reactivating the spiritual core of Chinese handscrolls through films; while Chen Dandizi drives her video and photographic installations with the universality she finds present in the emotions; and as Yu Honglei pursues the rhythms and pulsations that "short-videos" and sculptures share, LI Ran makes his works in paintings, videos and archival researches accompany and nourish each other; meanwhile there is Wang Xu building up a project of complexity in his assemblage of sculpture and moving-image. In any case, Polyphonic Strategies is not aspiring to complete here the project—which shall be of considerable complexity and immensity—it proposes, rather, it’s more an attempt at shedding new light on the artists’ specific practices and the operating logic of the mediums behind which.


Yang Fudong


It’s the Ice is the special extension of “Endless Peaks”, which is consisted of three different parts. Including the 5-channel colour, b&w and silent video present monk’s daily life, working and resting on the Mt. Tiantai. The triptych work, Endless Peaks – It’s the Wind, is made of photography, acrylic and drawing on wood panel. Along with the “icy floor” which is installed with the stainless steel mirror that completes the overall concept. 



Last year, in my solo exhibition "Endless Peaks," I unfolded the entire presentation as a "painted film," in which the video, photography, and painting, including the black mirror and the cavernous hole towards the second floor, are fragmented clips of a film that integrate into the entire exhibition space. The concept of "painted film" is similar to the format of ancient Chinese handscroll painting, which unfolds from left to right, with a narrative structure connected as a montage. Now I'm working on the publication of Endless Peaks, which is again is akin to a literary or textural film that does not engage writing but adopts authentic images of landscape, paintings, frames from moving images to stimulate the reader's imagination. If you have seen the exhibition, this viewing and reading experience will constitute a different version of this film. Rather than conceiving it as a classic ninety-minute film, it’s an expanded concept. It is both different from and related to my previous "library film" and "tomorrow’s audience" style "museum film."

 

In short, it is a film concept that tries to break away from the general narrative film and emphasizes its film format. This attempt marks an essential idea in our oriental art. For instance, the ambiguity in Chinese culture is often unspeakable but understood through one’s impression, and its subtlety affords room for imagination and spiritual depth. My practice has been approaching “insightful understanding,” which often comes from the viewer's understanding. And the so-called "imaginative film" expands from one's imagination, invisible and yet to happen, where the viewer can watch the work in parts. From which, one would come up with visions and atmospheres from this hidden and complete concept. 

 

I have a background in oil painting, but today it is impossible for my paintings to return to the previous perception and expression. I may have pursued techniques in the past, but now when I paint to express my ideas and concepts, where I ask myself whether I would reach and express them through painting? In the past, I relied on film to achieve “insightful understanding," but now I wonder if the same is possible through painting. I juxtapose different media, figure drawings, acrylic paintings, and photography to forming a "triptych," like a montage of images, which embodies a conscious attempt to undo the boundaries and create a new narrative relationship and structure. 


Yang Fudong

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

Yang Fudong was born in Beijing in 1971, and now lives and works in Shanghai. He graduated from the Department of Oil Painting, China Academy of Art in Hangzhou. He is among the most influential Chinese artists today. Yang has started to create video works since late 1990s. His works form a unique cultural visual interpretation through multiple cultural perspectives interlaced with experiences of space and time with photograph, film and installation. They are all characterized by multi-perspectives, exploring the structures and forms of identities in myths, personal memories and life experiences.


Wang Xu


Heritage Falls Park, located in the Monterey Park near the Vincent Price Art Museum, consists of a grassy hillside bisected by a tiered fountain with a niche to the end. It was built in the late 1920s by a real-estate developer named Peter N. Snyder, who originally installed in the niche a marble sculpture of a female figure that he referred to as “Athena” in honor of his Greek heritage. The sculpture mysteriously disappeared shortly after it was installed, and the fountain sat empty until 2005, when the Monterey Park Historical Society installed another “Athena” as replacement. Neither the original sculpture nor its replacement bears any of the formal signifiers commonly associated with the Greek goddess Athena.


In 2016, artist Wang Xu granted Equitable Vitrines the permission to use his sculpture Eve (2015) in a proposal for an intervention at the Heritage Falls Park. Wang produced Eve at a marble quarry and commercial sculpture factory in Quyang, China by recovering a damaged statue of the Biblical figure and re-carving it according to the image of a woman who worked at the factory. The proposal would have temporarily placed Eve in the fountain alongside the replaced Athena, which was also imported from Quyang. Equitable Vitrines rescinded its proposal at the conclusion of a debate over the project at a meeting of the Monterey Park City Council in 2017.

 

Wang Xu’s Garden of Seasons features a marble sculpture, Untitled Athena, and a two-channel video, Garden of Seasons that combines footages recording the process of making the Athena sculpture, and the video clips of the city council debating on the destiny of the sculpture, Eve. Through language, the meaning of art becomes abstract.


The works on view are from my project, Garden of Seasons (2019). The project is a special production for my solo exhibition at the Vincent Price Art Museum in Monterey Park, USA, with the support of the non-for-profit art organization Equitable Vitrines. The presentation was also a response to the city council's rejection of my sculpture Eve which traveled to the city a year ago. At that time, the City of Monterey Park held a meeting at the city council with both supporters and opponents. After two hours of debate, members of the committee voted by a show of hands to deny the motion to place Eve in the Waterfalls Park and let it "meet" with Flora, the existing landscape sculpture at the top of the fountain.

 

In reviewing the council meeting's content, I stumbled upon the fact that Flora at the top of the fountain is not the "Athena" that the opponents had stated and defended. Moreover, the difference between this statue and the Athena, known as the "guardian of the city" since 1920, is apparent. They were supported by subsequent sources, which show that they are two very different statues. The sudden appearance of Athena undermines our original vision of the Eve proposal. Since China joined the World Trade Organization in 2001, it has gradually become the world's factory. The garden statues of Flora and Eve, fabricated in Quyang, Hebei province, were born fifteen years ago. In 2002, Eve was abandoned due to a defect. In 2003, Mary Duce and Charles Carter purchased Flora and considered it as Athena, placing it in the Waterfall Park's shrine in Monterey Park. Fifteen years later, Eve was discovered by chance, re-carved, and brought to the United States as a work of art for an exhibition. Once I found their story unexpectedly, I had the idea of creating a dialogue. That is, by arranging a meeting between Eve and Flora at the Waterfalls Park, visitors would contemplate on the stories of these global "commodities" in our immediate surroundings. Hence, the elements of "chance" and "serendipity" in this story would trigger a discussion on their inevitability. 

 

After the rejection of Eve, I soon fell into the intrigue of Athena. After a period of research and study in the County records, I learned that Athena's statue was created as a fictitious totem by real estate developers to attract middle-class immigrants to the area to sell real estate. Until this day, neither of the two statues placed here is Athena, but both were "forced" to play their role. This mistake is not only man-made, but also related to the complex history of immigration in the area. This "mistake" lasted for a hundred years while residents moved in and the city urbanized; the Monterey Park is no longer the barren land it once was but has grown to accommodate millions of immigrants as a satellite city. New immigrants from all over the world have long accepted Athena's presence with "goodwill." Based on this serendipitous discovery, I approached the Vincent Price Art Museum with a proposal to create a new Athena statue that would meet the standards of Greek mythology. These ideas consist of the main content of "Garden of Seasons." The moving images are interspersed with the debate from the day of the hearing about Eve’s fate. In the crevices of language, Eve, as a statue as Athena, her identity was questioned repeatedly, and art becomes both specific and abstract at that moment.

 

I was trained as a sculptor in college with a bias toward realism. Over those five years, I undertook many live exercises using actual figures as models. Thus, focusing on the human figure and representing it from the perspective of portraiture became an intuitive starting point for my subsequent work. Then I went to New York to continue my studies. During my two years of graduate school, I gradually began to integrate conceptual and performative aspects into my work and practice. I experimented with ephemeral, perishable materials such as caramel in making sculptures and making outdoor performances with sculptures. From there, I began to integrate video work into my practice, filming the sculptures and bodies, the bodily movements, and the transformation of sculptures. As the sculpture dissolves, the bodily movements cease, leaving the camera lens to witness the human instinct and material encounters. In my works, the static component is inevitably dissolved over time, and in this process, the moving images grow unexpectedly. As a metamorphosis, extinction turns the moving images into a monument to the static. To this day, I continue with this kind of creative inertia, adopting the moving image to collate the body, movements, and moments.  

 

I have been involved in a collective creation of sculptures, which has given me the experience of creative "abstinence," where the individual often compromises in the face of power discourse. Therefore, for me, the sculpture is compulsive and blind, embedded with ruptures; in other words, the medium tends to overlook an individual's spirit. In making moving images, I can release such a sense of contradiction, and express resistance explicitly. It disintegrates the overarching experience of sculpture and allows for the unhinged essence of creative intent. Or rather, unlike making sculptures, I hope to visualize the lyrical and romantic, which are perhaps based on the attitude and experience from observing and making sculptures, that emotions often disintegrate meanings, and the individual needs to be set free. Therefore, the relationship between the two is neither about simple severance or partnership nor unintended symbiosis but aimed at the hope of freeing each other without harm.  

 

Wang Xu

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

Wang Xu (b. 1986, Dalian, China) works predominantly in sculpture and video installation. For Wang, sculpture occupies an ambiguous space between objects, experience, and social practice, mediated by time and personal memories. 



【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客

关于新世纪当代艺术基金会


新世纪当代艺术基金会(NCAF)是由收藏家王兵先生发起的非营利基金会。作为国内最早在民政局登记注册的当代艺术基金会之一,新世纪致力于通过与艺术家,收藏家及学者进行长期而深度的合作,以研究型展览、学术讲座、讨论会等形式,希望对中国当代艺术中鲜活而重要的现象及课题展开及时的呈现、梳理和讨论,支持中国艺术家创作,推动本土当代艺术收藏。

官方网站:http://www.ncartfoundation.org

微博:@新世纪当代艺术基金会

Instagram:ncaf_china

空间:北京市朝阳区798艺术区797东街A05号


New Century Art Foundation


New Century Art Foundation (NCAF) is a non-profit art organization founded by collector Mr. Wang Bing . As one of the first contemporary art foundations registered with the Civil Affairs Bureau in China, NCAF is dedicated to supporting Chinese artists and promoting local contemporary art practices through its collection. Its ongoing and in-depth collaboration with artists, collectors, and scholars through research-based exhibitions, academic lectures, and symposiums aims to present, study, and discuss the current and critical phenomena and subjects in the ecology of contemporary Chinese art practices.


Website: http://www.ncartfoundation.org

Weibo: @新世纪当代艺术基金会

Instagram: ncaf_china

Space: New Century Art Foundation ,No. A05, 797 East Road, 798 Art District, Beijing

【新世纪】无独有偶艺术家访谈|杨福东、王旭篇 博文精选 新世纪 崇真艺客
{{flexible[0].text}}
{{newsData.good_count}}
{{newsData.transfer_count}}
Find Your Art
{{pingfen1}}.{{pingfen2}}
吧唧吧唧
  • 加载更多

    已展示全部

    {{layerTitle}}
    使用微信扫一扫进入手机版留言分享朋友圈或朋友
    长按识别二维码分享朋友圈或朋友
    {{item}}
    编辑
    {{btntext}}
    艺客分享
    {{mydata.real_name}} 成功分享了 文章
    您还可以分享到
    加载下一篇
    继续上滑切换下一篇文章
    提示
    是否置顶评论
    取消
    确定
    提示
    是否取消置顶
    取消
    确定
    提示
    是否删除评论
    取消
    确定
    登录提示
    还未登录崇真艺客
    更多功能等你开启...
    立即登录
    跳过
    注册
    微信客服
    使用微信扫一扫联系客服
    点击右上角分享
    按下开始,松开结束(录音不超过60秒)