邱岸雄｜《新山海经3》和《新山海经-水熊》
▎新山海经3 The New Book of Mountains and Seas 3 影像截图 Image screenshot 尺寸可变Size Variable 2017
邱岸雄被公认为是将动画视频创作引入中国当代艺术语境的先锋代表人物。《新山海经》三部曲延续了他以往的作品理念——探讨人与自然的关系，基于中国古代经典著作《山海经》展开，历时12年（2005-2017）创作完成，质问了社会与科技高速发展的同时，环境、传统价值及人类文明为此付出的代价。
Qiu Anxiong is recognised as a pioneer representative of introducing animated video creation into the context of Chinese contemporary art. The New Book of Mountains and Seas continues the concept of his previous works, exploring the relationship between human beings and nature. Based on the ancient The Book of Mountains and Seas, this work was created over a period of 12 years, questioning the environment, traditional values and the price paid by human civilisation for the rapid development of society and technology.
▎新山海经3 The New Book of Mountains and Seas 3 影像截图 Image screenshot 尺寸可变Size Variable 2017
《新山海经III》描绘的是末世般的未来：现实环境的急剧恶化，空旷无人的城市被动物和植物占领，面带章鱼面具的人从高楼坠落，鸟型监视器监控着空无一人的街道，所有人沉醉于线上虚拟现实，自然传统的桃花源也同样是虚拟景观。
The New Book of Mountains and Seas III depicts a post-apocalyptic future where the environment has deteriorated dramatically and deserted city has already overruned by animals and plants. Man in octopus mask falls from tall building. Bird monitors monitor empty streets. Everyone is addicted to online virtual reality and the natural tradition of the Peach Garden is also a virtual landscape.
邱岸雄基于现实世界图景创作出了一个无法断论其真实抑或虚拟的世界。伴随着社会困境和科技发展应运而生的工具和景观，诸如口罩、虚拟装备、监控等，在作品中和类似于赛博格一般的怪异生物结合。可以看出，影像作品《山海经III》以非线性的神话的叙事手法描绘今天的世界，并将现代科技产物，如汽车、飞机等进行神话的诠释，使其呈现出超自然的力量。如同《山海经》中对动物的描绘夹杂着符号化的隐喻，并赋予着一种超自然的力量那般。
Qiu Anxiong creates a world based on a picture of the real world that is impossible to say whether it is real or virtual. The tools and landscapes that have arisen in response to social dilemmas and technological developments, such as masks, virtual gear, and surveillance, are combined in the work with monstrous creatures resembling cyborgs in general. As you can see, this video work depicts today's world in a non-linear and mythological narrative. It puts a mythological spin on modern technological artefacts such as cars and aeroplanes, giving them a supernatural power. Just as the depictions of animals in The Book of Mountains and Seas are interspersed with symbolic metaphors and imbued with a supernatural power.
▎新山海经3 The New Book of Mountains and Seas 3 影像截图 Image screenshot 尺寸可变 Size Variable 2017
在艺术家看来，科技在今天，本身就是神话的“替代品”。它们都是某种“魔力”或者超自然力量的投射物。因此，《新山海经III》也隐藏着艺术家对于神话和当代科技之间关系的思考：神话指向过去的时间，科幻则指向未来的时间，但是他们的内核都有超自然力量的元素。
In the artist's view, technology is a substitute for myth. They're all projections of some kind of magic or supernatural force. Thus, The New Book of Mountains and Seas III also hides the artist's thoughts on the relationship between mythology and contemporary technology which myths point to past time and sci-fi to future time, but they both have elements of supernatural power at their core.
▎《新山海经-水熊》The New Book of Mountains and Seas - Water Bear，布面丙烯 Acrylic on canvas，200x240cm，2020
这件创作于2020年的《新山海经-水熊》是邱岸雄在此前黑白的创作体系上加入色彩的探索。他从中国的青绿色彩系统出发，将自然景观和现代城市的人造景观组成一个异质空间。人类文明史上最发达的交通工具——飞机缓慢划过雪山，立交桥旁，一名士兵模样的人骑在马上，另一人站在马背上，用武器对准着地球上最为古老的生物之一——水熊。两个模糊粘连的肢体缠斗扭打在一起，使画面呈现出怪诞诡谲的视觉效果。
Created in 2020, The New Book of Mountains and Seas - Water Bear is Qiu's exploration of adding colour to his previous monochrome creation system. Starting from the Chinese turquoise color system, he composes a heterogeneous space between the natural landscape and the manmade landscape of the modern city. In this painting, aircraft, the most advanced means of transport in the history of human civilisation slowly cutting across snow-covered mountains. Next to the overpass, a soldier-like man is mounted on a horse, while another stand on the back of the horse, aiming a weapon at one of the oldest creatures on the planet - a water bear. Two fuzzy and sticky limbs are entangled and twisted together, giving the image a grotesque and bizarre visual effect.
艺术家用这种方式展现了当代社会生存方式和自然之间的冲突——人类用科技手段统治、利用地球资源，但同时也给自己带来生存危机。人类想要成为自然的主宰，按照不断膨胀着的欲望去任意支配自然，但很可能如同那武器对准的“不死”的水熊那般，自食其果的只有人类自己，而自然终将永生。
In this way, the artist shows the conflict between the contemporary society and nature. Humans use technology to dominate and utilise the Earth's resources, but at the same time, they have created an existential crisis for themselves. Humans want to be the masters of nature, to dominate it according to their ever-expanding desires. But in all likelihood, as in the case of the immortal water bears whose weapons were aimed at, the only ones who will reap the consequences will be human beings, and nature will live forever.
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关于艺术家
邱岸雄，1972年出生于四川，1994年毕业于四川美术学院，2003年毕业于德国卡塞尔艺术学院，现为华东师范大学设计学院教授。为当代水墨动画的代表人物，作品为纽约大都会美术馆，纽约现代美术馆(MoMA)，纽约布鲁克林美术馆，哥本哈根Aken现代美术馆，上海当代艺术博物馆，上海复星艺术基金会，堪萨斯大学Spencer Museum, 东京现代美术馆(MOT),奥斯陆 Astrup Fearnley现代美术馆，苏黎世Kunst Halle，香港M+当代艺术博物馆等重要国际国内机构收藏。曾于上海复星艺术中心，东京现代美术馆，哥本哈根Aken现代美术馆，堪萨斯大学Spencer 美术馆，达拉斯Crow 亚洲美术馆等国际艺术机构举办个展，曾参加纽约大都会美术馆《水墨艺术》，圣保罗双年展，悉尼双年展， 开罗双年展，塞萨罗尼奇双年展，亚太三年展，釜山双年展等国际国内展览。
他曾于2006年获CCAA中国当代艺术奖，2007年获雅昌艺术年度青年艺术家奖，连州国际摄影节媒体评论奖，亚洲当代艺术奖提名，《东方早报》年度艺术家提名。2009年中国批评家协会年度青年艺术家奖, 2010年获《改造历史》文献奖。2018年获《国家美术》年度艺术家奖，2018年获新加坡国家美术馆亚洲艺术奖提名。
Qiu Anxiong, born in Sichuan in 1972, graduated from Sichuan Fine Arts Institute in 1994, completed studies at the Kassel Academy of Art in Germany in 2003, and currently serves as a professor at the School of Design, East China Normal University. Renowned for his contemporary ink animation, his works are held in major international and domestic institutions such as the Metropolitan Museum of Art, Museum of Modern Art (MoMA) in New York, Brooklyn Museum, Aken Museum of Modern Art in Copenhagen, Shanghai Museum of Contemporary Art, Fosun Foundation in Shanghai, Spencer Museum at the University of Kansas, Museum of Contemporary Art Tokyo (MOT), Astrup Fearnley Museum of Modern Art in Oslo, Kunst Halle in Zurich, and M+ Museum of Contemporary Art in Hong Kong.He has held solo exhibitions at international art institutions like Fosun Art Center in Shanghai, Museum of Contemporary Art Tokyo, Aken Museum of Modern Art in Copenhagen, Spencer Museum at the University of Kansas, and Crow Asian Art Museum in Dallas. Qiu Anxiong has also participated in various international and domestic exhibitions, including the Metropolitan Museum of Art's "Ink Art," São Paulo Biennial, Sydney Biennale, Cairo Biennale, Thessaloniki Biennale, Asia-Pacific Triennial of Contemporary Art, and Busan Biennale.
Awards include the CCAA Chinese Contemporary Art Award in 2006, Young Artist Award at the Yachang Art Annual Awards in 2007, Media Criticism Award at the Lianzhou International Photography Festival, and nomination for the Asian Contemporary Art Award. In 2009, he received the Annual Young Artist Award from the China Critics Association, and in 2010, he won the "Remodeling History" Documentary Award. Qiu Anxiong was honored with the National Art Award in 2018 and nominated for the Asian Art Award by the National Gallery Singapore in the same year.
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