RONG专访｜艺术家：应歆珣、柴觅
在RONG源艺术空间举办的女性艺术家群展“原力”中，我们有幸对话应歆珣、柴觅两位女性艺术家，探索她们的艺术世界。
In the "The Force - A Group Exhibition of 7 Women Artists"held by RONG Gallery., we have the honour to talk with XinXun Ying and Mi Chai, two female artists, and explore their art world.
应歆珣：抽象的“天鹅绒”梦境
XinXun Ying: Abstract "Velvet" Dreams
关于艺术家
About the Artist
应歆珣，以其纤维艺术和装置艺术闻名，她的作品经常探讨社会现象和意识形态，同时对后美学和当代性进行思考。作为中国美术学院纤维艺术系副教授，应歆珣在艺术教育和创作上都有着丰富的经验。
XinXun Ying, known for her fibre art and installations, often explores social phenomena and ideologies while reflecting on post-aesthetics and contemporaneity. As an associate professor in the Department of Fibre Arts of China Academy of Art, XinXun Ying has rich experience in both art education and creation.
策展人王凯梅
X
艺术家应歆珣
策展人：怎么理解“原力”这个展览主题？
应歆珣：我觉得“原力”这个概念，最初可能是从宇宙的角度来考虑的，它代表了一种内在的、无限制爆发的一种能量。我认为艺术的发展也有类似的尝试。例如，超现实主义艺术家尝试通过自动写作等方法，去除理性和传统思维的束缚，追求潜在的、无意识的、快速而荒诞的创意。对我而言，这是一种原始的、本能的创造力。我也倾向于使用现实主义的自动写作方式，利用日常生活中的现成品，通过打破常规的组合方式，创造出无厘头的艺术效果。
CURATOR: How do you understand the theme of the exhibition "The Force"?
XinXun Ying: I think the concept of "Force" may have been initially considered from the perspective of the universe, which represents an inner, unrestricted burst of energy. I think there are similar attempts in the development of art. For example, surrealist artists attempted to remove the constraints of rationality and conventional thinking through methods such as automatic writing, in pursuit of latent, unconscious, rapid and absurd creativity. For me, this is a kind of primitive, instinctive creativity. I also tend to use the automatic writing method of realism, using ready-made products from daily life to create nonsensical artistic effects through out-of-the-box combinations.
▲应歆珣《仙人翅膀》局部
策展人：请向观众介绍一下天鹅绒织物与您的创作之间的关系。作为中国纤维艺术的第二代传人，您又是如何看待纤维艺术在中国的发展？以及您选择纤维作为创作媒介的思路。
应歆珣：其实我非常荣幸，能够进入纤维艺术这一领域，这让我的创作思路和媒介得到了极大的拓展。我对材料本身非常感兴趣。纤维艺术本身是一个非常开放的领域，从威尼斯双年展的发展历程中可以看出，我们一直在探讨纤维艺术在当下社会的可能性和历史的根源。纤维艺术的多样性和开放性给了我很大的启发。
至于天鹅绒，我觉得这种材质非常有趣，它具有很强的时代性和社会性。最初它是手工制作的珍贵材料，只有贵族才能使用。但现在，我们可以看到各种质量的天鹅绒，包括人工制作的尼龙版本。人们对天鹅绒仍然有一种高贵的印象，认为它能提升自身的品味。我使用天鹅绒，不仅仅是因为它是一种真丝布料，我还尝试了人工植绒等不同的制作方法，希望它能够与时代的塑造有所关联。我不仅仅是在物体上使用天鹅绒，还在墙面上进行了一些植绒的探索。
Curator: Please tell the audience about the relationship between velvet fabrics and your creations. As the second generation of Chinese fibre art, how do you see the development of fibre art in China? And your thoughts on choosing fibre as a creative medium.
XinXun Ying:I am actually very honoured to have entered the field of fibre art, which has greatly expanded my creative thinking and medium. I am very interested in the material itself. Fibre art itself is a very open field, and as you can see from the development of the Venice Biennale, we have been exploring the possibilities and historical roots of fibre art in contemporary society. The diversity and openness of fibre art has inspired me a lot.
As for velvet, I find this material very interesting and it has a strong contemporary and social dimension. Initially it was a precious material made by hand and used only by the nobility. But nowadays, we can find velvet in all qualities, including handmade nylon versions. People still have an impression of nobility about velvet and believe that it enhances their taste. I use velvet not only because it is a silk fabric, but I also try different production methods such as artificial flocking, hoping that it can be related to the shaping of the times. I didn't just use velvet on objects, but also explored some flocking on walls.
▲应歆珣《红色伊甸园》局部
Mi Chai: The Interweaving of Time and Space with Illusion
关于艺术家
About the Artist
柴觅，一位多媒体艺术家，她的作品跨越绘画、动画、装置和现场演出。2017年成为母亲后，柴觅的艺术实践更加关注自然中的他者和生命的通感。她曾获得纽约Civitella Ranieri基金会视觉艺术家奖学金，并在意大利罗马近郊的古堡进行驻地生活及创作。
Mi Chai，a multimedia artist whose work spans painting, animation, installation and live performance, became a mother in 2017 and her artistic practice has become more focused on the otherness in nature and the flux of life. She was awarded a Visual Artist Fellowship from the Civitella Ranieri Foundation in New York, and has lived and worked in residency at an ancient fortress near Rome, Italy.
RONG源艺术空间
X
艺术家柴觅
RONG源：《时空幻象》系列中的每一个作品都标注了具体的日期，这些日期对于作品来说有什么特别的含义？
柴觅：艺术作品有时是可以被理解为一场仪式或者能量流变过程的纪录。通过运动、感觉、可见的人类和其他生物的身体、环境与空间，这些不断变幻的运动图像展示了一种连续流变的生命力，以及回看人与动物之间的复杂关系的可能性，使得一些可以跨越或着说伴随着时空出现的议题指向了一些永恒的问题，类似问题的答案是不清晰的，这些都是我在《时空幻象》这部作品中希望观众可以体验到的。作品中的四段影像，每一个都是真实发生过的演出，影像的名称是每个演出发生的年月日。我通过这种方式提示了这些影像来源的真实性，它们作为一次表演的生成方式，以及作为一个个曾经发生过的时刻的纪录属性。
RONG: Each piece in the "SpaceTime Illusion".series is labelled with a specific date, what is the special meaning of these dates for the piece?
Mi Chai: Works of art can sometimes be understood as a ritual or a record of a process of energy flux. Through movement, sensation, and the visible bodies, environments, and spaces of humans and other creatures, these ever-changing images of movement demonstrate a continuous flux of vitality and the possibility of looking back at the complex relationship between humans and animals, making issues that can cross or rather accompany time and space point to timeless questions, the answers to which are unclear, and which I hope the viewer can experience in this work, "SpaceTime Illusion". These are what I hope the audience can experience in this work. Each of the four images in the work is a performance that actually took place, and the name of the image is the month and year when each performance took place. In this way I hint at the authenticity of the source of these images, the way they are generated as a performance, and their documentary properties as moments that have happened before.
▲柴觅《时空幻象 编号20151129》
▲柴觅《时空幻象 编号20161123》
RONG源：在您的艺术创作中，动画和影像剧场占据了重要的位置，您是如何看待这两种艺术形式的？
柴觅：动画、戏剧和电影在历史上的某些时刻并没有我们当下理解中分辨的那么清楚。世界上第一部角色动画《恐龙葛蒂》Gertie the Dinosaur (1914) 原是一场在剧院中的演出，类似于杂耍表演。早期迪士尼的动画短片都是在剧场（影院）的正式表演和放映之前的展示的。电影史上的第一部科幻电影的《月球旅行记》A trip to the moon（1902）是由大量的剧场式表演和动画组成的。动画在直译为“动”和“画”两个英文时可以被巧妙的连结到“moving”和“image”上，在我的概念中动画就是动态影像（moving-image），有极强的包容性。当动态影像作为当代艺术形式而存在，无论是它内部所展示的内容还是其被安放和被布置的场地，都很难脱离剧场的概念。我不会去特意地区分艺术形式或门类，也不只停留在某一个或几个类别的艺术形式上，我喜欢融合它们，寻找和试图发现所要表达的观念与展示方式之间存在的合理区间以及有效时刻。如同爱因斯坦所创造的“时空”概念（spacetime），就是将时间和空间融合在一起进行思考的创造性观念，它是阐释相对论理论（Theory of relativity）的一个重要的概念，它启发了《时空幻象》这个作品的相关工作。
RONG: Animation and video theatre occupy an important place in your artwork.
Mi Chai: Animation, theatre and film are not as distinguishable at certain moments in history as we understand them to be at the moment. The world's first character animation, Gertie the Dinosaur (1914) was originally a show in a theatre, similar to a vaudeville act. Early Disney animated shorts were shown before formal performances and screenings in theatres (cinemas). The first science fiction film in the history of cinema, A trip to the moon (1902), consisted of a large number of theatre-style performances and animation. Animation can be cleverly linked to the words "moving" and "image" when directly translated into the English words "动" and "画". "In my concept, animation is moving-image, which is extremely inclusive. When moving image exists as a form of contemporary art, it is difficult to be detached from the concept of theatre, no matter what it shows inside or where it is placed and arranged. I don't try to distinguish between art forms or disciplines, nor do I stop at one or several categories of art forms, I like to integrate them, searching for and trying to discover the reasonable interval and effective moments between the concepts I want to express and the way of displaying them. The concept of spacetime, as created by Albert Einstein, is the creative idea of thinking about time and space together, and it is an important concept in the interpretation of the theory of relativity, which inspired the work "Spacetime Illusion". related work.
▲柴觅《时空幻象》系列
对应歆珣和柴觅的专访不仅是一次艺术的探索，也是一次心灵的触动。她们的作品以其独特的女性视角，向我们展现了自身对艺术的见解。在她们的作品中，我们看到了女性艺术家独有的“原力”——一种创造力和生命力的结合，它在艺术的形式下得到了完美的展现。
The interview with Xinxun Ying and Mi Chai is not only an exploration of art, but also a touch of the heart. Their works show us their own views on art from their unique female perspective. In their works, we see the unique "Force" of female artists - a combination of creativity and vitality, which is perfectly demonstrated in the form of art.
▲应歆珣空间
▲柴觅空间
“原力The Force——女性艺术家群展”将持续至6月30日，欢迎广大艺术爱好者们莅临RONG源艺术空间，共同感受女性艺术家们的创造力与艺术之美。
"The Force: A Group Exhibition of 7 Women Artists" will last until 30 June, and art lovers are welcome to visit RONG Gallery to experience the creativity and artistic beauty of female artists.
原力｜女性艺术家群展
The Force
A Group Exhibition of 7 Women Artists
艺术家 Artists
蔡雅玲、胡尹萍、汪晓芙、徐毛毛
杨熹、应歆珣、柴觅
Yaling Cai,Yinping Hu,Xiaofu Wang,Maomao Xu
Xi Yang,Xinxun Ying,Mi Chai
策展人 Curator
王凯梅 Kaimei Wang
展览时间 Exhibition Date
2024.03.31-2024.06.30
10am-7pm（周一闭馆）
展览地址 Address
上海市黄浦区绍兴路15号 RONG源艺术空间
RONG Gallery
No.15 Shaoxing Rd., Huangpu District, Shanghai
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