《不信则无》参展艺术家：陈劭雄

参展艺术家：陈劭雄（1962-2016）

 Artist：Chen Shaoxiong (1962-2016)

《信则有》（2009）

Seeing Is Believing (2009)

艺术家陈劭雄于2009年的特定场域作品《信则有》，这件不可复制的作品围绕国际金融机构那些怂恿着美好的全球未来的广告词展开。这些出现在国际大都市核心地段、无时不刺激着人们的投资欲望的词语，被艺术家用投影的方式置于展览现场一天的光影变化中，在有无之间循环往复。“城市永远不歇息”，“时代在变化“，“我们随时准备着”，“在世界范围内”，“你和我”，“一个美好画面的形成”，“短期的效应是没有结果的”，“跟随着那些值得信任的企业”，“用无限信心来激发的投资”……这些词语象征着一个时代的经济乐观主义，推动着不同区域的政权和社群疯狂奔向全球化的怀抱。今天，它们听起来更像是一个时代的悼词，随着全球金融资本戏剧化起落和全球多重危机的到来，美丽的金融信仰似乎变成了永恒的诅咒。在这组同名照片作品中，艺术家又将这些广告词放置于住所这一特殊的私密空间背景中呈现。

Chen Shaoxiong's site-specific work, Seeing Is Believing, which was created in 2009. This work revolves around taglines the international financial institutions created to call for a brighter future. These words, which appear frequently in the heart of metropolises stimulating the desire of investment, are projected by the artist onto the ever shifting play of light and shadows on the exhibition site throughout the day. “Citi never sleeps”, “Times are changing. We are ready”, “World wise”, ”You & Us “, "Where vision gets built",  “Short term has no future”, "You can count on us", “Delivering solutions while inspiring confidence”…… These words symbolize the economic optimism of an era that drove regimes and communities in different regions in a mad dash to the embrace of globalization. Today, they sound more like the eulogy of an era when, with the dramatic rise and fall of global financial capital and multiple global crises, beautiful financial faith seems to have turned into an eternal curse. In this series of photographs under the same title, the artist presents these advertisements again in the context of the dwelling, a special intimate space.

《香港皇后码头》（2014）

Queen’s Pier, Hong Kong (2014)

自2008年起，陈劭雄开始创作“集体记忆”系列，这组“绘画”作品以全球的当代城市景象为主题。艺术家邀请不同身份的公众参与到图像的制作中，他们用手指蘸上印泥，在画布上留下自己的指纹，所有这些指纹共同形成了某一城市标志性的街景或者地标建筑。无论是上海外滩、北京天安门城楼还是香港维多利亚港口，伦敦大英美术馆、巴黎蓬皮杜国家艺术文化中心还是纽约新当代艺术博物馆，这些图像跨越了中西方多个经历了全球化洗礼的国际都市，以一种定格的方式呈现了当代史中的碎片。

圆形的指纹勾勒出建筑的外观，但当我们凑近画面去看，这些物体都显得模糊不清，一个个独立的指纹反而更加可以辨认。由此，艺术家强化了记忆与现实、历史与当下之间的空隙，也将模糊的集体记忆和独特的个体印记嫁接在一起。国际都市共同经历的士绅化城市改造、被暂时淡化的文化和意识形态差异、在全球艺术系统而非本地中工作的艺术实践者……这些画面冷静地展现给我们的是共时和历时的对话。同时，艺术家自然也不无态度地将全球声名显赫的艺术机构纳入其中，在全球化顶峰的时代，它们已经成为全球想象中公共生活的一部分，尽管这一想象在今天正在快速淡去。

From 2008, Chen Shaoxiong has created the “Collective Memory” series which is a group of “paintings” based on scenes of contemporary cityscapes all over the world. The artist invited residents of different identities to collaborate on the series, dipping their fingers into the inkpad to leave their fingerprints on the canvas, these fingerprints together became the iconic street scenes or landmarks of a certain city. Whether it is the Bund, Tiananmen Square or Victoria Harbour, the British Museum, the Centre National d'Art et de Culture Pompidou or the New Museum of Contemporary Art, these images cross a number of international cities in both China and the Western world that have experienced globalization, present fragments of contemporary history in a freeze-frame manner.

The circular fingerprints outline the appearance of the building, but as we look closer to the painting, all these objects appear blurred, and the individual fingerprints become more recognizable. Thus, the artist fortified the gap between memory and reality, history and the present, and grafts together vague collective memories and unique individual imprints. The common experience of gentrified city transformation in international cities, the temporarily downplayed cultural and ideological differences, and the art practitioners who work in the global art system instead of in their localities...These images present us a calm dialogue between the synchronic and the diachronic. Meanwhile, with a certain critical stance, the artist has also included in his observations those of well-known global art institutions, which have become part of the public life of the global imaginary at the zenith of globalization, even though this imaginary is rapidly fading today.

文/苏伟