户尔北京?|「倦 e-nnui」CFGNY&陶辉｜正在展出

户尔空间荣幸呈现纽约艺术家团体CFGNY和中国艺术家陶辉的展览，“倦”。

“倦”（e-nnui）的英文展名源于“ennui”的变体拼写，有倦怠之意，凝缩了身体与心理疲乏的感受，而“倦”也带出“内卷”的语音意涵。在当下，倦怠不再只是个体的情绪表达，而是一种集体性感知。“e-”（电子化的）前缀暗示了我们目前所处的时代语境，一个数字化、网络审美、媒介欲望的劳动现实，也是CFGNY与陶辉的实践与近期新作的共同背景。

“倦”以“e-labour”（电子劳动）为出发点，讨论广泛存在于我们日常生活中的新型劳动与消费形式：图像的持续生成、流行审美的快速复制、注意力的稀释与调配……它们协同构成了线上状态的某种结构性疲劳。艺术家们从不同路径进入“电子倦怠”的语境，提供了一种截面式的观察，将“倦”作为素材和线索，展开一场缓慢的视觉勘探，最终在制造与审美之间发生微妙的互文关系。

艺术家陶辉取材于阿那亚建筑楼盘中遗留下的沙盘、物件与小型模型，这一创作方式延续了他对个体命运与城市变迁的长期关注。每一次全息拍摄都是一次高精度的“重建”过程——借助激光作为成像光源，在极度安静的环境中，以复杂的技术等比再现建筑模型。

陶辉通过这种概念化的技术手段，对现实进行了某种“档案式”的记录，同时也强调了在数字与技术广泛介入的时代，人们观看方式的变化。

在当代生活中，日益新兴的消费模式催生了“网红”和“带货主播”等职业。与荧幕前光鲜亮丽的形象不同，这件作品呈现了主播工作背后鲜为人知的残酷现实。录像被投影在一块看似“瘫软”的定制屏幕上，构成了对“辛苦”这一意象的具象化表达。

视频中的直播场景几可乱真，却又简陋得近乎荒诞。主播在镜头前一边自嘲一边兜售商品，既流露出对“连结”的强烈渴望，也映射出人们不断增长却难以真正满足的欲望。

作品聚焦于以社交媒体与手机屏幕为核心的数字化生活方式，邀请观众共同思考在这个愈发疏离的时代里，屏幕与现实、生计与劳苦、自我与形象之间那种微妙而复杂的依存关系。

In contemporary life, emerging consumer trends have given rise to professions such as internet influencers and livestream sales hosts. In stark contrast to the polished, glamorous image they present on screen, this work reveals the little-known and often harsh reality behind their labor. The video is projected onto a custom-made screen that appears limp and collapsed, giving tangible form to the idea of relentless toil.

The livestream scene in the video is strikingly realistic yet so rudimentary that it borders on the absurd. The host jokes self-deprecatingly while promoting products in front of the camera, exposing a deep desire for connection that also reflects the ever-growing yet insatiable human appetite for consumption.

Focusing on a digital lifestyle centered on social media and smartphone screens, the work invites viewers to consider the subtle and complex dependencies between screen and reality, livelihood and labor, self and image in an increasingly disconnected age.

艺术家团体CFGNY的作品“转写”以其陶瓷创作的历史为基础。最初，他们开始进行陶瓷创作，是出于对景德镇瓷器的历史生产与出口方式的兴趣。CFGNY 原计划于 2020 年以集体形式前往景德镇，观察众多小型企业如何协作完成单件作品的制作过程，例如售卖陶土的商人、专攻釉料的工匠、制作模具的匠人、操作窑炉的技师等。作为一种集体生产过程的陶瓷历史，随后又作为出口产品，成为中国以外人群眼中“中国性”的象征性符号，正是吸引他们选择这一媒介的原因。景德镇的瓷器在近千年以来，一直是定义人们对中国及“中国性”认知的重要文化材料。

CFGNY 的雕塑作品的制作方法，是收集通常来自中国廉价商店（Chinese Dollar Store）的现成材料。这些商品如今已成为人们（尤其是在美国）联想到“中国性”的典型物件——廉价且易于获取的进口商品。他们将这些物件紧密排列，使其间形成空腔，随后用石膏浇铸该空腔空间，从而制作出由众多不同物件的局部印痕构成的正形模具。这种新形态保留了赋予其形状的物体的不完整痕迹。他们先制作石膏形态的模具，再从模具中制作出滑模铸造的瓷器作品。

The work Transcliteration by the artist collective CFGNY is grounded in their history of working with ceramics. Initially, they began exploring ceramics out of an interest in the historical production and export methods of Jingdezhen porcelain. In 2020, CFGNY had planned to travel to Jingdezhen as a group to observe how numerous small businesses collaborate to produce a single piece, including merchants selling clay, craftsmen specializing in glazes, mold makers, and kiln operators. This collective production process, and the way porcelain later became an export product that symbolized “Chineseness” for audiences outside of China, is what drew them to this medium. For nearly a thousand years, Jingdezhen porcelain has been an important cultural material shaping how people understand China and the idea of “Chineseness.”

CFGNY’s sculptural process involves collecting ready-made materials that are often sourced from Chinese dollar stores. These items have now become typical objects that people, especially in the United States, associate with “Chineseness” as cheap and easily accessible imports. They carefully arrange these objects together to create cavities between them, then pour plaster into these negative spaces to form positive molds that bear the partial impressions of many different objects. This new form preserves the fragmented traces of the items that gave it shape. From these plaster molds, they create slip-cast porcelain works.