UNMOVED 无动于衷 by LAB

UNMOVED 无动于衷

UNMOVED 无动于衷 Opening July 12th 2008 开幕式 2008年7月12日

Ilya Kabakov 伊利亚·卡巴利夫 Kan Xuan 阚萱 Sabrina Mezzaqui 萨布琳娜·梅扎奎 Hans Op de Beeck 汗斯·欧普·德·贝客 Sun Yuan 孙原 Peng Yu 彭禹

UNMOVED

carelessness. The first movement was of indescribable and perfect beauty indivisible contemplative of the originally irreprehensible contemplation Aristotle “Unmoved-Mover”

Unmoved artists: Ilya Kabakov, Kan Xuan, Sabrina Mezzaqui, Hans Op de Beeck, Sun Yuan e Peng Yu. Unmoved is the original position, the starting point, the primeval location. It is the silence, the state of concentration and the stillness that anticipates every movement. It is the stasis from which everything originates. It is a concept in total contrast with the dynamism China has experienced in recent years. The China of 2008 is wholly committed to an important appointment - the Olympic Games. It involves the whole world, and it is focusing global attention on the Country. In the knowledge that the entire world is watching, China has summoned all its strengths to make these Olympics the very best possible. People attest daily, often as passive onlookers, to astonishing and unaccountable changes in China’s cities. All witnesses have felt swept away by the sheer dynamism of the Country’s transformations. In this chaotic period of renovation, a new element has been introduced into our lives: “Instability”, bringing a sense of disorientation, bewilderment and insecurity. For the inhabitants of these constantly changing cities, the feeling of loss is palpable, the absence of familiar points of reference, habits, places, faces and peers is impossible to ignore. Social metabolism has become famished, insatiable, devouring every pleasant moment, afraid that it won’t happen again, or that it will vanish. China projects the image of the tireless worker, like a productive machine, and at the same time that of the insatiable consumer. But in daily life, these people are in fact nostalgic human beings, only plunging themselves into dynamic motion in an attempt to escape feelings of loss and isolation. Nowadays, it rarely occurs to us to slowdown, to stop to extrapolate ourselves from our frenetic lives, and to observe the world from a privileged position of tranquillity and immobility. 21st century humanity is characterised by a deceptive immobility, a stasis hiding behind a veneer of indifference and

The concept of immobility is put forward here. Moreover it is contemplated not as the origin of motion but rather as motion’s blocker; as the crystallisation of human thought and emotion. In the current exhibition, the selected artworks generate an almost uncomfortable situation where Time has atypically slowed its rhythm, to the point of almost standing still. All the artworks are either in semi-stasis, in some cases quite still, and in others in constant slow movement, inviting the viewer to stop longer in their contemplation, both on a rational and emotional level. In a way, the viewer is unconsciously waiting for something to happen or to be revealed. The fable of freedom Content is vast, silence is movement; the vehicle, however, is not light The baggage is always with the traveler; the principal of its weight is lightness. The principle of silent movement is immobility, just as the immeasurable is the principle of content It remains the way of the vehicle, and the vehicle remains the principle of the way ANON.

无动于衷

在这次展览中，我们选择的作品营造出一种几乎不舒服的情形，时间不正常地放慢了节奏乃至近乎停顿。所有第一个动作的完美无缺是不可言喻的, 难以割舍的, 沉思着初始无法名状的境界. 亚里斯多德《无动于衷的- 动者》

无动于衷的艺术家：伊利亚·卡巴利夫，阚萱，布琳娜·梅扎奎，汗斯·欧普·德·贝客，孙原和彭禹。 “无动”是最原始的形态，最初始的位置。它是每一个动作之前的沉寂，是专注和静止的状态。一切事物都源于此种静态。它是一种概念，与近年来中国所经历的充沛活力形成了完全的对比。 2008年，整个中国都致力于一个非常重要的任务－奥运会，全世界都参与进来，中国引起了全球的关注。知道整个世界都在注视着，中国奋起所有的力量使这次奥运会尽可能的完美。人们通常作为被动的旁观者，每天见证着中国各个城市里发生的令人震惊的和数不尽的变化。所有人都因国家的变革所引发的全然活力而震撼。在这个革新的混乱时期，一个新元素被引进我们的生活： “不稳定感”，它带来了一种迷惘、困惑和不安全的感觉。对于生活在不断变化着的城市中的人们，失落感是很明显的，熟悉的参照物、习惯、场所、面孔和熟人的失去也是不能被忽视的。社会的新陈代谢变得饥饿难耐、贪得无厌，吞噬着每一个快乐的时刻，人们怕它不会再次发生或者就此消失。中国展示出永不疲倦的劳动者的形象，象是不停运转的生产机器，同时又是无法满足的消费大军。但是在日常生活里，他们事实上是怀旧的人，只是把自己投入进忙碌中以逃避失落和孤独。如今，我们很少会放慢脚步，把自我从忙碌混乱的生活中脱离出来，从宁静和无动的初始位置去观察世界。在 21世纪，人性具有一种欺骗性的无动特征，是在漠不关心的粉饰背后所隐藏的一种静态。 “无动”的概念在这里得到了引申，有意不将它看成是运动的初始，反而是运动的阻碍，是人类的思想和情感的净化。

的作品或处于半静止状态，或在某些情况下静止，或在其他情况下连续地缓慢移动，使得人们停留得更久，从理性和感性两方面关注着作品。在某种程度上，他们会不自觉地等待某些事情的发生或显现。自由的神话内容是巨大，沉默是运动；然而汽车却是不轻行李总是和旅行者在一起；重量的原则是轻巧沉默运动的原则是不动，就像内容的原则是不可称量它保持着汽车的轨迹，汽车保持着轨迹的原则匿名

Ilya Kabakov (1933 Dnepropetrovsk, Soviet Union) Emilia Kabakov (1945 Dnepropetrovsk, Soviet Union)

伊利亚·卡巴科夫 (1933 苏联第聂伯罗彼得罗夫斯克) 艾米里娅·卡巴科夫 (1945 苏联第聂伯罗彼得罗夫斯克)

Ilya Kabakov lives and works with Emilia in Moskow and New York

伊利亚·卡巴科夫和艾米里娅·卡巴科夫生活工作在莫斯科、纽约。

Master Ilya Kabakov is the father of Russian Conceptualism. In his long career he considered for his work a wide range of medias, painting, writing, drawing and installations.

伊利亚·卡巴科夫大师是俄罗斯观念艺术之父。在他漫长的艺术生涯中，涉及门类广泛，包括媒体、油画、绘画和装置。

While living in the Soviet Union for more then three decades, Kabakov joined the Union of Soviet Artists as he simultaneously amassed a considerable body of unofficial avant-garde work.

在苏联生活的三十多年中，卡巴科夫加入了苏联艺术家同盟，同时积累了大量非官方的前卫艺术作品。

Often inspired by his own experiences and the one of his compatriots, Kabakov has always been seeking to explain the Soviet Union’s modern society through a deep analysis and a sharpened sense of humor. Studying historical narratives, and focusing on the gap between capitalism and communism, he examines societies of different origins, exposing their remarkable similarities. Unlike western economics that depicted the Soviet Union as a failed Socialist project, Kabokov aims to express that the failure to execute such large-scale philosophies is not the fault of the theory, but rather the greed and power hungry nature of human beings that doomed it to fail; a phenomenon that continues to occur to this day. We are also very weary is an installation that presents common but motionless flies on a white wall, as main protagonists. Since the 1960s the fly is one of the characters that reoccurs throughout Kabakov’s oeuvre. It is a parody of mankind and human life. The fly has been for Kabakov an emblem of how people are at once attached to the garbage pile of life and capable of soaring like angels. In Kabakov ideas and life experience, human civilization has such a boring course that even flies feel bored and exhausted. Kabakov throughout his enchanting but terribly honest narrations wants to induce the viewer to slow down by providing calm and unhurried figurative descriptions and texts to read. Although his installation seems to provoke personal responses, the cynicism with which every story is explicitly drawn gives, in the end, almost no room for intellectual argument.

灵感常常来源于他本人及其一位同胞的亲身经历，卡巴科夫坚持不懈的通过深度的分析和尖锐的幽默感来阐释苏联的现代社会。通过学习历史纪录，并关注资本主义与共产主义之间的差距，他审视了不同起源的社会，揭露出它们之间巨大的相似性。并非像西方经济学解释的那样，苏联是一种失败的社会主义计划，卡巴科夫的目的是要解释，这个大规模的哲学失败并不是理论的错误，而是人类贪婪和渴求权利的天性注定了它的失败；是一个现今仍在不断发生的现象。 “我们也疲倦了”是一个在白墙上展示普通却静止不动的苍蝇作为主体的装置。从60年代开始，苍蝇就作为一个角色贯穿在卡巴科夫的全部作品中。这是一种对人类和人类生活的嘲弄。苍蝇被卡巴科夫用作一种象征－隐喻人们是如何在被生活的垃圾堆所束缚的同时又能像天使一般的飞翔。在卡巴科夫的想法和生活经历中，人类文明竟是如此无聊的过程，就连苍蝇都觉得无趣和筋疲力尽。卡巴科夫在他迷人但又诚实得可怕的描绘中, 创造出平静悠闲，形象化的描述及文字来引导参观者放慢脚步。虽然他的装置看起来是要挑起个人反应，但最终，每个故事中明示出的愤世嫉俗，几乎没有留给知性的争论以任何余地。

We are also weary 2003 plastic flies installed on wall variable dimension 我们也疲倦了

2003 拍在墙上的塑料苍蝇可变尺寸

Where is your place? Ilya and Emilia Kabakov 2003 mixed media variable dimension view: Querini Stampalia, Venice, Italy 哪是你的位置? 伊利亚和艾米里娅·卡巴科夫

2003 混合媒体可变尺寸取景: 意大利威尼斯市菲尼斯剧院

The Egg 2002 alabaster powder, pietra serena stone, on wood base 49 x 66.5 x 43.5 cm 蛋

2002 雪花石膏粉, 松绿石, 木制基座

49 x 66.5 x 43.5 厘米

Toilet on the Mountain 2002 glazed ceramic on wood base 46 x 33 x 58cm 山上的洗手间

2002 安装在木制基座上的上釉瓷

46 x 33 x 58 厘米

The rest before the road 2001 wood, P.V.C., rope 450 cm x 500 cm, 120 cm Ø view: Galleria Continua/Le Moulin, France, 2007 上路前的休息

2001 木头, P.V.C., 绳子 450 厘米 x 500 厘米, (直径)120 厘米取景: 常青画廊/乐幕伦, 法国, 2007

The rest before the road 2001 coloured pencil and watercolor on paper 56.5 x 56.8 cm 上路前的休息

2001 彩色铅笔, 水彩, 纸张

56.5 x 56.8 厘米

Tennis Game (Conversation between Ilya Kabakov and Boris Groys) 1999-2001 space dimension view: Galleria Continua/San Gimignano, Italy 网球比赛 (伊利亚·卡巴科夫与鲍里斯·格劳伊斯的对话)

1999-2001 空间尺寸取景: 常青画廊/圣吉米那诺, 意大利

Kan Xuan (1972 XuanCheng, An’hui, China) Lives and works in Beijing, China Kan Xuan is a careful, attentive artist; a delicately curious and gifted experimentalist. She explores different medias and different perspectives while observing life as both an external onlooker and in an introspective meditative way. Mainly recognized for her videos, her work shows a nearly obsessive attention towards the “five senses”. She likes to intensely observe and collect from everyday common-life; gathering different things that to a distracted eye may appear insignificant, but are in fact things which we cohabit with, passing beside them, without paying attention. In the selected work “One by one” a line of security guards is shot in a usually calm and popular passageway. Through the nexus between image and sound the work transmits an intimidating feeling of besiegement. While the viewer feels surrounded with nowhere to go and no possibility of escape to consider, the beautifully careless chirping of birds saturates and sedates the atmosphere, lightening the intensity. 阚萱 (1972 中国安徽宣城) 目前生活工作在中国北京。阚萱是一位细心而专注的艺术家，一位富于天赋而又充满好奇的艺术实践者。她在探索使用不同媒介和不同观点的同时，又以一个外在观察者和内在思考者的角度观察生活，。主要为大众所公认的是她的视频作品，显示出了对“五觉”近乎痴迷的关注。她喜欢深入观察并收集日常生活中发生的不同事情，那些事对于不关注的眼睛来说是无足轻重的，但事实上，它们存在于我们生活之中，被我们经历却又忽视掉。在我们所选择的作品“一个又一个”中，一组保安在平时是安静而普通的过道上被拍摄下来。通过影像和声音的巧妙结合，作品传达了一种压迫性的包围感。而就在参观者觉得无处可逃的时候，美丽的鸟儿不经意的啁啾打破了凝重的气氛，使一切又欢快起来。

One by One 2003 video 3 minutes 一个又一个

2003 录像

3分钟

1 Pound! 1 Pound! 2007- 2008 video 6 minutes 1磅！1磅！ 2007- 2008 录像

6分钟

100 Times 2003 video 11 minutes 100次 2003 录像

11分钟

Coffee is black 2003 photograph 120 x 90 cm

Object 2003 video 6.25 minutes

咖啡是黑色的

2003

物体

图片

2003

120 x 90 厘米

录像

6.25分钟

Nothing! 2003 Video 1.56 minutes 没有！

2003 录像

1.56分钟

Sabrina Mezzaqui (1964 Bologna, Italy) Lives and works in Marzabotto, Bologna. Sabrina Mezzaqui focuses her attention on the most minute things in life. Hers is a resolutely reserved and solitary work; made of repeated gestures, of times dilated to the point that they become a sort of reflective and auto-imposed discipline, and of manual skill and exercise dropped into the temporal suspension of a ritual. Mezzaqui exploits ordinary materials: a pencil or felt-pen drawing, paper and cut-outs. Writing is also often part of the work; recovered or transformed, or even only imagined or perhaps denied in the chequering of a partially cut sheet whose cut off pieces fall to the floor, suspended between persistence and instability. In her installations, projections of shadow and light or again images of real-life filming with a fixed camera, leave strong suggestions and implications.

萨布琳娜·梅扎奎 (1964 意大利博洛尼亚) 目前生活工作在博洛尼亚玛扎博多萨布琳娜·梅扎奎善于把注意力集中在生活的细微瞬间上。她的作品是一种绝对内向的和独立性的艺术；表现的是某些重复的形态，扩展到某一点后变成一种反映性和自我约束的时间段，是跌入一种宗教仪式的世俗停滞的手工技巧和练习。梅扎奎采用的是一些普通的材料：铅笔或毡头笔画、纸和刻纸画。文字也经常是其作品的一部分，恢复的抑或变形的、甚至只是想像的或否定在没有全部被切的纸张的纵横交错里，切下的碎片掉在地板上, 停滞在留驻与多变之间。在她的装置中，光和影的投射或用固定相机拍摄的现实生活的图像，赋予作品强烈的心理暗示。

Playground Campo sportivo 2003 video, 10 minutes 运动场录像,

2003 10分钟

Mosque Fatehpur Skiri November 2005 Moschea Fatehpur Sikri Novembre 2005 triptych 2007 inkjet prints from photo 100 x 100 cm each 法地布尔西格里清真寺2005年十一月三联图

2007 喷墨照片

100 x 100 厘米每张

The sky into the water Il cielo nell’acqua 2007 video 5 minutes 水中天空

2007 录像

5分钟

Signs Segni 2005 12 ink-jet prints on paper 29.5 x 42 cm each 符号

2005 12张纸上喷墨 29.5 x 42 厘米/每张

The Book of One Thousand and One Nights Le mille e una notte 2004 rolled up book strips, glue, thread approx 750 cm 一千零一夜故事书

2004 卷书纸, 胶水, 线约750 厘米

I giusti The justs 2004 Embroidery on wearing cloak made by Patrizia Izzo approx 100 cm (high) x 250 cm Ø 执法人

2004 地幔磨损上的刺绣 (由帕特利兹·亦佐制作)

100 厘米(高) x 250 厘米(直径)

Hans Op de Beeck (1969 Turnhout, Belgium)

汗斯·欧普·德·贝客 (1969 比利时蒂伦豪特)

Lives and works in Brussels, Belgium

目前生活工作在比利时布鲁塞尔

Multidisciplinary visual artist Hans Op de Beeck ceaselessly interrogates himself about the contemporary human condition. His work consists of video works, large scale installations, sculptures, drawings and photography, and is characterized by a sense of melancholia, as if a silent presence had covered the world in a mental darkness, creating emotional and lyrical beauty. The denial of confusing elements and chaos is realized in selected communal spaces with an almost aseptic condition, which underlines the absurdity and tragedy of the human condition. Every single piece is strongly permeated by intense sensuality and by the aesthetic attraction it exerts. Drawings The drawings in this section are part of a larger series of drawings based on photographs taken from the Internet and images from documentaries and instructive videos. In terms of content, these drawings deal with, among other things, science, technology and religion as extensions of the human body, and as the physical manifestation of an unending belief in progress, which is both redemptive and ethically problematical. Hans Op de Beeck defines the extension of the body in very broad terms. This may involve a weapon, a scanner, a prosthetic device, a shopping mall, or a waiting room; anything that seems to make Western life easier, that serves to channel and automate it and process it in terms of data, grids and patterns. Sculpture While working on the (350 sqm) monumental sculptural installation ‘Location (6)’ (2008), Hans Op de Beeck created three single sculptures of imaginary panoramas. Each of these sculptures is an architectural study for a panorama, and offer the spectator a 360° view of an artificial exterior. Each of the sculptures differs in style, ranging from Neoclassicism, to early industrial architecture and 1950s Modernism. The constructions have deliberately been left incomplete, so that the viewer can literally look in from outside and explore the underlying structure and its suggested surroundings.

涉猎广泛的视觉艺术家汗斯·欧普·德·贝客不断自问着当代人类的状态。在各种媒体诸如视频，装置，建筑模型，绘画和照片的支持下，他的作品丰富多彩，有一种怀旧的感觉，好像有一种无声的存在，于黑暗中覆盖了世界，创造出抒情之美。用一个近乎纯净的环境在所选的公共空间内否定混乱的元素和无序，它强调了人类状态的荒谬和悲哀。每一幅作品都因为洋溢着性欲和美感而具有了强大的渗透力。绘画这组绘画是一系列绘画中的一部分，它们来源于互联网上的照片和纪录片、科普录像中的画面。这些绘画的内容在囊括着其它种种之外，把科学与技术处理成为人类身体的延长，以及人们对科技进步的无休止信仰的具象表现，是既有拯救力又含伦理性的质疑。汗斯·欧普·德·贝客给身体的延长下了广泛的定义。这可以包括一支武器、一台扫描仪、一个假肢、一个购物广场亦或一个候车室；任何似乎使西方的生活变得更轻松的事物，任何以数据、网络和模块形式使它成系统化、自动化、程序化的事物。雕塑在08年创作《场所(6)》雕塑装置的同时，汗斯·欧普·德·贝客创造了三件虚构全景的雕塑。每一件雕塑都是对一幅全景画的建筑学的学习，给观者提供了一种人为外部的360度视觉感受。每一件雕塑都呈现出不同的风格，从新古典主义到早期工业建筑和50年代的现代主义。这些建筑故意未完成，这样，观者就可以真正从外看内，去探索所不显出的结构和所暗示的环境。

Panoramic Construction (3) 2008 mixed media (wood, metal, paint, glue paste, cardboard, polystyrene) Approx 125 x 140 cm, 180 cm high 全景建筑

(3)

2008 混合媒体（木头, 金属, 油漆, 胶, 纸板, 聚苯乙烯）约125

x 140 厘米, 180 厘米高

Man in a Building 2008 Ink, aquarelle, and pencil on Hahnemühle paper 20 x 30 cm

Belfast 2008 Ink, aquarelle, and pencil on Hahnemühle paper 20 x 30 cm

建筑里的男人

贝尔法斯特

2008 墨, 透明水彩, 炭笔在水彩画纸上创作 20 x 30 厘米

Monte Carlo 2008 Ink, aquarelle, and pencil on Hahnemühle paper 蒙特卡罗

2008 墨, 透明水彩, 炭笔在水彩画纸上创作

Platform 2008 Ink, aquarelle, and pencil on Hahnemühle paper 站台

2008 墨, 透明水彩, 炭笔在水彩画纸上创作

Sea View 2008 Ink, aquarelle, and pencil on Hahnemühle paper 海景

2008 墨, 透明水彩, 炭笔在水彩画纸上创作

School 2008 Ink, aquarelle, and pencil on Hahnemühle paper 学校

2008 墨, 透明水彩, 炭笔在水彩画纸上创作

Room (3) 2007 lambda print mounted on dibond back, plexiglas 110 x 180 cm (3) 2007

房间

聚酯纤维, 铝镁合金铝塑板, 有机玻璃

110 x 180 厘米

Table (1) 2006 mixed media 300 x 800 x 170 cm (1) 2006

桌

混合媒体

300 x 800 x 170 厘米

Sun Yuan (1972 Beijing, China)

Peng Yu (1974 Heilongjiang, China)

They both live and work in Beijing, China Sun Yuan and Peng Yu forge their artistic route walking straight on a tightrope without losing balance of the paradoxical concepts they pursue; the dichotomies between constants and contrasts, reality and ideals, clashes and harmonies. They express bluntly the communicative essence of a different art, far different from the typical contemporary din; oriented toward self-examination rather than mere provocation. In expansion, their work can be taken as a meticulous study of life as much as it may be considered an indispensable experience, and additionally as a perpetual search of the essence as it differs from the evidence. For this purpose they stylistically and conceptually strive to alter the subject with audacity, in order to expose Truth stripped of all conventional barriers and to widen conceptual limits. The selected works are strongly interconnected by Sun Yuan’s and Peng Yu’s attentive analysis and sarcastic representation of contemporary society. The main space is carefully orchestrated to host two coexisting realities. The first is an “inner power”, carefully controlled by the censorship, the suppression of potentially harmful memories threatening security; the second is an external power, openly expressed almost to the point of harming the viewer. There’s a mysterious situation hiding inside the big volume that inhabits the Gallery’s main space. Something we probably shouldn’t see, something so powerful that we’ve never been allowed to see. The “Retirement home” is the name for the artwork that first inspired the artistic exploration that produced this exhibition. The impact of thirteen elderly people in wheelchairs have on the viewer is undeniably intense. Their vision disarms the public, provoking inner reactions and confusing thoughts. For some unknown reason these people are somehow familiar to everyone. They look like the powerful people we see on TV and in newspapers; the world leaders and international figures that have, and continue to shape the modern world. However, aged and immobile in the wheelchairs they are reduced to vulnerability and powerlessness, as if proving that everything has an unavoidable end, that we are all destined for the same fate. It doesn’t matter how far a person can push his power, the inescapable advance of time yields to no one. These powerless human beings, so close to death, are most probably left with nothing more than their compunctions to ponder. “Barbarossa”, the massive trash bin- artwork was named after the Holy Roman Emperor, a symbol of spiritual and political hegemony. The German invader and conqueror is represented here as a huge bin that monopolizes the territory disseminating fear and calling for submission. It is finally an enormous container attracting among the rejects of the society, flies and the dirtiest of creatures.

The parody of Ilya Kabakov’s work gets less softly narrated and much crueller in Sun Yuan and Pengyu representation, where the viewer is still not spared any feelings of pain or discomfort. Like the observer, the flies appear pitifully sorry, sad and regretful of the situation. Like common mortal men they are just victims. Thus, once again Sun Yuan and Peng Yu annihilate the barrier between art and public, effectively forcing the audience to become physically and emotionally involved in the works. 孙原 (1972 中国北京) 彭禹 (1974 中国黑龙江) 目前生活工作在中国北京孙原和彭禹越过他们的艺术之路，直接走上了一条钢丝绳，选择在对立中保持平衡，追求一种矛盾的概念；是统一与对立、现实与理想、冲突与和谐的正反对照。他们直接表达着一种不同艺术形式的沟通精髓，远离当代的喧嚣；倾向于自我审视而不在于纯粹的愤世嫉俗。扩展来说，他们的作品应该还可以看成是对生活的一种深入细致的研究，就如同是一种不可缺少的经历，更是对不同于现实的事实本质的不断探索. 基于此种目的，他们试图从体裁上和概念上大胆的改变主题，用以揭示剥去所有传统束缚的真理而扩展理性的限制。这次被选作品都与孙原、彭禹对当代社会的敏锐分析和讽刺性的描绘紧密联系在一起。精心策划的主展厅向参观者展示着两个共存的现实。第一个是“内在的力量”被小心地抑制着，是对潜在的威胁着安全的有害回忆的压制；第二个是“外在的力量”一针见血的公开表示，几乎要伤害到公众。隐匿着神秘气氛的大空间侵占着画廊的主要的展厅。有些东西我们大概不应该看到，还有些更强大的东西，从来就没有允许我们面对。作品“老人院”给予了艺术探索的最初灵感，也促成了这个展览。13位轮椅上的老人给于参观者无法否认的强烈震撼。他们所产生的视觉冲击撤除了参观者的防备，激起他们内心的反应和迷惘的想法。不知何故这些老人莫名的让人们感到面熟。他们看起来就像出现在电视和报纸上的那些伟人，即那些一直在塑造着现代世界的国家领袖和国际人物。然而他们已垂垂老矣，瘫痪在轮椅上，不堪一击又无权无势，就像要证明凡事都有一个不可避免的终点，我们也都注定了同样的命运。一个人能把权力用得多大是无关紧要的，没人可以阻止时间的流逝。这些将死的失势的人类或许什么也留不下，除了需要他们反思的懊悔。他们已经忘记了他们不名誉的身份。 “巴巴罗萨”，这个超大的垃圾箱也是对我们居住的所谓文明世界的巨大讽刺。取名自神圣的罗马皇帝 – 一个精神和政治权力的象征，德国侵略者和征服者在这儿被形容成一个大垃圾箱，边要求投降边传播恐惧地在领地上实施独裁。最终它也就是一个大垃圾箱，在被社会抛弃的垃圾中，吸引着苍蝇和最肮脏生物。伊利亚·卡巴科夫作品里的讽刺寓意到了孙原彭禹的作品里，就被描绘得更加暴露而不那么婉转, 但观众仍无可幸免地感觉到痛苦和不适。苍蝇也像我们一样，对这种情况感到非常的遗憾，难过和后悔。它们就象凡人一样，不过是受难者。因此，孙原和彭禹再次消除了艺术和公众之间的障碍，有效地迫使参观者从生理上和心理上参与进作品中。

Retirement home 2007 automatic wheelchair, hyper-realistic sculptures fiberglass, silicone, human hairs 老人院

2007 电控轮椅, 仿真雕塑玻璃钢, 硅胶, 真人毛发

Absents 2008 automatic wheelchairs 不在

2008 电控轮椅

Barbarossa 2008 mixed media 巴巴罗萨

2008 混合材料

Tomorrow 2006 hyper-realistic sculptures fiberglass, silicone, human hairs 明天

2006 仿真雕塑玻璃钢, 硅胶, 真人毛发

Civilization pillar 2001 Human fat from a liposuction clinic, metal structural support 120 cm x 120 cm x 380 cm 文明柱

2001 人的减肥或美容的脂肪, 金属支撑

120 厘米 x 120 厘米 x 380 厘米

Safety island 2003 Steel cage structure, tiger performance

安全岛

2003 钢笼, 老虎现场

Struggle for hegemony 2003 performance 争霸

2003 现场

work in progress 布展中

curatorial and editorial coordination Federica Beltrame graphic concept Shine Gao text Federica Beltrame Federica Mantoan Studio Hans Op de Beeck Verusca Piazzesi editing and translation Federica Beltrame Laura Festa Manuela Parrino Qiu Keman Tamara Sharp Marika Yip-Bannicq Lisa Zhang Joe Zhu

策展／编辑协调白飞德画册设计高杉文章白飞德曼飞飞汗斯·欧普·德·贝客工作室维露斯卡·皮雅泽西编辑与翻译白飞德罗兰曼努挨拉·帕利诺邱可曼塔玛拉·夏普玛丽卡·伊普班妮科张世英朱岳

exhibition coordination Federica Beltrame

展览安排

setting up Federica Beltrame Liu Haichen Adrien Macera Qin Haibo Qiu Keman Shen Yan Wang Jianming Lisa Zhang

展览制作

press and media Koma all images © the autors Ela Bialkowska Kris Dewitte Aurélien Mole Studio Hans Op de Beeck work in progress Zhang Jianbo

白飞德

#8503,Dashanzi 798,2 Jiuxianqiao Road, Chaoyang Dst., Beijing 100015, P.R.CHINA 中国北京朝阳区酒仙桥路2号大山子艺术区798工厂 8503信箱 100015 Ph. 电话: +86 10 64361005 Fax 传真: +86 10 64364466 beijing@galleriacontinua.com.cn www.galleriacontinua.com