Anatoly Shuravlev "China Connection" by LAB

目录中国联系作者：箫岭，安纳托里·舒拉勒夫

China Connection

本画册为安纳托里·舒拉勒夫个展“中国联系”而出版 2007年6月2日至7月14日展出于中国北京麦勒画廊北京-卢森 This catalogue was published on the occasion of Anatoly Shuravlev’s solo exhibition China Connection Galerie Urs Meile, Beijing - Lucerne, Beijing, China, from June 2 to July 14, 2007

感谢：

by Nataline Colonnello and Anatoly Shuravlev

作品 Works

简历 Biography

箫岭, 李红卫, Sara Meile, 里柯, 苏晓琴

Acknowledgements: Nataline Colonnello, Li Hongwei, Sara Meile, Enrico Polato and Su Xiaoqin

版权 Colophon

100

中国联系箫岭和安纳托里·舒拉勒夫的访谈作者：箫岭，安纳托里·舒拉勒夫

箫岭 Nataline Colonnello（以下简称箫）：《中国联系》（2007年 6月2日至7月14日，北京麦勒画廊）是你在中国的第一次个展。虽然展品的制作是你作为旅居艺术家在北京麦勒画廊完成的，但大致的想法是在来中国以前的构思。你利用了多种媒介（如摄影、绘画、书法和装置）来探究你个人的文化背景——住在莫斯科和柏林两地的俄罗斯人——和北京本地文化之间的交汇点。展览的主题也与你过去用过的一些媒介及方法有关，比如对来源各异的图像与照片进行重制和重新语境化。举例来说，在1992年的《不可能摄影系列（Impossible Photography Series）》里，你用了举世闻名的埃及建筑物的图像。另外，2000年的摄影作品《尼可尔森系列 (Nicholson Series)》是由数百张杰克·尼可尔森这位毁誉参半的美国银幕偶像的肖像组成的。《中国联系》里展示的作品部分源自你来北京之前通过研究获得的理论知识，比如黑白摄影作品《唐卡》就是一例。还有一些作品的灵感来自你在北京的体验，如装置作品《极－ 1》、《黑－1》和《渡－1》。安纳托里·舒拉勒夫 Anatoly Shuravlev（以下简称舒）：乌斯·麦勒先生邀请我到北京当驻地艺术家后，我就开始思考自己能做什么。跟所有人一样，我对中国文化有兴趣，但不想仅仅从表层去了解和使用它。由于旅居创作期只有三个月，在来北京之前我就这个计划思考了很久。我阅读了有关中国、中国文化以及传统中国绘画的书。但来了以后，我惊讶地发现中国其实很摩登，便知道在这里的体验肯定和那些书上写的很不一样。一到北京我就面临语言障碍。与此同时，我结识了很多新朋友，了解了不少关于中国当代艺术圈的事情。看了本地艺术家的工作方式以及他们的作品规模(一般来讲都比西方常见的大得多) 之后，我觉得我见到的部分作品多少有点“空”。但那很可能是因为我总是在自己的作品里置入许多层次及多种文化的缘故。我的摄影和绘画里都常常会用到文字。以前我接触过埃及文化，因此当时的作品和埃及神话有关，比如我会探究埃及神灵的名字在俄文中的意涵，其结果有点象埃及神话与俄罗斯文字之间的一种游戏。

来到中国以后，我在街上看到很多方块字，觉得很漂亮，但同时又不知道是什么意思。而且汉字数量那么多，无处不在！尽管我读不懂，但我还是可以从视觉的角度去看，因为方块字和埃及象形文字一样是表意文字。我在八十年代经常利用文字和字母创作。那时我的所有作品都是灰色的，当时的一个概念是利用灰度不同的各种灰色。有一件作品叫《字母（Alphabets）》（1989年），用了俄文的西里尔字母表，把每个字母做成一个方形，全部三十三个字母一个叠着一个。然后我又对拉丁字母表做了同样的事，接着又是希腊字母表。结果得到了三种不一样的图案，都是抽象不可解的，对我来说它们看上去其实很象汉字。从《字母》系列中你可以发现西里尔字母和希腊字母在视觉上很近似，因为它们在文化上属于同源，但拉丁字母和它们比起来就完全不一样了。或许我对于中国书法的强烈兴趣正是因为它和我先前的作品有共鸣，同时我也能理解它和文化的内在联系。箫：《极－1》、《黑－1》和《渡－1》是混合媒体装置的佳例，其中你利用了中国书法，同时在创作观念和材料层面上都涉及到摄影与西方文化。你用黑色颜料在密度板上画了三个汉字：“极”、“黑”与“渡”，选这三个字一方面是基于外形的美观，另一方面也因为它们有佛教和道教方面的意涵。在这一系列中，你请了一位职业书法家用大号毛笔和浓墨书写，为的是让墨汁垂直沿胶合板表面淌下，形成不规则的线条与斑点。在《渡－2》里，你把写好的板水平放置，待墨汁风干后，用液体墨水喷洒，让汉字形成爆炸效果。然后，你并不着眼于绘画的动作层面，而是用三百多张直径十毫米的圆片把汉字遮住，或是遮住它的一部分。这些圆片都是用彩色柯达 C-print 印刷的微型照片。从远处很难看得清，但离得近了就比较能辨认出来。从远处看的时候圆片显得平坦，站在近处观察则会看出它在二维绘画背景上呈现出的三维特质。所以当观者站在近处看的时候，注意力就不在那几个汉字上了，汉字成了背景，观者会专注观察每张微型照片中的内容，这就为作品带来了另一层次的解读可能。舒：书法是有内在结构的。我对于中国语言的表意特点以及汉字在视觉上的构成很感兴趣。对我来说，汉字和书法是很

视觉化的东西，因为我不懂它们的意思。比如说，写在墙上的一个“ ”字可能会使我看得津津有味，尽管我不懂它的意思，但它看上去还是有可能很漂亮。如果我把一个性玩具的中文说明书放大做成照片，拿到欧洲去展览，不懂中文的人估计会觉得很好看。在这里，汉字的意义改变了，这是一个不同的观看方式的问题。我看中国书法时，思考的不是翻译的问题，而是美学问题，因为它能唤起非常多的情感。在我那些所谓的“媒体作品”里，我通过往一幅画上粘贴三百张十毫米的微型照片为那些优美的书法注入了新的结构与含义。箫：那些微型照片是来自各种不同的媒介如电视、互联网、杂志、报纸等，而且是你一张一张亲手找的。其中有的图像可能对于观众而言十分熟悉，有的则不一定。拿《黑－1》来说吧，它可以说是整个系列中的例外——你没有用圆形的彩色照片，而是用了8 x 10 mm的长方形黑白照片，内容全都是俄国导演塞尔盖·爱森斯坦（生于1 8 9 8 年，卒于 1948年）1938年的电影《亚历山大·涅夫斯基》中的静照。通过为作品添加材料上的厚度以及解释上的密度，你传达了中国这种悠久、持续的文化与全球化、碎片式的当代文化之间的一些共性。舒：我用的图像里，有的是普遍性的，是文化全球化的结果，但有的就不是。比如说杰克·尼可尔森吧，任何欧洲人都能立即认出他的脸，哪怕是一张很小很小的照片。但中国人就不一定。我给一个视觉空间赋予表意属性，是为了连接两个文化，从一个转化到另一个，而那些微型照片就是两套图像的连接点。把两种语言并置一方面是有冲突的成分，另一方面，也是一种互补。把两种文化并置则意味着提出两个问题。这不算是批评，世界的现状就是如此。箫：这就涉及到你的黑白摄影作品《看－1 》（2 0 0 6 至0 7 年）中所呈现的距离以及认知的问题。你在这套作品里拍的是一只稍微模糊的眼睛的侧面特写，这只眼睛透过墙上的一个洞在看什么东西。洞基本凿穿了墙壁，而观者并不知道那只眼睛在看墙后的什么。这个作品的理念在于看事物有许多不同的方式，并辛辣地传达了观者面对陌生事物时的情状以及你创作艺术的方式。由三幅黑白数字照片构成的《梦》、《错觉》和《现实》可以被看作《看－1 》的对应体。从远处看，这三张照片很容易被误认为三个纯黑方块。走近观察则会看到每块黑色中间的微小图像，仔细看就会发现那是关于存在的三种象征：爱神、神话与死亡。《梦》是一个色情网站的截图，一女子双腿大开；《错觉》是一张印有意大利风格主义雕塑家吉姆波罗纳（生于1 5 2 9 年，卒于1 6 0 8 年）1 5 9 9 年的

作品《赫克里斯与涅索斯》的明信片；《现实》则是你在网上找到并处理过的一张电椅图片。在这些作品中，黑色成了表层，底下另嵌有别的图像。此外，由于作品采用有机玻璃装裱，展览时会反射出对面墙上挂的大型作品《中国联系》，导致那些微型照片不容易看清。《中国联系》是一件混合媒体装置，其尺寸为510 x 742 cm，即展场内整面墙壁的面积。制作这一作品时，你将三种不同的黑颜料——从高度稀释的到稠密的丙烯——喷洒到墙壁上，形成层级效果。随后，再将1001张直径十毫米的Cprint照片贴于其上，排成中国地图的形状。这是对中国观念艺术家、建筑师艾未未的幽默致敬，他做过一系列的木雕，也是雕成中国地图的形状。另外，该作品也对艾未未今年的作品《童话》有所指涉，在那个作品里，他把1001名中国游客带到了德国小城卡塞尔。舒：有一次我在思考艺术的意涵时，想到一个问题：如今人们去看展览时，只是穿过了那个空间而已，没人真正注意作品，这个现象在全世界都很普遍。我解决这个问题的方法就是通过直径十毫米的C-print照片。你知道，尼采在书信里谈过宗教，并说他相信形式，不相信内容。我用十毫米 C-print 照片做的事就和他关于宗教的观点有关：你去看展览，看到墙上有很多小点。有的人会以为是钉子，有的人会以为只是脏了或什么。只有走近观看才能发现我所提出的问题：对于观者来说，形式和内容哪个更重要？如果观者看到了那些微型照片，他就可以看到一切——那些照片会令他专注地观察。照片的内容可以是政治领袖的肖像，也有可能是色情杂志上的图片。观者可能会想：为什么这么小？但这里是有精确的逻辑的。举一个例子：我做过好几个作品，是把一根金属丝（大概一到三米长）安置在展览空间里。我把金属丝扭曲变弯，让它呈现出具现代感的形态。一开始，观众看到的就是展厅里这条漂亮的金属丝，从墙里伸出来，过了一会才发现挂在金属丝两端的微型照片。这就改变了他们对于金属丝的认知。金属丝也成了上述问题的媒介。《中国联系》这件装置其实和金属丝的案例完全一样，只是用另一种方式呈现而已。这里的媒介是墙。这回我以一种很激进，但同时也很美的方式呈现图像，这种呈现本身就是一件艺术品。但如果观者走近一点看，就会看到一条线。如果跟着这条线，一张张照片看下去，就会发现这条线形成了一个闭合形状：中国的边界。所以这件作品是一个视觉过程。我希望用作品提出问题，刺激人们思考。对我来说，上一时期的艺术创作中的一个

缺失在于，观者是通过艺术品本身——而非观看过程— —来读解其意义。箫：这也超越了个体观者的文化经验，进入了集体意识的领域：我们每天都在吸收这成千上万张视觉图片，以及关于这些细节的记忆——集体记忆。舒：完全正确！这些图片来自电视、书籍、互联网以及各种媒介，来自四面八方。你可以根据此法造一堵自己的墙，在墙上挖个洞，为它增添细节。能够有机会去构筑自己的下一步，自己的未来，这种体验是很强烈的。箫：你的作品里有一个贯穿始终的主题：它们一方面是抽象的，但同时又植根于现实主义。舒：以黑色背景上的微型黑白照片，比如《梦》、《错觉》和《现实》为例。即便照片周围都是黑的，也不等于说那里是空的，因为你还得把反射效果考虑进去。你把一张图片中心内容周围的纸裁掉之后，或是在除了一片黑色以外什么都不剩的情况下，你仍然要考虑摄影的种种元素，包括阴影效果等。在此处的例子里就是玻璃框架反射出的其它作品，这都是作品的一部分。这有点像俄国艺术家、理论家卡施米尔·马勒维奇（生于1878年，卒于1935年）的理念。他有一幅抽象绘画作品叫《黑方块》，其中方块的黑色表面并不只是空白的视觉形体，而是包含了绘画、雕塑、舞蹈和音乐诸多元素，包含了一切。箫：这个展览里的某些作品是对于俄罗斯东正教以及佛教偶像的观念性诠释，这种诠释和你对抽象、再现主义、象征和精神性的研究有关。你创作的装置《给中国的“黑方块”》（560 x 400 cm）是仿造唐卡制成，而佛教偶像则被替换为俄罗斯“至上主义”代表作、马勒维奇的《黑方块》的摹本，用的是1915年版的《黑方块》——四个版本中的第一个。唐卡基本是具象的，画的时候有一套复杂的规则，包括选色以及图像各部分的比例等等。唐卡是冥想修行时的视觉辅助工具，同时也是对修行过程的记录。它也可以用来描绘佛陀、喇嘛与菩萨的生活。在《给中国的“黑方块”》中，人物形象的神圣性被一个形态（方块）与一种颜色（黑色）彻底消解，而这两者都是马勒维奇用来说明他关于非客观艺术或“基于纯感觉之至上性”的艺术理论时使用的。另外也有对于模仿自然以及俄罗斯东正教偶像的抗拒。 1913年，马勒维奇在为未来主义舞台剧《战胜太阳（Victory over the Sun）》画布景草稿时，就用了黑白两色的方块对角

排列以遮住背景中的太阳。在马勒维奇发展成熟了的“几何语法”中，黑色方块象征着新的物质与精神能量，遮蔽了客观世界的视觉元素。两年后，马勒维奇的《黑方块》成了著名的《零点一零》展览（圣彼得堡俄国国家博物馆）的核心作品。舒：俄国当时有很强的前卫运动，反映了国家自身的发展以及当年的艺术趋势。从马勒维奇的信里可以得知，黑方块对于他来说象征着一种绝对的东西，一种整体。形式上它可以是一幅画，或任何别的东西。在思考佛家涅磐的概念时，我感觉到了它与马勒维奇的想法的共同之处。在至上主义的最后一次展览《零点一零》中，马勒维奇做了一个黑色的等边多边形版本的《黑方块》，然后挂在展场空间里的“红色角落”。在俄国的村庄里，有宗教信仰的家庭会把偶像挂在面朝耶路撒冷的“红色”或者说“美丽”角落。马勒维奇的《黑方块》就是象偶像画那样挂在展场里。对我来说，这是很有影响的一个符号。虽然中国文化里没有那样的偶像成分，但我想创造类似《黑方块》的那种偶像式作品，只不过是为中国而作。因此，我开始考虑利用西藏的唐卡，它是佛教偶像体系的一部分，与《黑方块》一样，指向事物的绝对性。箫：你本次个展还有另外一组 C-print 图片以唐卡为源材料。在《唐卡－1》、《唐卡－2》、《唐卡－3》和《唐卡－4》里，你先在唐卡上画上抽象图案，然后经过数码扫描，将彩色的唐卡转化为黑白照片。你剥除了彩色唐卡的象征意义，并用较厚的颜料遮住了部分图案，结果，最后的成品既是对观者的诱惑，也是对他们的迷惑——强迫他们发掘新的感官能力来对图像进行读解。舒：唐卡的表面有一层丝绸，保护着下面的画。我不在丝绸上画，而是在丝绸下面的图像本身上画，从而为作品又增加了一重意义。另外，我也将颜色缩减至黑白两色，有效地消解了唐卡原本精确的彩色象征符码。黑色在自然界并不存在。把七种颜色混合在一起就会接近黑色，但永远达不到纯黑。这又可以和马勒维奇的《黑方块》联系起来：它也是画在旧的画作之上，而这点你只有通过观察方块之间的缝隙中露出的原画色彩才能发现。

北京，2007年6月1日翻译：李如一

China Connection by Nataline Colonnello and Anatoly Shuravlev

NC = Nataline Colonnello AS = Anatoly Shuravlev

NC: China Connection (Galerie Urs Meile, Beijing branch, June 2 – July 14, 2007) is your first one-man show in China. Although you produced the body of work for this exhibition during your artist-in-residence at Galerie Urs Meile in Beijing, you developed the general concept of the show even before coming to China. Through a multi-faceted stratification of media such as photography, painting, calligraphy and installation, your research was aimed to explore the visual, social, historical, philosophical, and religious intersections between your cultural background – as a Russian living between Moscow and Berlin – and local culture. The theme of your show is also connected with the mediums and methods that you have worked with in the past such as using, reworking, and re-contextualizing images and photos from various source materials. For example, in Impossible Photography Series (1992), you resorted to preexisting images of worldwide famous Egyptian monuments. Also, in your photographic works Nicholson Series (2000), you collected hundreds of portraits of Jack Nicholson, one of the notoriously famous icons of American cinema. While some of the works shown in China Connection derive from theoretical knowledge acquired through research prior to your Beijing residency including the black and white photograph series entitled Thang Ka, and others such as the installation works Absolute No. 1, Black No. 1 and Transfer No. 1 were inspired by your experiences while in Beijing. AS: When Mr. Urs Meile invited me to be an Artist-in-Residence in Beijing, I began to think about what I could do. Like anyone, I was interested in Chinese culture but I did not want to deal with it just on a superficial level. Since my residency was only for three months, I had given the project much thought before arriving in Beijing. I read books about China, Chinese culture, and traditional Chinese painting. But when I came here, to my surprise I discovered that China is very modern. Then I realized that I was going to have a very different experience than what I had learned from those books. As soon as I arrived in

Beijing, I came face-to-face with the language barrier. Also, I was meeting new people and learning more about the Chinese contemporary art scene. Seeing how the artists here work and also the scale of their works – generally much larger than what I am used to see in the West – I felt that some of the works that I saw seemed a bit “empty”. But that is most likely because in my art, I always incorporate multiple layers and cultures. In my photography as well as my painting, I often integrate text. In the past, I was exposed to Egyptian culture, thus, my work would include aspects of Egyptian mythology such as the names of gods which I would then relate back to the Russian language. The result was like a game between Egyptian mythology and the Russian language as it manifested itself through writings. After I had arrived in China, I saw all these characters while driving on the streets and it charmed me, yet I had no idea what any of it meant. And there were so many of them – it was all over the place! Even though I could not read what was written, I could still take it in a visual way because the characters are ideographic like Egyptian hieroglyphics. In the 1980’s, I worked a lot with texts and letters. At that time, all of my work was grey colored. I used different gradations of grey as part of a concept I was developing. Among the works dating back to that period, one is called Alphabets (1989). I took the Russian Cyrillic alphabet and composed each character in a square; all 33 characters of the alphabet with one placed on top of the other. Then I took the Latin alphabet and did the same thing. Then I eventually applied the same process once again with the Greek alphabet. As a result, I obtained three different patterns which, being abstract and indecipherable, to me actually looked like Chinese characters. From the works in the Alphabets series, you can see that the Cyrillic alphabet is visually very similar to the Greek alphabet, and that is because they have a common cultural root. But the Latin,

in comparison with the Cyrillic and the Greek, appears totally different. Perhaps I was fascinated with Chinese calligraphy because it resonated with my previous work and I understood its inherent link to culture. NC: Absolute No. 1, Black No. 1 and Transfer No. 1 are prime examples of mixed media installations where you employ Chinese calligraphy, creating conceptual and material relationships with photography and Western culture. Each of the three characters you chose to be painted in black on particle board – ji (absolute), hei (black) and du (transfer) – were chosen on the basis of their aesthetical appearance but also have philosophical connotations linked to Buddhism and Daoism. In this series, a professional Chinese calligrapher was asked to realize the characters by means of large brush strokes with excess ink oozing down vertically on the surface to create irregular stripes and spots. In the case of Transfer No. 2, once the character was painted and the ink dried, you placed the board horizontally and squirted liquid ink over it, making the character look as if it was somehow exploding. Contrary to the gestural aspect of painting, you eventually covered each character – or part of it – with a rational circular structure made out of over 300 tiny, colour C-print photographs, each 10mm in diameter. While the circular structure is barely visible from a distance, the closer the viewer gets to the work, the clearer he or she can discern its shape. From afar, the circular architecture looks flat, but closer inspection reveals its three-dimensional nature as opposed to the bi-dimensionality of painting. When the viewer is at close proximity to the work, the attention is no longer focused on the Chinese character, now in the background. It is the colourful subjects portrayed on each tiny photograph that captures the viewer’s curiosity, prompting him to consider another level of understanding of the work. AS: Calligraphy has an inherent structure. I am very interested in the ideographical aspect of Chinese language and how it was constructed in terms of visuality. I take Chinese characters and calligraphy as a very visual thing because I cannot understand the meaning of what is written. I may be very fascinated, for example, with the character for “fuck” written on a wall. And even though I wouldn’t know its meaning, it would still look very beautiful. If I enlarge the Chinese instruction manual for a sex toy into a large photo and show it in Europe, those who cannot read Chinese will probably think it is visually very attractive; the meaning of the characters changes – it is a matter of ways of seeing. When I work with calligraphy, I do not work in transla-

tion but in aesthetics because it conjures up so much emotion and so many feelings. When in my so-called “media works” I glue three hundred 10mm photos on a larger painted image, I imbue the beautiful calligraphy with another structure and meaning. NC: You culled the subjects of your small photographs, one by one, from different sources – television, the Internet, magazines, newspapers, and other medias. Some of the images you singled out may indeed be familiar to the observer, others are not. In the case of Black No. 1, an exception within this series of works, you did not use colourful, round-shaped pictures from multiple sources. Instead, you employed black & white 8x10mm rectangular photographs – all film stills from the movie Alexandr Nevskij (1938) by Russian director Sergej M. Ejzenštejn (1898-1948). By adding both material thickness and interpretative density to your works, you express the areas of commonality between a long, unbroken culture such as in China and the globalized, fragmented contemporary culture. AS: Some of the images that I use are universal, a byproduct of global culture and others are not. If we take for instance Jack Nicholson: Everyone of European decent can immediately recognize his face, even in a tiny photograph. But Chinese people may not. When I give the ideographic character a visual space, I want to create a connection between two cultures; a transfer from one to the other and the tiny pictures serve as the point of intersection that connects the two images. To bring two languages together, on the one hand is a kind of confrontation, and on the other, it is complementary. To bring two cultures together means to ask two questions. And it isn’t a critique as much as it is just the reality of what the world is like now. NC: This raises the issue of distance and perception as exemplified by your black & white photographic works Look At No. 1 (200607), in which you see a close-up profile perspective of a slightly blurred eye looking through a hole in a wall. The hole is roughly drilled through and the viewer has no idea what the eye is looking at and what is behind the wall. It conjures up the idea that there are many ways of seeing things, which poignantly articulates the idea of a person coming into contact with something unfamiliar, as well as with the way in which you make art. The three black & white digital format photographs called The Dream, Illusion, and Reality can be considered as counterpart of Look At No. 1. From afar the viewer can easily mistake

the photographs for three completely black rectangular surfaces. But up close, one can see in each of them, a tiny image amidst the black. The observer peers into the small rectangular space and comes upon three perspectives on existence: eros, myth, and death. In The Dream, you found a picture of a girl spreading her legs on an Internet porn site; In Illusion, a postcard reproduction of Hercules and Nessus (1599) by Flemish born, Italian Mannerist sculptor Giambologna (15291608); In Reality, a picture of an electric chair you found on the Internet and rendered.

political leaders or images from a pornographic magazine. The viewer may think: Why is it so small? But it has a precise logic. An example: From time to time, I create a work by placing a long metal wire – maybe one to three meters long – in the exhibition space. It is twisted and curled in a modernistic form. At first, all that the viewers can see in the exhibition hall is this beautiful wire coming out of the wall, then only later do they discover the small photographic works fixed to the end of it. When this happens, the perception of the wire changes. The wire is also a medium to which that question is asked.

In these works, the color black serves as a cover under which there is an image imbedded. In addition, the small image is difficult to see because of the work’s acrylic glass frame, from which the viewer sees a mirrored reflection of the large work China Connection hung on the opposite wall.

With regards to my installation China Connection, this is exactly just as I had explained with the wire, but realized in a different way. In this case, the medium is the wall. The way the image is represented – a very aggressive yet beautiful way – is by itself already a piece of artwork. But if one comes closer, a line comes into view. Then if you follow the line, photo by photo, that line will draw a circular shape and then one discovers that the line has its own meaning, that it is the border of China – the work is a visual process. With my works, I try to put forward questions and stimulate people to think. To me, what has gotten lost in this last period of artistic creation is that it is through artifacts that the viewer arrives at the meaning of the work, and not the other way round – in the process of seeing.

China Connection is a mixed media installation measuring 510x742cm, the size of an entire exhibition wall. In order to create this work, you splashed the wall with three different layers of black paint, then, from very diluted to increasingly dense acrylic paint you added layers upon layers. On top of that, you applied one thousand and one 10mm round C-prints, arranging them in a specific shape – a shape that slowly reveals itself as the map of China. A humorous homage to Chinese conceptual artist and architect Ai Weiwei and his series of wooden sculptures that also comprise the map of China. And also nods at Ai’s Fairytale (2007), a work that included taking one thousand and one Chinese tourists to the little German town of Kassel. AS: At one time when I was thinking about the meaning of art, a question came into my head: Nowadays when people go to exhibitions, they just walk through the space and nobody really pays attention to the exhibited works, this is prevalent throughout the world. My solution was to create 10mm works in CPrint. You know, in Nietzsche’s letters (1844-1900), he spoke of religion and that he believed in form but not in content. What he said about religion, I am doing in my 10mm small works: You walk through a show and you see small points on a wall. Some people think they are just nails, and some other think that it is just dirty or something. Only if people step closer to the work can they discover the question I pose. What is more important to the viewer: form or content? If the observer sees those small photos, he can see everything – they provoke one to intently look. They can be portraits of

NC: This is also what transcends cultural experiences of the individual into a collective consciousness: Thousands and thousands of visual material that each of us absorbs each day and the memory of these details – the collective memory. AS: Yes, exactly! The images are from television, books, from the Internet and all kinds of media – everything. You can build your own wall and create your own hole in the wall and give it detail. It is very intense to empower oneself with the opportunity to build one’s own next steps, one’s own future. NC: There is a consistent theme in your work: On the one hand, it is abstract and yet, it is grounded in realism. AS: Let’s take for example the tiny black & white photos printed on the large black surface such as in The Dream, Illusion, or Reality. Even if the totality of the surface around the small pictures is black, this does not mean that it is empty because there is also the mirror effect. When you take an image and cut the paper surrounding the subject away, or when what is left is nothing but a black surface, you still need to consider all the elements

of photography including shadows and such. Or in this case, the reflection of other works through the glass frame – it is all a part of the work. Like the idea expressed by Russian artist and theoretician Kazimir Malevich (1878-1935). In his abstract painting Black Square, the black surface of the square is not conceived as an empty visual entity, but encompasses painting, sculpture, dance, music – everything. NC: Some of the works shown in this exhibition are conceptual interpretation of Orthodox and Buddhist iconography as informed by your research into abstraction, representationalism, symbolism, spirituality. Your 560x400cm installation “Black Square” for China imitates a giant silk thangka where the Buddhist icon has been replaced by a painted reproduction of the emblem of Suprematism, Malevich’s Black Square (first of four versions, 1915). Thangkas are generally figurative and painted according to a complex set of rules including the choice of colours or the proportion of the different parts of the depicted image. Thangkas are visual tools that can serve as a vehicle of meditative states as well as a record of it. It can also depict a scene portraying the life of Buddha, lamas and bodhisattvas. In your Black Square for China, the figure of the divinity is obliterated by a shape (the square) and a colour (black), both of which are symbols used by Malevich to illustrate his theories about non-objective art, or, art based on the “supremacy of pure feeling.” In addition, the rejection of imitating nature and also Russian Orthodox iconography. The image of a black and white square divided diagonally, blocking out the sun had already appeared in Malevich’s stage art sketches for the Futurist play Victory over the Sun (1913). In Malevich’s mature “geometrical grammar,” the black square symbolized a new, physical and spiritual energy overshadowing the visual phenomena of the objective world. Two years later, Malevich’s Black Square became the centerpiece of the renowned exhibition “0.10” (State Russian Museum, St. Petersburg, 1915). AS: Russia had a strong avant-garde movement that reflected the development of the country and also the art world of that time. From Malevich’s letters, the black square symbolically appears to him as an absolute thing, a totality. It could take the form a painting or anything else. In thinking about the Buddhist way to Nirvana, I see parallels with what Malevich had written. In

the last show of Suprematism, “0.10”, Malevich used a black regular polygon on a black field for Black Square and placed it on the “red corner” of the exhibition space. In Russian villages, religious homes have icons hanging on the wall in the krasny ugol, the "red" or "beautiful" corner, facing Jerusalem. Malevich’s Black Square hung like an icon. To me, this was a very influential symbol. Although that kind of iconography is not a part of Chinese culture, I wanted to create something iconic like Malevich’s Black Square, but for China. So I began to think about creating works with Tibetan thangkas, which are a part of Buddhist iconography and refer to the absoluteness of things, just like Malevich’s Black Square. NC: Tibetan thankas served as source material for another series of C-prints you created for the occasion of your one-man show. Thang Ka No. 1, Thang Ka No. 2, Thang Ka No. 3 and Thang Ka No. 4 are all works in which you painted over the images in an abstract style and, after a digital scan, you changed the vividly coloured thangkas into black and white photographs. Deprived of their chromatic symbolism and partly concealed under thick layers of paint, your photographs seduce and at the same time puzzle the eye, forcing the viewer to find new faculties to read the image. AS: Thangkas have a silk cover that protects the painting from the elements when it is not used. By painting a pattern on top of the image instead of the silk covering, I created another layer of meaning. I also reduced the colours to the spectrum of black and white, effectively eliminating the precise symbolic color codes of the original Buddhist thangkas. Black is a colour that does not exist in nature. But when the seven colors are mixed together, it turns to black yet it never achieves pure black. This also goes back to the Black Square: Malevich’s Black Square is also painted over some old painting and you can only tell by looking at the cracks where layers of colors underneath emerge.

Beijing, June 1, 2007

作品

Works

21 2

中国联系装置：综合材料，直径 10mm 照片 1001张 510 x 742 cm 2007

China Connection installation: mixed media, 1001 c-print each Ø 10 mm 510 x 742 cm 2007

给中国的《黑色方块》绸布，丙烯颜料 560 x 400 cm 2007

"BLACK SQUARE" for China silk, acrylic paint 560 x 400 cm 2007

极-1 密度板，墨，直径 10mm 照片300张 187 × 129 × 7.5 cm 2007

Absolute No. 1 particle board, ink, 300 c-prints each Ø 10 mm 187 × 129 × 7.5 cm 2007

极-1（局部）密度板，墨，直径 10mm 照片300张 187 × 129 × 7.5 cm 2007

Absolute No. 1 (detail) particle board, ink, 300 c-prints each Ø 10 mm 187 × 129 × 7.5 cm 2007

极-2 密度板，墨， 8 × 10 mm 照片65张 129.5 × 71 × 7.5 cm 2007

Absolute No. 2 particle board, ink, 65 c-prints each 8 × 10 mm 129.5 × 71 × 7.5 cm 2007

极-2（局部）密度板，墨， 8 × 10 mm 照片65张 129.5 × 71 × 7.5 cm 2007

Absolute No. 2 (detail) particle board, ink, 65 c-prints each 8 × 10 mm 129.5 × 71 × 7.5 cm 2007

黑-1 密度板，墨， 8 × 10 mm 照片200张 187 × 129 × 7.5 cm 2007

Black No. 1 particle board, ink, 200 c-prints each 8 × 10 mm 187 × 129 × 7.5 cm 2007

黑-1（局部）密度板，墨， 8 × 10 mm 照片200张 187 × 129 × 7.5 cm 2007

Black No. 1 (detail) particle board, ink, 200 c-prints each 8 × 10 mm 187 × 129 × 7.5 cm 2007

黑-2 密度板，墨，直径10mm 照片200张 129.5 × 129.5 × 7.5 cm 2007

Black No. 2 particle board, ink, 200 c-prints each Ø 10 mm 129.5 × 129.5 × 7.5 cm 2007

黑-2（局部）密度板，墨，直径10mm 照片200张 129.5 × 129.5 × 7.5 cm 2007

Black No. 2 (detail) particle board, ink, 200 c-prints each Ø 10 mm 129.5 × 129.5 × 7.5 cm 2007

黑-3 密度板，墨，直径10mm 照片12张 129.5 × 71 × 7.5 cm 2007

Black No. 3 particle board, ink, 12 c-prints each Ø 10 mm 129.5 × 71 × 7.5 cm 2007

黑-3（局部）密度板，墨，直径10mm 照片12张 129.5 × 71 × 7.5 cm 2007

Black No. 3 (detail) particle board, ink, 12 c-prints each Ø 10 mm 129.5 × 71 × 7.5 cm 2007

渡-1 密度板，墨，直径 10 mm 照片300张 187 × 129 × 7.5 cm 2007

Transfer No. 1 particle board, ink, 300 c-prints each Ø 10 mm 187 × 129 × 7.5 cm 2007

渡-1（局部）密度板，墨，直径 10 mm 照片300张 187 × 129 × 7.5 cm 2007

Transfer No. 1 (detail) particle board, ink, 300 c-prints each Ø 10 mm 187 × 129 × 7.5 cm 2007

渡-2 密度板，墨，直径 10 mm 照片 150 张 187 × 129 × 7.5 cm 2007

Transfer No. 2 particle board, ink, 150 c-prints each Ø 10 mm 187 × 129 × 7.5 cm 2007

渡-2（局部）密度板，墨，直径 10 mm 照片 150 张 187 × 129 × 7.5 cm 2007

Transfer No. 2 (detail) particle board, ink, 150 c-prints each Ø 10 mm 187 × 129 × 7.5 cm 2007

看-1 5版照片，有机玻璃 126 × 219.5 cm 2006/07

Look At No. 1 Edition of 5 c-print, acrylic glass 126 × 219.5 cm 2006/07

唐卡-1 照片，有机玻璃 194 × 125 cm 2007

Thang Ka No. 1 c-print, acrylic glass 194 × 125 cm 2007

唐卡-2 照片，有机玻璃 181 × 124.5 cm 2007

Thang Ka No. 2 c-print, acrylic glass 181 × 124.5 cm 2007

唐卡-3 照片，有机玻璃 185.5 × 124.5 cm 2007

Thang Ka No. 3 c-print, acrylic glass 185.5 × 124.5 cm 2007

唐卡-4 照片，有机玻璃 194 × 125 cm 2007

Thang Ka No. 4 c-print, acrylic glass 194 × 125 cm 2007

唐卡-6 照片，有机玻璃 194 × 125 cm 2007

Thang Ka No. 6 c-print, acrylic glass 194 × 125 cm 2007

错觉 5版照片，有机玻璃 179.5 × 125 cm 2007

Illusion Edition of 5 c-print, acrylic glass 179.5 × 125 cm 2007

错觉（局部） 5版照片，有机玻璃 179.5 × 125 cm 2007

Illusion (detail) Edition of 5 c-print, acrylic glass 179.5 × 125 cm 2007

梦 5版照片，有机玻璃 179.5 × 124.5 cm 2007

The Dream Edition of 5 c-print, acrylic glass 179.5 × 124.5 cm 2007

梦（局部） 5版照片，有机玻璃 179.5 × 124.5 cm 2007

The Dream (detail) Edition of 5 c-print, acrylic glass 179.5 × 124.5 cm 2007

现实 5版照片，有机玻璃 181.5 × 125.5 cm 2007

Reality Edition of 5 c-print, acrylic glass 181.5 × 125.5 cm 2007

现实（局部） 5版照片，有机玻璃 181.5 × 125.5 cm 2007

Reality (detail) Edition of 5 c-print, acrylic glass 181.5 × 125.5 cm 2007

安纳托里·舒拉勒夫 / Anatoly Shuravlev 1963

Born in Moscow, Russia lives in Moscow and Berlin

1996

"Anatolij Shuravlev", Aidan Gallery, Moscow, Russia

1995

"Anatolij Shuravlev", La Base, Centre d'Art Contemporain, Levallois, Paris, France "Anatolij Shuravlev", Show Room Specks Hof, Leipzig, Germany "Anatolij Shuravlev", Otto Schweins Gallery, Cologne, Germany

1994

"Anatolij Shuravlev", Sammlung René Steiner, Erlach, Switzerland "Ab Realibus ad Realiora", Kunstwerke, Berlin, Germany and State Russian Museum, St. Petersburg, Russia (Catalogue) "Anatoly Zhuravlev", New Academy of Fine Arts, St. Petersburg, Russia

1993

"Ignotum per Ignotius", 1.0 Gallery, Moscow, Russia "Attempt to See", Galerie im Literaturforum Brecht-Ilaus, Berlin, Germany

1992

"Anatolij Shuravlev", The Senate of Berlin, Berlin, Germany (Catalogue) "Anatolij Shuravlev", Künstlerhaus Bethanien, Berlin, Germany (Catalogue) "Anatolij Shuravlev", Giorgio Persano Gallery, Turin, Italy

1990

"Maria Serebryakova & Anatolij Shuravlev", Inter-Art Gallery, Berlin, Germany

奖金 / Grants 2002

German Academic Exchange Service (DAAD), Cité International des Arts, Paris, France

1997

Working grant, the Senate of Berlin, Berlin, Germany

1995

"Landsdorff Revisitado", International Artist Workshop and Expedition, Goethe Institute of São Paulo, São Paulo, Brazil (Book).

1994

Photographgrant, the Senate of Berlin, Berlin, Germany

1992-1993 Christoph Merian Foundation, Basel, Switzerland 1991-1992 Künstlerhaus Bethanien, Berlin, Germany

个展 / Solo Exhibitions

2007

"China Connection", Galerie Urs Meile, Beijing-Lucerne, Beijing, China (Catalogue)

2006

"Anatoly Shuravlev", Gallery Charim, Vienna, Austria

2005

"Infrathin", special project of the 1st Moscow Biennale, Foundation Contemporary City, Moscow, Russia (Catalogue) "Anatoly Shuravlev", Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland "Anatoly Shuravlev", Marina Gizith Gallery, St. Petersburg, Russia

2004

"Retrospective", Moscow House of Photography, Moscow, Russia (Catalogue)

2003

"Anatolij Shuravlev", Aidan Gallery, Moscow, Russia

2002

"Anatolij Shuravlev", Charim Gallery, Vienna, Austria "Anatolij Shuravlev", Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland "Anatolij Shuravlev", Aidan Gallery, Moscow, Russia

2001

"Templates", Gary Tatinsian Gallery, New York, USA "Anatolij Shuravlev", Otto Schweins Gallery, Cologne, Germany

2000

"Anatolij Shuravlev", Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland

1999

"Anatolij Shuravlev", Aidan Gallery, Moscow, Russia

1998

"History", Labor Pixel Grain, Berlin, Germany "Hand made", Otto Schweins Gallery, Cologne, Germany

1997

"Templates", Galerie Urs Meile, Lucerne, Switzerland "Flowers of Moscow", Aidan Gallery, Moscow, Russia

联展 / Group Exhibitions 2007

Collection of DZ BANK, Ludwig Museum, Budapest, Hungary "Through the 'Painting'", special project of the 2nd Moscow Biennale of Contemporary Art, Moscow, Russia (Catalogue) Collection of Pier Broche, Moscow Museum of Contemporary Art, Moscow, Russia (Catalogue)

2006

"Artist Against the State: Perestroika Revisited", Ronald Feldmann Gallery, New York, USA

2005

1st Moscow Biennale of Contemporary Art, Moscow, Russia (Catalogue) "Hier/anderswo", Kunstpanorama, Lucerne, Switzerland Group Show, Aidan Gallery, Moscow, Russia

2004

"Shizorama", National Center for Contemporary Art, Moscow, Russia "To the Resort!", Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany and the MANEGE Central Exhibition Hall, Moscow, Russia (Catalogue) Collection of DZ Bank, Moscow House of Photography, Moscow, Russia

2003

"Landscape", Virginia Miller Gallery, Miami, USA Group Show, Charim Gallery, Vienna, Austria

2002

"Present Tense", Bard College Museum, New York, USA (Catalogue) "Trazit", René Steiner Gallery, Erlach, Switzerland "New Models", Trafo Center for Contemporary art, Budapest, Hungary (Catalogue)

2001

Group Show, Virginia Miller Gallery, Miami, USA "Art Workshop. 28 Russian Artists", Central House of Artists, Moscow, Russia Group Show, Charim Gallery, Vienna, Austria

2000-2001 "Through the Looking Glass", Gallery Fricke, Berlin and Düsseldorf, Germany

2000

Group Show, Aidan Gallery, Moscow, Russia "BMA. Position New Art from Berlin", Neuer Kunstverein, Aschaffenburg, Germany (Catalogue) "Perche?", Domus Academy Milan and Magazzino d'Arte Moderna, Rome, Italy (Catalogue)

1991

"Police Raid", Chistoprudny Gallery, Moscow, Russia "Perspectives of Conceptualism", The University of Hawaii Art Gallery, Honolulu; and Clocktower Gallery, New York, USA "In de USSR en Erbuiten", Stedelijk Museum, Amsterdam, Netherlands (Catalogue) "Holy Week", 1st Gallery, Moscow, Russia "Europe Unknown", Palace of Arts, Krakow, Poland (Catalogue) "Private Pursuits", 1.0 Gallery, Moscow, Russia "Contemporary Soviet Art: from the Thaw to Perestroika", Collection of Contemporary Art of Tsaritsino Museum, Moscow, Russia and Setagaya Art Museum, Tokyo, Japan (Catalogue) "Novecento", L Gallery, Moscow, Russia (Catalogue) "Vizbah/In the Rooms", Dom Kultury, Bratislava, Slovakia (Catalogue) "Russian Art", Rotunda, Hongkong (Catalogue)

1990

"Mosca, Moskva, Moscow", Sala Umberto Boccioni, Milan, Italy (Catalogue) "Towards the Object", Kashirka Gallery, Moscow, Russia "Catalogue", Palace of Youth, Moscow, Russia "Artedomani' 90. Punto di Vista", Ex-Ostedale San Matteo degli Infermi, Spoletto, Italy (Catalogue) "Schiso-China" (organized by Avantgarde Club), French Embassy, Moscow, Russia "Art Summer", Split, Yugoslavia

1999-2001 "After the Wall", Moderna Museet, Stockholm, Sweden, Museum Ludwig, Budapest, Hungary, and Hamburger Bahnhof, Berlin, Germany (Catalogue) "Can You Hear Me? Ars Baltica Triennial of Photographic Art", State Gallery in Sophienhof, Kiel, Germany; Center for Contemporary Art, Vilnius, Lithuania; Kunsthalle Rostock, Rostock, Germany; Bergens Kunstforening, Bergen, Norway; and Gallery Otso, Espoo, Finland (Catalogue) 1999-2000 "Missing Link", Kunstmuseum Bern, Berne, Switzerland and Kunsthaus Dresden, Dresden, Germany (Catalogue) 1999

"Zwischenformen aktueller Kunst", Freunde aktueller Kunst e.V., Zwickau, Germany "SPACE PLACE 30049-180799", Kunsthalle Tirol, Hall, Austria "Children of Berlin", P. S. 1 Museum for Contemporary Art, New York, USA

1998

"European Photography Biennale", The MANEGE Central Exhibition Hall, Moscow, Russia (Catalogue)

1997

"Kabinet. A Contemporary Artists Magazine", Stedlijk Museum, Amsterdam, Netherlands (Catalogue) "Acting out History", Nizhny Novgorod, Samara, Perm, Novosibirsk and Ekaterinburg, Russia "Mystical Correct", Galerie Hohenthal & Bergen, Berlin, Germany (Catalogue)

1996

" European Photography Biennale", Kuznetskij Most, Moscow, Russia "Almost Invisible", Ehemaliges Umspannwerk, Singen, Germany (Catalogue)

1995-1996 "Landschaft. Mit dem Blick der 90er Jahre", Mittelrhein-Museum, Koblenz; Museum Schloss Burgk, Saale and Haus am Waldsee, Berlin, Germany (Catalogue) 1995

1994

1993

1992

"Das Medium der Photographie in der zeitgenössischen Kunst", Galerie Dacic, Tübingen, Germany "Kunst im Verborgenen. Nonkonformisten Russland 1957-1995", Tsritsino Museum, Moscow, Russia; Wilhelm-Hack Museum, Ludwigshafenam-Rhein; Kunsthalle Fridericianum, Kassel and Staatliches Museum Lindenau, Altenburg, Germany (Catalogue) "Configura 2. Dialog der Kulturen", Erfurt, Germany (Catalogue) "Rencontres Internationales de la Photographie", Arles, France (Catalogue) "Kraftemessen. Zeichnungen der Moscauer Szene", Galerie Hohenthal & Littler, Munich, Germany (Catalogue) "Kunst: Sprache", Kunstwerke, Berlin, Germany "Moscow Artists of the 90s", Central Artist's House, Moscow, Russia "Renaissance and Resistance", Russian Museum, St. Petersburg, Russia; and Cetinjski Bijenale II, Cetine, Montenegro (Catalogue) XXII Biennale di Sao Paolo, São Paulo, Brazil (Catalogue) "Project for Europe", Copenhagen, Denmark (Catalogue) "Engel heute", Galerie Gottfried Hafemann, Wiesbaden, Germany "Philosophy of the Name", Centre of Contemporary Art, Moscow, Russia "Collection d'Art Contemporain RINACO. Moscou 1993", Caisse des Depots et Consignations, Paris, France (Catalogue) "Privat", Kunstwerke, Berlin, Germany "Without Trace", Altes Rathaus, Potsdam, Germany "Conversion", M. Guelman's Gallery and Central Artist's House, Moscow, Russia "Nine Artists from Moscow", Galerie Rigassi, Berne, Switzerland

1989-1990 "10+10", Museum of Modern Art, San Francisco; Albert Knox Gallery, New York; Milwaukee Art Museum, Fort Worth and Corcoran Gallery, Washington, USA; and Central Artist's House, Moscow, Russia (Catalogue) 1989

"Expensive Art", Palace of Youth, Moscow, Russia "A. Kirtsova, M. Serebryakova, A. Zhuravlev", Garage Gallery, Belgrade, Yugoslavia "Installation", Garage Gallery, Belgrade, Yugoslavia (Catalogue) "Cheap Art", 1st Gallery, Moscow, Russia "Exhibition of Unfinished Works", K. Zvezdochetov's studio, Furmanny Lane, Moscow, Russia "Moskau-Wien-New York/Kunst zur Zeit", Messepalast Wiener Festwochen, Austria (Catalogue) "Perspectives of Conceptualism", Peresvetov Lane, Moscow, Russia

1988

"New Artists", Moscow Electrotechnical Works Club, Moscow, Russia "Bath-House" (exhibition and performance organized by Avantgarde Club), Sanduni Bath-House, Moscow, Russia "Labyrinth", Palace of Youth, Moscow, Russia "XVIII Exhibition of Young Artists", The MANEGE Central Exhibition Hall, Moscow, Russia

1987

"Dwelling", Hermitage Amateur Society, Profsoyznaya Street No. 100, Moscow, Russia "Retrospective of Moscow Artists. 1957-1987", Hermitage Amateur Society, Profsoyznaya St. No. 100, Moscow, Russia

1986

"XVII Exhibition of Young Artists", Kuznetsky Most, Moscow, Russia "Art Against Commerce", Bitsa Park, Moscow, Russia

1985

"Autumn Exhibition", Malaya Gruzinskaya No. 28, Moscow, Russia "Exhibition of Moscow Artists", Kuznetsky Most, Moscow, Russia "One-Day Exhibition", Kuznetsky Most, Moscow, Russia

"Perspectives of Conceptualism", North Carolina Museum of Art, Raleigh, USA "37 Räume", Kunstwerke, Berlin, Germany (Catalogue) "The Fall. The One and the Other", Immo Art Gallery, Antwerp, Belgium "a Mosca... a Mosca...", Villa Campoleto, Ercolano and Galleria Comunale d'Arte Moderna, Bologna, Italy (Catalogue)

Published by: Galerie Urs Meile, Beijing - Lucerne Edited by: Galerie Urs Meile, Beijing - Lucerne Design: Li Jianhui Proofreading: Su Xiaoqin Photography: Sun Jianwei Text: Nataline Colonnello, Anatoly Shuravlev Text Editor: Leon Lee Text Translation: Li Ruyi © 2007 Galerie Urs Meile, Beijing - Lucerne, Anatoly Shuravlev All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including but not limited to photocopying, recording or by any information storage and retrieval system, without permission in writing from the publisher. ISBN-13: 978-3-9523222-5-3 Printed in China

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