胡庆雁 HU QINGYAN
穿帮 REVEALING THE RUSE 《一捆竹竿, No. 1 》2011, 局部, 金丝楠木旧房梁, 麻绳, 8 根竹竿为一捆; 每根直径 10-15 cm, 长 330-470 cm “A Bundle of Bamboo, No. 1” 2011, detail, jinsi nanmu wood from old house beam, hemp rope, 8 pcs; each ø 10-15 cm, length 330-470 cm
穿帮 文：刘礼宾
投身于模仿，等于在特意放空自己。疲惫于对灵感的追寻，观念的探求后，只执着于对一件事物的翻制，如同在做一个平整思绪的“深呼吸”。它只涉 及对已知故事结局的再现，不需要了解其中的波澜，径直面对结局。自觉地更多关注它带来的视觉经验，感受一件艺术作品的纯粹性。 投身于模仿，等于在不断磨砺自己。雕琢作品的同时也在雕琢自己，类似一个独享的“练功房”。模仿是对观念探索的搁置，并不意味着整体行为的无 意义。沉迷在对“像”的无限接近之中，模仿者自身不断地被完善、被细致，是成长，甚至蜕变的过程。这个过程永远是开放的，没有结局，这是一个 内化的过程。 穿帮也是难以避免的。虽然经过雕琢，使作品更加接近原物，但仍然是“假”的。如果说模仿的第一特性是似或像，那它的第二特性一定是不真实性。 所以当把实物与模仿品摆在一起时，观众会多了几分“揭秘”的乐趣。因为不可避免，胡庆雁（1982 年生于中国潍坊，生活和工作在中国北京）却可以 以更加放松的心态投入到模仿的过程中去，不再想方设法做各种隐藏，更多地关心模仿本身所带来的一些思考。 《一堆泥巴的故事，1－40》 （2010－2011）是艺术家仍在创作的一件雕塑行为的摄影作品，此次展出的是该系列的第一组作品，共四十幅（每幅 20 x 30 cm） 。 它带给我们的第一视觉印象就是“双重性”。将一堆泥巴依次塑造成石头、佛像、球体和树桩等毫无关联的事物。每一张照片都是由两件一模一样的事 物组成，当然其中一件是泥塑“翻制品”。它们有的大小相同，有的被放大（基于泥巴的体积），这样一大一小的组合，穿帮一目了然，但他似乎并不在意 这种低级的穿帮，因为向我们展示的不是模仿的绝对一致，而是这个模仿本身的过程，胡庆雁在告诉我们他在模仿，他说， “做写实雕塑是为了自己过手 瘾，这是首要的。” 以模仿作为一种“瘾”，是出于不可摆脱的“写实”情结。整个20 世纪的中国美术教学体系，基本上建立在“写实”二字之上，胡庆雁所接受的教育也 自然在这个体系之内。与写实相伴随的是“像与不像”的问题。 “像与不像”在《一堆泥巴的故事，1－40》里虽然没有被放在首位，但它仍然被提及。 “做得像”是一个宿命，因为它在中国一直是评定一个学画者功力是否“过硬”的标准，模仿就要做得像。 “两捆竹竿” （《一捆竹竿，No. 1》和《一捆竹竿，No. 2》，2011）上演了一幕精彩的“障眼法”。一根根纹理光滑、节节硬朗的竹竿，在展厅里成捆地 堆放着。不太细心的观众，可能就会匆匆路过。认为“这只是一捆普通的竹竿”，但经过仔细的观察后会发现，它多了几分内敛和沧桑。其实，这原本 是金丝楠木的旧房梁，在经过胡庆雁的雕凿之后，变成了“竹竿”。但有时即使你目不转睛地观看，也未必能看得破，也许只有微小细节才使眼前的假 象穿帮。 “两捆竹竿”是用木头来表现其它材质的事物，没有了实物与作品的相比较，于是更加侧重于“假”。此时连同艺术家自己也在直面这个“假”。这里 想要展示的不是模仿的过程，而是结果。那像与不像又有什么特别的含义吗？在这种只关注模仿的“瘾”的背后是否可以有更深层次的可挖掘的意义 呢？胡庆雁的《一堆泥巴的故事，1－40》和《模仿的故事》（2009－2010）所呈现出来的形式似一部连环画，其中所表达的语言除模仿外，还有“重 构”、 “打破”。 “打破”在《一堆泥巴的故事，1－40》中更为凸显。打破已做好的雕塑作品，在它的材料之上再建立起一个新的雕塑，或是直接将它解 构、破坏，打破了雕塑的永恒性。正如胡庆雁所说，他要表现的是雕塑的流动性，因为时间的流逝、事物的变迁才是事实，才是真实的世界。往往打破 一件作品时，就是对一件新作品的构建的开始，如此周而复始。这样就冲淡了人们对于艺术作品观念解读的欲望，而回归到作品本身。这对沉迷于观 念艺术的我们是一次惊醒，使我们惯性的思维模式在这件作品前露了怯，穿了帮。 作品《一朵云彩》（2011）中，胡庆雁用材质坚硬的石头来表现轻柔的白云，和他的汉白玉作品《一口气》（2011）有着异曲同工之处。 《一朵云彩》源 自他的一个梦，梦见自己变成了一朵云，醒后他决定将这个梦以雕塑的方式呈现出来，期待这朵云能够飘回天上。他先用水测出自己身体的体积，并 把水转化成等体积的雕塑泥，将泥塑成那梦中的云，最后制成石头材质。 《一口气》也是源自对他“一口气”的模仿，他深吸一口气将其全部吹入一只 塑料袋，然后以这只塑料袋为模型打制成汉白玉材质。他用坚硬的石头，去塑造轻柔的一口气和一片云，同时那一口气和一片云也在无形中将汉白玉 “软化”，双方在相互作用。胡庆雁似乎在挑战，挑战雕塑材料的包容性和表现力，将性质截然不同甚至属性对立的材料相互交融。其次，他将自身 融入雕塑。一朵云是身体体积的承载，一只塑料袋是一口气的气量的承载，用雕塑表现自身的体量，全身心地与雕塑交融。他并不止步于单纯的随 机模仿，他开始进行有选择性的模仿，希望通过模仿来展现何为雕塑，以扩大雕塑的可能性。这时模仿的作品已不再是一个只关心结果的点，它在延 伸，他的作品增强了雕塑的感知力，使穿帮也加深了一层解读。 选择模仿，同时承担了穿帮的风险，但穿帮不是露怯，尤其是故意时。
Revealing the Ruse by Liu Libin
Devotion to imitation is tantamount to deliberately emptying yourself, wearying the search for inspiration after exploring ideas, and dedicating yourself only to reproducing a thing, just like the even thoughts induced by a “deep breath”. Dedication to copying is equivalent to constantly grinding yourself down. When fashioning a work, you shape yourself at the same time; this renders this process similar to an exclusive “training room”. This process is forever open and unending; it is a process of internalization. It is difficult to avoid revealing the ruse. As it undergoes crafting, the work comes ever closer to the original object, yet it remains a “fake”. If the copy’s primary characteristic is likeness or similarity, its secondary feature is certainly a lack of authenticity. Therefore, when the original and the copy are juxtaposed together, this may “reveal” a bit more entertainment to viewers. Because it is inevitable that Hu Qingyan (*1982 in Weifang, China; lives and works in Beijing, China) can infuse a more relaxed state of mind into the process of copying and is not anxious to engage in various covert acts, he is more concerned with those ideas that the act of imitation itself brings in its train.
Narrative by a Pile of Clay 1-40 (2010 - 2011) is a body of photographic works based on a practice that combines sculpture and performance; this exhibition presents the first group of works in this series, consisting of 40 panels (20 x 30 cm each). The visual impression it imparts to us at first glimpse is one of “duality”. A pile of clay becomes in turn such utterly unrelated objects as rocks, effigies of Buddha, spheres and stumps. Each photograph consists of two grouped items that are identical, the original and the copy, but one is unquestionably the “work reproduced” in sculpted clay. Some of them are the same size, others are magnified (based on the volume of clay) so that, with this combination of big and small, revealing the ruse becomes self-evident. Hu appears unconcerned about this low-level revelation of the ruse, because what he shows us is not absolute consistency between the original and copy, but the process of copying itself. Imitation constitutes a kind of “addiction”; this stems from a realism complex that cannot be shed. In China, one is destined to “render it realistic”, because this is always the standard applied to assess whether a painting student’s ability is “excellent” or not. Thus when imitating, it behooves one to “make it real”. “Two Bundles of Bamboo” (A Bundle of Bamboo No. 1 and A Bundle of Bamboo No. 2 , both 2011) stages a wonderful “camouflaged” scene. Each stalk of tough jointed bamboo is smooth in texture, stacked up in bundles in the exhibition hall. Unobservant viewers may think it is just bundles of commonplace bamboo, but after careful scrutiny they will discover that it is marked by the sea changes of worldly vicissitudes. Actually, this is jinsi nanmu wood from old roof beams. After being carved and chiselled by Hu, it transforms into “bamboo poles.” But sometimes, even if you observe it intently, you may still not be able to see through it; perhaps it is only its minute detail that may serve to reveal this ruse. “Two Bundles of Bamboo” employs wood to represent objects of differing materials, so there is no real comparison between them and the work; this thus concentrates all the more focus on its “bogusness”. Here the desire is to display not the process of imitation, but its result. Does this sole focus on the background of the “addiction” to imitation enable the even deeper excavation of its significance? Hu Qingyan’s Narrative by a Pile of Clay 1-40 and Narrative of Imitation (2009 - 2010) display the form of a comic book, whose language of expression, in addition to imitation, is also one of “reconstruction” and “breaking”. “Breaking” is even more prominent in Narrative by a Pile of Clay 1-40 . To break a well-formed sculptural work, and then to create a new sculpture from its material, or to immediately deconstruct or destroy it, is thus to break the eternal nature of sculpture. Often breaking one work marks the start of constructing another, a process that can be repeated over and over again. This dilutes people’s desire to interpret the concept of a work of art and signals a return to the work itself. This is a wake-up call to our indulgence in our concept of art, and highlights the inertia of our mode of thinking as sheer ignorance in the presence of this work, which thereby reveals this as a ruse. The work Cloud (2011), in which Hu uses rigid stone material to express a light, fluffy white cloud, and his work A Breath (2011), wrought in white marble, exhibit both similarities and differences in treatment. Cloud has as its source a dream in which the artist saw himself turn into a cloud and, after waking, resolved to manifest this dream in sculpture. He used displaced water to quantify his bodily volume, then created a clay sculpture of the same volume as the water to form the cloud from his dream, and then created the final work from a stone material. A Breath also stems from Hu’s replication of his own respiration. He drew a deep breath, exhaled all of it into a plastic bag, and then used the bag as a mold to create the work in white marble. In Cloud and A Breath , he seems to challenge the inclusiveness and expressiveness of white marble, and the contradistinction between the differing natures of the materials and even the antagonistic manner in which they interact with one another. Secondly, he integrates himself with the sculpture. The cloud is the same volume as the bodily load he carries, while the plastic bag contains the same volume of gas as his breath; he thereby employs sculpture to express his own body mass, and so he blends his heart and soul with it. These copied sculptures at this time cease to be solely concerned with the result, but extend it, and his works reinforce the perception of sculpture, and so reveal the ruse, while also adding another layer of depth to its interpretation. To choose imitation is to incur the simultaneous risk of revealing the ruse, but this act of revealing is not inadvertent; to the contrary, it is quite deliberate. Translated from Chinese: Benedict Armour
《一根竹竿, No. 1 》2011 《一根竹竿, No. 2》2011 《一根竹竿, No. 3》2011 《一根竹竿, No. 4》2011 金丝楠木旧房梁 每根直径10-15 cm, 长 350- 450 cm
“A Stick of Bamboo, No. 1” 2011 “A Stick of Bamboo, No. 2” 2011 “A Stick of Bamboo, No. 3” 2011 “A Stick of Bamboo, No. 4” 2011 jinsi nanmu wood from old house beams each ø 10-15 cm, length 350-450 cm
《一堆泥巴的故事, 1- 40》2010 -2011 c-print, 独版 40 张图片一组, 每张尺寸 20 x 30 cm
“Narrative by a Pile of Clay, 1-40” 2010-2011 c-print, unique set of 40 photos, each 20 x 30 cm
《一朵云彩》2011 大理石 40 x 93 x 50 cm
“Cloud” 2011 marble 40 x 93 x 50 cm
作品《一朵云彩》的制作过程。
Production process of “Cloud”.
《木塔, No. 2》2011 樟木 199 x 65 x 65 cm
“Wood Pagoda, No. 2” 2011 camphorwood 199 x 65 x 65 cm
《一口气— Karin》2011 大理石 27 x 23 x 16 cm
“One Breath - Karin” 2011 marble 27 x 23 x 16 cm
胡庆雁 1982
生于中国山东潍坊 工作和生活在中国北京
2006 2010
毕业于广州美术学院雕塑系，获学士学位，中国广州 毕业于中央美术学院雕塑系，获硕士学位，中国北京
个展 2011
“穿帮”，麦勒画廊 北京-卢森，中国北京
联展 2011 2010
“自选动作”，荔空间，中国北京 “摆摊第三回：抽——青年艺术家匿名展”，西五艺术中心，中国北京 “动起来”，荔空间，中国北京 “‘巨人杯’今日当代艺术院校大学生年度提名展”，今日美术馆，中国北京 “雕塑的形状”，秀瓷当代画廊，中国北京 “向前一小步：当代青年实验艺术邀请展”，798创意广场艺术馆金属库，中国北京 “雕塑——隋建国与他的几个学生”，A4画廊，中国成都 “空间 ＆ 形象能”，0艺术馆，中国北京 “斫——当代木雕艺术展”，其他画廊，中国北京
2009 2008
“不在现实——2009青年雕塑家邀请展”，0工场艺术中心，中国北京 “青年艺术家联展”，威诺里萨（北京）当代艺术中心，中国北京 “BS1当代美术馆2008年度艺术提名展”，亚洲当代艺术博物馆，中国北京 “独语——亚洲青年艺术家实验展”，草场地 ART HOUSE，中国北京
2006
“2006全国美术院校毕业生优秀作品展”，中央美院美术馆，中国北京 “2006年全国美术院校毕业生优秀作品提名展”，今日美术馆，中国北京
Hu Qingyan 1982
born in Weifang, China lives and works in Beijing, China
2006 2010
BA, Sculpture, Guangzhou Academy of Fine Arts, Guangzhou, China MA, Sculpture, Central Academy of Fine Arts, Beijing, China
Solo Exhibition 2011
“Revealing the Ruse”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China
Group Exhibitions 2011
“Optional Exercise”, Li-Space, Beijing, China “EXTRACT – The 3rd Stall Keeper Show”, C5Art, Beijing, China
2010
“Get Moving!”, Li-Space, Beijing, China
“Giant Cup Today National Art Students Annual Awards of Nomination 2010”, Today Art Museum, Beijing, China
“The Shape of Sculpture”, Michael Schultz Gallery, Beijing, China
“Little Step Forward: Contemporary Experimental Guest-Exhibition of Young Chinese Artists” Metal Warehouse, Creative Square, 798 Art Zone, Beijing, China
“Sculpture – Sui Jianguo and His Students”, A4 Gallery, Chengdu, China
“Space & Visual Energy”, Zero Field Art Center, Beijing, China
“Chop: Contemporary Wood Sculpture Exhibition”, Other Gallery, Beijing, China
2009
“Not in Reality – 2009 Young Sculptors Invitational Exhibition”, Zero Field Art Center, Beijing, China
2008
“Group Exhibition of Young Artists”, China Visual Arts Center, Beijing, China
“Nomination Exhibition of Beijing BS.1 Contemporary Museum”, Museum of Asian Contemporary Art, Beijing, China
“Soliloquy – Asian Young Artists Experimental Exhibition”, ART HOUSE, Beijing, China
2006
“National Graduates Outstanding Exhibition 2006”, Central Academy of Fine Arts, Beijing, China
“2006 Nomination Exhibition of Outstanding National Art Graduates”, Today Art Museum, Beijing, China
“穿帮”, 麦勒画廊 北京-卢森, 中国北京, 2011
“Revealing the Ruse”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China, 2011
出版：麦勒画廊 北京-卢森为胡庆雁个展 “穿帮” 而出版, 展出于中国北京麦勒画廊 北京-卢森 2011年 9月3日至 10月 23日 编辑：麦勒画廊 北京-卢森; 文章：刘礼宾; 翻译：Benedict Armour（英文）; 设计：李建辉; 摄影：古小波, Eric Gregory Powell © 2011 麦勒画廊 北京-卢森, 胡庆雁 未经出版人的书面许可, 本书所有内容不可用于任何形式及目的, 包括但不限于图片复印、抄录或其他信息存储及文字转换的复制及传播。 印刷：中国北京 Publisher: Galerie Urs Meile, Beijing-Lucerne on the occasion of Hu Qingyan’s solo exhibition “Revealing the Ruse” at Galerie Urs Meile in Beijing, China, from September 3 to October 23, 2011 Editor: Galerie Urs Meile, Beijing-Lucerne; Text: Liu Libin; Translator: Benedict Armour (E); Designer: Li Jianhui; Photography: Gu Xiaobo, Eric Gregory Powell © 2011 Galerie Urs Meile, Beijing-Lucerne, Hu Qingyan All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, including but not limited to photocopying, transcribing or by any information storage and retrieval system, without written permission from the publisher. Printed in China 麦勒画廊, 北京市朝阳区草场地104号, 邮编 100015, 电话 + 86 10 643 333 93 Galerie Urs Meile, No. 104, Caochangdi, Chaoyang District, PRC -100015 Beijing, China, T + 86 10 643 333 93 Galerie Urs Meile, Rosenberghöhe 4, 6004 Lucerne, Switzerland, T + 41 41 420 33 18 galerie@galerieursmeile.com, www.galerieursmeile.com