十一月 拾捌號
肆 [
日 ]
4. November issue 18
The Artist 本期艺术家
薛若哲 Ruozhe Xue 生于江苏徐州， 生活并工作于伦敦 Born in Xuzhou, China Now live and work in London
展览 / Exhibitions 2008 Excellent Student Works of the Year, Central Academy of Fine Arts 中央美术学院优秀学生作品展 2009 Excellent Student Works of the Year, Central Academy of Fine Arts 中央美术学院优秀学生作品展 2010 Materials and Concepts, Tongdao Gallery 材料与观念，通道画廊 2011 MicroBlog Exhibition of Chinese Artists 中国艺术家微博展 2012 Graduation Exhibition, School of Fine Art, Central Academy of Fine Arts 中央美术学院造型学院作品展 Solo Exhibition, Virtual Reality, Shiyue Gallery 虚拟的真实，十月画廊 2013 Weicunpancai, Group exhibition, Kong space 围村盘菜， 空的空间 2014 WIP Show，Henry Moore Gallery, Royal College of Art 期中展， 亨利摩尔画廊， 皇家艺术学院 RCA Secret, Dyson Gallery, Royal College of Art 皇家艺术学院的秘密，戴森画廊，皇家艺术学院
教育 / Education 2004—2008 中央美术学院附属中等美术学校 The Fine Art School attached to the Central Academy of Fine Arts, Beijing 2008—2012 中央美术学院油画系第三工作室 Painting, China Central Academy of Fine Arts (CCAFA), Beijing 2013— 今 /now 皇家艺术学院油画系 Painting, Royal College of Art, London
奖项 / Awards 2007 慈山奖学金，优秀学生干部 Excellent Student Leader, Cishan Award 2008 中央美术学院优秀作品二等奖 Second Place, Excellent Student Works of the Year in CCAFA 2009 中央美术学院优秀作品一等奖 First Place, Excellent Student Works of th e Year in CCAFA 国家奖学金 National Scholarship Recipient 2010 中央美术学院二等奖学金 The Second Class Scholarship Recipient in CCAFA 2011 中央美术学院二等奖学金 The Second Class Scholarship Recipient in CCAFA
“我对解构我们周遭的世界， 使之陌生 化，荒诞化感兴趣。我认为将事物推到 极端荒诞化会创造出很多有力的对比， 这样从另一个侧面反映着我们的生活。” "I am interested in deconstructing the world we live in, de-familiarizing it and making it absurd. I believe that pushing things to extremely absurd circumstances creates many strong contrasts, which make us reflect on the way we live our lives. "
>> 模拟风景 / Virtual Landscape, oil on canvas, 100cm Φ, 2013
“我通过把虚拟的形象与真实的形象进行混合来创造荒诞，这 是我之前一直在探索的方式，并影响了几个系列。 《模拟人生》便是其一， 我将曾经真实存在的关系放进了一 个虚拟的环境中（游戏模拟人生 the sims）在方法上，我使用 油画这个有温度的媒介来绘制这种机械生产的无表情的 3d 图 像，通过低科技 low-tech 去描绘高科技 hi-tech 这种方法在 视觉上给人以错觉，造成荒诞感。” "The way I try to create absurdity is through combining this virtual imagery and reality. This is a path that I have been following for years, and is reflected by several of my pieces. “Virtual Life” is one of them. It is a series of oil paintings in which I place personal relationships that exist in real life into a virtual environment (the video game “The Sims”). Oil painting, being a purely handmade, passionate and warm way of expression, forms a clear contrast with the mechanical, emotionless and cold 3D images that are displayed. This contrast creates a sense of absurdity in the paintings which is helped by the metaphors created when the real and virtual worlds collide." ——薛若哲 Ruozhe Xue
>> 模拟人生 - 友谊在增加 Virtual life - Friendship is Growing oil on canvas 130x100cm 2014
>> 模拟人生 - 冷战 / Virtual life - Cold War oil on canvas 130x180cm 2012
薛若哲 採訪實錄 interview with Ruozhe Xue 肆：在《模拟人生》系列中，你形容是用有温度的媒 介描绘数码图像，然而你的画法在我们看来是很冷静 理性地去画，你觉得这里面存在矛盾吗？ 薛：是不矛盾的，当然画面的最终效果骗过了多数人 的眼睛， 尤其是拍成了数码照片后， 一切都变得平面 了。 当实地的去观察这张画， 其实上面充满了坑坑洼 洼， 有大笔刷开颜料的痕迹，也可追朔软笔轻轻拂过 某个细节的动作， 随着这个系列的发展，我逐渐变得 更加注意画面的绘画性，画面在保持 3D 观感（计算 机生成的平滑，生硬的 3d 图像效果）的同时一方面变 得“粗糙”，另一方面画面的机理变得更加丰富。 SI: In “Virtual Life” series, you have described that you use a warm medium to depict digital images. However, we think you are actually drawing with a rational manner. Do you think they are contradictory? Xue: I don’t think it is contradictory. But of cause the final effect of the images have cheated most
people’s eyes, especially when they(the paintings) are presented as digital photos, everything becomes flat. When you are actually looking at the painting on site, you will find out it is quite bumpy, and traces are shown the paint followed by big brush flows and the action that soft brush passing is gently revealed. Following the development of this series, I gradually became more painterly. In the same time as being 3D visual impression (which is flat, smooth and stiff effect that produced by computer), it becomes rough and the texture of the image appears rich.
肆：在《模拟人生》里所选的几个场景对你来说有什么特 殊含义？ 薛：我在虚拟人生里面建立的场景，主要是室内景，因为 室内景会有一种日常感， 这种日常感结合所描绘的画面 效果， 会产生更强的荒诞感。 SI: In “Virtual Life” series, do the selected scenes have some special meaning? Xue: The scenes I have created in the “Virtual Life” are mainly indoor views. This is because that indoor view brings about a sense of “everyday life”. When the sense of “everyday life” combined with the scenery that I depicted, a strong sense of absurdity would be evoked.
>> 模拟人生 - 跳舞 / Virtual life - Dancing oil on canvas 130x180cm 2012
>> 模拟人生 - 读 / Virtual life - reading oil on canvas 100x100cm 2012
>> 模拟人生 - 失眠 / Virtual life - sleeplessness oil on canvas 100x100cm 2012
肆：你的肖像摄影和你的绘画之间的关系？数码和 绘画的关系？ 薛：肖像一直是我的关注方向，我会对肖像进行某 种荒诞化的改造来改变画面的心理状态。我对人， 不同东西的个性有很深的兴趣。我画的衣褶，背影 均可以看作是对某一种性格的描绘，无论是我的人 像摄影， 还是绘画， 都投注了我的凝视。数码技术 对我来说是生成图像过程中的一个手段，并不对我 的思维有影响。 SI : What is the relationship between your portrait photography and painting? How do you see the relationship of digital images and paintings? Xue: I am always interested in portrait, I change the mental condition of images through a kind of absurd transforming of the portrait. I have deep interest in people and the characteristics of different things. For example, the folds of clothes, the view of the back can both be regarded as a depiction of one kind of characteristics. My gaze is projected in both my portrait photography and paintings. To me, the digital technique is a way of producing images, it doesn't affect my thinking.
>> 白画森林 / White painted forest oil on canvas 160×140cm 2014
>> 蜡烛 / Candle oil on canvas 30x30cm 2014
>> 两个来访者 / Two visitors oil on canvas 120x180cm 2014
肆： 常 规 的 肖 像 一 般 是 描 绘 脸 的， 你 为 什 么 画 背 面？ 看 你 的 作 品 会 联 想 起 波 利 曼 斯（Michael Borremans）的作品，他对你影响大么？ 薛：肖像对我来说是某一个具体的性格，和心理状 态的描绘，和画不画脸没有太多关系，也许一只手， 一个微妙的小动作就够了。我想看我的作品联想到 波利曼斯是因为我们的作品都有一些超现实主义， 尤其是玛格丽特那一脉的影响。他对我的影响主要 在于坚定了我对绘画的确信，之前我一直对绘画有 怀疑甚至排斥的态度，并认为仅仅是达到效果的一 种手段。近半年来一直在思考这个问题，现在可以 很确定的说，绘画是我对待世界，对待自己的方式， 我选择相信绘画。另一方面说，一个人如何能做好 一件连自己都不相信的事呢？ SI: Generally, the portrait draws faces, why your portrait draws about the back? It reminds us Michael Borremans’works, does he influence you a lot? Xue: To me, portrait is depiction of some specific characteristics and mental circumstance. It doesn't have much to do with faces, perhaps a single hand or a subtle action will be enough (for a portrait). I think Borremans’ works and my works both have reference of surrealism, especially influenced by Rene Magritte. He (Borremans) influences me mainly on firming up my belief about painting. I doubted and even rejected painting before, and I thought painting was only a method to achieve my goal. Almost in the recent half year, I have been thinking about this question, but now I can say firmly that, painting is a method which I use to see through the world and myself. I choose to believe in painting. How can one be good at a thing that he/she doesn’t believe in?
>> 啊！ / Ahh! , oil on canvas, 110x110cm, 2014
>> 一撇 / Glance photographic installation 2012
肆：在你的个人网站上，作品 《Glance》 系列的分类为装置， 但表现形式与照片无异，请问 具体这件作品是如何呈现的？
肆：你拍了几组不同的肖像，譬 如隐藏的肖像、眼睛朝向一边的 肖像、俯拍的肖像等，为什么有 如此设定？
薛：Glance 是 陈 列 在 封 闭 空 间的一件摄影装置。我着重的 是前后照片的逻辑关系 , 所有 照片左右相连成环状围在一个 空间中， 我在网站上试图模仿 这样的逻辑， 向右轻轻滑动即 可看到这一串照片。
薛：我对正面免冠照这样正式的 的呆板的形式感兴趣， 不同的 是我试图在肖像照片中加入某种 心理空间。 隐去的面部， 斜瞄 的眼神， 侧拍却正放的肖像， 加剧了心理上的紧张度，这也是 和我在绘画上的逐渐转变是一致 的。
SI: In your website, you classify the “Glance” series into installation, but it shows no different with photographs, how did you present this work? X: Glance is a photographic installation that being presented in a closed space. My concern was the logical relationship between the front and rear photos. All the photos are linked as a loop in the space, I try to imitate this logical order on website, by a gentle slide towards right, ones can then see a series of photographs.
SI: The portraits in your works are different, some are hidden, some with eyes squinting, and some are looked down. Why do you make these disparate sets? Xue : I am interested in the form of hatless full-face photo, which is rigid. The difference is , I tried to put some kind of psychological space into the portrait. The hidden face, squinting eyes and the body taken from a sideways viewing but showed forward，they all raise tensions inside, constructing the process of transformation of my painting.
>> 无题 / Untitled photography 2014
肆：媒介或形式对你来说重要吗？
肆：你的作品里存在一个脉络吗？
薛：媒介和形式对我来讲非常重要，人 们在看不同的媒介时的心理期许，关注 的方向上是不一样的。绘画是我的主要 媒介，也在很大程度上影响了我观看世 界的方式。
薛：我认为我的作品的脉络在于我对心理的关 注， 我是一个较内向的人， 所以很多的情绪 是内化的，含蓄的， 我的作品在视觉上有一以 贯之的平静，我拒绝夸张的形态。但是在平静 的下面我一直在试图加剧作品中的心理张力。 另外还有我对荒诞事物本能的好奇和对陈词滥 调的兴趣， 使我的作品有时会有一定的反讽元 素。
SI : Is media or form important for you? Xue: Yes, they are both very important. The psychological expectation of viewers are different when people stand in front of a painting or a photo, the points they focus on are different, too. Painting is my main media, It has great influence on the way I see this world.
SI: Is there a context in your work? Xue: I think the context of my work is my concern about mentality. I am basically a shy person and many emotions are introvert and implicit. All my works have a certain level of calmness, I refuse to exaggerate form. However, beneath the calmness I am trying to aggravate the phycological tension. Moreover, I inherently have endless curiosity to absurd things. And I am also interested in the clichés of everyday life, all of those made my work ironic sometimes.
>> 一滩水 / A water coal on paper 18x26cm 2014
>> ć— é˘˜ / untitled coal on paper 18x26cm 2014
>> ć— é˘˜ / untitled coal on paper 18x26cm 2014
>> 另一面墙 / Another wall oil on canvas 90x110cm 2014
肆：你每个系列的作品之间的关系是？ 薛：很难说每系列作品之间有很强的关系， 有些作品是下一件作品的诱因， 有些作品是并行做的， 虽然当时看不出关系， 但做了数个之后还是可以理 出来思路的。 比如我的模拟人生系列，有一个非常统一的标志，就是 3d 的观感，就画面 内容来说，我关注人的心里状态，和不同的目光交错产生的微妙心理变化。 不同系列作品之间其实一贯下来的是我对人的心理状态的关注 ( 泰特美术馆 策展人 Clarrie Wallis 语 ) 不管是用什么方式，这些人或多或少都承载了我 的心理状态，换一种说法，他们是演员 (Avatar)。 SI: What is the relationship of series of your works? Xue : It is hard to say there is a strong relationship. Some are the incentive of the next; some are simultaneous, between which there is no obvious relationship, but a clue can be seen when I look back For example, there is a very unified symbol in my series of ‘The Sims’, which is a feeling of computer-generated 3D model. In terms of the content, I concern about the psychological states of people( said Clarrie Wallis, curator of Tate Modern).These portraits are more or less vehicles of my mood. In another word, they are avatars.
肆：你迄今为止的几个系列作品中，最满意的是哪一组？为什么？ 薛：我最满意的是我现在做的，比如《两位来访者》等，可能还无法并成一 个系列， 我也暂时无意去做一个系列， 我在这里重拾了对绘画的信心。 我 认为画我所相信的东西是非常重要的。 SI: Which series is your most satisfied and why? Xue: I have to say I am pretty satisfied with what I am making now, like ‘two visitors’ and so on. But they have not be able to be a series. I have no idea to make a series now. I regain my confidence in painting from here. I think paint what I believe is very important.
-end{ 中英文翻译 谢文蒂、王琰迪 / translated by Wendi Xie & Yandi Wang }
{ 整体设计 孙敏祺 / designed by Minqi Sun }
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About SI
micro conceptual magazine, part of Zoe(zoewanshu.weebly.com) introducing young Asian artists who are based in Europe
editor / 編輯 孫 敏祺 Minqi Sun 謝 文蒂 Wendi Xie 鄭 田明 Tianming Zheng 王 琰迪 Yandi Wang 应 梦婷 Mengting Ying
front cover / 封面 >> 啊！ / Ahh! oil on canvas 110x110cm 2014 from Ruozhe Xue
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SĂŹ 4. November 2014 No. 18
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