二月 肆 [ 贰拾號
日 ]
4. February issue 20
本期艺术家
The Artist
王裕言
Yuyan Wang 1989 年 出生于中国山东青岛。现生活和工作于杭州、巴黎。
教育
2012 年 毕业于中国美术学院 2013 年 就读于巴黎美术学院
个展 2014 2012
< Landscape> École nationale supérieure des beaux-arts 巴黎 < 被校对的指南 > 共同体艺术空间 杭州
参加展览 2015 2014
2013 2012 2011
2010
获奖
<Transmission de la civilisation> Centre d'art et de Création d'Aulnay. Paris < Panic Room > Galerie Droit. Paris. < ERTNE > Galerie Area. Paris. < Noir > École nationale supérieure des beaux-arts. Paris. < A Room of One's Own > EXPOSTION Prometheus. Le loft d'Anthelme. Lille. < Où va-tu? > Espace des arts sans frontières, Paris. < Showroom Y projet > Galerie Lytfa, Paris. < Suspension > École nationale supérieure des beaux-arts, Paris. 《青年十戒》多媒体戏剧表演 中国美术学院 《Endless 四人展》装置 共同体艺术空间 《理想国 2: 华西村》多媒体戏剧表演 《理想国 1: 你还记得苏联吗》多媒体戏剧表演 上海当代艺术博览会 《独立宣言》多媒体戏剧表演 今日美术馆 《奖状 7 号》多媒体戏剧表演 杭州 《形式主义者的犯规》摄影 吾辈画廊 杭州 《摇钱树计划》装置 潘天寿广场 《可以活很多次可以死很多次》装置、现场 中国美术学院 《即将消失的动作》影宴摄影展 杭州
2014 年法国 Besserat de l’effervescence 艺术奖
1989 Born in Qingdao. Now live and work in Hangzhou and Paris. Education
2012 Graduated from The National Academy of Fine Art majoring in INTER- MEDIA ART department. 2013 Study in École nationale supérieure des beaux-arts de Paris.
Solo Exhibition 2012 2014
< The guide has been proofread > Community Art Space, Hangzhou, China. < Landscape > École nationale supérieure des beaux-arts. Paris.
Selected Group Exhibitions 2015 2014
2013 2012
<Transmission de la civilisation> Centre d'art et de Création d'Aulnay. Paris < Panic Room > Galerie Droit. Paris. < ERTNE > Galerie Area. Paris. < Noir > École nationale supérieure des beaux-arts. Paris. < A Room of One's Own II> EXPOSTION Prometheus. Le loft d'Anthelme. Lille. < A Room of One's Own I> EXPOSITION YOU’VE GONE TOO FAR École nationale supérieure des beaux-arts. Paris. < Où va-tu? > Espace des arts sans frontières, Paris. < Showroom Y projet > Galerie Lytfa, Paris. < Suspension > École nationale supérieure des beaux-arts, Paris. < Endless > installation, Hangzhou, China. < Ten commandments for youth > installation, The National Academy of Fine Art.
China. 2011 < Utopia 2 Huaxi Village > inter-media performance, The National Academy of Fine Art. < Utopia 1 Do you remember the Soviet Union > performance, International Contemporary Art Fair, Shanghai. < Declaration of Independence > performance, TODAY ART MUSEUM, Beijing. < Certificate of merit No.7 > performance, The National Academy of Fine Art, Hangzhou. < The action which is about to disappear > The fouls of formalist, WE Gallery, Hangzhou. 2010 < To be or not to be > performance, The National Academy of Fine Art, Hangzhou. < Legendary tree > projet, PanTianshou square, Chine < Shadow feast > photography, The National Academy of Fine Art, Hangzhou.
Prix
lauréat du trophée Besserat de l’effervescence 2014.
“我的作品没有神来之笔的开端，也没用某些固定的题材，但是一直 有共有的背景：试图让日常事物在一种诗意关系中突然重逢。所有日 常事物之下潜伏的符号、回忆和饱含深情都是理想的素材，把他们掺 杂一种不合时宜、不得体、不令人信任的情感，为把一个熟视无睹的 日常事物重新照亮。我希望我的作品能拥有一种把日常重新洗牌的质 地，正如博尔赫斯所说：‘试图用困难、危险、失败来打动你。’”
"My works neither has a miraculous beginning, nor setting properly on some specific matters, but always sharing a common background: in an attempt to let the banal encounter unexpectedly in poetry. All the symbols, memories and fully deep emotion concealing under the banal are my ideal materials. I mix them together into a kind of untimely, indecent, unreliable emotion, in order to brighten the neglected everyday matters. I wish my works had an ability of reshuffling the everyday life. Just as Borges has said 'I am trying to bribe you with uncertainty, with danger, with defeat'. "
肆 + 王裕言
採訪記錄 interview Sì + Yuyan Wang
肆：版画的学习经历对你现在的作品有什么影响？ Si: To what extent that you think Printmaking influences you? 王：学着用版画的思路思考一切，关系会更加凹凸有致。 Wang: I have learnt to use Printmaking in thinking everything, thus the relationship in everything reveals manifold and order.
肆：为什么选择石版这种过程极其繁琐的创作方式？ Si: Why you choose to use Lithography such a complicated process for your art creation? 王：石版对我来说有一种原始的力量，使得一个作品完成的瞬间，构成它的所有 要素完全擦除溶解但又重新寄存在一个新的世界中，一直对这种迂回曲折的过程 有一种偏爱。 Wang: To me, Lithography has a primitive power, once the work has finished, all elements which had contributed to it were wiped and dissolved but meanwhile has stored in a brand new world. I always prefer this kind of meandering and circuitous process.
>> Landscape Lithogragh 2014
>> parts of work "Landscape" Lithogragh 2014
>> parts of work "Landscape" Lithogragh 2014
>>Certificate No.7 Performance 20 min Hangzhou, China 2011
肆：除了石版，你创作的作品也涉及到多种材质，不同的材质对你来 说意味着什么？ Si: Expect for Lithography, your works also contain various medium, what does different medium mean to you? 王：我的作品没有神来之笔的开端，也不固定在某些特定的事物材料之 上，但是一直有共有的背景：试图让日常物品在一种诗意关系中突然重 逢。所有日常事物之下潜伏的符号、回忆和饱含的深情都是理想的素材。 Wang: My works neither has a miraculous beginning, nor setting properly on some specific matters, but always sharing a common background: in an attempt to let the banal encounter unexpectedly in poetry. All the symbols, memories and fully deep emotion concealing under the banal are my ideal materials.
肆：你的创作出发点一般来自哪？是自己的生活经历还是社会问题还 是其它？你觉得自己的作品是偏观念的吗？展览的时候是否会附加对 你自己的作品主题的阐述？ Si: Where makes you start your work in general? Is it your life experience or social issues or other else? Do you consider your works are towards conceptual? Would you like to add texts that responding to your works when they are exhibiting? 王：我希望创作的方式不是凝重煽情的，而是充满些许质朴、琐屑、 随机或者无逻辑的错位，我想要的可以在另一个方向的道路上找到， 而不是一定要存在于被称为进步的、通往前方的道路上。我更想提供 不伦不类的、不得体的、不令人人信任的画面和情感，让每个熟视无 睹的日常物品重新烨烨生辉，让人们有时间去沉思日常生活的各处。 Wang: I hope my way of making works is not ponderous or for stirring up emotion, but fill with unsophisticated, trivia, random or unlogical displacement. What I want can be found on the road in another direction, it doesn’t have to existed in a road that so called progressing, towards the front. I would rather prefer to offer ambiguous, indecent, unreliable images and emotion, in order to brighten the neglected everyday matters and create a meditation room for people to recall the everyday life.
>>A Room of One's Own II Installation 2014
肆：你作品中使用的现成品“ready made” 在我看来本身就是带有其特殊的历史背景， 涵义的。你在选择的时候考虑你选择的现成品背后的 Context 吗？是和你的想法契合的 readymade，还是你会将它们 formless，再赋予它们你想要它们承担的涵义？ Si: I think the “readymade” that has been used in your works have their own special history and meaning. Have you thought of the context behind when you select your “readymade”? Will you use a “readymade” with its original meaning that fix with your idea, or consider them as formless and then to assign a meaning that you want them to have? 王：可能更偏爱把一个现成品之下的 context 片面的即兴组合，一直非常沉迷于观看其它 艺术家的作品并无视阐述文字地误读它们，这种作品和非作品之间的离散的状态对我来说 就像一剂兴奋剂。 Wang: I may prefer to use a partial context of the readymade and make improvisational combination. I always addicted to misunderstand other artists’ works without paying attention to their context. I consider this detaching situation that between the real and unreal meaning as a kind of stimulant.
>>A Room of One's Own I Installation 2014
>>Panic Room shoes, engraved rubber sheet, ink dimension variable 2015
肆：我认为在艺术创造中选用 readymade 需十分谨慎，背后要经过大量的 调查研究。从 Duchamp 的第一个 readymade 作品到今天有很多艺术家 也都会使用现成品。比如，你近期的作品 《Panic room》中使用的一双女 式牛津鞋，牛津鞋本就有其漫长的历史，你在使用的时候有什么考究及想法？ 谈谈你的这个作品。 Si: Generally, ‘ready made’ have been used with caution in the artwork after the artist did a lot of research and investigation. Many artists use found object in their works after Duchamp. For example,there is a pair of Ladies Oxford Shoes used in your work named ‘Panic room’. However, they have a long history. Then, how do you think about them when you were using them? Could you talk about this work? 王：《Panic room》是这个系列中的第一次尝试，用到了步行和独白这两 个动作，摘选了一些诗的片段刻在鞋底，用步行在空间中朗诵。我想放弃象 征性的材料背景，也希望能让人在这个空间能有稍作喘息的间隙，一件完成 品的信息可以在背后阐述和它自身的表达中被找到，但是我不期望这些信息 成为关注点。我觉得有时候这种放弃不是一种消极的无知，我的媒介是材料、 空间和对不同组合的选择，我能做的就是为观众提供一个感受混乱关系的场 地，来代替一些框定的叙事和文字。一直到作品呈现之时也是在不停怀疑自 己，这些能量必须在真实空间里相遇才能被承载和传达。 Wang:‘Panic room’ is the first experiment in a series, and there are two kinds of action process in it--walk and monologue. I curved some lines of words picked up from poets on the soles, and walked in the space while reciting. I want to give up the symbolic physical background, and give the breathing space to viewers. The information of a finished work could be found in the statement and the presentation, but I do not want to make these information to be a focus. I think such an abandonment is not a kind of negative ignorance. My media are material, space, and different selection of combination. And what I can do is to supply a place where the viewer could encounter the dislocation relationship to replace the formalist narrative words. I had not stopped self-doubting until the work was exhibited. Because the energy only can be loaded and expressed with an encounter in a real space.
>>detail of work "Panic Room" shoes, engraved rubber sheet, ink dimension variable 2015
肆：从杭州到法国，我看到你的作品更有氛围感。你会在创作的时候先想到自 己 想 要 营 造 什 么 样 的 氛 围 吗？ 比 如《landscape》 这 个 作 品， 是 属 于 site － specific art 吗？是先有的那种光影氛围，然后你选择去契合它？还是你营造出来 的？ Si: As I see that your works created in Hangzhou bring more atmosphere than those in France. Do you anticipate the participate atmosphere you want to make in a work? As the work named ‘Landscape’, is it a sitespecific art? Was there an atmosphere created by light and darkness first, and then you tried to correspond to it? Or you made it? 王：实现之前只是有一个“凝固的瞬间”的氛围设想，大概是一个毛毡包裹起来 的昏暗空间与针雨的反光为主，用光把几件作品联系起来再根据空间调整相互关 系。当时巴黎正持续阴雨，连续几日在昏暗的空间里进行穿针引线的密集劳动， 突然那天下午迎来了不期而遇的阳光。那一瞬间顿时一切关系焕然一新，毛毡投 影在墙上的光斑、1000 根针的反光、丁达尔效应让空气中的灰尘都清晰可见。氛 围就在那时候完全改变，但之前怎样的预想都不重要了，正应了那句老话，“一 切皆时至才会产生”。 Wang: I had an imagination of a ‘frozen second’ atmosphere. It was perhaps a dark space covered by a felt with the reflection of the ‘rain’ made up of needles. I supposed to make a link among several works by light and adjust their relationships in the space. It had been raining in Pairs for several days. And suddenly it became sunny in an afternoon when I had been threading thousands of needles for some days in a somber room. All those relationships have taken on an entirely new look at that moment. Light spots projected on the wall through the felt and reflections of 1000 needles, and dust in the air became clearly visible due to Tyndall Effect. After that, the atmosphere totally changed, so the imagination before was not that important then. And it is just like the old saying:‘Everything happens at the right time.’
>>Landscape Installation Needle,thread Dimension variable 2014
>> "Landscape" Solo Exhibition, live Ă&#x2030;cole nationale supĂŠrieure des beaux-arts. Paris 2014
>> "Landscape" Solo Exhibition, live Ă&#x2030;cole nationale supĂŠrieure des beaux-arts. Paris 2014
肆：在你近期许多装置作品中，即使是石版画里，“光 / 影“似乎占据着隐秘而特殊的位置， 它们 ( 光 / 影 ) 像是一种触角和虚情背后的真实，它们时常让人抛去了除它们以外的事物而 变成了实体本身，有时它们又极其直接地被阐述。这样的发生并非偶然。你是刻意运用了它 们来叙述么？光影与诗性之间似乎有种亘古不变的吸引力，你又是如何理解这两者 ( 光影与 诗 ) 之间的关系？ Si: In your recent installations, even in your lithographs, it seems like that‘shadow/ light’ occupy the special place. And they look like a kind of antenna or the reality hidden behind the unction. Furthermore, they always make people to forget things beside them and become the items themselves. And sometimes they were explained straightly. Sometimes it is not an accident. Do you intend to use them to narrate? As if there is a constant mutual attraction between ‘shadow/light’ and poetry, and how do you understand the relationship between them?
王：重新点亮日常对象的诗性一直是我的理想型，我一直希望自己的作品能拥有一种把生活 重新洗牌的质地，或者说作为一种连续不断地惊奇之美，用浓度来定义当作标准、想象的浓 度、意外的浓度、陌生的浓度 ...... 正如博尔赫斯所说 “ : 我试图用困惑、危险、失败来打动你。” Wang: It is always my ideal to brighten the poetry of everyday object. And I always want to invest my work a character by which our life could be reshuffled, or make it to be a continuous unexpected beauty. I regard the definition of concentration as a standard, like concentration of imagination, accident, strange and so on. As Jorge Luis Borges says:‘I am trying to bribe you with uncertainty, with danger, with defeat.’
>>Ephemeral phosphorescent pigment, light 2013
肆：你所说的 made in china 的 quality 可以具体聊聊吗？ Si: You mentioned the quality made in China before, and could you talk about it in details? 王：这句话可能要结合当时做那件国际象棋和镜子并置的作品时和老师的讨论， 当时第一个版本是机缘巧合恰好用捡来的材料进行了组合，一个画框、一块碎镜 子配合了一个折断的棋盘，最后的呈现时老师甚至检查了背后的钉子和挂绳的水 平线，最后被老师质疑在偷工减料。他说一件作品可以有无数种呈现方式，但狂 野的未完成感和草草写就不是一回事。其实在使用镜像这种材料是就要加倍用心， 早已存在大量围绕镜子产生的杰作和引发的讨论。quality 的意义可能更倾向于如 何把这种关系作为你的材料和元素，这个组合为你的体系中引发了怎样意味深长 的改变。 Wang: It can be traced back to the discussion between my tutor and me about the installation combined by chess and mirror. The first version was consisted of some found objects-- a painting frame, a broken mirror and a cracking chessboard. My tutor inspected this work and even double checked nails behind and the horizontal line hanging the string. In the end he questioned about whether I cut corners. And he told me that there are various ways to display a work, but wild unfinished sense if different from quickies. Further, it should be more careful when you use mirror, as there were so many masterpieces and debates concerned about mirror. Here the meaning of quality is more inclined to how to transfer this kind of relationship to your material and factors of your work, and the meaningful change caused by the combination you select.
肆：法国的留学经历对你有什么影响？ Si: How does the study experience in France affect you? 王：法国人全民文艺，艺术在这里不是一个节日一出戏剧而是浸泡式的背景音乐， 不奢求艺术家能改变世界，但让我坚定了这是最令人向往的进入生活的身份。 Wang: French are all artists, and art is not a festival or a drama but the immersion background music. I do not expect that world can be changed by artist, however, I confirm that it is the most glamorous identity to enter our life.
>> part of work "Landscape" Installation chess, mirror 2014
肆：你的作品有一种东方的诗意，可以谈谈你对东西方文化差异的看法吗？ Si: Your work has a character of eastern poetic aesthetic, how do you think about the culture difference between the East and the West? 王：东方的智慧更倾向寻找共通之处，寻找一种把各种关系调和在一起的养分， 体会一种来自远古的共通的情感，而我觉得这种养分和情感能够治愈和启动被毁 坏的一切。对于我，一个好的艺术家不会影射嘲讽或打翻这些差异，而是温柔拯救， 把敏感性重新注入了日常生活，每一处每一刻都会截然不同。 Wang: The eastern wisdom is more inclined to seek a commonality, and a kind of nutrient to harmony various relationship, then to learn the universal emotion that comes from ancient times. And I think this nutrient and this emotion could heal and activate everything broken. For me, a good artist would not alluding to ridicule this difference or upset it, but to save it gently, and refill a kind of sensitive to our daily life, to make everywhere to be distinct from each other in every second.
- end { interview translated by Wendi Xie / Yandi Wang }
>>Action which is about to disappear film, pinhole camera "The fouls of formalist", WE Gallery, Hangzhou 2011
>>Infinite possibilities photo 2011
>>The guide has been proofread installation Community Art Space, Hangzhou, China. 2012
{ designed by Minqi Sun }
关于 > 肆 SI< 隶属 > 草乙載萬殊 <zoewanshu.com 之微杂志 介绍活动于欧洲的亚洲青年艺术家。 About SI micro conceptual magazine, part of Zoe(zoewanshu.net) 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 >>Panic Room shoes, engraved rubber sheet, ink dimension variable 2015 by Yuyan Wang
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SĂŹ 4. February 2015 No. 20
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