五月 肆 [ 4.May
日 ]
拾肆號 issue 14
本期艺术家 the Artist
季俊 Ji, Jun
1987 年出生于杭州，现工作、生活于此。
教育
2006 年毕业于浙江省杭州第四中学 2010 年毕业于中国美术学院视觉传达系 2014 年毕业于中国美术学院中德艺术研究生院造型艺 术专业
展览
2008 年 “爱谁谁”青年艺术家联展 中国美术学院 , 中 国 , 杭州 2010 年 中国美术学院优秀毕业作品展 中国美院美术 馆 , 中国 , 杭州 2013 年 “见山非山”当代艺术四人展 印象咖啡 , 中国 , 杭州 2013 年 柏林艺术大学 Rundgang 展览 柏林艺术大 学 , 德国 , 柏林 2014 年 “春天来了”群展，三尚美术馆，中国，杭州
Born 1987 in Hangzhou, Zhejiang, China now live and work in Hangzhou
Education
2006 Graduated from The Fourth Middle School, Hangzhou 2006-2010 BA in Visual Communication, China Academy of Art, Hangzhou 2014 Graduated from the Chinese-Germany Master School
Exhibition
2008 “Ai Shui Shui”, Young Artists joint Exhibition, China Academy of Art, Hangzhou, China 2010 “Distinct Graduation Works” Exhibition, China Academy of Art, Hangzhou, China 2013 “Jian Shan Fei Shan”, Contemporary Art by Four People Exhibition, Café of Impression, Hangzhou, China “Rundgang” Exhibition of Berlin University of Arts, Berlin, Germany 2014 “The Spring comes” Group Exhibition, San Shang Gallery, Hangzhou, China
【我经常在某一时刻、某一地点突然联想到记忆中另一场景的光线、气味、 风向以及声响。彼时的体验会和现时的情绪叠加合成一种“共响”。我非 常迷恋这种感受，就像迷恋音乐一样。】
[ In a moment, a place, I often suddenly recall the light, scent, wind and sound in another scene of my memory. The past experience overlap recent emotion and turns out to a kind of "resonance". I am obsessed with this feeling, just like fascinated by music. ]
【我的大部分作品都试图“再触及”自己的各种情绪。于是我在计算机里建造模型、 搭建场景渲染。这不是客观的摄录，我可以最大限度地组织画面，因此我把它看成 一种绘画的过程。例如《朝晖之南》这件作品，创作这件作品的起因是我在中河高 架桥上，看见阳光扫在居民楼的墙面上，它勾起了我对旧居民楼的诸多回忆，之后 我在计算机里搭建了一个场景，这个场景并不和现实中的某处对应，它只映照了我 某种模糊的感受。我在中河高架桥上得到了灵感，隐约感觉汽车行驶在朝晖的南面， 而朝晖又是旧小区的聚集地，所以我将这件作品起名为《朝晖之南》。】
[ Most of my works are attempt to “re-touching” my emotions. As a result, I build models and 3d render of landscape in computer. This is not an objective record, but an organization of the picture in maximum. Therefore, I see this as a kind of process of painting. For instance, in the work “South of Zhao Hui”, what caused me to create this work was, one day, I stood on the high bridge on Zhong He Road, I saw the sunlight poured down on a residential building wall, it brought back my memories of old residential buildings in the past. Later on, I built up a scene in my computer, the scene was not actually match up with a real scene, and it only reflected a vague feeling of my own. I got inspiration on the high bridge, and vaguely felt that the cars went by the sonth of Zhao Hui, where a main place for old residential district. So I named the work “South of Zhao Hui”. ]
朝晖之南 / South of Zhaohui 计算机模型渲染 / visualization
望厂系列之一 / Towards Plant#4, 动画 / animation
【《望厂》则是我一直在创作的系列作品。“厂”在我的生活中是熟悉又含糊的形象。 平日里我关注这些 90 年代建造的“搂厦”以及一切类似或相关的建筑（诸如行政楼、 停车场、托儿所）——瓷砖外立面，铝合金门窗，这些现今被认为丑陋的局部在我 看来有一种“多义”的美感，是长大成人的年代带给我的视觉留存。因此我在计算 机里唤醒对某日某处的回忆与想象。】 [ "Towards Plant" is an on-going project of my recent work. "Plant" is a familiar and obscure figure in my life. In everyday life I concern about these 1990s building and all related to which (such as the administration building, car park and nursery), their tile facades, aluminium windows and doors, which seen as ugly parts, that for me they have a meaningful aesthetic. They are vestiges of my grow-up period. Therefore I wake the memory and imagination of some day some where in computer. ]
【肆 x 季俊】 In Conversation with Jun Ji
肆：你认为你的记忆是可以共享的么？ 季：我觉得很难实现共享，因为每个人在某个时间点 的经历和体验都是有前后文铺垫的，观者无法了解这 些背景，也没有必要了解这些背景。事实上，个人记 忆只是我创作的出发点，我希望我创作的画面能触碰 部分观者的情绪——他们各自不同的情绪。 Si：Do you think your memory can be sharable? Ji: I think it is very difficult to share. Because everyone’s experiences around one specific time point has his or her own context. The viewers cannot get the whole understanding of the context, and it is not necessarily to do so. In fact, memory is just a starting point of my practice. I hope the picture I made can touch some of the viewers’ emotion, the different emotion of their own.
肆：你把你的作品定义为“绘画的过程”，你对你的 作品中的绘画性怎么看？ 季：对于“绘画性”这个问题我没有深入的研究，因 为我没有受过专业、系统的绘画训练，我所谓的“绘 画的过程”仅是一个类比。对我而言，由自己掌控搭 建一个虚拟的场景就如同拿着铅笔在纸上画画一样自 由，而在这个虚拟的场景里把握我对画面的想象更是 一件让我着迷的事情。我希望画面的构图、设色都是 长期实践之后自然流露的痕迹。
↑/↓ 望厂系列之一 / Towards Plant#1 动画截图 / Still image from animation "Towards Plant#1"
望厂系列之二 / Towards Plant#2 计算机模型渲染 / visualization
望厂系列之三 / Towards Plant#3 计算机模型渲染 / visualization
望厂系列之四 / Towards Plant#4 计算机模型渲染 / visualization
SI：You defined your works as “the process of painting”, how do you see “paintality” within your work? Ji: I haven’t explored in depth about this question. Because I did not train professionally and systematically in painting. My so called“the process of painting” is just an analogy. For me, manipulating by myself to build up a virtual scene is equally free as holding a pencil drawing on paper. What is more, it fascinated me of controlling my imagination to the picture in this virtual scene. I hope the composition and colour setting of the picture become a trace that naturally appearing after long-term practices.
肆：你本科时期学习设计的经历对你作品的影响？ 季：我当年不是一个合格的设计系学生，一直顽固得 实施着自己的艺术计划。但是非常幸运，系里的老师 都非常开明、热心，他们经常支持我“离经叛道”。 另外非常重要的一点是，我碰到了几个很有才华的同 学，他们对审美的理解与追求潜移默化得影响了我。 现在回想起来，本科的学习让我对“形式”与“语言” 有了诸多摸索，这对我个人风格的形成是一段不可缺 少的经历。 SI：You earned your Bachelor Degree in Design field, what kind of influence leave you on your later works? Ji: I wasn’t a qualified student in design department, I have been stubborn to implement my art projects all the time. However I was very lucky to have the open-minded, enthusiastic teachers in my department, they were being so supportive to my “rebel”. Another very
【《鸟惊心》来源于我对儿时湖滨公园里一个大笼子的模糊印象。整个动画没有任 何故事，只是对我记忆中那个模糊场景的展示，我试图用光线和布景触及过去的情 绪。】 [ "Memory of a Bird" came originally from a vague impression about a big cage in Hu Bin Park of my childhood. There are not any stories behind the entire animation, but a display of that vague scene in my memory. I tried to touch my past emotion by using lights and stage setting. ]
↑ / ↓ 鸟惊心 / Memory of a Bird 动画截图 / Still image from animation "Towards Plant#1"
途过镇江之一 / Passing at Zhen Jiang#1 计算机建模渲染 / visualization
important point is that I met a few very talented students, their understanding and pursuit of aesthetic has imperceptibly influenced me. In retrospect of that period, the undergraduate learning brought me a lot of experiences on understanding "form" and "language", which for me is an indispensable experience of my personal style to form.
肆：你录制的声音跟你作品有什么样的关系？ 季：那些声音是所有作品的一部分，尽管它们还不理 想。我一直认为声音，甚至气味应当被运用起来。 SI：What is the relationship between the sound from the background and the main body of your work? Ji: Those sounds are part of all my works, although they are not ideal. I always thought the sound and even the scent should be used.
肆：你作品的展览现场使用多种媒体的并置，这样多 种感官的刺激是对现实的模仿么？ 季：由于我创作的主题本身是立体的，所以这就需要 我对各种媒介的探索。但这些不是对现实的模仿，因 为一来我无法达到模仿的水平，二来我需要的是一种 “再建”后的共鸣。 SI：You have used juxtaposition of multiply media, is such sense stimulation being an imitation of the reality? Ji: Since I created the theme it is threedimensional, so this requires me to explore a variety of media. But these are not an imitation
of reality, because for one reason I am not be able to reach the level of imitation, for the other is I need the resonance after “reconstruction”.
肆：对所忆之物如何去呈现你有怎样的审美要求？ 季：我希望当一系列的作品组合展出时，能向观者传 递我的创作语言。很难说我有什么固定的审美要求， 因为这一切都还在发展。就目前来看，平静、理性的 描绘场景是我探索的方向。 SI：How do you set up your esthetics criterion regarding to the appearance of memory? Ji: I hope I can transmit my language to the viewers when a series of my works are showing. It is difficult to say I have some kind of fixed esthetics criterion, because all of these are still developing. For now, to depicting calm and rational scenes is my direction of exploration.
肆：你作品中经常出现日出或是日落，这是你作品中 的特别时刻么？ 季：其实没有什么特别，只是因为在某几件作品里日 出和日落的光线和我理想的画面效果比较吻合。 SI：Sunrise and sunset has often appeared in your work, is this some special moments to you? Ji: Actually, nothing special, just because of a few works shown the sunrise and sunset that consistent very well with my ideal pictures.
途过镇江之二 / Passing at Zhen Jiang#2 计算机建模渲染 / visualization
肆：在你的作品《园中》中，真实场景中出现了数码 化的条纹，用意是什么？ 季：这是一件有趣的事情，我在创作的时候并没有在 意那些条纹，只是很顺当地制作出来了而已。而很多 观看者给我的反馈是，他们关注到了那些条纹。创作 者和观看者站在不同的角度认识作品，这正是艺术吸 引我的地方。 SI：In your work “In the Yard”, some digital stripes turn out for the real scene, what is the main purpose for using that? Ji: This is very interesting, I didn’t pay more attention to those stripes, and I have just produced them very naturally. But many viewers gave me the feedback that they noticed the stripes. The artist and viewers see the works on a different perspective; this is what art attracted me.
肆：对你所居住的城市有什么样的感受 季：除了西湖以外，我对所居住的城市的感受或者记 忆和其他城市的年轻人都差不多：少年宫、儿童乐园、 百货商场、宿舍小区、医院学校，近年来建造的商务区、 动车高铁等等。这也是我创作的原因，因为这里有一 种共性，我想用这种共性触及观者各自的感受。 但是，由于西湖的存在，这里的街巷有一种俗侩又恬 淡的性格，每个城区各有细微的脾气差异，草树楼宇 共存在一个湿润的氛围里。 SI：What kind of feelings do you have for the city you are living? Ji: Expect for the West Lake (in Hangzhou), my feelings and memories about the city where I live are mostly alike other cities’ young people: Children's Palace, amusement parks, shopping malls, dormitories, hospitals and schools, business
园中 / In the Yard 计算机建模渲染 / visualization
望窗 / Seeing from Window 计算机建模渲染 / visualization
districts of recent years, high-speed rail and etc. This is also why I keep making works, because here has a common sense, which I want to use it to connect with viewers’ feelings. However, due to the existence of West Lake, the streets and alleys here have a vulgar but calm quality. Each area in the city has different subtle temper, but the trees and buildings share a moisture atmosphere in common.
肆：你有想过把你虚构的场景在现实中搭建起来么？ 季：我经常会有这个想法，我也经常考虑如何搭建， 我希望真实空间中的作品能和我那些虚拟空间里的作 品拉开距离。当然也要考虑将这个作品搭建在何处， 在美术馆和在自然环境下需要完全不一样的尝试。 SI：Have you ever considered making your imaginary landscape come true? Ji: Yes, I often have thought about this, and I also thought about how to build it. I hope the work in real circumstance separate from where it is in virtual space. Of cause the place where to build should be considered. It needs totally different attempt to build in gallery space and in nature.
肆：你的作品是一种对回忆的改造还是对回忆原本的 呈现？ 季：我认为“对回忆原本的呈现”永远不可能实现， 我更认同“对回忆的创作”这个说法，因为回忆已经 是一个远离“原本”的心理活动了。在我的创作过程里， 回忆通常是一个出发点，当前的想法会刺激这个出发 点，寻找一种“那时”与“现在”的游戏。
SI：Is your work a transformation of memory or reappeared of memory? Ji: I think the original memory is never gonna be reappeared. I prefer to call it “a transformation of memory”. Because memory acts as a psychological activity that it is already far from its original. In the process of making, memory usually is a starting point; the recent thoughts would stimulate this starting point and continue to look for interplay between the past and the presence.
肆：怀旧的时尚会不会影响你回忆事物的判断。 季：我一直在探索独立的创作语言，所以怀旧的时尚 本身不会影响我对回忆事物的判断。但是在我的某些 作品中，它恰恰是回忆中的某项要素。 就我的创作过程而言，回忆是对某时、某地、某种情 绪的追朔，这种情绪是有“面貌”的。举个例子，十 几年前，当我还是个少年的时候，我有很多对于未来 “都市化”生活的想象，这种想象大多受到当时流行 歌曲的影响。所以现在回忆起那些场景的时候，这种 情绪就会显现。而我的创作需要权衡如何将这些情绪 转换成画面中的氛围，我会通过许多次取舍与判断来 掌控这个过程。 SI：Does the tendency of nostalgia affect your own memory? Ji: I am always seeking my independent language, so I think the tendency of nostalgia doesn’t affect my judgement of the memory. But in some of my works, it is exactly an essential element in memory. In terms of my working process, memory is a trace back to some time, somewhere, and some emotion in the past, it has its “face”. For example, ten years ago, when I was a teenager, I had many imaginations about the
future Urbanization life. The popular songs at that time affected these kinds of imaginations. So when I recall those scenes now, the emotion comes out of my head. My practice needs to think how to let these emotions convert into the aura in the pictures. I manipulate this process through accepting and rejecting and judging repeatedly.
肆：谈谈你接下来作品的计划吧。 季：搭建虚拟场景的作品我会继续创作下去，但近期 我会画一批纸面作品，它们与那些三维渲染的作品在 外观上有所差别。至于更远一些的计划，我想创作几 件空间装置作品。 SI：Can you please talk about the next plan of your work? Ji：I will continue to build up virtual scenes, but I also plan to draw some paper works recently, they seems different on the outer look compare with those 3D render works. To the further plan, I want to create a few space installation works.
{translated by Wendi Xie}
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展览现场 / installation view
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展览现场 / installation view
{mag-design by Minqi Sun}
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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 园中 / In the Yard 计算机建模渲染 / visualization 季俊作品 / work from Jun Ji
contact / 聯繫我們 www.zoewanshu.weebly.com www.zoewanshu.com (comming soon) zoe.wanshu@gmail.com 微信平台 : SiArtMagazine 或掃描二維碼
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SĂŹ 4. May 2014 No. 14
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