卓凡

Recommendation for Zhuo Fan

在卓凡的《每分鐘，產(chǎn)生泡沫的速度是……》中，如果把大量涌現(xiàn)的肥皂泡沫（真泡沫）視為時(shí)下現(xiàn)實(shí)的一種表征的話，那么可以把雕塑（做成的）泡沫視為現(xiàn)實(shí)基礎(chǔ)的表征。充滿泡沫的現(xiàn)實(shí)之所以如此張揚(yáng)，一定有其更深層的架構(gòu)在支撐。這個(gè)看似堅(jiān)硬的，我們習(xí)慣承認(rèn)的架構(gòu)其實(shí)可能也是脆弱不堪的。盡管它看起來(lái)很強(qiáng)大，并不斷制造著光怪陸離的現(xiàn)實(shí)幻境。

—?jiǎng)⒍Y賓

In Zhuo Fan’s work Foams produced Speed…Per Minute, if we regard a great number of foams (the real foams) as a characterization of the reality, we can also view the foams made by the sculpture as a characterization of the realistic foundation. The reason why the reality filled with a large sum of foams is so aggressive that it is supported by a deeper structure. This structure seems to be tough and easily accepted by people, but actually it may be quite fragile, even though it looks strong and constantly creates lustrous and dazzling dreamland of reality.

--Liu Libin

鄔建安

Recommendation for Wu Jian’an

“文明史”的書(shū)寫(xiě)已經(jīng)有諸多版本，在這樣的歷史中，從野蠻到文明的進(jìn)化是人類(lèi)進(jìn)步的明證。這些敘事對(duì)“文明”背后的話語(yǔ)系統(tǒng)以及權(quán)力控制缺少更多的反思。鄔建安通過(guò)他的創(chuàng)作質(zhì)疑這種“文明史”的合法性、真實(shí)性。他心目中有一部“野蠻史”，他通過(guò)他的創(chuàng)作恢復(fù)“野蠻”所蘊(yùn)含的能量，揭示“文明”遮羞布下的血腥與殘酷。

—?jiǎng)⒍Y賓

There are various editions of “civilization history” and the evolution from barbarism to civilization during the course of history serves as the evidence of human beings’ progress. These narratives lack necessary reflections on the discourse system behind the “civilization” and power control. Wu Jian’an tries to question the legitimacy and authenticity of this “civilization history” through his works. There is a “barbarism history” in his heart, and he wants to restore the energy of “barbarism” through his works and reveal the bloodiness and cruelty concealed behind the so-called “civilization”.

--Liu Libin

金江波

Recommendation for Jin Jiangbo

金江波在對(duì)社會(huì)的積極介入中，發(fā)現(xiàn)了中國(guó)在超速進(jìn)程中的氣喘吁吁、汗流浹背的狼狽一面。他的攝影作品大多呈現(xiàn)這一現(xiàn)實(shí)。由于具有了田野調(diào)查式的客觀和冷靜，他的攝影作品成為展示“盛世中國(guó)”場(chǎng)景的一個(gè)有效文本。不同于攝影作品的零度書(shū)寫(xiě)，在《天使的云》中，金江波深入現(xiàn)實(shí)（抑或稱(chēng)為歷史）的深處攪拌，使其沉渣泛起。這些沉渣具體化為鮮活的生靈（倒懸的鳥(niǎo)），在“天使”的名義下，成為陰森的“云”。

—?jiǎng)⒍Y賓

While actively involving in the society, Jin Jiangbo finds a difficult situation during the process of development at top speed in China, which is presented by most of his photography works. Thanks to the field investigation -- like objectiveness and calmness, his works become an authentic text that shows the scene of “a prosperous China”. Different from the zero description of the photography works, Jin Jiangbo probes into the reality (or the history) in his Angel’s Cloud, stirs the sediment at the bottom of it and makes the floating sediment concretized as a vivid creature (a suspended bird), which becomes a gloomy “cloud” in the name of the “angel”.

--Liu Libin

刮子

Recommendation for Guazi

近幾年，中國(guó)行為藝術(shù)創(chuàng)作處于低谷，除了何云昌等幾位優(yōu)秀的行為藝術(shù)家之外，絕大多數(shù)行為藝術(shù)家（姑且稱(chēng)之“藝術(shù)家”）的創(chuàng)作使人看到的是創(chuàng)作者的浮躁和沖動(dòng)，偏狹和膚淺。乃至到當(dāng)下，行為藝術(shù)創(chuàng)作幾乎成了“鬧劇”、“惡作劇”的同義詞。在這樣的情形下，年輕藝術(shù)家刮子的創(chuàng)作顯得彌足珍貴，他對(duì)主體自我的深入挖掘，對(duì)身體呈現(xiàn)在藝術(shù)作品中的度的控制，都顯示出他作為一位年輕行為藝術(shù)家的杰出素質(zhì)。在《還有羽毛》中，他以自己三個(gè)多月的獄中收集羽毛的行為，在收集羽毛的艱難和沉重以及羽毛的輕盈形體之間形成了有效的對(duì)比。這一對(duì)比將個(gè)體在時(shí)下社會(huì)中的無(wú)奈，以及個(gè)體對(duì)自由的追求（以及如影隨行的沉重）表現(xiàn)得恰到好處。《就這樣》則表現(xiàn)出這位年輕藝術(shù)家的決絕和堅(jiān)定。他不停地撞擊墻體，并把每一次撞擊以刻度明示。最后一撞，刮子暈倒在堅(jiān)實(shí)的墻體下。如果說(shuō)《還有羽毛》把對(duì)自由的向往借助最后羽毛的呈現(xiàn)意象化了，《就這樣》則把追求自由的悲劇命運(yùn)行為化了。

—?jiǎng)⒍Y賓

During recent years, the performance art in China is at the bottom. Most of the creations of the so-called performance artists show their fickleness, impulsion, insularity and superficiality except a few outstanding ones such as He Yuanchang. Therefore, at present, the creation of the performance art nearly equals to “farces” and “practical jokes”. Under this circumstance, the creation of Guazi, a young artist, is very valuable. He is qualified as a young performance artist because of his thorough understanding of the subjective self and the control of the body representation in artistic works. He used to collect feathers in the prison for three months and finishes his Feathers, which shows an effective comparison between the tough process of collecting the feathers and the lightness of the feathers, expressing the helplessness of individuals in today’s society and the individual pursuit of the freedom (and the sense of heaviness everywhere). That’s It shows the firmness and determination by hitting the wall continuously and marking every collision with clear scales. Guazi finally fainted beside the solid wall. If we agree that Feathers visualizes the desire for freedom through the presentation of the feathers, then we can also say That’s It makes the tragedy of pursuing freedom more concrete.

尚一心

Recommendation for Shang Yixin

尚一心打破了固有的繪畫(huà)空間，通過(guò)不同尺寸、不同位置的畫(huà)框并置，且以光照的視覺(jué)語(yǔ)言重構(gòu)了一個(gè)個(gè)新的時(shí)間邏輯。靜謐、有序的視覺(jué)整體與其畫(huà)面內(nèi)在的細(xì)碎與無(wú)邏輯的邏輯之間形成了極具意味的張力關(guān)系。在這里，時(shí)間與空間的張力反而被削弱或消解，毋寧說(shuō)它超越了簡(jiǎn)單的時(shí)空關(guān)聯(lián)。

—魯明軍

Breaking the inherent space of painting, Shang Yixin reconstructs a couple of new temporal logic with the visual language of light by the juxtaposition of frames of different sizes and positions. A peaceful and orderly vision and a subtle and illogical logic inside the painting form a meaningful tension connection. Here the tension of time and space is weakened or dispelled, or we can also say the simple relationship between time and space is surpassed.

--Lu Mingjun

李飛霖

Recommendation for Li Feilin

或許是因?yàn)樘^(guò)理性，李飛霖在創(chuàng)作中總是無(wú)法回避他的直接經(jīng)驗(yàn)。據(jù)他說(shuō)，近作“捕蟲(chóng)記”系列就來(lái)自他現(xiàn)下的真實(shí)生活，因?yàn)樽庾〉牡胤降教幎际求耄n蠅，各種蟲(chóng)子。當(dāng)然，是否經(jīng)驗(yàn)也并不重要，關(guān)鍵在于如何表征經(jīng)驗(yàn)，怎樣應(yīng)用修辭。在這個(gè)意義上，我們很難看得出來(lái)他是經(jīng)驗(yàn)的，還是先驗(yàn)的，抑或超驗(yàn)的。虛構(gòu)而不失真實(shí)，荒誕而又不失反省，袒陳現(xiàn)實(shí)的殘酷及其不確定性，直逼人卑微的內(nèi)心及其反抗和無(wú)奈。

—魯明軍

Li Feilin is always too rational to avoid his direct experience during the creation. According to his statement, his latest works Insect Catching series come from his life experience right now, for the room he rents is full of cockroaches, maggots, flies and other insects. Of course, the key to success is not experience itself, but how to characterize the experience and how to take advantage of the rhetoric. From this point of view, it is difficult for the viewers to identify if an artist is experienced, transcendental or transcendent. Both fictional and never lack reality, absurd but introspective, Li Feilin’s works reveal the cruel and uncertain reality and describe the humble inner world of the individuals and their rebellion and helplessness.

--Lu Mingjun

靳勒

Recommendation for Jin Le

作為石節(jié)子村直選村長(zhǎng)的靳勒不僅在偏遠(yuǎn)的西北鄉(xiāng)村推介當(dāng)代藝術(shù)，而且還以最為樸素的方式建造了世界上最具特色的美術(shù)館：石節(jié)子美術(shù)館。今年春節(jié)，首屆石節(jié)子電影節(jié)也在此開(kāi)幕。據(jù)說(shuō)，這是世界上最貧困的美術(shù)館，也是世界上最小的電影節(jié)。……盡管從一開(kāi)始，靳勒就將這一切實(shí)踐作為其藝術(shù)的一部分。但隨著介入的深入，發(fā)現(xiàn)藝術(shù)已然不是藝術(shù)。——不管是對(duì)于作為藝術(shù)家的他，還是對(duì)于村民而言。殊不知，這本身就是一種新的話語(yǔ)方式的開(kāi)啟。

—魯明軍

As a village chief directly selected by the villagers of Shijiezi Village, Jin Le not only promotes modern art in the remote village of Northwest China, but also establishes the most unique art gallery in the world with the simplest method: Shijiezi Art Gallery. And the first Shijiezi Film Festival was opened here during the Spring Festival this year. It is said that the art gallery is the poorest one, and the film festival is the smallest one in the world. From the very beginning, Jin Le regards all the practice as part of the art, but as the intervention becomes deeper and deeper, he realizes that it is no longer art, neither for him, the artist, nor for the villagers. And this actually is the beginning of a new mode of discourse.

--Lu Mingjun

陳彧凡

Recommendation for Chen Yufan

陳彧凡以點(diǎn)的鋪排方式“敘述”《山海經(jīng)》，“書(shū)寫(xiě)”《莊子》，……。這是一種絕對(duì)的個(gè)體敘事，也是一種絕對(duì)的內(nèi)心觀照。因?yàn)橹挥兴约褐浪谡f(shuō)什么。甚或說(shuō)，這是自我與歷史的一次次私密對(duì)話。有意思的是，如此卻呈現(xiàn)了《山海經(jīng)》、《莊子》及其他的另一番“景致”。“景致”當(dāng)中，隱涵的是自我對(duì)于物與理的體悟和對(duì)于時(shí)間和空間的感知。更重要的是，這樣一種“敘述”方式也同時(shí)改變了他者既有的觀看和判斷邏輯。

—魯明軍

Chen Yufan narrates The Classics of Mountains and Seas and writes Chuang Tzu by the arrangement mode of the dots. This is an absolute individual narrative as well as an absolute inner witnessing. Only himself knows what he is talking about, or we can also say they are private dialogues between himself and the history. While interestingly, another aspect of The Classics of Mountains and Seas and Chuang Tzu is thus presented, which show the artist’s consciousness of objects and reasons and his perception of time and space. More importantly, this way of narration also changes others’ original logic of vision and judgment.

--Lu Mingjun

詹蕤

Recommendation for Zhan Rui

詹蕤的作品因?yàn)槠涫侄蔚臉O端，已經(jīng)走向了徹底的觀念主義。在他的作品中，已經(jīng)徹底放棄了所有的主觀的視覺(jué)經(jīng)驗(yàn)判斷，他將自己變成了一個(gè)只為了完成某種“自然規(guī)律”而存在的工具而已。天氣的變化、股市行情的變化，這些都是無(wú)法以人的意志為轉(zhuǎn)移的客觀存在，詹蕤僅僅是通過(guò)視覺(jué)來(lái)完成這種變化的現(xiàn)象存在。那么，這些是他所要表現(xiàn)的“對(duì)象”嗎？——也不是！在這里，他只不過(guò)是找到了他自己并不能主觀駕馭的、但是又必須要“有所依據(jù)”的某種“依據(jù)”而已。

Because of the extreme method, Zhan Rui’s works present completely the conceptualism. His works has abandoned all subjective judgments of visual experience and turned himself into a tool to realize a certain “natural law”. The change of weather and the ups and downs of the stock market are all objective existence independent of human will, and Zhan Rui only reveals the existing phenomenon of the change through the vision. Then, are these the “objects” he wants to present? –Absolutely not! Here he only finds certain “evidences” that cannot be based on by himself but has to be there.

據(jù)此，我們似乎可以發(fā)現(xiàn)，在面對(duì)詹蕤的“作品”的時(shí)候，我們會(huì)失去所有的判斷依據(jù)：它是“繪畫(huà)”？，還是“裝置”？；甚至?xí)?duì)它們是否還能否稱(chēng)之為“藝術(shù)品”而發(fā)生懷疑。但這些都不是問(wèn)題的根本，“形式”僅僅是他所要借助的一個(gè)“外殼”，而他所要表達(dá)的觀念也正是這種人在似乎“有所依據(jù)”，而實(shí)際上又失去了所有的“依據(jù)”的失重狀態(tài)下，既往的視覺(jué)知識(shí)系統(tǒng)到底能給以我們什么的經(jīng)驗(yàn)支撐？——或許“它”是那樣脆弱的不堪一擊！

—吳鴻

Thus we seem to find that while facing Zhan Rui’s works, we have lost all the basis of judgment: is it a “painting” or a “device”? We may even question if the works can be called “works of art”. But there are not the fundamental problems. The “form” is only a “coat” that he wants to take advantage of, and the actual concept he wants to express is what kind of support the original visual knowledge system can bring us in the weightless state where people seem to “have some evidence” but actually lose all the “evidence”—perhaps “it” is just so weak and fragile!

--Wu Hong

易鶴達(dá)

Recommendation for Yi Heda

易鶴達(dá)是我所見(jiàn)到的最難以用概念來(lái)歸類(lèi)的藝術(shù)家之一。他長(zhǎng)期歸隱于自己的生活方式之中，而似乎與社會(huì)不發(fā)生任何關(guān)系。在經(jīng)歷了自己各種五光十色的生活方式之后，他最終歸于一種簡(jiǎn)單的內(nèi)心訴求。同時(shí)，在嘗試了各種技法、材料、媒介之后，他也找到了一種最單純的語(yǔ)言方式。這兩個(gè)“過(guò)程”在現(xiàn)階段對(duì)于他而言是合而為一體的。所以，“形式”對(duì)于他來(lái)說(shuō)已經(jīng)不再是一種目的。他每天的工作僅僅就是在重復(fù)著一種看似枯燥、無(wú)聊的過(guò)程。這個(gè)過(guò)程也是他自己內(nèi)心的一種修為，重復(fù)，最終是為了消解“重復(fù)”的意義；強(qiáng)調(diào)，最終是為了強(qiáng)調(diào)這種“強(qiáng)調(diào)”的虛無(wú)；豐富，最終是為了歸為單一。但是，當(dāng)我們將這個(gè)意義邏輯顛倒過(guò)來(lái)的時(shí)候，似乎又會(huì)豁然開(kāi)朗，繁華之后歸于平淡，人生和宇宙的意義似乎就體現(xiàn)在這個(gè)時(shí)間的最本質(zhì)性的沒(méi)有盡頭的線性重復(fù)之中。

—吳鴻

Yi Heda is the hardest one to be classified by concept among the artists I have ever seen. He secludes in his own way of life and seems not to be involved in anything happened in the society. After experiencing different life styles, he finally seeks a simple inner appeal. Meanwhile, after experiencing various skills, materials and media, he finally finds the simplest language method. For him, these two “processes” mingles with each other at present. Therefore, the “form” is no longer an aim. His everyday work is only the repetition of the seemingly dull and boring process, which is one kind of inner accomplishment: to repeat is to eliminate the meaning of “repetition”, to emphasize is to emphasize the nihility of “emphasis”, and to be color is to reduce to the simplest style. However, when we reverse this significance logic, everything seems to be suddenly enlightened. The hustle and bustle is passing in a twinkle, and only plainness lasts forever. The meaning of life and universe seems to reflect on the essential endless linear repetition of time.

-- Wu Hong

楊志超

Recommendation for Yang Zhichao

楊志超的行為作品的意義是體現(xiàn)在一種不溫不火、有計(jì)劃、有步驟的過(guò)程中。他長(zhǎng)期以來(lái)將自己的身體，已經(jīng)圍繞“身體”的各種概念性外延作為實(shí)施自己作品的試驗(yàn)場(chǎng)。從這個(gè)“試驗(yàn)場(chǎng)”中我們可以看到，他既可以追問(wèn)一種生理性的“內(nèi)力”，也可以拷問(wèn)一種社會(huì)性的“張力”，而最感人的地方在于，當(dāng)這種個(gè)人性的內(nèi)力遭遇社會(huì)性的外力的時(shí)候，從中所爆發(fā)出來(lái)的張力是他的作品中最有價(jià)值的支點(diǎn)。他的作品《愛(ài)情故事》將線索放置在一個(gè)漫長(zhǎng)的個(gè)人私密生活空間中，通過(guò)將自己的私密性信息暴露在公眾面前之后，我們卻又可以從中發(fā)現(xiàn)大量的生理性和社會(huì)性的信息。同時(shí)，在這個(gè)過(guò)程中，我們又可以體驗(yàn)到各種悖論式的關(guān)系：感性與理性、情緒化與數(shù)據(jù)化、私密性與儀式性、偶然性與邏輯性、個(gè)人性與社會(huì)性，等。這些都是在他以身體為試驗(yàn)場(chǎng)的長(zhǎng)期過(guò)程中所體現(xiàn)出來(lái)的各種“身體”屬性之間糾葛、碰撞之后爆發(fā)出來(lái)的人性張力。

—吳鴻

The meanings of Yang Zhichao’s behavioral works lie in a mild process with a certain plans and steps. For a long time, he regards his own body as a “testing field” of his works revolving around different conceptual extension of the “body”. We can see that in this “testing field”, he can question not only a physiological “internal force”, but also a “social tension”. The most touching part is that, when the individual internal force encounters the social outside force, the tension exploded from the encounter is the most valuable fulcrum in his works. His Love Story places the clue in a long and private living space, and after exposing his private information to the general public, we can in turn find a lot of physiological and social information. Meanwhile, during this process, we can also experience different paradoxical relations: sensibility and ration, emotion and digitization, privacy and ritual, occasionality and logic, personality and sociality, etc. These are all tension of humanity exploded from the collision of physical attributes during the long process that taking his body as the testing field.

--Wu Hong