参展艺术家 Artists
陈志、丁磊、顾泽宇、洪宁&赵小锋、纪艺璇、刘文慧、聂威、秦晓帆、章可、周子琪
展览时间 Duration
2020.9.6-2020.9.19
地点 Location
白场White Field，北京市朝阳区798艺术区陶瓷一街中段B25
周二至周六，10:00-18:00
策展人 Curator
丛香宁
使人的精神在演进的轨道上向上的力量，必须发出响声、令人听见——“响屁“即是对年轻艺术家在这种抽象的力量中所处位置的调侃式比喻，其英雄主义在于，即使发出的声音令普世厌恶，或要冒着影响力无足轻重的风险，仍然勇于自我表达的坚持。本次展览主要展出十一位年轻艺术家们在近几年创作的实验影像、行为记录和装置艺术作品，他们以年轻人的视角，观察着现代生活语境下的矛盾与有趣之处，并在作品中运用了不同的叙事角度与表达手法，从不同维度的立场下抽象出对现代生活的思考，其关注方向囊括了发掘疫情时代的特色，反思社会关系与人类行为，以及从自我经验与身体出发探讨现代人的心理状态。这些年轻艺术家通过各色作品放出一声“响屁”，就如同没有火花的烟花筒，在最后一声爆裂中仍有响彻天际的能力——毕竟，艺术就如同从灵魂深处放屁一般，即使无用，也比憋着舒服。
The strength that moves the human spirits upward on the path of evolution must naturally ring out and be able to be heard within the individuals. Therefore, F·ART is a mocking metaphor for the position of young artists in this abstract force. Its heroism lies in the courage to persist in self-expression, even if the sounds could be disgusting to the norm, or have the risk of being insignificant. This exhibition displays experimental videos, performance art, and installation works created by eleven young artists in 2017-2020. They observe the contradictions and exciting aspects in the context of modern life from the perspective of youth, and their works have abstractly showcased their thoughts on everyday life from multi-dimensional standpoints by different narratives and expressions. These young artists fart out loud through various artworks, like a firework without sparks, which still can resound through the sky in the last burst. After all, art is like farting from the soul; it would be better to let it out than hold it back even if it could be futile.
洪宁X赵小锋 Hong Ning X Zhao Xiaofeng
《新世界：宅家运动图志》 The New World: Variations on Stay-home Activities
2020年开年，在病毒的席卷下，全世界陷入“疫情时代”，本次展览中，来自四位艺术家的三件作品即始于对疫情时代的生活观察。当人们被迫隔离，长时间呆在家中成为了常态，虽然被迫宅家造成了不便，隔离家中的人们也能从中发现新乐趣，开始纷纷在网络上传自己在家中生活的日常和趣事。一个个鲜活的生命在地理上隔离，却能在虚拟的互联网上连结喜怒哀乐，在分享与被分享中获得隔离时期的慰藉——对这种现象的思考，是 洪宁与 赵小锋合作的 《新世界：宅家运动图志》这一作品的灵感来源。作品标题中的“运动”不仅指平常意义上的锻炼，更是久居家中的运动变化过程；这个运动的变化可以指日常出行的运动变化，也可以指人们存在于互联网中社交活动的变化。洪宁在作品中截取了线上平台中人们上传的各种短视频，通过夸张和拼贴等处理，使疫情隔离时期各色人家中行为的荒诞与趣味性生动地跃入眼眶。
周子琪 Zhou Ziqi
《"你在干什么呢"》 Hey, What are you doing?
在左边的墙上，第一件放映的是 周子琪的作品 《“你在干什么呢”》，作品中展现了不断放大的画面，游走的线条与一句话的戛然停止。在上半年这样短暂的停留与“隔离”之后，察觉到自身无故地放弃了很多东西，这种放弃是很突然的，它并不是一种丢弃或堕落的行为。其逐渐发现很多执念并非来自那些执着的事件，而是源于自身，事情的表现与内心想法有的时候并没有联系，看似有什么东西导向了事件的终结，但往往它们是平静且突然的。
丁磊 Ding Lei
《升温》Temperature Rise
在 丁磊的行为记录作品 《升温》中，艺术家在作品中让同一位陌生的测温员为他测了93次温度（原计划为测100次，由于测温员换班的缘故不得不停止），完成了一个关于人在社会关系中与陌生人的安全边界感，以及人与人之间的能量联系的实验。就像泰戈尔的诗中所说，一百次前世的回眸，才换来今生的相遇，今生与这位测温员对视一百次，下辈子他们又会是什么关系呢。
纪艺璇 Load Forrest
《碑》 Stele
展览中也有反思人类的社会关系与行为的作品。门口的衣帽架，放置的就是 纪艺璇的装置作品 《温柔》。她将模糊的亲密关系位移到悬挂的连线手套上，把自己和他人的头发毡化做成手套，融合具象的物件，直陈了爱与温柔。来自她的另一件作品是行为记录 《碑/Stele》，她在自己背上，用尖锐的笔刻下 “世界”、“罗马帝国”、“全球经济”等来自于百科全书目录的词语，随着时间推移，文字的痕迹逐渐消失。人类的丰功伟业总会伴随着不同程度的负面影响，在创造的同时又伴随着毁灭。背部的形状像极了碑，然而这座碑是丰碑还是墓碑呢？
顾泽宇 Gu Zeyu
《农夫与蛇》The Snake and The Farmer
顾泽宇的 《农夫与蛇》关注施舍与被施舍关系的博弈，从农夫与蛇的寓言讨论了帮助他人的内在逻辑与被帮助者身份中隐藏的拯救属性。
刘文慧 Liu Wenhui
《割草》Mowing
刘文慧的 《割草》运用实景和动画拼贴，在割草这一行为的隐喻下，探讨了人在社会中阉割与被阉割的循环往复。
章可 Zhang Ke
《活》Carry On
本次展览中，有四位年轻艺术家的作品趋向于探讨现代人的心理状态。在展厅拐角处，艺术家 章可的装置作品 《活》就是其中之一。现代社会中，人们趋向于压抑自己的负面情绪，因为负能量与负面情绪的排除是一种被社会集体认可的成熟做法。然而这种集体性的情绪沉默会带来一系列的隐形反弹，这种反弹的表现之一就是歇斯底里症。歇斯底里症来源于19世纪末的英国，常发源于女性，以性压抑，精神压抑等作为病症诱因，在中国常被称为癔症。患有歇斯底里症的病人，常有情绪异常激动，举止失常，头痛，目眩等基础症状以外，更有舞蹈狂热症，或者集体精神失常行为等等。歇斯底里症作为一种视听传染症，如果看到的病人反常行为足够多，观看者也就会歇斯底里。情绪的直接影响，远比文字要具有威胁的多，人人都是潜在受害者，且无法避免与分辨。在21世纪的今天，很多人却将类似这种压抑自己的负面情绪而造成的精神疾病称为吃饱了撑得的“文明病”。《活》便是从现代人群体性的情绪沉默出发，通过符号化歇斯底里症的治疗进行的创作。面对歇斯底里症，英国男性医生常使用对女性进行子宫按摩治疗，从而以性高潮感来冲击分化歇斯底里的情绪。章可的作品将装置与影像巧妙的结合在一起，蓝色与红色粉末缓缓落下，通过笑容符号与子宫图形两者进行变形与叠加，按摩精神上的“子宫”进行治疗。
陈志 Chen Zhi
《自由行》 Free Walking
在该装置的右侧，放映的是 陈志的作品 《自由行》，艺术家以行为的方式展现了人面对困难的现代困境。当下随着技术的发展，越来越多的事情不需要人们自己处理，交给计算机与互联网就能解决问题。然而这种技术的代处理却导致了现代人在不懂如何走捷径的时候，趋向于寻找捷径，在技术带来的便利中迷失了执著精神，即使费事费力的笨方法也能够有效解决问题，却不愿付出多于的努力，却执着于寻找新的形式。在《自由行》中，陈志在不会游泳的情况下通过爬行的方式穿越了燕郊和北京之间隔着的一条潮白河，透露出难能可贵的努力与坚持，也是对以上所述现代困境的艺术回应。
聂威 Nie Wei
《吓你一跳》 A Fright For You
聂威的影像作品 《吓你一跳》调侃了人在日常中所受到的“惊吓”：在不到一分钟的短片中，意义不明的火光在黑暗中隐约闪烁，直到燃烧到照亮了周围，也无法辨认出火光下红色圆形为何物；疑惑与好奇的同时，结尾剧烈的爆炸声忽然袭来，不明物体于爆裂中蓦逝，一切归于平静，只留下空间本身。聂威在作品中探讨了被惊吓的内在心理状态，并表现了令人惊吓的方式不止有大幅度的行为或突然出现的恐怖脸庞，简单的物品在艺术处理下也有相同的方式。
秦晓帆 Qin Xiaofan
《寻人启事吗》Missing Person?
同样是从现代人的心理状态出发， 秦晓帆的行为影像作品 《寻人启事吗》则将视角转向对自我的寻觅，作品运用黑白处理方式和碎片化的叙事，以第一视角记录了艺术家穿行于大街小巷步履不停的寻找过程，直到最终发现，要寻找的目标不过是自己。
At the beginning of 2020, the world has been plunged into the epidemic era under the sweep of Coronavirus, with the observation of which, three artworks in this exhibition from four artists begin. Despite the inconvenience caused by being forced to live at home, people in quarantine can also find pleasures by uploading daily interesting things about their lives at home on the Internet. Although they are geographically isolated, they can connect emotions on the virtual platform and gain comfort in sharing and being shared during the isolation period. This phenomenon is the source of inspiration for The New World: Variations on Stay-home Activities by Hong Ning and Zhao Xiaofeng. Activities in the title refers to changes in individuals’ behaviors at home and social activities on the Internet. In his work, Hong Ning intercepted various short videos uploaded by people on online platforms and use methods like exaggeration and collage. From his video, the absurdity and variations of people's behaviors during the epidemic isolation period would vividly jump into viewers’ eyes. On the left wall is Zhou Ziqi's work, "Hey, What are you doing?" . The work shows the abrupt end of a constantly enlarged picture, a wandering line, and a sentence. In 2020, many people have to abandon something due to the epidemic. This abandonment is sudden, and it is not an act of discarding or depravity. Many obsessions held by human beings do not come from those obsessive events, but themselves. Sometimes the occurrence of actions is not connected with the inner thoughts. It seems that something leads to the end of an event or an action, but often the endings are calm and unexpected. In Ding Lei’s performance record Temperature Rise , the artist asked the same unfamiliar thermometer to measure the temperature for him 93 times (the original plan was to measure 100 times, but it had to be stopped due to the change of shifts of the thermometer). The work is an experiment on the sense of security between people and strangers, and the energy connection between people. As Tagore's poem said, a hundred times of looking back at the previous life, only in exchange for this life's encounter. In this life, the artist and this thermographer looked at each other a hundred times, but what will their relationship be in the next life?
Some works reflect on the relationships and behaviors of human beings. On the coat rack at the entrance is Ji Yixuan's installation, Warm & Gentle . The work shifts the vague intimacy to the hanging connected gloves. She felted her and others' hair into gloves, fusing concrete objects to express the floating texture of love and tenderness. Another work from her is the performance record Stele . On her back, she carved "World," "Roman Empire," "Global Economy," etc. with a sharp steel-headed pen from the table of contents in various encyclopedias. The words gradually disappeared over time. The great achievements of humankind will always accompany by negative effects, as creations sometimes are accompanied by destruction. The shape of her looks like a stele, but is this monument a monument or a tombstone? Gu Zeyu’s video work The Snake and The Farmer focuses on the game between charity and the beneficiary instead. From the farmer and the snake's parable it discusses the internal logic of helping others and the salvation attribute hidden in the identity of the individual being helped. The relationship between the teacher and the student is the classic mapping of the relationship between the farmer and the snake: on the surface, the student is learning and progressing under the teacher’s guidance; however, it remains unclear that whether the teacher will benefit from the student’s behavior or even cause the conversion of the helper and the benefiter. Both the doll bear and the long-haired character who is dissolving his underwear in the video are images of male teachers. The work placed on the wall at the end of the venue is Liu Wenhui’s Mowing . Her work combined reality and animation to explore the cycle of castration of human beings in society under the metaphor of mowing.
In this exhibition, four works tend to explore the psychological state of modernism. At the corner of the exhibition space, the installation work Carry On by Zhang Ke is one of them. In modern society, people tend to suppress their negative emotions because being calm, which is the elimination of negative energy, is recognized as a mature practice by the norm. However, this collective silence of emotions will bring about a series of invisible rebounds; one of the manifestations of such rebounds is hysteria. The origin of hysteria was back to the end of the 19th century in England. At that time, it was often found in women and was usually caused by sexual or mental depression. Patients suffering from hysteria often have headaches, dizziness, and other basic symptoms, but also abnormal emotions and behaviors like dance fanaticism or collective mental disorders. As an audio-visual infectious disease, if witnessing other patients showing symptoms too much, the viewer will also be hysterical. The direct influence of emotions is far more threatening than words because everyone could be a potential victim, and there is no way to avoid and distinguish it. Today, many people refer to mental illnesses caused by their own negative emotions as civilized diseases. Carry On is a creation based on the collective silence of emotions in modern society through the treatment of hysteria. British doctors in the 19th century often use uterine massage therapy on women to impact the hysterical emotions with the sense of orgasm. Zhang Ke's work ingeniously combined installation and video art, with the slow falling of blue and red powder, the work used the symbol of the smile and uterus. Furthermore, by transforming and superimposing, the spiritual uterus is massaged for treatment. On the right of the installation is Chen Zhi's performance record Free Walking . The work shows the modern dilemma in the face of troubles and difficulties. Nowadays, with the development of technology, it is no longer necessary for people to handle problems that can be solved by computers on their own. However, the generational processing of technologies has led people to find shortcuts even when they do not know where and how to take them. They lose their perseverance in the convenience brought by technology. Although people that the old methods can effectively solve the problem, they tend to be unwilling to make extra efforts in the old way. In Free Walking, Chen Zhi, who never knew how to swim, crawled across Chaobai River between Yanjiao and Beijing, revealing the commendable hard work and persistence, and also as a response to the mentioned modern dilemmas. Nie Wei's video work, A Fright for You, ridiculed the experience of fright and absurdly scared in daily life. In less than a minute, the unknown flame flickered in the dark until it burned to illuminate the surroundings, but it is still impossible to recognize the red object. When the viewers are wrapped with curiosity, a sound of explosion suddenly occurs at the end. When the object dies in a burst, everything is calm, leaving only space itself. Nie Wei explored the inner psychological state of being frightened in his work and showed that ways to frighten people are not only by shocking behaviors or sudden horror; simple objects also could have the same influence under aesthetic treatment. Besides, starting from the psychological states of modern individuals, Qin Xiaofan’s performance video work Missing Person? shifts its perspective to the search for oneself. The work in black and white and fragmented narratives recorded the artist's journey through the first-person perspective. In streets and alleys, she kept walking and searching for unknot things, until she finally found out that the target she was looking for was herself only.
欢迎朋友们来看展～
海报及物料设计：章可，周子琪，纪艺璇
文字：丛香宁