參展藝術家 Artists
陳志、丁磊、顧澤宇、洪寧&趙小鋒、紀藝璇、劉文慧、聶威、秦曉帆、章可、周子琪
展覽時間 Duration
2020.9.6-2020.9.19
地點 Location
白場White Field，北京市朝陽區798藝術區陶瓷一街中段B25
周二至周六，10:00-18:00
策展人 Curator
叢香寧
使人的精神在演進的軌道上向上的力量，必須發出響聲、令人聽見——「響屁「即是對年輕藝術家在這種抽象的力量中所處位置的調侃式比喻，其英雄主義在於，即使發出的聲音令普世厭惡，或要冒著影響力無足輕重的風險，仍然勇於自我表達的堅持。本次展覽主要展出十一位年輕藝術家們在近幾年創作的實驗影像、行為記錄和裝置藝術作品，他們以年輕人的視角，觀察著現代生活語境下的矛盾與有趣之處，並在作品中運用了不同的敘事角度與表達手法，從不同維度的立場下抽象出對現代生活的思考，其關注方向囊括了發掘疫情時代的特色，反思社會關係與人類行為，以及從自我經驗與身體出發探討現代人的心理狀態。這些年輕藝術家通過各色作品放出一聲「響屁」，就如同沒有火花的煙花筒，在最後一聲爆裂中仍有響徹天際的能力——畢竟，藝術就如同從靈魂深處放屁一般，即使無用，也比憋著舒服。
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.
洪寧X趙小鋒 Hong Ning X Zhao Xiaofeng
《新世界：宅家運動圖志》 The New World: Variations on Stay-home Activities
2020年開年，在病毒的席捲下，全世界陷入「疫情時代」，本次展覽中，來自四位藝術家的三件作品即始於對疫情時代的生活觀察。當人們被迫隔離，長時間呆在家中成為了常態，雖然被迫宅家造成了不便，隔離家中的人們也能從中發現新樂趣，開始紛紛在網絡上傳自己在家中生活的日常和趣事。一個個鮮活的生命在地理上隔離，卻能在虛擬的網際網路上連結喜怒哀樂，在分享與被分享中獲得隔離時期的慰藉——對這種現象的思考，是 洪寧與 趙小鋒合作的 《新世界：宅家運動圖志》這一作品的靈感來源。作品標題中的「運動」不僅指平常意義上的鍛鍊，更是久居家中的運動變化過程；這個運動的變化可以指日常出行的運動變化，也可以指人們存在於網際網路中社交活動的變化。洪寧在作品中截取了線上平台中人們上傳的各種短視頻，通過誇張和拼貼等處理，使疫情隔離時期各色人家中行為的荒誕與趣味性生動地躍入眼眶。
周子琪 Zhou Ziqi
《"你在幹什麼呢"》 Hey, What are you doing?
在左邊的牆上，第一件放映的是 周子琪的作品 《「你在幹什麼呢」》，作品中展現了不斷放大的畫面，遊走的線條與一句話的戛然停止。在上半年這樣短暫的停留與「隔離」之後，察覺到自身無故地放棄了很多東西，這种放棄是很突然的，它並不是一種丟棄或墮落的行為。其逐漸發現很多執念並非來自那些執著的事件，而是源於自身，事情的表現與內心想法有的時候並沒有聯繫，看似有什麼東西導向了事件的終結，但往往它們是平靜且突然的。
丁磊 Ding Lei
《升溫》Temperature Rise
在 丁磊的行為記錄作品 《升溫》中，藝術家在作品中讓同一位陌生的測溫員為他測了93次溫度（原計劃為測100次，由於測溫員換班的緣故不得不停止），完成了一個關於人在社會關係中與陌生人的安全邊界感，以及人與人之間的能量聯繫的實驗。就像泰戈爾的詩中所說，一百次前世的回眸，才換來今生的相遇，今生與這位測溫員對視一百次，下輩子他們又會是什麼關係呢。
紀藝璇 Load Forrest
《碑》 Stele
展覽中也有反思人類的社會關係與行為的作品。門口的衣帽架，放置的就是 紀藝璇的裝置作品 《溫柔》。她將模糊的親密關係位移到懸掛的連線手套上，把自己和他人的頭髮氈化做成手套，融合具象的物件，直陳了愛與溫柔。來自她的另一件作品是行為記錄 《碑/Stele》，她在自己背上，用尖銳的筆刻下 「世界」、「羅馬帝國」、「全球經濟」等來自於百科全書目錄的詞語，隨著時間推移，文字的痕跡逐漸消失。人類的豐功偉業總會伴隨著不同程度的負面影響，在創造的同時又伴隨著毀滅。背部的形狀像極了碑，然而這座碑是豐碑還是墓碑呢？
顧澤宇 Gu Zeyu
《農夫與蛇》The Snake and The Farmer
顧澤宇的 《農夫與蛇》關注施捨與被施捨關係的博弈，從農夫與蛇的寓言討論了幫助他人的內在邏輯與被幫助者身份中隱藏的拯救屬性。
劉文慧 Liu Wenhui
《割草》Mowing
劉文慧的 《割草》運用實景和動畫拼貼，在割草這一行為的隱喻下，探討了人在社會中閹割與被閹割的循環往復。
章可 Zhang Ke
《活》Carry On
本次展覽中，有四位年輕藝術家的作品趨向於探討現代人的心理狀態。在展廳拐角處，藝術家 章可的裝置作品 《活》就是其中之一。現代社會中，人們趨向於壓抑自己的負面情緒，因為負能量與負面情緒的排除是一種被社會集體認可的成熟做法。然而這種集體性的情緒沉默會帶來一系列的隱形反彈，這種反彈的表現之一就是歇斯底里症。歇斯底里症來源於19世紀末的英國，常發源於女性，以性壓抑，精神壓抑等作為病症誘因，在中國常被稱為癔症。患有歇斯底里症的病人，常有情緒異常激動，舉止失常，頭痛，目眩等基礎症狀以外，更有舞蹈狂熱症，或者集體精神失常行為等等。歇斯底里症作為一種視聽傳染症，如果看到的病人反常行為足夠多，觀看者也就會歇斯底里。情緒的直接影響，遠比文字要具有威脅的多，人人都是潛在受害者，且無法避免與分辨。在21世紀的今天，很多人卻將類似這種壓抑自己的負面情緒而造成的精神疾病稱為吃飽了撐得的「文明病」。《活》便是從現代人群體性的情緒沉默出發，通過符號化歇斯底里症的治療進行的創作。面對歇斯底里症，英國男性醫生常使用對女性進行子宮按摩治療，從而以性高潮感來衝擊分化歇斯底里的情緒。章可的作品將裝置與影像巧妙的結合在一起，藍色與紅色粉末緩緩落下，通過笑容符號與子宮圖形兩者進行變形與疊加，按摩精神上的「子宮」進行治療。
陳志 Chen Zhi
《自由行》 Free Walking
在該裝置的右側，放映的是 陳志的作品 《自由行》，藝術家以行為的方式展現了人面對困難的現代困境。當下隨著技術的發展，越來越多的事情不需要人們自己處理，交給計算機與網際網路就能解決問題。然而這種技術的代處理卻導致了現代人在不懂如何走捷徑的時候，趨向於尋找捷徑，在技術帶來的便利中迷失了執著精神，即使費事費力的笨方法也能夠有效解決問題，卻不願付出多於的努力，卻執著於尋找新的形式。在《自由行》中，陳志在不會游泳的情況下通過爬行的方式穿越了燕郊和北京之間隔著的一條潮白河，透露出難能可貴的努力與堅持，也是對以上所述現代困境的藝術回應。
聶威 Nie Wei
《嚇你一跳》 A Fright For You
聶威的影像作品 《嚇你一跳》調侃了人在日常中所受到的「驚嚇」：在不到一分鐘的短片中，意義不明的火光在黑暗中隱約閃爍，直到燃燒到照亮了周圍，也無法辨認出火光下紅色圓形為何物；疑惑與好奇的同時，結尾劇烈的爆炸聲忽然襲來，不明物體於爆裂中驀逝，一切歸於平靜，只留下空間本身。聶威在作品中探討了被驚嚇的內在心理狀態，並表現了令人驚嚇的方式不止有大幅度的行為或突然出現的恐怖臉龐，簡單的物品在藝術處理下也有相同的方式。
秦曉帆 Qin Xiaofan
《尋人啟事嗎》Missing Person?
同樣是從現代人的心理狀態出發， 秦曉帆的行為影像作品 《尋人啟事嗎》則將視角轉向對自我的尋覓，作品運用黑白處理方式和碎片化的敘事，以第一視角記錄了藝術家穿行於大街小巷步履不停的尋找過程，直到最終發現，要尋找的目標不過是自己。
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.
歡迎朋友們來看展～
海報及物料設計：章可，周子琪，紀藝璇
文字：叢香寧