歷史網站｜Historical Website：
驻留交换｜王彥鑫個展「後真相：鏡海撈針」
2021年，重慶十方藝術中心與澳門後牛房實驗場藝術機構常態化雙向駐留交換計劃正式啟動！在今年3月，經過十方藝術中心的推薦邀請，生活於成渝藝術家王彥鑫前往後牛房實驗場藝術機構進行了為期一個月的駐留，並帶來了「後真相：鏡海撈針」駐留個展。
注意！展覽地點：澳門後牛房實驗場
2+0 / 1+1 藝術家駐場計劃——王彥鑫個展｜後真相：鏡海撈針
2+0 / 1+1 Artist-in-Residence Program – Post-truth：Fool others as well as oneself
策展人Curator：吳方洲 Ng Fong Chao（牛房倉庫大會主席 President of Ox Warehouse）
聯合策展人 Co-curator：蔡國傑Cai Guo Jie
展覽地點 Exhibition Venue：後牛房實驗場（澳門和隆街十五號）
Post – Ox Warehouse Experimental Site (Rua do Volong, No.15, Macau)
開幕 Opening Ceremony：30/04/2021（星期五 Friday），18:30
展期 Exhibition Period：01/05/2021-30/05/2021（逢星期一休息 Closed on Mondays）
展覽前言
Curatorial preface
2020年，牛房倉庫與重慶十方藝術中心簽署合作備忘書，為構建跨領域、跨專業、跨媒介、跨地區多元生態的文化交流平台。透過交換藝術家計劃，協力促進兩地藝術對話和文化發展。於是衍生是次名為「2+0 / 1+1藝術家駐村計劃」，牛房倉庫每年均舉辦駐場藝術家計劃，此次邀請交換藝術家為來自蘭州的王彥鑫及來自本澳的黃詠瑤。
The Ox Warehouse and Chongqing Dimensions Art Centre signed a memorandum of cooperation in 2020 in a bid to establish a cross-field, cross-discipline, cross-media and multi-regional platform for diversified cultural exchanges. An artist exchange program could facilitate a dialogue about art between the two places as well as the cultural development, and thus, the “2+0 / 1+1 Artist-in-Residence Program” has been created. The Ox Warehouse organizes the artist-in-residence program every year, and the exchange artists this time are Wang Yan Xin from Lanzhou and Wong Weng Io from Macao.
王彥鑫由4月初開始駐場，進行為期一個月駐場創作，在澳門的個人展覽《後真相：鏡海撈針》於4月30日在後牛房實驗場開幕。反叛、拒絕約定俗成的藝術標準、憤世嫉俗、追求無意義、偶然等等，這些都和王彥鑫的生命有所相交，他使用行為的方式去表達並不斷拓展探索自身的邊界。人作為行為藝術的主體，他的作品大多是通過觀察身邊事物感受週遭的處境，並與自己所處地域的歷史連繫思考，創作的脈絡多數以互動性的行為呈現，作品自始至終都是在與觀眾的緊密互動中進行，真實與戲謔環環相扣，彼此交織，觀眾以為是參與遊戲，為調侃而捧腹，但卻突然看到真實流出的鮮血而不知所措⋯⋯西北人的粗獷感和戲謔的遊戲性，使他的現場很多時候會有一種侵入感和壓力感，作品中現場的痛感被放大，戲謔與真實的混淆，使得觀眾主動或被迫主動進入現場的思考中。
尋找死亡8小時｜8 hours of searching for death（2h17min）| 澳門 macau
2021.04 /行為錄像，片段式，彩色，有聲 Action video, clip, color, audio
頭戴Gopro隨意的在澳門遊走八小時，當途中遇到死亡的生命體，便停步用筆在旁紀錄當時的時間。
Wearing a GoPro head strap, I wander around Macau for eight hours. When I come across any dead organisms,
I stop and use a pen to mark the time on the spot.
Wang Yan Xin has been at the Ox Warehouse since early April for artistic creation that lasts for about a month. His solo exhibition “Post-truth: Fool others as well as oneself” kicked off at Post-Ox Warehouse Experimental Site on April 30. A rebellious spirit, rejection of customary artistic standards, cynicism, a pursuit of meaninglessness, coincidences and others — these all are related to Wang Yan Xin’s life, in which he expresses himself and keeps exploring his own boundaries via performance art. With the body as the major medium of his art form, Wang’s works mostly focus on observing the surrounding environment and the relevant feelings, and ponder the connection with the history of his whereabouts. His works are mostly presented in the format of interactive behaviours, and carried out through close interaction with the audiences from beginning to end. Reality and sarcasm are closely intertwined — the audiences think they are joining a game and laugh at the ironies, but then they are caught off guard when they have to face the reality… The roughness and sarcastic look of Wang, who is from the northwest of China, most of the time add a sense of intrusiveness and pressure to his live performance. The pains felt in his performance will be exaggerated, mixed with sarcasm and reality, and force the audiences voluntarily or involuntarily to be immersed in the scenes and think.
在其粗獷的外表下隱藏著對於「虛弱」、「無力」和「假強」等諸多內在的反思，在這次展覽中，通過他自身問題的討論和探索，以及對時代背景的思考與呈現，也逐漸梳理出他個人作品脈絡的微妙變化，感受破碎，創傷和遺失，個體記憶與集體記憶在時代變遷中游離、以及對於消逝與隱藏的探尋。被遺忘的真相和成為謊言的歷史，在厭惡謊言的誘因下產生對歷史及謊言的思考。不同的人群只選擇相信符合他們知識體系偏好的信息，輿論對「真相」的態度已發生了轉變。後真相的時代背景下，不同的事件只意味著不同的敘事版本，「情緒的影響力超越事實」，謊言可以巧辯為「另一種觀點」或「意見」，因為「一切都是相對的」、「每個人都有自己的真理」。所謂的後真相並非指真相的缺席，而是真相被認知的過程更為崎嶇，人們能接受謊言或虛假信息，而對待「真相」的態度也更為平淡。
Weakness, vulnerability, pretense and other internal reflections are masked by his tough and rough appearance. This exhibition, through the discussion and exploration of his own problems as well as reflecting on and presenting the contemporary world, has also sorted out gradually the subtle changes in the context of his works — fragmented, traumatized and lost; the dissociation of individual and collective memories in the changing times; and the exploration of disappearance and concealment. The forgotten truth and the history made up of lies give rise to reflections on history and lies owing to the aversion to lying. Different groups of people only opt for the information that fits their knowledge systems and preferences, and the attitude of the public towards the “truth” has changed. In the era of post-truth, different events only represent different interpretations. As “emotions are more influential than facts”, lies can be interpreted as “another point of view” or “an opinion” because “everything is relative” and “everyone has their own truth”. The so-called post-truth does not mean the absence of truth but the bumpy path for the awareness of truth. People can accept lies or false information, and the “truth” is less significant for them.
不可磨滅｜Indelible（23min40）澳门荔枝碗舊船廠 Macao — Lai chi vun old shipyard
2021.04 /行為錄像，片段式，彩色，有聲 Action video, clip, color, audio
夕阳西下，將拾得的舊船釘打磨除銹並收集鐵銹粉沫書寫成中葡雙語文字”不可磨滅Indelével”。
As the sun sets, I polish the old ship nail I’ve found earlier, remove the rust, and use the rust powder collected to write the words “Indelible (Indelével)”.
他觀察並覺知到自己的虛弱、無力和假強，開始思考到底是什麼使他內心恐懼，什麼使他感到無力，他開始重建他認為的「真相」，讓身體重拾主體，在項目中這本身也是一種實驗。從身體在公共空間，到抽象空間，再轉向個人空間，不同的場域產生探討的話語和意義也不相同。自由的身體在面對社會規訓時，藝術可以打破規訓製造新的邊界。他將創作轉向自己個人的空間、生存空間、成長空間、記憶空間、身體空間，這些更為內在的思考，試圖解析自己的身體，心理以及動機。
遍体鳞伤｜black and blue（1h）| 後牛房倉庫 Post – Ox Warehouse
2021.04 /行為錄像，片段式，彩色，有聲 Action video, clip, color, audio
Observing and acknowledging his own weakness, vulnerability and pretense, Wang has started to think what makes him feel fear and powerless. He has started to rebuild the “truth” he believes, allowing the body to be the major subject is also an experiment for the project. From the body in the public space to the abstract space and then the personal space, the discussions of topics and meanings arising from different spaces are also different. When a free body is bound by social disciplines, art could help break through the disciplines and create new boundaries. The focus of his works shifts to personal space, living space, growth, memories and body. Through all these internal contemplations, he tries to analyze his body, mental state and motive.
思考死亡和他個體的關係，下意識去尋找死亡和收集死亡成為了某種自身思考的線索。尋找死亡的消逝同樣印證了之前《LED冷光燈》項目創作中身體的消失，作品中符號化的身體，詩意的、戲謔的、進入公共空間中社會景觀化的身體⋯⋯都來自於其自身的原始動力和核心命題以及藝術創作語言的探索，其實就是圍繞核心命題來尋找適合的形式的過程，在尋找的過程中，自身的生命成長經驗是可依憑的路徑。看待一個藝術家要從他所有作品的發展脈絡和系統去分析，每次作品的呈現都是藝術家自身的探索和改變。
餘溫｜lingering warmth（1h29min）| 澳門葡萄牙領事館Macao Portuguese Consulate
2021.04 /行為錄像，片段式，彩色，有聲 Action video, clip, color, audio
夜幕下上百次的用雙手磨擦生熱的方法於葡萄牙領事館四週的牆壁留下溫度，
之後用測溫槍測量遺留下的溫度，計算平均值得出領事館的餘溫。
Rub my hands over a hundred times at night to generate heat, and touch the walls surrounding the Consulate General of Portugal. Then use an infrared thermometer to check the temperature of the walls to calculate how much warmth has been left on the Consulate General on average.
Thinking about the relationship between death and individuals, he subconsciously looks for death, which has become a clue to his own thinking. The disappearance of the search for death also echoes the disappearance of the body in his previous work LED, in which the body is symbolized, poetized and mocked, becoming the social views in the public space… These all come from his own primitive drive and core themes, an exploration of art as the creative language. In fact, it is the process of searching for suitable forms for the core themes. During the search he could rely on his own coming of age experiences. When we evaluate an artist, it is necessary to analyze all the context, development and systems of the works, as the presentation of each work is the artist’s own exploration and change.
《後真相：鏡海撈針》是王彥鑫對於語言探索的實驗與思考印證，以行為藝術為創作媒介主體，圍繞駐留項目開展關於自身問題的討論以及用遊戲的方式探索在創作當中的可能性。以澳門作為空間場域，讓身體介入公共空間與現實自然發生關係，重新構架身體與空間的關係。讓身體通過互動，與城市，當下事件，週遭的人發生關係，重新感知人與人，人與空間的細微差異，以遊戲的，戲謔的獨特作品氣質，思考關於週遭的現實與歷史之下的處境，他想探討的不僅僅是他一個人的處境，是周遭處境，也是時代的處境。
“Post-truth: Fool others as well as oneself” is an experiment of language exploration and proof of thoughts by Wang Yan Xin, who utilizes performance art as the major medium for creation. It initiates the discussions for oneself starting from the artist-in-residence project and explores the possibilities of artistic creation through a game-based approach. Using Macao as the space, he restructures the relationship between the body and space through putting the body in the public space that naturally reacts to the reality. Through the interactions between the body and the city, the event at the moment and the nearby surroundings, he perceives again the subtle differences between people and between people and space. His works are presented in a unique game-based and sarcastic approach, reflecting on what has happened around us and the history. What he wants to explore is not only his own situation but also his nearby environment and the contemporary world.
镜海捞針｜Fool others as well as oneself（5min04s) | 澳门黑沙海灘 Praia de Hac Sá
2021.04 /行為錄像，片段式，彩色，有聲 Action video, clip, color, audio
將一根針投向鏡海中，隨後下海撈針，直至夜暮。
Throw a needle into the sea and then look for it until night.
策展人Curator
吳方洲（牛房大會主席）
Ng Fong Chao (President of Ox Warehouse)
展場分佈圖
藝術家簡介
About the Artist
王彥鑫，1988年出生於甘肅蘭州，生活於成都、綿陽，畢業於四川美術學院，2012年開始至今以行為的方式為基礎進行多媒介的藝術創作。
個展：
2017年《我在場》，成都當代美術館
2019年《毛將焉附》，重慶十方藝術中心
部分群展：
「從街頭到語言：2008年以來的西南行為藝術」，成都A4美術館，2019
新西蘭懷卡托美術館國際交流項目-變，新西蘭懷卡托美術館，2018
泰國國際行為藝術節，曼谷BACC藝術中心，2018
澳門VAFA國際錄像節，澳門藝術中心，2018
日本福島項目「 Responding International Performance Art Festival」，日本福島，2018
《四川行為藝術展「永恆的瞬間」》，澳大利亞阿德萊德藝術中心，2017
日本NIPAF國際行為藝術節，東京，2017
布達佩斯國際行為藝術節【「30年」-與中國藝術家遭遇 】，匈牙利，2016
近期獲獎
2017獲SAYA菁英國際青年藝術家年度成都當代美術館特別獎
2018獲得斯洛伐克、匈牙利、波蘭行為藝術項目《Performance Made in Public Space》獎
2019獲第九屆新星星藝術獎一等獎
後牛房實驗場 Post – Ox Warehouse Experimental Site
開放時間 Opening Hours：12:00-19:00
主辦 Organisation：牛房倉庫 Ox Warehouse
贊助 Sponsors：澳門基金會 Macao Foundation
獨家媒體支持 Single Cyber Media Support：灣區之下 Beyond the Bay
查詢 For enquiry：2853 0026 (12:00-19:00，逢星期一休息 Closed on Mondays)
電郵 E-mail：oxwarehouse@gmail.com
網址 Website：http://www.oxwarehouse.blogspot.com
關於牛房
澳門“牛房倉庫”（前稱婆仔屋藝術空間）2001年開始策劃活動，為非牟利民間藝術團體，成立於2002年，2003年遷至政府前市政牛房，位於望廈山下的一個獨立藝術空間，擁有大小兩個展演空間。2017年底，遷出營運了17年的市政牛房，2018年6月開始遷至和隆街15號（後牛房實驗場）繼續舉辦活動，策劃的展覽和演出均以本地較實驗類的當代藝術為主，加強策劃國際駐村交流及研究創作項目，使我們繼續成為澳門實驗藝術創作的交流平臺。
地圖指引
