兩年前,開始聚焦社交網絡帶來的日常變化,

一年前,欲構思能夠準確表達這一主題的藝術作品,

三個月,在重慶由微小不斷擴展直至完整地實施了《Tagman》項目,

一周,在這間展廳內緊鑼密鼓的佈置、調試,

六月一日,《TAGMAN|標籤人》Shawn Park 個展順利開幕。


Tagman項目互動現場

(視頻提供:Shawn Park)


策展前言 | Curatorial Preface :


《一個「奇怪」的故事》

"A 'Strange'Story"


TAG:故事,怪物,標籤人,TAGMAN,放逐,自我放逐,SHAWN,韓國藝術家

TAG: Story, Monster, Tagman, Exile, Self-exile, Shawn, Korean artist


故事

世界過於廣大,生命穿不過去,故事卻可以。故事能將「世界」簡化為「我們的世界」,由此人類才不至於因無知而無助。

故事製造著人的意義、解釋著人的動機、指導著人的行動與路徑,並與所有故事相互交織為巨大的意義網格,如自然中羅布的人類行徑與痕跡。

當人類說自己文明時,他們指的即是這些網格上疊加的故事。

在同一個故事躑躅的人們會擁有共同的幻想,並因此聚合為社群。

同一個社群的人們用語言反復倒騰這些幻想,並將它繼續製造為更多相似的故事。

在所有故事的邊緣之外,被人們視之為恐懼之源,依舊是最原初的未知。

Story

The world is too large and immense for a life to perpetuate, yet stories can persist forever. Stories simplify the “abstract world”into “our world”so that human beings will not suffer from helplessness out of ignorance.

Stories create the meaning for human beings, explain their motivations, and guide their actions. A story forms huge grids of meanings by intertwining with all the other stories, just like human behaviors and traces filling the nature.

When people talk about civilization, they are actually referring to these stories piled up in the grids. 

Those attracted by the same story share common dreams, therefore grouping together as a community.

People within a community try hard to realize these dreams and create other similar stories based on them.

What is beyond the stories is considered to be the source of fear, which remains to be the initially-unknown.


大腳怪

大腳怪也叫野人、巨人、怪物,據說身軀巨大、毛髮茂盛、面目可憎。證據來源於極少數人類聲稱偶然遇見過他們,包括少數成像模糊的照片和影像。在人類的故事傳說中,它們主要被認定為擁有巨大的恐怖力量,是對人類存在極具潛在威脅的他者,它來自未知之境,來去無由,不可追尋。

從來填補神秘虛空最好的方式是想象而非邏輯,情緒而非理智。恐懼與想象是塑造神秘主體的內外兩面,一旦內外兼備時,怪物就站立起來。

BIGFOOT

Bigfoot creatures are also called savages, giants, and monsters. They are said to have huge bodies and to be hairy and ugly. Evidence of their existence comes from a very small number of people claiming to have spotted them accidentally and a few blurred photographs and images. In the legends and stories of human species, they are thought to be in possession of enormous terrifying power, posing extreme threats to human beings. They are from the uncharted territory and come and go easily, who can never be traced

So the best way to fill the mysterious emptiness is imagination and emotion rather than logic and reason. Fear and imagination constitute the inner and outer sides of mystery. Once the two are in place, monsters come into being.


標籤人

TAGMAN是個怪物,來自人類的恐怖想象,證據來自第一個看見他的人——Shawn,Shawn創造了TAGMAN的靈魂、肉體與動機。

TAGMAN並不是Shawn,Shawn只是第一個出現在我們眼前的TAGMAN。

TAGMAN

Tagman is a monster from people’s terrifying imaginations. Its existence is proved by Shawn, the man who first saw it. Shawn created the soul, body and motives of tagman.

Tagman is more than Shawn for he is just the first tagman ever to have appeared in front of us.


標籤

一般指標示著商品各種信息的小紙片,數字互聯網場景中則是標示、索引信息主體內容的關鍵詞記號。

不論是實體的標籤或是數字世界的TAG,那些小記號、小紙片事實上一直都暗示著,它們鏈接著它們後面那更為巨大的存在物。

TAG

Tag usually refers to a small piece of paper indicating commodity information. While in the context of digital Internet, it is the key word for marking and indexing the main content of information.

Whether it is the tag of an entity or the digital world, the small mark and piece of paper have in fact always implied that they are linked to a larger existence behind them.


人類

生活在共同故事中的共同體生物,生活目的是向著故事的主角設定靠近,遠離共同體邊緣。

MAN

Men are common beings living in the same story. The purpose of their life is to work towards the protagonist of the story instead of remaining peripheral among the community.


TAGMAN的世界

TAGMAN來自TAGMAN的世界, 那裡的人們用標籤和TAG遮蔽著它們神秘的肉體與靈魂,人們之間相互交往只需要辨識彼此的標籤和TAG就可以知曉彼此,為對方的標籤點贊是TAGMAN世界的一種社交禮節。在那個世界里故事里,擁有更多標籤和更多贊美的TAGMAN就越是故事的主角。

The world of Tagman

Tagman comes from the world of tagman, where people use labels and tags to cover up their mysterious bodies and souls. People can communicate with each other as easy as an identification of the other’s labels and tags. Giving thumbs up for others is a  social courtesy in that world. And in its stories, tagman with more tags and thumbs up enjoys higher possibility of being the protagonist.


放逐

作為一個TAGMAN,當它擁有的TAG和標籤數量不足以遮蔽它的肉體時,人們就不再能看見它,失去標籤和TAG,它就不再能被辨識,它就會變成沒有TAG的MAN,它被將被共同體放逐。

Exile

As a tagman, when its tags and labels are not enough to cover its body, people can no longer see it. Losing the tags and labels, tagman becomes unrecognizable and is reduced to a man without tag. Then he will be exiled by the community.


自我放逐

作為一個TAGMAN,卻希望別人扯落自己珍貴的標籤與TAG,讓別人直接面對它赤裸裸的肉體,甚至靈魂,它就是在自我放逐,它再沒有資格待在TAGMAN的世界里,失去TAG,它就僅僅是個人類(MAN)而已。

Self-exile

If a Tagman wants others to pull down his precious labels and tags to face his stark-naked body and even the soul, he is self exiling and will no more be qualified to stay in tagman’s world. Without tag, he is nothing but a man. 


SHAWN

試圖將標籤(TAG)和人類(MAN)分離的TAGMAN,自我放逐中。

SHAWN

Shawn is a self-exiling tagman attempting to separate tags from man.


作為藝術家的SHAWN

他重建的自己的表皮——標籤TAG,但上邊不是鏈接向它自己的小記號,而是描繪的他觀察到的新世界——重慶的人類世界,它期待重慶原住民們在扯落這些標籤時,漸漸接受它這個來自未知之境的怪物,TAG被漸漸褪去,而它也漸漸顯露出真正的自己,它試圖用這種奇怪的友好融入此地。終於原住民高興地給予他一個身份的肯定:「你是個藝術家」。

Shawn as an artist

Shawn reconstructs his surface: tags. But these tags do not contain links of his small marks but describe the new world it perceives, the human world in Chongqing. He looks forward to being gradually accepted as a monster from an unknown land when Chongqing aborigines tear down his tags. And as tags fade away, his true self emerges. And he tries to be integrated with Chongqing by being strangely friendly. Finally, aborigines happily affirm his identity by saying to him that: "You are an artist."


SHAWN的笑

當然他不明白「你是個藝術家」在此地還有很多深沈的含義,但此刻大家都笑著,SHAWN也笑著,因為至少他能確信,終於自己的笑所有人都可以看到了。

Shawn’s smile

Obviously, Shawn does not know that "You are an artist."has many other underlying connotations. But now that everyone is smiling, Shawn smiles, too. Because he, at least, is certain that his smile is visible to all.

-曾途

-Tu Zeng


■ ■  展 覽 現 場 ■ ■ 
Exhibition Scene


十方駐留藝術家Shawn Park 個展《TAGMAN|標籤人》由重慶十方藝術中心、501-序空間主办,于2018年6月1日下午在501藝術基地序空間展廳開幕,並將持續至6月10日。


韓國藝術家Shawn Park


當天,開幕酒會設在501藝術基地的老樓梯拐角平台上,地方不大卻站滿了觀眾,隨著天色漸暗,十方藝術中心的國際駐留計劃負責人何京作為主持,為大家介紹了韓國藝術家Shawn Park,十方藝術中心藝術總監、本次展覽策展人曾途老師,501-序空間負責人闫彦老師,四川美術學院公共藝術系國際工坊主策劃曾令香老師,並邀請他們講話。


本次展覽策展人曾途老師


十方國際駐留計劃負責人何京


策展人曾途發言中談到“標籤人”“大腳怪”“互動”等作品關鍵詞,從國外藝術家面對中國這一陌生卻神秘莫測的文明延展出Shawn park創作作品時的真誠與質樸,觀眾在看到這一項目的展廳呈現後,更能恰當地進入藝術家語境,走近作品本身,作品中的表達方式與探討主題在彼此加持中簇生與他者的真實溝通。


韓國藝術家Shawn Park


Shawn Park是個內向靦腆且溫柔的人,在現場觀眾的簇擁下,他發言談到對於把重慶作為構思這個長期項目的第一個站,自己覺得很幸運,表達了對於十方藝術中心和501序空間的所有朋友的感謝。

駐留期間,Shawn Park同時受到曾令香老師之邀,作為國際工坊特邀導師授課,期間以《社交網絡中的藝術》為講座題目,圍繞社交網絡中藝術被消費被改變的主題,展開他為期一年之久的相關研究,既實現了對學生在藝術創作方法論上的分享與交流,也豐富了學生對於公共空間更多維度的認識、對於公共藝術作品思路的拓展。


川美國際工坊主策劃曾令香老師


開幕當天,眾多川美公共藝術系的學生前來觀展,曾令香老師在開幕式中就《Tagman》項目的公共性、互動性等主題發表講話。

開幕講話這一傳統環節在此次展覽中甚為親切真摯,現場氣氛像Shawn Park的人和作品一樣,不彆扭不隔閡不造作,自然而然。



觀展之後藝術家Shawn Park 與所有工作人員、部分觀眾合影留念。


(編輯:崔陶梦 | 活動現場攝影:冉海峰、楊元帥)


了解《Tagman|標籤人》項目詳情,请点击下图海报


■ ■  展 覽 信 息 ■ ■ 
Exhibition Information


十方國際駐留計劃

《TAGMAN & 手指觸摸的漩渦》

韩国艺术家Shawn Park个展

DAC ARTISTS IN RESIDENCY

"TAG MAN & The Vortex of Dancing Fingers"

Solo Exhibition of Shawn Park (KOR)


展覽週期 | Exhibition Period:2018.6.1-2018.6.10

开幕酒会 | Opening Time:2018.6.1 19:30

展覽地點:重慶市九龍坡區黃桷坪正街501藝術基地2樓1008

 Address: No.1008, 501 Art Centre, Huangjueping Street of Jiulongpo Region, Chongqing, China


策展人:曾途

執行策展人:何京、王舒文

策展助理:崔陶夢、元帥、胡克、黃義宏、葛子菲

Curator: Tu Zeng

Executive Curator: Jing He, Shuwen Wang

Assistance: Taomeng Cui, Yuanshuai, Ke Hu, Yihong Huang ,Zifei Ge


主辦方:十方藝術中心、501-序空間

協辦方:韓國仁川文化財團

Organizer: Dimensions Art Center(DAC), 501-Xu Space

Sponsor: Incheon Foundation for Arts & Culture



技術支持:羽目攝影工作室

Supporting Technical:YUMU Images & Photograph Studio

媒體支持 | Supporting Media: