■ ■  策 展 人 前 言  ■ ■

Foreword by Artist




漫遊世界的快樂英梅
Happy Yingmei Roaming the World

 


“其實我最想變成隱形人
那樣就可以隨便地出現
因為對世界充滿好奇心
我想偷偷去瞭解更多人“
"I really want to be invisible
So that I can appear casually
Because of the curiosity of the world

I want to sneak up on more people"



 

    藝術家段英梅代表著中國前衛藝術的一部分。她最早廣為人知的是1995年參與的北京東村10位藝術家的群體行為藝術創作《為無名山增高一米》,20多年以來,這個作品和創作者們的故事受到很多人關注,被譽為是中國現代藝術的經典之一。這事件如此有名以至於人們常常好奇,參與這個作品的藝術家們後來怎樣了?
    Artist Yingmei Duan represents part of Chinese avant-garde art. She was first known for a work called "To Add One Meter to an Anonymous Mountain", which was the group performance art creation of the 10 artists in Beijing East Village, created in 1995. For more than 20 years, the story of this work and creators has attracted a lot of attention, which was honoured as one of the classics of Chinese contemporary art. This event is so famous that people are often curious about what happened later to the artists involved.
 

▲《 為無名山增高一米 》,
北京東村藝術家集體行為作品,
1995 (攝影:呂楠)
To Add One Meter to an Anonymous Mountain,
Live Performance with Beijing East Village Artists,
1995 (photographer: Lü Nan)


    後來,創作者之一的英梅系統地學習了行為藝術並創作至今。
    Yingmei, one of the creators of this famed creation, systematically studied the performance art and has been creating ever since.
 
    時間回到2000年,那個時候,就讀於德國布倫瑞克造型藝術學院的英梅成為瑪麗娜·阿布拉莫維奇的弟子,並在她的影響下成為一名純粹的行為藝術家。另一位對她影響至深的老師是電影人、行為藝術家克里斯多夫·施林根基夫,英梅和他一起工作並參與了他導演的多部大型行為裝置藝術作品的創作和表演。
    Returning to Germany in 2000, Yingmei studied at the Braunschweig University of Art, where she got to meet the performance artist Marina Abramovic. Since that time Yingmei has dedicated herself to performance art as her artistic expression. Another teacher who has influenced her a lot was a filmmaker and action artist named Christoph Schlingensief. Yingmei has worked with him and participated in several of his large-scale video performance installations.


 
▲《 潛能 》,現場行為作品,瑪麗娜·阿布拉莫維奇和烏雷,1980
Rest-Energy, Live performance by Marina Abramovic and Uly, 1980

▲ 克裏斯托弗·施林根基夫  (左一)
 Christoph Schlingensief (left)

    這兩位老師都是非常傑出的藝術家,但是對於藝術創作者來說,擁有強大的老師往往意味著需要花費更多精力尋找屬於自己的創作方式。因為真正好的藝術家,必然要為這個世界提供創造性的思考和感知方式,必然要編織出自己獨有的藝術語言系統。
    Both teachers are very outstanding artists. But for art creators, having a strong teacher often means putting more energy into finding their own way of creation. Because a really good artist must provide creative thinking and perception to the world, and will inevitably weave his own unique artistic language system.
 
    但英梅似乎是自然而然地就尋找到了自己的藝術道路,這也許和她獨有的個體生命經驗有關。
    However, it seemed that it was natural to find Yingmei’s own artistic path, which might be related to her unique individual life experience.

▲ 童年的英梅 (左一) 
Yingmei’s Childhood(left)

    天生語言障礙給了幼年的英梅內向的性格,以及出奇敏銳的眼睛和耳朵,讓她擁有了自己獨特的覺知力。她喜歡觀察,喜歡和物件對話。雖然在外人看來似乎是自言自語,但這是她想像力扇動翅膀的開始。
    The inborn language barrier gave young Yingmei an introverted personality, as well as exceptionally sharp eyes and ears, which also gave her own unique awareness. She enjoyed observing and talking to objects. It was the beginning of the fluttering of her imagination, though it might seem to outsiders as if she were talking to herself.


▲《 青春期的煩惱 》,油畫作品,1993
Adolescent Vexation, oil on canvas, 1993

    自1960年伊夫·克萊因從巴黎郊區躍出窗外那一刻起,至2000年英梅學習行為藝術的時候已經過去整整40年,行為藝術作為一種年輕藝術語言形式早已累計了無數的創作方式,卻依然擁有無限的發展可能。甚至連下定義都是艱難的。神奇的是這種不限制材料、媒介、空間、題材的,難以被定義的藝術形式竟然使得曾經語言障礙的英梅越來越喜歡交流,越來越擅長交流,並通過與人交流來合作作品。
    From the moment when Yves Klein jumped out of the window from the outskirts of Paris in 1960, it took 40 years for Yingmei to learn performance art in 2000. As a young art language form, performance art has accumulated countless creative methods. However, it still has unlimited development possibilities. Even the definition is difficult. What is magical is that this kind of art form that does not limit materials, media, space, and subject matter, which is difficult to be defined, makes Yingmei, who used to have language barriers, enjoying and being proficient in communication more and more, and cooperated with people through communication.

    此過程中,英梅獨有的與世界“交流”的方式變成了她獨有的藝術“語言”方式。這門“語言”包含“日常行為藝術(DLAP)”、“平等合作(ECP)”、“個人作品”、“行為裝置”、“变化的展览”与“物件&影像互动行为作品(OVIP)”。
    During this process, Yingmei's unique way of “communicating” with the world has become her own artistic “language” approach. This "language" includes "Daily Live Art Performance (DLAP)", "Equal Collaborative Performance (ECP)", "Solo Performance" , "Performance Installation",  "Changing Exhibitions " and " Objects & Video interactive Performance(OVIP)"
 
    它們幫助英梅借助想像力翅膀自由地飛。
    They help Yingmei set herself free with imagination wings.

 
▲《 快樂英梅 》,現場行為聲音裝置作品,
英國倫敦海沃德美術館,
2012年9月7日-12月9日
Happy Yingmei, live performance sound installation,
 Hayward Gallery, London,
7th Sep- 9th Dec 2012

    在藝術家至今28年的創作生涯中,“平等合作(ECP)”是非常重要的一部分,這個概念是她在和老師克里斯多夫·施林根基夫一起工作的時候明確提出的。那是2005年,英梅明確了她對合作的看法--平等。決定在平等的基礎上與他人進行合作,拓展合作物件,讓不同年齡、性別、國籍、身份、職業的人參與到創作中,每一位參與者都是平等的創作主體。
    In the 28-year career of the artist, "Equal Collaborative Performance (ECP)" is a very important part of the concept that she made clear when she worked with teacher Christoph Schlingensief. It was in 2005 that Yingmei made clear her view of cooperation was equality. Decided to cooperate with others on the basis of equality and expand cooperation objects, she let people of different ages, genders, nationalities, identities, and occupations participate in the creation. Each participant was an equal creative subject.
 
    到目前為止,她已經創作了近百件“平等合作(ECP)”作品。幾乎從2006年起,許多合作作品在實施之前都是通過Skype和其他的網路社交平臺完成的,因為她的大多數合作物件都來自世界各地。技術的變革也直接影響了藝術家的創作,網路社交媒介的普及給她異地做作品帶來了未曾想像過的便捷。(就在重慶期間,藝術家又新接觸到了在中國特別火的短視頻自媒體平臺抖音和快手。也許在未來,這些都會成為她創作的媒介。)
    So far, she has created nearly a hundred “Equal Collaborative Performance (ECP)” works. Almost since 2006, many of the collaborative works have been completed through Skype and other online social platforms, as most of her collaborative objects came from all over the world. The change of technology has also directly affected the artist's creation. The popularity of online social media has brought her convenience to work in different places. (During her stay in Chongqing, Yingmei has newly touched Douyin and Kuaishou, which are the short video self-media platform in China. Maybe in the future, these will become the medium of her creation.)


▲ 《 從前 》,段英梅和David Hancock合作的現場行為作品,德國布倫瑞克,2011
Once Upon a Time, BS VISITE, live performance by Yingmei Duan & David Hancock Braunschweig, Germany, 2011 


    談及平等合作(ECP)的創作初衷,英梅的回答樸素動人“我去過很多地方,認識過很多人,慢慢都忘了,所以就想做一些作品,來更多地認識他們,記住他們”。
    Talking about the original intention of Equal Collaborative Performance (ECP), Yingmei said, “I have been to many places, I have met many people, but I have forgotten it slowly, so I want to do some works to know more about them and to remember them." The answer was simple but moving.
 
    而在我看來,藝術家這樣的創作方式是對當下社會現場的巧妙回應。
    As far as I'm concerned, the creative way of the artist is a clever response to the current social scene.

    人類在近現代化進程中一直在逐漸往“個體化社會”轉變。工業革命以後,原本在村落裡的人、城邦裡的人、土地上的人開始變的一無所有,變成“自由勞動者”,人的個體化趨勢初露端倪。而21世紀資訊技術、人工智慧成為通用技術以後,人們現在已經可以分別孤立地存在,由看不見的資訊紐帶組裝成一種隱形而高效的合作。“宅”文化和“外賣”行業的興起是最容易看到的個體化現象。
    Human beings have been gradually shifting to "the individualized society" in the process of modernization. After the industrial revolution, the people who were originally in the village, city, and the people on the land began to become nothing and became "free laborers". The individualized trend of human beings began to emerge. After the 21st century information technology and artificial intelligence became universal technology, people can now exist in isolation, assembled from an invisible information link into an invisible and efficient cooperation. The rise of the “otaku” culture and the “take-out” industry is the most visible phenomenon of individualization.

    “在個體化的社會裡,人與人之間有真實情境的接觸大幅減少,如果必要,除了家庭成員之間的接觸,今天幾乎可以做到完全消滅所有接觸,而生產和消費都不會受影響。我們日常參與的社會互動的確在急劇減少,人越是趨向於獨處,生活就越缺少變化,記憶就越缺乏附著之物,個體獨特性就越難以體現,表現在日常生活中,就是感覺日子沒有任何變化,個人存在缺少價值也缺少意義,體驗不到自身的重要性。”(摘自2019年《南風窗》雜誌第9期)
    “In an individualized society, there is a drastic reduction in real-world contact between people. If necessary, in addition to contact between family members, almost all contacts can be eliminated today, while production and consumption are not affected. The social interaction that we participate in is really rapidly reduced. The more people tend to be alone, the less variety there is in life, and also the memory has no attachment, so the harder it is to be unique. In daily life, it feels like the days haven't changed at all, and personal existence lacks value and meaning, which does not experience its own importance. “(Excerpted from the 9th issue of Nanfengchuang Magazine, 2019)

 
▲《 我愛電腦 》 ,德國漢諾威電腦博覽會,2005
I Love Computers, Cebit in Hannover, Germany, 2005

    這種情況在全球範圍內普遍發生,在發達地區,大城市裡尤為突出。這是現代性帶來的社會亞健康狀態。在這樣的社會語境下,藝術家這種強調人與人的直接對話、合作,建立起密切地交流和信任,進而喚醒人們關於自我存在的感知力的工作方法就顯得尤為重要。
    This is a common occurrence in the world, especially in developed countries and large cities. This is the social sub-health state brought about by modernity. In such a social context, it is particularly important for artist to emphasize the direct dialogue and cooperation between people and to establish close communication and trust, and then awaken people's work methods about the perception of self-existence.

    基於“平等合作(ECP)”的創作脈絡,藝術家生成了她本次的重慶個展《英梅和她的重慶朋友們》。3個月的駐地創作中,她認識了很多朋友,這其中有藝術家、公務員、清潔工、高校老師、手藝人、退休工人、黃桷坪的棒棒、心智障礙人士、餐館等。甚至還有一隻叫做兜兜的小狗。她與他們聊天,外出,參與到他們的生活中體驗,並和他們一起創作了本次展出的35組作品。
    Based on the creative context of “Equal Collaborative Performance (ECP)”, Yingmei and her Chongqing Friends has been generated. During her three-month resident creation, she met many friends, including artists, civil servants, cleaners, college teachers, craftsmen, retired workers, porters in Huangjueping, mentally handicapped people, restaurants etc. And there was even a puppy called Dou Dou. She chatted with them, went out, took part in their life experience, and worked with them to create 35 works of this exhibition.

    我把這次密集的創作過程理解為藝術家的“一個人的社會學”,她以自己生命經歷為線索,以與他者建立的關係為鏡,收集這座城市的30幾個研究樣本,以影像和物品的形式呈現出來。通過本次展覽中的物件及影像,英梅希望建立人與人,人與物,物與物,人與空間,空間與空間,內部和外部空間的一個立體互聯網關係。
    I interpret this intensive creative process as "one's sociology" of the artist. She used her life experience as a clue and used the relationship with other people as a mirror to collect more than 30 research samples from the city, in the form of images and objects. Through the Objects & Video interactive Performance (OVIP) in this exhibition, Yingmei hopes to establish a three-dimensional Internet relationship between people, which is people and people, people and things, things and things, people and space, space and space, internal and external space.

 


▲《 心路和天路 》,曾昭慶 & 段英梅,2019
Heart Road and Heaven Road, Zhaoqing Zeng & Yingmei Duan, 2019

    除了這些影像和物品以外,在展覽的最裡邊,你將會看到和聽到一張音樂歌唱專輯《四十八年前,路途是海洋》,裡邊一共十首歌,都是英梅之前的行為作品。即興的演唱、聲音和語言的運用及與不同音樂人的合作經常出現在她的現場行為及行為裝置作品中。英梅一直希望能把行為藝術與更純粹的歌唱形式進行結合,以吸引更多的觀眾群。她通過這種嘗試讓越來越多的人瞭解行為藝術。瞭解藝術與他們並不遙遠。
    In addition to these images and objects, in the innermost part of the exhibition, you will see and hear a music album Forty-Eight Years Ago, the Road an Ocean, a total of ten songs inside, which are the works of Yingmei before. Impromptu singing, the use of sound and language, and collaboration with different musicians often appear in her live performance and performance installation. Yingmei has always hoped to combine performance art with a more pure form of singing to attract more audiences. Through this kind of experiment, she has let more and more people understand the art of performance and art is not far from them.

    這次的展覽不同于傳統的展覽,觀眾不僅可以觀看作品,還會被鼓勵去摸、拿、聞展廳裡的物件。甚至吃掉作品的一部分。展覽的開幕將會變成一個沉浸式的行為劇場,屆時藝術家將會帶領人們穿行在整個展覽空間,來一次漫遊世界奇遇記。
    This exhibition is different from traditional exhibitions. The audience can not only watch the works, but also be encouraged to touch, take, and smell the objects in the exhibition hall. Even eat a part of the work. The opening of the exhibition will turn into an immersive performance theater where artist will lead people through the exhibition space to roam the world.


    你將會看到魔術、舞蹈和音樂演奏。
    你將會遇見很多不同的故事。
    歡迎走進這世界,直到你流下眼淚或者發出歎息。
    You will see magic, dance and music.
    You will meet many different stories.
    Welcome into the world until you shed tears or sigh.

  
—— 胡燕子 2019年5月于黃桷坪
Yanzi Hu, May 2019, Huangjueping



前言正文首段灰色字體,來自歌曲《自言自語》

作詞:段英梅&韓蕭寒  作曲·編曲·縮混:韓蕭寒  鍵盤:楊帆  伴唱:han  演唱:段英梅
 





■ ■  藝 術 家 介 紹  ■ ■

About the Artist






1969.10.27 生於中國黑龍江省大慶市,自由藝術家,居住在德國布倫瑞克市和中國北京
1969.10.27 Born in Daqing City, Heilongjiang Province, China, freelance artist, living in Braunschweig, Germany and Beijing, China

教育背景: 
1989 畢業於東北石油學院採油工程專業
1989–1990 中國大慶採油二廠一礦,技術員
1991 跟隨啟蒙老師楊建華先生學習藝術
1991–1993 進修於中國中央美術學院,油畫和壁畫專業學習
1993–1994 進修於中國中央工藝美術學院,裝飾裝潢專業學習
1993–1998 居住於北京(1993–1995 年 北京東村,1995–1998 年宋莊藝術村)進行自由藝術創作
1996–1997 中國中央工藝美術學院,裝飾雕塑專業學習
1998–1999 客座於德國布倫瑞克造型藝術學院,師從Nobert Tadeusz 學習油畫藝術
1999–2000 德國布倫瑞克造型藝術學院,師從Mara Mattuschka 學習行為藝術和電影藝術
2000–2006 德國布倫瑞克造型藝術學院,師從Marina Abramović學習行為藝術,師從Birgit Hein 學習電影藝術,師從Christoph Schlingensief學習劇場、錄影裝置及行動藝術
2005 畢業於德國布倫瑞克造型藝術學院,自由藝術專業,獲碩士學位

2006畢業於德國布倫瑞克造型藝術學院,自由藝術專業,大師班;師從Marina Abramović,Birgit Hein,Christoph Schlingensief


Education: 
1989 Graduated from Northeast Petroleum Institute, majoring in oil engineering
1989–1990 China Daqing Oil Production Plant No. 2, a technician
1991 Follow the teacher of the enlightenment, Mr. Yang Jianhua, to study art
1991–1993 Studying at the Central Academy of Fine Arts in China, majoring in oil painting and mural painting
1993–1994 Studying at the Central Academy of Arts and Crafts in China, specializing in decoration and decoration
1993–1998 Living in Beijing (1993-1995 Beijing Dongcun, 1995–1998 Songzhuang Art Village) for free art creation
1996–1997 China Central Academy of Arts and Crafts, decorative sculpture professional study
1998–1999 Visited the Braunschweig School of Plastic Arts in Germany, studied oil painting art with Nobert Tadeusz
1999–2000 Braunschweig School of Plastic Arts, Germany, studied Mara Mattuschka to study performance art and film art
2000–2006 Braunschweig School of Plastic Arts, Germany, studied performance art from Marina Abramović, studied film art with Birgit Hein, studied theatre, video installation and action art with Christoph Schlingensief
2005 Graduated from the Braunschweig School of Plastic Arts in Germany with a master's degree in liberal arts.
2006 Graduated from the Braunschweig School of Plastic Arts, Germany, freelance major, master class; studied by Marina Abramović, Birgit Hein, Christoph Schlingensief

個人展覽: 
2018音樂專輯“四十八年前路途是海洋“發佈會, 膠囊上海,中國
2017Thingness,Neuer Kunstverein, 奧地利維也納
2017記憶碎片,膠囊上海,中國上海
2008 Yingmei Duan in Lilith Performance Studio行為藝術工作室,瑞典馬爾默
2007 PERFORMANCE-PAINTING YINGMEI DUAN,Galerie auf Zeit 畫廊,德國布倫瑞克
2005Yingmei Duan – Performance,Galerie auf Zeit 畫廊,德國布倫瑞克
Bedroom 07. 11. 2005 - 02. 08. 2006,Juliusstr. 17,德國布倫瑞克
2003 Yingmei Duan – Performance,OKS 畫廊,德國布倫瑞克
1996 Bilder aus Peking,Galerie am Prater 畫廊,德國柏林

1995 Duan Yingmei – Peking,Kunsthaus Erfurt 藝術中心,德國埃爾福特


Personal exhibition: 
2018 music album "Forty-eight years ago the road is the ocean" conference, capsule Shanghai, China
2017Thingness,Neuer Kunstverein, Vienna, Austria
2017 Memory Debris, Capsule Shanghai, Shanghai, China
2008 Yingmei Duan in Lilith Performance Studio Performance Art Studio, Malmo, Sweden
2007 PERFORMANCE-PAINTING YINGMEI DUAN, Galerie auf Zeit Gallery, Braunschweig, Germany
2005Yingmei Duan – Performance, Galerie auf Zeit Gallery, Braunschweig, Germany
Bedroom 07. 11. 2005 - 02. 08. 2006, Juliusstr. 17, Braunschweig, Germany
2003 Yingmei Duan – Performance, OKS Gallery, Braunschweig, Germany
1996 Bilder aus Peking, Galerie am Prater Gallery, Berlin, Germany

1995 Duan Yingmei – Peking, Kunsthaus Erfurt Art Center, Erfurt, Germany


以往作品:

Past works:


▲《 救命!》德國下薩克森州和石荷州柏林代表處,
2002,現場行為作品,2小時,
攝影:Asayo Nakagawa & Yun-Seok Koh
Help! ,Germany Lower Saxony and Schleswig-Holstein Representative Office,
 2002, live performance works, 2 hours, 
photography:Asayo Nakagawa & Yun-Seok Koh






■ ■  展 覽 信 息 ■ ■

Exhibition Information





《英梅和她的重慶朋友們》藝術家段英梅駐留作品展
「Yingmei and her friends in Chongqing」
 residency exhibition by artist Yingmei Duan

開幕行爲藝術表演:2019.5.11(週六)19:00
展覽時間:2019.5.11-5.19(週五至週日10:00-18:00)
展覽地點:重慶•黃桷坪•十方藝術中心
Openning Time: 2019.5.11(Sat.)19:00
Exhibition Time: 2019.5.11 - 2019.5.19(Fri.-Sun.10:00-18:00)
Venue: Dimensions Art Center(DAC), Huangjueping, Chongqing

藝術家:段英梅 (中/德)
藝術總監:曾途
策展人:胡燕子
執行策展人:王茂茜(十方青年策展人實踐計劃)
Artist: Yingmei Duan (CHN/GER)
Art Director: Tu Zeng
Curator: Yanzi Hu
Executive curator: Maoxi Wang(DAC Emerging Curator Practice Project)

執行統籌:羅義
海報設計:盧雨杭
翻譯協助:劉暢、周子涵、杜鎔勳
剪輯協助:盧華、袁喆、岳陳榕、程緒楠

展覽協助:歐陽嘉敏、田野荻、熊柏靈、陳橘人

拍攝協助:龍正悅、何騰蛟

Coordination: Yi Luo
Poster Design: Yuhang Lu
Translation Assistance: Chang Liu,Zihan Zhou,Rongxun Du 
Video Clip Assistance: Hua Lu,Zhe Yuan,Chenrong Yue,Xunan Cheng

Exhibition Assistance: Jiamin Ouyang,Yedi Tian,Boling Xiong,Juren Chen

Photo and Video Assistance:Zhengyue Long,Tengjiao He


主辦方:十方藝術中心(DAC)
Sponsored by: Dimensions Art Center (DAC)

支持方:
Sense健康管理工作室
國際化藝術拔尖人才實驗班
Supporter: 
Sense health Management Studio
International Art Top Talents Experimental Class


媒體支持:
SupportingMedia:


















Website : chongqingdac.org
Email : info@chongqingdac.org
Wechat : CNCQDAC
Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency
Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.