■ ■  策展人前言  ■ ■

Curator's preface


《泥土與句子,遷徙與詩詞》

Soil & Sentence, Migration & Poetry


     王瑩作品中總是或多或少地談及這個時代的人和人的境遇,但她不直接說,她會跟你做遊戲,或者給你念句詩。

     Ying Wang always talks more or less about the situation of people and people in this era, but she won't say it directly. She'll play games with you or read you a poem.


 “離開村落”

"Leaving the Village"


     “離開”指向人的遷徙與流動,意味著把過往拋棄。

     “Leaving” points to the migration and movement of people, which means abandoning the past.


     “村落”指向熟人關係,宗族血緣,繁衍生息和秋冬四季。

     "Village" points to acquaintances relationship, blood relationship, live and multiply, and four seasons.


     村落,亦是不斷被“離開”的對象。

     The village is also the object of constant "leaving".


     百科詞條顯示:村落,指大的聚落或多個聚落形成的群體,常用作現代意義上的人口集中分佈的區域。包括自然村落(自然村)、村莊區域。 村落因防禦而築“城”,因交易而成“市”,最終在遷徙與聚集中發展為城市,卻完全失去了村落的樣子。在城市裏,陌生人之間用契約、合同、法律、制度來建立關係,為了生存、生產、機會、發展而奔跑不息。不管是因為意識形態的灌輸還是資本發展的個體化塑造,亦或者純粹就是人們心中的欲望驅使,這個世界兩百多年來的現代化進程,幾乎就是人們大量離開村落湧入城市的過程。

     Baidu Wikipedia shows that villages, which refer to large settlements or groups formed by multiple settlements, are often used as areas of concentrated population distribution in the modern sense,including natural villages and village areas. The village built a "wall" for defense, and became a "market" because of the transaction. Eventually it developed into a city during migration and gathering, but completely lost the village. In the city, strangers use pacts, contracts, laws, and systems to establish relationships, and run for survival, production, opportunity, and development. Whether it is because of the indoctrination of political ideology or the individualized shaping of capital development, or simply the desire of people's hearts, the modernization process of the world for more than two hundred years is almost a process in which people leave the village and flood into the city.


     老作品《時光之門》、《臨時關係》、《一起飛吧》,以及本次駐留期間的作品《大地耕種者》、《土豆裏的人》,都從不同的角度展現了藝術家王瑩對本命題的回應。

     The old works The Gate of Time, Temporary Relationship, Flying Together, and the work The Land Farmer and The Man in the Potato during this residency, all showed the artist Ying Wang 's response to this proposition from different angles.


 

《時光之門》裝置 舊木門、毛線  尺寸可變 2018年

The Gate of Time installation, old wooden door, wool, variable size 2018


“人們”

"People"


     當我們談及“人們”這個詞,它既可能代表人類,也可能指的是某一個社群。

     When we talk about the word "people," it may represent a human being, or it may refer to a certain community.


     人類在漫長的歷史進化中孕育出在不同河流與村落上的高級文明,這些不同文明催生的豐富社會形態生長出了各種各樣與之相匹配的社群。民族、信仰、階級、身份、地位、資產、戶口、專業... ...是為這些社群分類的標籤,城市化發展加劇了標籤的演變,激化了人與人之間的矛盾。但卻改變不了作為“共同體”的人類,在肉身經驗、生命質感上的共通性和可感性。正是這種共通性和可感性使得人與人之間有抵達彼此、建立同理心、互相理解的可能。

     The evolution of mankind in the long history has given birth to high-level civilizations in different rivers and villages. The rich social forms that these different civilizations have spawned have produced a variety of communities that match them. Nationalities, beliefs, class, identity, status, assets, hukou, professionalism... are the labels that are classified for these communities. The development of urbanization has intensified the evolution of labels and has intensified the contradiction between people. But it can't change the commonality and sensibility of human beings as "communities" in physical experience and life quality. It is this commonality and sensibility that makes it possible for people to reach each other, build empathy, and understand each other.


     王瑩總是留意到背負這些標籤奔走的人們中,容易被忽略被異化的那些;她的作品中總是出現“留守老人”、“瘋子”、“外出務工者”、“底層勞動者”“待搬遷的拆遷區居民”等人物形象。通過藝術家的轉化,他們被我們感知,呈現了這個世界的豐富複雜性。(要知道,身處我們所生活的這個多種力量牽動下形成的,既具有全球化特徵,又有獨特歷史、文化、國民性的在地現場中,最應該避免的就是簡單化的判斷和二元對立的觀點。)

     Ying Wang always pays attention to those who carry these labels and are easy to be ignored. In her works, there are always characters such as “left-behind old people”, “mad people”, “out-of-work workers”, “bottom workers” and “residents in the demolition areas to be relocated”. Through the transformation of artist, they are perceived by us and present the rich complexity of the world. (We must know that in the presence of the various forces that we live in, which have the characteristics of globalization and unique history, culture, and nationality, the most important thing to avoid is the simplistic judgment and binary opposition.)


“流浪”

"Wandering"


     流浪是一種居無定所的狀態。從人們離開村莊、土地、宗族起,就開始了流浪。

     Wandering is a state of no fixed abode. From the time people left the village, the land, and the clan, they began to wander.


     城中村就是流浪的人們聚集產生的社會景觀。

     The urban village is the social landscape created by the gathering of the wandering people.


     過去20年,中國有3億多人從農村進入城市,未來20年,仍將保持每年1200萬人的城市化節奏。城中村,就是在這樣的背景下出現的產物。城中村像海綿,提供了城市運行的低成本空間,幫助城市吸納了盡可能多的人口。讓離開村落流浪在外的人們有棲身之所。

     Over the past 20 years, more than 300 million people in China have entered the city from rural areas. In the next 20 years, the urbanization rhythm of 12 million people will continue. The urban village is the product that emerged in this context. The urban village is like a sponge, providing a low-cost space for city operations, helping the city to absorb as many people as possible, and also provides for people who leave the village and wandering out a shelter.


     王瑩近些年的研究創作大部分與“城中村”有關。這來自於藝術家本人的個體生命經驗,但確實是審視當下社會現代化進程的絕佳切入點。那麼在關於這類問題的討論中,藝術家有別於社會學家、人類學家、社工群體的工作方法的建立就尤為重要了。如何通過藝術的轉化能力,創造性地參與、或者呈現社會命題,是這類藝術創作者必須思考的。

     Most of Ying Wang’s researches and creations in recent years have been related to “urban villages”. This comes from the individual life experience of the artist herself, but it is indeed an excellent entry point to examine the current social modernization process. So in the discussion of such issues, it is especially important for artists to be different from the working methods of sociologists, anthropologists, and social workers. How to creatively participate in, or present social propositions through the ability to transform art is something that such art creators must think about.


     不管是在西安市北三環的城中村,還是在重慶黃桷坪(這個類城中村的老居民區),王瑩傾向於選擇一種遊戲互動性的,詩意的方式來展開她的工作,這體現在作品《詩歌旅館》,以及“想像力商店”的作品交換專案上。

     Whether it is in urban village on north third ring road, Xi'an, or in Huangjueping, Chongqing (an old residential area which is similar to urban village), Ying Wang tends to choose a game interactive, poetic way to start her work. It is embodied in the Poetry Hotel and the "Imagination Store" work exchange project. 


 

《詩歌旅館》,社會介入,2016年

Poetry Hotel,social intervention,2016


“很久了”

"For a Long Time"


     這是一個時間概念,也是一個心理尺度。

     This is a concept of time, and also a psychological scale.


     當人們居住在村落的時候,他們的祖先和他們的生活幾乎是一樣的,時間的久遠會建立秩序和價值判斷標準,習慣變成風俗,日常即是歷史。自工業革命以來,人類的技術和資本取得了爆炸性的發展,已知的一切也在進行越來越快的更迭,人們的時間尺度在改變,對於“很久了”的判斷隨之而逐漸變化。

     When people live in villages, their lives are almost the same as their ancestors. The long-term will establish the standard of order and value judgment. Habits become customs, and daily life is history. Since the industrial revolution, human technology and capital have developed explosively. Everything known is undergoing faster and faster changes. People's time scales are changing, and the judgment of "a long time" has gradually changed.


     從心理感受尺度上來看,進入現代性社會以前的人們,往往幾代人都在面對類似的社會現場。而近百年來,在一代人的有生之年,便足以經歷數次波瀾起伏的歷史變遷。在王瑩與戴小兵老師合作的燈箱系列作品中,藝術家就直接把歷史場景與面對歷史的人們並置在了同一幅畫面裏,使其各自擁有新的意味。另外一個作品《被寬恕的時間》裏,那位年邁的“粉紅女郎”拾級而上,腳步產生的效果猶如海浪,偶起漣漪,給我們留下了一個極簡的詩意的“時間”意象。

     From the perspective of psychological perception, people before entering the modern society often face similar social scenes for generations. In the past 100 years, in the lifetime of a generation has been able to experience several historical changes. In the series of light boxes that Ying Wang and Xiaobing Dai collaborate with, the artists directly puts the historical scenes and the people facing the history in the same picture, so that they each have a new meaning. In another work, Forgiven Time, the ageing "Pink Girl" ascends step by step. The effect of the footsteps is like a wave, ripples gently, leaving us with a minimalist poetic "time" imagery.


 

《清掃》,攝影、數碼繪畫、燈箱 65x40cm,2019年

Sweeping photography, painting, light box 65cmx40cm,2019


     以上關鍵詞來自奧地利詩人裏爾克(Rainer Maria Rilke)的《世界上最後的村莊》。

     The keywords above come from the Austrian poet Rainer Maria Rilke's The Last Village in the World.


     在十方藝術中心的半年駐留是王瑩針對這些關鍵字的創作突圍期。在語言的趣味性和觀念的系統性之間的反復拉扯中,她終於順利突圍,完成了這個階段的總結。本次展覽中將會呈現8個影像,4組裝置,1組攝影,1組繪畫以及10段句子,從不同角度豐富地呈現我們所處的這個巨大城鄉現場中的人和人的境遇。

     The half-year residency of the DAC is Ying Wang 's creation breakout period for these keywords. In the repeated pull between the fun of language and the systematic nature of the concept, she finally broke through and completed the summary of this stage. In this exhibition, there will be 8 videos, 4 sets of installations, 1 set of photography, 1 set of paintings and 10 sentences. From different angles, they can abundantly present the situation of people and people in this huge urban and rural scene.


     歡迎進入這些作品,在交疊的鏡頭和圖像中發現自己不動聲色的生活和狂飆逝去的日子。

     Welcome to these works, find your own quiet life and the days that rush by in the overlapping shots and videos.


     畢竟,“離開村落的人們”真的流浪很久了。

     After all, the "people leaving the village" have been wandering for a long time.


——胡燕子寫於20190717

Yanzi Hu , July 17th, 2019



部分參展作品介紹

Introduction of some exhibits


 

《休憩》80cmx40cm,攝影、繪畫、燈箱

Rest  80cmx40cm, photography, painting, light box


     這組作品是我與重慶攝影師戴小兵老師的合作作品,戴老師拍攝了一系列重慶的老照片,我在這些照片之上進行數碼繪畫,所繪畫的人物形象來自於我拍攝的重慶街邊的普通市民。畫面中,不同時空背景下的人與人、人與景構建出了新的圖像,也對照出了關於這座城市的歷史與變遷。

     This group of works is a collaboration between me and Chongqing photographer Xiaobing Dai. Teacher Dai has taken a series of old photos of Chongqing and I digitally painted these photos. The characters I painted were from the ordinary citizens on the street in Chongqing. In the picture, new images have constructed of people, people and landscapes in different time and space backgrounds, and also contrasted the history and changes of the city.


 

《微觀世界》 裝置,舊木箱、舊窗戶、攝影、繪畫、LED顯示幕  ,尺寸可變

Micro-World installation, old wooden boxes, old windows, photography, painting, LED display, variable size


     我們每個人都在試圖以自己的方式去記錄和構建這個世界,不同的是,我使用的是藝術媒介,而遠在山西的那位精神失常的老人,卻用一支粉筆,寫滿了整個村莊。或許,她才是那個更好的記錄者,或許,她所構建出的微觀世界,是更值得我們熱愛的所在。

     Each of us is trying to record and build the world in our own way. The difference is that I use the art medium. But with a piece of chalk, the mentally disordered old lady who is far from Shanxi has filled the entire village. Perhaps she is the better recorder, and perhaps, the micro-world she built is more worthy of our love.



■ ■  藝 術 家 介 紹  ■ ■

About the Artist


 

1983年出生於陝西省西安市

Born in Xi'an, Shanxi Province in 1983

本科畢業於西安美術學院油畫系

Graduated from the Oil Painting Department of Xi'an Academy of Fine Arts

中央美術學院實驗藝術學院在讀碩士

Master in reading, School of Experimental Art, Central Academy of Fine Arts


展覽經歷

Exhibition experiences


2019    首屆重慶實驗影像雙年展

2019    The First Chongqing International Experimental Visual Art Biennale

2018    拉莫斯藝術收藏展

2018    Ramos Art Collection Exhibition

2017    中華文化四海行藝術展

2017    Exchange of Chinese Culture Art Exhibition

2016    青年藝術100

2016    Youth Arts 100

2015    第二屆中山國際藝術博覽會

2015    The 2nd Zhongshan International Young Artists Exhibition

           時光舞臺劇

           Time Play

           保利十周年當代青鋒藝術博覽會

           Poly 10th Anniversary Contemporary Qingfeng Art Fair

2014    首屆我要藝術節

2014    The First I Will Art Festival

           第三屆大學生藝術博覽會

           The Third College Art Fair

           “SURGE Art 藝起” 藝術節

           “SURGE Art Together” Art Festival

           Hi21青年藝術家群展

           Hi21 Youth Artist Group Exhibition

2013    第四屆新星星藝術節

2013    The 4th New Star Art Festival

           “SURGE Art 藝起”上海|成都 藝術節

           “SURGE Art Together” Shanghai | Chengdu Art Festival

           中國宋莊藝術家集群二十周年特展

           Special Exhibition on the 20th Anniversary of Chinese Songzhuang Artists Cluster

           “夏木可人”藝術家聯展

           “Lovely Summer View” Artist Group Exhibition

           “珈藝有約”藝術家聯展

           “Jia Yi You Yue” Artist Group Exhibition

           第8屆“SURGE Art藝起·北京”藝術節

           The 8th "SURGE Art Together · Beijing" Art Festival

           “春光乍泄”青年藝術家聯展

           "Chun Guang Zha Xie" Young Artists Exhibition

2012    首屆大學生藝術博覽會

2012    The First College Art Fair

           嘉德拍賣“大學時代”專場

           Guardian Auction "University Times"

           第七屆“買得起”藝術節

           The 7th "Affordable" Art Festival

2011    80後檔案展

2011    Post-80s Archives Exhibition

           “春寒”油畫展

           "Spring Chill" Oil Painting Exhibition


本次駐留計畫介紹

Introduction to this residency plan


     此次駐留創作是以重慶為樣本,來記錄和描述中國城市化進程中的變遷,以及不同人群在當下社會語境中的不同生存狀態,從而呈現出我個人對社會、對大眾的感受與體驗。作品形式涉及影像、裝置、繪畫等。

     This creation is based on Chongqing as a sample to record and describe the changes in China's urbanization process, as well as the different living conditions of different groups of people in the current social context, thus presenting my personal feelings and experiences towards society and the public. The form of the works involves videos, installations, paintings, etc.



■ ■  部分以往作品介紹  ■ ■

About the Part of Previous Works


 

 

《時光之門》,裝置,舊木門、毛線,2018年

The Gate of Time, installation, old wooden door, wool, 2018


     我在一個村莊裏收集了6個廢棄的舊木門,之後尋找了8位村民,讓她們用毛線編織了一句她們想說的話,並將編織好的毛線安裝在木門上。一位留守在村莊的老奶奶編織了一句“常回家看看”給自己打工在外的兒女、一位年輕的母親編織了一句“書籍是人類進步的階梯”給自己的兒子。這些舊的物,在經過我們共同的改造之後,承載了新的情感與記憶。

     I collected six abandoned old wooden doors in a village, and then I looked for eight villagers, who weaved a piece of what they wanted to say with wool and installed the woven wool on the wooden door. A granny staying in the village wove a sentence that Come Back Home Often to her children worked outside, and a young mother wove a sentence that Books are the Ladder of Human Progress to her son. These old things have carried new emotions and memories after our common transformation.


 

 

 

《詩歌旅館》,社會介入,2016年

Poetry Hotel,social intervention,2016


     詩歌旅館是由藝術家王瑩策劃發起的一個藝術項目,項目位於西安市北三環的一個城中村內。

     The Poetry Hotel is an art project initiated by the artist Ying Wang. The project is located in an urban village in the North Third Ring Road of Xi'an.


     詩歌旅館以“背詩即可獲得入住權” 的方式長期面向公眾開放,任何人都可以參與。

     The Poetry Hotel is open to the public for a long time in the form of reciting poetry to get the right to stay, and anyone can participate.


     在城市化進程加速,“發展”碾軋一切的當下,城中村暴露在大家面前的更多是政治權力、人口流動、治安、環境、經濟模式等諸多關於人的生存境遇的問題,赤裸裸血淋淋的毫無詩意可言。

     At a time when the urbanization process is accelerating and development is rolling down everything, the urban villages are exposed to political power, population mobility, law and order, environment, economic models and many other issues concerning people’s living conditions, naked and bloody, with no poetry.


     城中村內的人群來自於不同地域、不同階層,他們共同構成了複雜、混亂但又生機勃勃的社會生態。對於他們來說,生存權和發展權是最為緊迫的,同時自身“階層”的局限造成了教育水準和精神需求的局限  ,文化  、藝術等精神生活似乎是遠離他們的陌生之物,詩歌尤為如此。雖然近些年出現了 “工人詩歌”、“ 農民工詩人” 等現象,但草根詩歌寫作,更多的是作為帶有時代悲劇色彩的典型個案存在著 ,而更具有普遍性的,是社會底層精神世界的貧瘠、荒蕪的事實,詩歌或許可以成為開啟人們精神生活的一把鑰匙。

     The people in the urban villages come from different regions and different classes. Together they formed a complex, chaotic but vibrant social ecosystem. For them, the right to subsistence and development is the most urgent. At the same time, the limitations of their own hierarchy have caused the limitations of education and spiritual needs. The spiritual life of culture and art seems to be strange things which are far from them, especially in poetry. Although there have been phenomena such as worker poetry and peasant worker poet in recent years, grassroots poetry writing serves more as a typical case with the tragic color of the times. What is more universal is the barren fact of the spiritual world at the bottom of our society, poetry may be a key to the spiritual life of people.


     詩歌、城中村,這兩者通過詩歌旅館專案建立起了聯繫,在社會變遷的劇烈時期,或許能留下一絲溫情,或某種荒誕色彩。

     Poetry and the urban village, these two have established a relationship through the Poetry Hotel project, in the violent period of social change, they may leave a trace of warmth, or some absurd color.


 

《臨時關係》現成品裝置,2019

Temporary Relationship,ready-made installation,2019


 

《一排勺子》現成品裝置,2018

A Row of Spoons,ready-made installation,2018


 

《無效測量》現成品裝置,2018

Invalid Measurement,ready-made installation,2018


     此組作品是利用各種被遺棄的或被使用的現成品,在不同的生活場域裏將物品進行臨時搭建和組合,使物與物、物與環境之間產生新的聯繫或傳達出新的意象。

     This group of works has used a variety of abandoned or used ready-made products to temporarily build and combine items in different living areas, creating new connections or convey new imageries between objects and objects, objects and the environment. 


感謝十方志願者劉暢對本文提供的文字翻譯工作



■ ■  展 覽 信 息 ■ ■ 

Exhibition Information


《泥土與句子》·中國藝術家王瑩個展

Soil and Sentense,Residency exhibition by Ying Wang


開幕時間:2019.7.27(週六)19:30

展覽週期:2019.7.27 - 2019.8.11

(週五至周日14:00-18:00)

地點:重慶· 黃桷坪 · 十方藝術中心

Openning Time: 2019.7.27(Sat.)19:30

Exhibition Time: 2019.7.27 - 2019.8.11

(Fri.-Sun.14:00-18:00)

Venue: Dimensions Art Center(DAC), Huangjueping, Chongqing


藝術家:王瑩(中國)

藝術總監:曾途

策展人:胡燕子

策展助理:吳妍馨

Artist: Ying Wang

Art Director: Tu Zen

Curator:Yanzi Hu

Curator Assistant: Yanxin Wu

執行統籌:Ben

海報設計:盧雨杭

翻譯協助:劉暢

現場拍攝:胡克

Coordination: Ben

Poster Design: Yuhang Lu

Translation Assistance:  Chang Liu

Live shooting: Ke Hu


主辦方:十方藝術中心(DAC)

Sponsored by: Dimensions ArtCenter (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:

 




 


 




 

郵箱: info@chongqingdac.org

微信: CNCQDAC

Facebook : 重慶市十方藝術中心

地址:重慶市九龍坡區黃桷坪官家林190號


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.