■ ■ 策展人前言 ■ ■
Soil & Sentence, Migration & Poetry
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.
"Leaving the Village"
“Leaving” points to the migration and movement of people, which means abandoning the past.
"Village" points to acquaintances relationship, blood relationship, live and multiply, and four seasons.
The village is also the object of constant "leaving".
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.
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
When we talk about the word "people," it may represent a human being, or it may refer to a certain community.
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.
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.)
Wandering is a state of no fixed abode. From the time people left the village, the land, and the clan, they began to wander.
The urban village is the social landscape created by the gathering of the wandering people.
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.
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.
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.
Poetry Hotel,social intervention,2016
"For a Long Time"
This is a concept of time, and also a psychological scale.
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.
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.
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.
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.
Welcome to these works, find your own quiet life and the days that rush by in the overlapping shots and videos.
After all, the "people leaving the village" have been wandering for a long time.
Yanzi Hu , July 17th, 2019
Introduction of some exhibits
Rest 80cmx40cm, photography, painting, light box
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
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
Born in Xi'an, Shanxi Province in 1983
Graduated from the Oil Painting Department of Xi'an Academy of Fine Arts
Master in reading, School of Experimental Art, Central Academy of Fine Arts
2019 The First Chongqing International Experimental Visual Art Biennale
2018 Ramos Art Collection Exhibition
2017 Exchange of Chinese Culture Art Exhibition
2016 Youth Arts 100
2015 The 2nd Zhongshan International Young Artists Exhibition
Poly 10th Anniversary Contemporary Qingfeng Art Fair
2014 The First I Will Art Festival
The Third College Art Fair
“SURGE Art 藝起” 藝術節
“SURGE Art Together” Art Festival
Hi21 Youth Artist Group Exhibition
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
Special Exhibition on the 20th Anniversary of Chinese Songzhuang Artists Cluster
“Lovely Summer View” Artist Group Exhibition
“Jia Yi You Yue” Artist Group Exhibition
The 8th "SURGE Art Together · Beijing" Art Festival
"Chun Guang Zha Xie" Young Artists Exhibition
2012 The First College Art Fair
Guardian Auction "University Times"
The 7th "Affordable" Art Festival
2011 Post-80s Archives Exhibition
"Spring Chill" Oil Painting Exhibition
Introduction to this residency plan
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
The Gate of Time, installation, old wooden door, wool, 2018
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.
Poetry Hotel,social intervention,2016
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.
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.
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.
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.
Temporary Relationship,ready-made installation,2019
A Row of Spoons,ready-made installation,2018
Invalid Measurement,ready-made installation,2018
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.
■ ■ 展 覽 信 息 ■ ■
Soil and Sentense，Residency exhibition by Ying Wang
展覽週期：2019.7.27 - 2019.8.11
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
Venue: Dimensions Art Center(DAC), Huangjueping, Chongqing
Artist: Ying Wang
Art Director: Tu Zen
Curator Assistant: Yanxin Wu
Poster Design: Yuhang Lu
Translation Assistance: Chang Liu
Live shooting: Ke Hu
Sponsored by: Dimensions ArtCenter (DAC)
Sense health Management Studio
International Art Top Talents Experimental Class
Facebook : 重慶市十方藝術中心
Website : chongqingdac.org
Email : firstname.lastname@example.org
Wechat : CNCQDAC
Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency
Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.