■ ■ 策展人前言■ ■

Curator's Preface


自然中的行為詩

Behavior Poems in Nature


和麗斌先生的創作歷程令人感嘆:1997年至今,22年時間,180多件作品,巨大的信息量。這些數字背後是一位勤奮的藝術家躬身其中,將生活和創作融為一體,紮實的營造一個地方藝術生態的生命歷程。以生命歷程作為參照系,任何書寫都顯輕佻,但我依然想要嘗試通過以下文字給本次展覽交代一些背景:

Mr. Libin He's creative process is impressive: from 1997 to now, 22 years have passed with more than 180 works and a huge amount of information. Behind these figures is a diligent artist devoting himself to them, integrating life and creation and creating a solid life course of local artistic ecology. Taking the life course as a frame of reference, any writing is frivolous, but I still want to try to explain some background to this exhibition through the following words:


不能脫離圖像和文學談論和麗斌

Don't talk about Libin He without images and literature.


1996年畢業於西南大學美術學院油畫專業的和麗斌,在行為藝術創作中更強調作品的視覺意象和形式感。其畫作尺幅巨大、色彩飽滿厚實、筆觸戰栗,如同策展人羅菲所談,“筆法張揚凝練,意境孤寂而冷峻,給人撲面襲來的現場感,彷彿能聽見畫中'點景人物'在烈日、荒原、叢林間趕路的步伐聲。”除了畫作之外,他的詩也充盈著對自然、生命、天地、宇宙的思考。

Libin He,who graduated from Southwest University's Academy of Fine Arts in 1996 and majored in oil painting, emphasized the visual image and sense of form in his works. The painting is huge in size, full in color, thick in thickness and trembling in brushwork. As curator Luo Fei said, "The brushwork is bold and concise, and the artistic conception is lonely and cold. It gives people the feeling of being on the spot, as if they can hear the pace of 'some scenery figures' moving in the hot sun, wastel and and jungle." In addition to his paintings, his poems are full of thoughts on nature, life, heaven,earth and the universe.


《荒原.20》布面油画

Oil on canvas

200×150cm 2008


行為藝術是藝術家在繪畫和文學之外承載創作激情的綜合媒介方式,帶有他以往繪畫和詩歌的特徵。他有時候會為自己的行為作品配一段詩,有時候也會因為先出現的“詩歌意象”而進行行為的情景化呈現。“它喚醒我的記憶,直達我靈魂深處,讓我去尋找被我遺忘的過去,讓我發現自己。我選擇了行為藝術,行為藝術也選擇了我,我們一直在互相尋找,直至最終遇到。”在與友人的討論中,和麗斌不斷的審視行為藝術創作之於自我的關係。

Behavioral art is a comprehensive medium for artists to carry creative passion besides painting and literature with the characteristics of his previous paintings and poems. Sometimes he would match a poem for his works of behavior and sometime he would perform situational presentation of behavior because of the"poetic image" that appeared first. "It awakens my memory and reaches deep into my soul. It allows me to look for the past that I have forgotten and find myself. I chose the performance art, the performance art also chose me, we have been looking for each other, until finally met. "In the discussion with friends, Libin He continuously examined the relationship between the creation of performance art and self.


事實上不論什麼媒介,都是在回應藝術家的生命思考和肉身境遇,其作品內核是一致的。因此當我們在觀看藝術家的行為藝術作品的時候,不應當脫離藝術家通過圖像和文學構建的“詩的圖像學背景”。

In fact, no matter what media, they are all responding to the artist's life thinking and physical circumstances and the core of their works is the same. Therefore, when we watch artists' works of performance art, we should not be divorced from the "iconological background of poetry" constructed by artists through images and literature.


《日瑟浩奕》行为

Behavior

2012 丽江茨满村 Ciman, Lijiang


不能以單個作品來談論和麗斌

Don't talk about Libin He with a single work.


和麗斌的生命狀態是一件完整的作品,他通過持續的創作來生產意象,比如攀登的身體、行走的身體、負重的身體、等待的身體。這些身體被或純白或日常的服裝包裹,與他經常使用的線狀材料(魚竿、PVC管、竹竿、布條...)和粉狀材料(麵粉、香灰、紙屑...)一起構成了相對恆定的意象符號。這種符號具有較強的連續性,背後是藝術家持續圍繞一種價值判斷鍛造的審美特徵。

Libin He's life state is a complete work. He produces images through continuous creation, such as climbing body, walking body, weight-bearing body and waiting body. These bodies are wrapped in either pure white or everyday clothing, and together with the linear materials (fishing rod, PVC pipe, bamboo pole, clothstrip ...) and powdery materials (flour, incense ashes, paper scraps ...)  he often uses constitute a relatively constant imagery symbol. This symbol has a strong continuity, behind which is the artist's aesthetic characteristic of forging around a value judgment.


《东川叙事》行为 

Behavior

2019.4.1-4.14 东川 Dongchuan


我們無法按照常規的讀解,以“語言”、“觀念”或者“社會性”等詞彙來對其做簡單概括,也不適合單獨就某一件作品來做過度分析。他通過作品中有意為之的,率性的身體語言方式,向我們呈現了他與自身所處自然環境和社會場域的持續互動,共生共融。這種綜合關聯在雲南藝術生態中構建了一個豐富的連續意象,使得我們不僅不能以單個作品來談論和麗斌,也不能僅以展覽來談論他。

We can't make a simple summary of "language", "concept" or "sociality" according to the conventional interpretation, nor is it suitable to make an over-analysis of a work alone. Through intentional and willful body language in his works, he shows us his continuous interaction and coexistence with his natural environment and social field. This comprehensive connection constructs a rich and continuous image in the ecology of Yunnan art, which makes us not only unable to talk about Libin He with a single work, but also unable to talk about him only with an exhibition.


不能僅以展覽談論和麗斌

Don't talk about Libin He in the exhibition.


事實上當我們在談論中國當代藝術的時候,通常所指的是北京上海成都等高曝光度城市中基於美術館、畫廊、媒體、收藏與拍賣構建的典型當代藝術系統,而這一切在雲南遠離資本市場和權利中心的社會環境中,幾乎是失效的。這里山高水遠,需要藝術家擁有更複合的能力和更多的主動性。和麗斌作為雲南的代表藝術家,近些年除了個人創作之外,也在行為教學、活動策劃和文獻研究等不同方面推動著雲南藝術生態的發展。

In fact, when we talk about Chinese contemporary art, we usually refer to typical contemporary art systems based on art galleries, galleries, media, collections and auctions in high-exposure cities such as Beijing, Shanghai and Chengdu, which are almost ineffective in Yunnan's social environment away from capital markets and power centers. The mountains here are high and the water is far away. Artists are required to have more complex abilities and more initiative. As a representative artist in Yunnan, Libin He has promoted the ecological development of Yunnan art in recent years in different aspects such as behavior teaching, activity planning and literature research, in addition to personal creation.


2014年和麗斌在他任教的雲南藝術學院裡開設的選修課《綜合材料》上引入了行為藝術的內容,之後又申請了《情境藝術》,儘自己所能給年輕藝術家們帶來不一樣的藝術拓展。同時,其策劃的藝術節、行為藝術工作坊、行為劇場、行為會友、跨界派對、文獻展、講座等活動不斷發生,持續為雲南帶來國際化的視野,為年輕藝術家創造更多的展示交流機會,也為行為藝術在雲南的日常化發生做了巨大的推動。正如藝術家本人所談“只有日常化了,公眾對行為藝術的理解和認識才會發生改變。”

In 2014, Libin He introduced the content of performance art into the elective course "comprehensive materials" offered by the Yunnan Art Institute where he teaches and then applied for "situational art" to bring different artistic development to young artists to the best of their ability. At the same time, its planned arts festivals, performance art workshops, performance theatres, performance clubs, cross-border parties, literature exhibitions, lectures and other activities continue to take place, continuously bringing an international perspective to Yunnan to create more opportunities for young artists to display and exchange to greatly promote the daily occurrence of performance art in Yunnan. As the artist himself said, "public understanding and understanding of the performance art will change only if it becomes routine."


行为会友 Meeting Friends

寻甸大石洞 Searching for Rock Cave

2019.3.24


不能脫離自然談論和麗斌

Don't talk about Libin He without nature.


人與自然的關係是和麗斌創作的出發點和落腳點,或許在雲南飽滿強悍的生態環境中談“人與自然”是理所應當的,但我更願意在全球的現代性社會背景下來觀看這一行為。在資本、技術和政治格局的推動下,現代世界秩序兇猛的變化著,人與自然的關係也隨之撕裂,肉身異化。水泥化的大地無法再像以前那樣呼吸吐納供養生靈。和麗斌作品中所包含的“人對身體自然屬性的回歸”,“人對自然環境的回應”,以及“通過尋找自然最終認知自我”這幾層關係,從這種角度來說具有重要的社會意義。

The relationship between man and nature is the starting point and foothold of Libin He's creation. Perhaps it is natural to talk about "man and nature" in Yunnan's full and strong ecological environment, but I prefer to watch this behavior in the global context of modern society. Driven bycapital, technology and political structure, the modern world order is undergoing fierce changes. The relationship between man and nature is also tornapart and the physical body is alienated. The cement earth can no longer breathe and support the living as before. And Libin He's works include "the return of human beings to the natural attributes of the body","the response of human beings to the natural environment" and "the ultimate cognition of self through the search for nature" which are of great social significance from this perspective.


他是在自然中奔跑的孩子,也是盤旋在土地上空的守護者。

He is a child running in nature and a guardian hovering over the land.


《搜云》行为 

Behavior

2014 呈贡梨园 Chenggongli Park


大概從2009年開始,和麗斌實施了大量在自然環境中完成的行為作品,也是從這一年開始,他開始策劃持續至今的“在雲上”國際現場藝術節,他邀請國內外的行為藝術創作者到雲南的山水與田野裡即興創作,將身體拋向自然。通觀亞洲的行為藝術創作現場,東南亞藝術家傾向於表達社会公共性訴求,南亞國家的宗教感更強,東亞的日本關注細微的東西。而對中國的幾處行為藝術聚落來講,相較於西安的歷史文脈和國際交流,成渝的公共參與和人才培養,雲南的行為藝術創作在和麗斌的推動下,具有了“自然”和“即興”兩大鮮明特徵。

Since about 2009, Libin He has implemented a large number of performance works completed in the natural environment. It was also from this year that he began to plan the "On the Cloud" International Live Art Festival, which continues to this day. He invited domestic and foreign performance art creators to improvise in Yunnan's mountains and rivers and fields, leaving his body to nature. Looking at the performance art creation scene in Asia, Southeast Asian artists tend to express political demands, South Asian countries have a stronger sense of religion and Japan in East Asia pays attention to subtle things. As for several performance art settlements in China, compared with Xi 'an's historical context and international exchanges, Chengdu and Chongqing's public participation and personnel training, Yunnan's performance art creation has two distinct characteristics of "nature" and "improvisation" under the promotion of Libin He.


2019年第七届“在云上”国际现场艺术节上的“即兴派对”2019.8.28 cheap酒吧

"Improvised Party" at the 7th "On the Cloud"

 International Live Art Festival 2019.8.28 cheap bar


在以上的四個“不能”之後,讓我們回到本次他在十方的展覽,對於和麗斌龐大的創作生態來說,個展的方式類似切片研究的基因樣本,整理創作線索並呈現其中的代表意向,雖有限但有效。這次將會呈現令人期待的,藝術家基於過往22年行為作品創作的大型繪畫,也會呈現具有他個人代表符號的行為現場,以及幾件關鍵行為藝術創作的影像檔案。對於正值壯年的和麗斌來說,本次展覽無疑只是密集飽滿創作道路上的一次休整。

After the above four "don't", let's go back to his exhibition in the 10th square. For Libin He's huge creative ecology, the solo exhibition is similar to the gene sample of slicing research, sorting out creative clues and presenting the representative intention there in, which is limited but effective. This time, it is expected that large-scale paintings created by artists based on their works of behavior over the past 22 years will also present the scene of behavior with his personal representative symbols and several video files of key performance art creations. For Libin He who is in his prime, this exhibition is undoubtedly just a rest on the road of intensive and full creation.


歡迎各位到展廳來,跟著雲南人的節奏一起聊聊。

Welcome to the exhibition hall and talk with the rhythm of Yunnan people.


——  胡燕子

——Yanzi Hu



■ ■ 藝術家介紹 ■ ■

About the Artist



和麗斌,納西族,1973年生於雲南,1996年畢業於西南大學美術學院,2003年結業於南京藝術學院研究生課程班,1996年至今任教於雲南藝術學院美術學院。雲南油畫學會副秘書長,雲南油畫藝委會理事,《藝術當代》撰稿人,空空間創辦人。


長期進行繪畫、行為、詩歌、藝術評論、藝術策展等多樣性的藝術實踐,先後在中國昆明、上海、北京、南京、深圳、西安、廣州、成都、重慶、貴陽、天津、長沙、海口、大理、麗江、南昌、澳門、香港、挪威奧斯陸、荷蘭阿姆斯特丹、韓國大邱、瑞典烏普薩拉、義大利威尼斯、泰國曼谷、日本東京、菲律賓馬尼拉、斯洛伐克特倫欽、捷克布拉格、波蘭克拉科夫、緬甸仰光等都市參展100多次,策劃和主持藝術展覽60多次,致力於在全球化脉络下現場藝術的跨文化實踐與策劃,策劃的主要展覽有:“江湖——實驗藝術展”(2005-2007年)、“五三青年藝術節”(2014-2017年)、“在雲上——國際現場藝術節”(2009-今)等,出版專著《日瑟浩奕——2003-2014雲南當代藝術評論與訪談》(15萬字)。


個人作品主要實踐觀念藝術與東方詩學的結合,曾獲2013年第四屆新星星藝術節年度實驗獎,2015年澳門行為藝術文獻展評選嘉許藝術家,新星星10週年青年藝術家獎。個人作品為中國、美國、挪威、瑞典、荷蘭等國家的藝術機構和私人收藏。


Libin He, Naxi nationality, was born in Yunnan in 1973, graduated with a BA from the School of Fine Arts, Southwest University in 1996, completed the postgraduate course of Nanjing University of the Arts in 2003, and has taught in the School of Fine Arts of Yunnan Arts University since 1996.  He serves as the Deputy Secretary-General of Yunnan Oil Painting Society, Director of Yunnan Oil Painting Art Committee, and contributor to the Contemporary Art. 


He has been engaged in various artistic practices such as painting, performance art, poetry, art criticism, art exhibitions, etc. He has participated in more than 100 exhibitions in cities like Kunming, Shanghai, Beijing, Nanjing, Shenzhen, Xi'an, Guangzhou, Chengdu, Chongqing, Guiyang, Tianjin, Changsha, Haikou, Dali, Lijiang, Nanchang, Macao, Hong Kong in China, Oslo in Norway, Amsterdam in the Netherlands, Daegu in South Korea, Uppsala in Sweden, Venice in Italy, Bangkok in Thailand, Tokyo in Japan, Manila in Philippines, Trencin in Slovakia, Prague in Czech, Krakow in Poland, Rangoon in Myanmar etc. He has planned and presided over more than 60 art exhibitions, devoting himself to the cross-cultural practices and planning of live arts in the context of globalization. Among the major exhibitions planned are "Jianghu - Experimental Art Exhibition" (2005-2007), "May Third Youth Art Festival" (2014-2017), "Above the Cloud - International Live Art Festival" (2009- present), etc. He has published a monographs "The Long Deep Breath - Yunnan Contemporary Art Review and Interview (2003-2014)". 


His personal works, which primarily focus on combining conceptual art and Oriental poetics, have won the Annual Experimental Award of the Fourth New Star Art Festival in 2013, and made him awarded as the Outstanding Artist at the Macau Documentaries of Performance Art in 2015. His personal works have been collected by art institutions and individual collectors from China, the United States, Norway, Sweden, the Netherlands and other countries.



■ ■ 藝術家過往作品介紹 ■ ■

Introduction to Previous Works


《記憶漫遊》

時間:2009年——現在

地點:中國、俄羅斯、丹麥、瑞典、日本、菲律賓、新加坡、匈牙利、泰國……

闡述:

收納、封存萬物的氣息,

留給未來的人類開啟……


Date: 2009-now

Location: China, Russia, Denmark, Sweden, Japan, Philippines, Singapore, Hungary, Thailand……

Statement:

Stores and seals the breath of everything,

leaving it open to future humans


《影子》

時間:2012.9.6

地點:瑞典烏普薩拉博物館

作品闡述:

向前

奔跑

衝刺

從自己的影子裏撕裂、掙脫出去


Date: Sep.6, 2012

Location: Uppsala Museum, Sweden

Statement:

Forward

Running

Spurting

Tearing, and struggling to free from my own shadow


《“還鄉三部曲”之“紅海”》

時間:2016.1.18~1.23

地點:重慶長江當代美術館

資料:廢舊報紙兩噸、竹棍160根

方案:報紙在地面鋪設近200平方米廢墟,舉竹棍拍打廢墟上的報紙,直至報紙破碎形成一條前行的道路。

過程:從2016年1月18日14:00始至1月23日18:00止共6天,每天執竹棍拍打報紙堆砌的山脊5小時,6天共30小時,直至報紙破碎形成道路,1月23日18:00山脊全部打碎形成了一條橫跨廢墟首尾相接完整通行的道路。

作品釋義:《聖經·舊約》中,約西元前1445年,摩西帶領以色列人逃離埃及人的奴役出埃及,過紅海時在上帝的幫助下用木棍劈開紅海現出前行的道路得以通過紅海,之後在曠野中漂泊40年終於到達迦南地永久居住。

工業革命之後,“上帝”缺位,信仰的缺失帶來一系列問題:生態破壞、戰爭頻發、道德淪喪、故鄉淪落,遍地都是“廢墟”。今天,在一個碎片化的、眾生喧嘩的文明的“廢墟”時代,重拾信仰之路艱辛而漫長,唯有樹立不顧一切堅定前行的决心與勇氣方能開闢還鄉之路,重回精神的故鄉。


<"Red Sea" in "The Trilogy of Homecoming">

Date: Jan.18~23,2016

Location: Changjiang Museum Of Contemporary Art, Chongqing

Plan: Use the newspaper to lay a ruin of nearly 200 square meters on the ground, and use a bamboo stick to beat the newspaper on the ruin until the newspaper breaks to form a road.

Process: From 14:00 on January 18, 2016 to 18:00 on January 23, 2016, there will be a total of 6 days. Bamboo sticks will be slapped on the ridges of the newspaper for 5 hours, 30 days for 6 days, until the newspaper is broken to form a road. The ridges were shattered at 18:00 on the 23rd to form a complete road that runs across the ruins.

Interpretation of the work: In the Bible Old Testament, circa 1445 BC, Moses led the Israelites to flee the Egyptian slavery out of Egypt. When crossing the Red Sea with the help of God, he split the Red Sea with a wooden stick and the road forward was passed The Red Sea, after 40 years of wandering in the wilderness, finally arrived in Canaan for permanent residence. After the Industrial Revolution, "God" was absent, and the lack of faith brought a series of problems: ecological destruction, frequent wars, moral loss, homeland fall, and "ruins" everywhere. Today, in an era of fragmented civilization with the tumult of all living beings, the road to regaining faith is arduous and long. Only by establishing the determination and courage to move forward resolutely can we open the road to returning home and return to the spirit Hometown.


《邊界》

時間:2018.7.7,12:10-14:10

地點:斯洛伐克,Pohoda音樂節現場

過程:凝視一個白色氣球兩小時,互相保持一定距離,氣球在氣流影響下不斷產生細微的運動,我亦隨之發生細微的運動,試圖與氣球一直保持若即若離的關係。


Date: Jul.7, 2018, 12:10-14:10

Location: Pohoda Music Festival, Slovakia

Process: Staring at a white balloon for two hours, keeping a certain distance from each other, the balloons constantly produce subtle movements under the influence of the air flow, and I also have subtle movements, trying to maintain a close relationship with the balloons.


《東川敘事》

時間:2019.4.2-4.13

地點:東川採石廠、東川小清河、東川尾礦廠、東川牯牛山、東川達朵、會澤炭棚

過程:在2019年4月2日-4月13日的11天裏,在東川的工廠和曠野考察,就地取材,有感而發,以行為的方式即興展開與工廠、廢墟、曠野、河流、高山的對話,11天裏共完成18件行為作品,組合為《東川敘事》。

闡述:

黝黑的大地

灼浪翻滾

一粒塵埃

在四月的正午停頓

傾聽太陽密語

回應風神問候

朝陽星辰

四時相望


工廠

廢墟

曠野

河流

群峰

山谷

斷崖

麥田

似一幀幀幻象

從指尖流走

刹那間

蒼穹下

一念一忘



Time: April 2-13, 2019
Location: The Quarry, the Xiaoqing River, the Tailings Factory, the Guniu Mount, Datuo Village, DongChuan, Tanpeng Village Huize 
Process: For 11 days from April 2 to 13, 2019, the artists visited the factories and fields in Dongchuan. With whatever was available on site, they improvised performance art to have dialogues with factories, ruins, fields, rivers and mountains. A total of 18 performance art works were completed in 11 days. They consist of the “Stories of DongChuan”.

Statement:

Dark earth

Burning Wave Roll

A dust

Pause at noon in April

Listen to the Sun Whisper

Responding to the Wind God’s Greetings

The sun and the stars

Look at each other


Factory

Ruins

Wilderness

River

Mountains

Valley

Cliff

Wheatfield

Like a frame of illusion

Run away from the fingertips

In an instant

Under the sky

Think and forget

Earth

Fire

Wind

Sky



■ ■ 展覽信息 ■ ■

Exhibition Information


《打開宇宙》- 和麗斌個展

- Solo Exhibition of Libin He


開幕酒會:2020.01.11(週六)19:30

行爲現場:2020.01.11 20:10~20:30

Opening Time:2020.01.11(Sat.)19:30

Behavior Performance: 2020.01.11 20:10~20:30


展覽周期: 2020.01.11 – 01.19、02.08 – 02.16

(每周五至周日 14:00 – 18:00)

Exhibition Time: 2020.01.11 – 01.19、02.08 – 02.16 

(Friday to Sunday 14:00 – 18:00)


地點: 重慶 · 黃桷坪 · 十方藝術中心

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


藝術總監:曾途

Art Director: Tu Zeng

策展人:胡燕子

Curator: Yanzi Hu

學術觀察:劉軍

Academic Observer: Jun Liu

執行統籌:何京

Coordination: Jing He


主辦方:十方藝術中心

Sponsored by: Dimensions Art Center (DAC)


媒體支持:

Supporting Media: