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直播计划: 人间动物园与媒体剧场 Peep Stream: Reality Zoo and Media Theater

2017.12.9

直播计划:人间动物园与媒体剧场

文:赵梦莎

如果 1974 年就有 Wi-Fi 普及和移动端直 播 APP,想必约瑟夫 · 博伊斯的《我爱美 国美国爱我》中与土狼共处一室的表演一 定会被推至大量非艺术观众的手机端,甚 至有可能被做成鬼畜视频,并在若干年后 依然活跃在网络。某种程度上,行为艺术 表演更加适合与流媒体捆绑,将整个过程 都通过直播平台实时地发布到网上。

在美术馆机构中,越来越多展览通过参与 性艺术吸引没有观展习惯的普通观众走进美术馆,以此修复艺术与公众之间原本断裂的关系。策展人 鲁多夫 · 弗里林(Rudolf Frieling)2009 年在旧金山 MoMA 策划的展览“参与的艺术:1950 年 至今”(The Art of Participation: 1950 to Now)梳理了历史上艺术家们基于上述诉求进行的“艺术 的公开创作”,以及在新媒体平台建立网络社区的种种尝试。汤姆 · 麦克多诺(Tom McDonough) 在《艺术论坛》(Art Forum)对这个展览的展评中分析了这类艺术实践的意义正是在于“将艺术创作 的常规神秘性解开,使作品、艺术家和观众成为更大的批评体系的一部分,从而促使一种崭新的、无等级制度的社会关系的产生。另一方面,这类融合了新技术的艺术实践也证实了当下蓬勃发展的商品化经济。”

出生于 1980 年代末的艺术家叶甫纳是自青春期便开始享受网络科技红利的中国 Y 一代,这一代人与 上一代当代艺术家最大的不同在于,他们主动拥抱科技媒介和资本的快速变化,对网络共享的信息 资源更加敏感,获取信息的手段方式更多元。她和她的同辈艺术家,如关小、苗颖、林科,基于互 联网的日常实践与自身的生活状况是无差别的。他们通常生活在不同的程序窗口和网页中。对于他 们的创作而言,社交网络平台的社群效应,都消解了艺术依赖物理空间存在的必要性。网络空间的 开放性和 web 2.0 之后的民主性 / 用户自主性,在不同的层面上赋予了艺术展示、流通等以往必须进入画廊或美术馆空间才能获得的展示权利。同时,数字化平台更加快速、准确、 直接地将供需整合配对,满足了艺术创作过程中所寻求的交流互动,以及社会 介入的目的…

Full Text Download:Peep stream人间动物园-赵梦莎.pdf

美甲店之考古坑前身 Before the Nail Salon and Archaeological Remains

2017.12.9

美甲店之考古坑前身

文:张宇凌

“甲天下” 是艺术家叶甫纳长达两年的艺术计划:”指甲计划“中作品性最强的一场展示,其中包含了录像,雕塑和综合材料的绘画(叶甫纳将其定义为绘画)。录像作品的叙事企图非常模糊,很容易就被其一种故意造成的发廊视觉效果淹没,但其中的故事似乎是维系整个展览的一条线索:一群旅行者来到一个小镇,女主角打开了潘多拉之盒,发现了类似巨石阵的指甲阵,其中掩藏着一个跟远古的指甲女神相关的穿越时空的故事。这个故事的本质是一种关于未来的考古学。艺术家采用这个视角,改变了“指甲”这个概念的尺度。在考古发现中,残留之物,不论其现实尺度是以几百米论,还是以几毫米论,它成为文明或文化揭示之物,成为跨越时空隧道的入口,可能性是同样的,而且甚至微小之物常常比庞然大物更具可能性。也就是说,一片指甲跟一座宫殿所蕴含的信息量和开启时空的动能可能是相当的。

指甲计划从一开始,其中一项重要的任务就是从各种方向来探勘“指甲”的尺度。叶甫纳认为指甲是身体上最小的,最不稳定的 (随着生长周期而脱落再生) 可展示部分。而它却有是每个人类,甚至很多动物都具有的,是民主化和社会化可能性非常大的一块展示空间。这种空间符合她将艺术社会化和日常化的理念。所以她才发起了指甲计划,号召每个人来做他们自己指甲的策展人。艺术家,设计师和社会主义运动家威廉.莫里斯一直是叶甫纳隐秘的精神导师。当他着力于“艺术与工艺美术”运动,也是从最日常的角度来主张一种新社会生活。莫里斯的公司设计家具和纺织品,他自己最钟爱植物图样。精美的花花草草看似非常主妇和日常,但莫里斯的态度就是从厨房和饭厅开始,用美学改造人的生活。叶甫纳作为一个当代艺术家当然了解,这件事情是个乌托邦的梦想。乌托邦的意义从来不在于为人提供长治久安,而是一次次激起人们重构一个“乌有之乡”的欲望。从日常中提炼乌托邦,这就是指甲计划的悖论,也是创造力从中产生的水力循环…

Full Text Download:美甲店之考古坑前身.pdf

Nailhenge 甲天下

2017.12.9

Nailhenge: About Ye Funa’s Solo Exhibition

Fu Xiaodong

Since 2014, Ye Funa began to convene “Curated Nail” in the name of “exhibitionist”. In the past two years, she collected more than 150 artists’ deliveries and engaged in the creation. With the temporary and mutative nail as the carrier of art program and in the manner of the bodily natural growth to transform the everyday life, she attempted to criticize the traditional museum exhibition. Among the past two years, various art institutions of various city invited “Nail Plan”. As a result, 24 on-site activities was completed. The exhibition “Nailhenge: Ye funa’s solo Exhibition” at Space Station this time, which assembled a set of installations, paintings and literatures, is a large-scale summary of “Curated Nail”.

Nail polishing, or painting, is a self-beautification and decoration of the body; as a part of daily life of female, it is a mark of the artificial reforming of the natural extremities of the body. As the ancient practice of body aesthetics, then, how Ye convert it into a modern political shape of the right to life?

Nail decoration is one of the oldest customs of China. The earliest gold and silver nail-sheath that unearthed in the ruins of Zhou Dynasty is a symbol of wealth and power. They shown the classy lifestyle of the aristocratic women. As the old saying goes, “It was my own parents who created and endowed my body in the form of skin covered with hairs.” Having long hair and fingernail reflected the image of Confucian ideas. During the Warring States, there are kinds of incredible customs such as burial with nails, nail incineration for treatment and so on. As a part of the body’s metabolism, nails were attached to lovesick, avatars, spiritualism and other witchcraft meanings. “Compendium of Materia Medica” argued that nails are the end of soft tissue. Therefore, according the condition of nails, the doctor can diagnose disease of Qi-blood and liver-blood…

甲天下——关于叶甫纳个展

文/付晓东

从2014年开始,叶甫纳以“展示癖”的名义开始进行“指甲计划”的召集。在两年中,征集了150多位艺术家投递方案,参与创作。以暂时的、流动性的指甲作为艺术方案的载体,以随身携带的自然生长的方式改造日常生活,对传统美术馆的展览机制进行批判和实验。“指甲计划”在两年之中,被不同城市的艺术机构邀请,完成 24次现场活动。这次在空间站展出的“甲天下——叶甫纳个展”集合装置、绘画、文献,是规模庞大的“指甲计划”的总结展。涂指甲是女性的一种日常生活化的自我身体的美化与装饰,是自然身体延伸的末端之上进行人为改造的痕迹。做为古而有之的身体实践美学,叶甫纳如何将其转化为具有现代性的生命权利的政治塑造?

对于指甲的关注,是中国最古老的习俗之一。最早出土的周朝金银质的假指甲护套,是一种象征身份地位和权力财富的象征…

Full Text Download:Nailhenge-about Ye Funa’ s solo exhibition.pdf

Scene, make up, and a round of cards: the thing about Ye Funa and our village 造个景,画个妆,打打扑克:叶甫纳和我们村的那点事

2017.12.8

Scene, make up, and a round of cards: the thing about Ye Funa and our village

He Wenchao  Translator: Daniel HO

Ye Funa doesn’t actually know how to play “Feint of the Golden Flower” [a card game similar to “Three Card Brag”; the “golden flower” is a middling hand, hence the “feint”]. She doesn’t even know how many people are needed for this game. So this is the first thing to make clear to the ladies and gentlemen reading this (or the audience). The second thing you must know, ladies and gentlemen, is thatfolksinmyvillage,CimanVillage,don’tevenplay this. The game that rules the roost back in Ciman is actually “Farmers and Landlord” [“Dou Dizhu”, literally “Fight the Landlord”].

And so as a result, when Ye Funa announced the title of the exhibition, as a witness, a hanger on, a go-between, and a character in the drama, I can’t say I haven’t thought about advising her to change the name—but in the end I decided otherwise⋯. In all honest truth, “Fight the Landlord” sounds too intense and realistic—not merely for the folks in the village with that tiny “one and three-tenths of a mu” plot of land on their hands [roughly 1/6 of an acre; 0.0667 hectares, or 667 sqm]—but the entire peasant class in all of China had been “struggled” against, in full frenzy, as vestiges of “landlords” by the machinery of the state and the demons of capital. And then came news of the victory,

in hoodwinking sweet talk with both carrot and stick on hand, undertaking a highly effectively extermination of this class—beyond physically, but sometimes physically, too.
To this end, a dazzling or appetizing round of “Feint of the Golden Flower” is much less forthright or tragic, even a bit jolly and enjoyable. It could very well serve as a sacrificial offering for the spirit of this age of progress, or as a radiant “banner to summon souls”[zhaohunfan] for the“Chinese Dream” of our various dear gods and spirits—saving us the trouble of finding our ways when we awake from the dream. The above, and below, opinions about this exhibition “News from Nowhere” I hope I can express as a self- appointed“village representative”, rather than merely as a professional art critic once again piling on needless explanations about the work. When the latter part of me comes out bobbing my head all satisfied, I would ask my dear readers to forgive and forget, without exception.

A little more literarily, in this, I ought to be a “man with a blue scarf”. If Mr. Martin Gayford can write a book because he “modeled for Lucien Freud”, then my brothers from Ciman Village and I, as the “fish on the chopping block” for the artist Ye Funa (as the expression goes), we should at least have a go at coming out with some testimony…

造个景,画个妆,打打扑克:叶甫纳和我们村的那点事儿

何文朝

叶甫纳根本不会玩“炸金花”,她甚至不知道这扑克要几个人一块儿打,这是一件应该首先交代读者(观众)诸君知道的事情;其次,诸君也有必要知道,我茨满村的兄弟姐妹们也基本不玩这个,统治茨满村的牌戏,其实是“斗地主”。

也因此,当叶甫纳宣布这一个展名字的时候,作为她整个创作过程的见证者、帮闲、联络员,以及作品的剧中人,我不是没有想过建议她换个名,但最后还是决定按下不表……

说实话,“斗地主”三个字太刺激且写实,不特是茨满村那些个手上还有那么一亩三分地的乡亲们,整个中国的农民阶级都已经在被国家机器和资本魑魅当作残余“地主”热火朝天地“斗”着,且到处传来它们胜利的消息,连哄带骗软硬兼施,对这个阶级卓有成效地进行着超肉体有时也连带着肉体的消灭。为此,一局金灿灿或一盘香喷喷的“炸金花”,没那么直白,不怎么惨烈,甚至还有点欢乐和喜感,是蛮可以作为祭品献在这个进步时代灵前的,也可为各位大神小鬼的中国梦做一面五彩缤纷的招魂幡,省得梦醒时分大家找不着路回来。

以上,以及以下,关于“炸金花”这一个展的所有言论,我希望自己都能以“村代表”自任然后出之,而不仅仅是一个职业艺评人又一次叠床架屋的作品阐释,凡有后者出来摇头晃脑之处,还请诸君一律自动删节。文艺一点说,在这,我应该是个“蓝围巾男人”(man with a Blue scarf)。如果马丁.盖福特可以因为“为卢西安.弗洛伊德做模特”而写一本书的话,作为艺术家叶甫纳刀俎下的鱼肉,我和我的茨满村那些弟兄们,至少是应该努力凑出一些证词的…

Full  Text Download:Scene, make up, and a round of cards He Wenchao.pdf

 

Lucy – Ye Funa 露西-叶甫纳

2017.12.7

Chao Jiaxing
The model for “getting into the act”: “playing” the White Madame, Su Danji, Sally Yeh, Frida Kahlo…

Presumably, most girls of the same age will think of a whole series of related names. Ye Funa’s ability to “get into the act” stems, to a certain extent, from her “impoverished memories.” Such shared memories have brought together the lives of urban single daughters born around the year 1985.

The best explanation of the impression of these “impoverished memories” is as follows: in those days, we had clear memories of every spokesperson for popular culture, as there really were so few…

露西-叶甫纳

巢佳幸

入戏的砝码:扮演白娘子 苏妲己 叶倩文福瑞达……

想必,同时期出生的小囡会回想起一连串名词来。叶甫纳的“入戏”能力多少来自童年的那些贫乏记忆,如此共通的记忆样本化地采集了85年左右出生的一代数目可观的城市独生子女生活。

对“记忆贫乏”的印象最好的解释是:那个年岁中,我们对每一部流行娱乐文化的代言人有相当明确的记忆标识,真可谓历历可数…

Full Text Download:Lucy by Chao Jiaxing 露西 巢佳幸

A Youth Curious about History 历史中的问题青年

2017.12.7

A Youth Curious about History

Guo Xiaoyan

What we called history or memory, for us individuals, seems to hold two meanings: the first is finding a way for understanding our personal identity from our “past”: the second is to make use of the “past” to help us understand better the reality to which we is confronted. If we push the former to its extremity, it might develop into a notion of destiny and lead us to make history our burden; if we do the same for the latter, then history might on the other hand become a possible tool to help us change the world.

Ye Funa’s works leads us into history. When we are confronted to changes in someone’s life, what wesee is a limit, a border: a person’s “history” seems to come back eventually to its starting point and the spiritual link between predecessors and successors is the historical one. Young artist Ye Funa begins by an introspection into the meaning of herself as a “political destiny”, starting from the observation of her family members and from their historical “overlapping layers”. She inserts the image of herself as a character among the historical photographs, turning time into fiction through the blurring of their outlines and the mixing of their contents – and “me”, “rehearsing” or “escaping” among this series of historical photographs, I am cruising without a starting point or a final destination. Then again, what is the meaning of experience or historical narrative for “me”? If our life did not precede some other people’s lives, and vice-versa, why should we try to get closer to history, why should we crave for it? Ye Funa’s intention is not to “hook up” people and history in a picture from an expanded epistemological point of view, nor does she want to be emotional or to bear witness to anything, but rather she’s trying to excite the prejudices of the viewers towards the identity she defined for herself, and to project it back onto the viewers: her replacement of the images in an historical context questions the limits of “me”, while at the same time deliberately creating a burst seam of an involuntary and silent laugh, turning it into a “machine for thinking.”

历史中的问题青年

郭晓彦

所谓历史和记忆对于我们个人,似乎都有两种意义:第一,是想办法由“过去”找到自己对于自我的身份体认:第二,籍着“过去”来帮助我们更好的理解所处现实。如果前者运用到极致,可能发展成为命定的想法而把历史当作自己的负担;后者如若运用到极致,则将历史当作改变世界的可能帮助。

在叶甫纳的作品中,引入了历史时间。当我们面对一个人的生命变迁,我们就看到了一种限界:一个人的“历史”似乎总要重新回到起点,前人后人之间的精神传承是历史的联系。年轻艺术家叶甫纳正是从对家族成员的观察,从这个历史的“叠合”处开始省察个体作为“政治生命”的意义的。她将自己扮演的形象置入到历史照片人物历史中去,通过重新把他们的轮廓变得模糊不清而混淆并虚构出时间————在这组照片历史的“排演”中“逃逸”的“我”也就游弋在既无起点,亦无终端的时间中。那么,经验或者说历史对于“我”会意味着什么?如果我们的生命并不先于别人,别人也不先于我们,那我们为什么要使自己去接近历史,渴望沟通历史?叶甫纳并非是想以扩大认识论的角度“勾画”人物及历史,也不是抒情和见证,而是调动起观看者对于她在其中所设定的身份的偏见,并将此反射给观者自身,她置换了历史场景后后的图像质问了“我”的界限,又将一种刻意性哑然失笑的破绽构造出来,使其成一种“思考的装置”。

Full Text Download:A youth curious about history 历史中的问题青年

 

因为古⼈人所以在下,因为在下所以古⼈

2015.12.9

文:李彦墨

“文化是人们在回顾历史中尊敬、观察、并同时与之斗争的东西。”

解读叶甫纳的作品我个人认为大致有两条线索,一是通过“历史-个人-当下”的内在联系去试图理 清表象与根源之间错综复杂的秩序与规律,二是探讨相对应的“主流”和“边缘”。而这两者可 以说都源于艺术家自身面对不同境况时的同一困惑——“这是怎么形成的?我是怎么形成的? 我们 是怎么形成的?”

《民族画报》系列作品的产生跟艺术家本人的出生地(云南)有着一定的关系,但更加值得注意 的则是《民族画报》封面体现出的深受意识形态影响的模式化审美。《民族画报》初刊于1955年, 是一本官方形式的画报,作为当时颇受大众喜爱的主流国家宣传刊物,其主旨一方面是强调民族 团结的主流的价值观,另一方面是把少数民族的作为主流观念下的审美对象。其封面内容可以大 致分为几个类型:体现劳作场景,军民一家,学毛选,以及领袖的会面和英雄人物等。封面可以 明显看出具有意识形态元素掺杂的以健康为美的审美倾向的变化。艺术家在考察的过程中发现民 族画报的审美模式和价值观念充满时代感,政治变迁和英雄与事件的更替…

Full Text Download: 因为古人所以在下 李彦墨.pdf