Review in ArtAsiaPacific
On the evening of June 19, a small crowd squeezed onto the wooden benches that had been set up in the cool concrete bunker of Istanbul’s Bilsart. We had gathered to watch Psychic Bibliophiles (2017), a performance by Tuna Erdem and Seda Ergul of the Istanbul Queer Art Collective, presented by Collective Çukurcuma as part of the show “Flow Out.”

Comprising the same gestures, delivered with the spirit of a friends-and-family gathering, or an after-hours student-teacher meeting, the inaugural rendition of Psychic Bibliophiles in Istanbul was special, as many in attendance were former students or proteges of Erdem and Ergul. The pair were unable to appear in person, but by presenting the work virtually, via a livestreamed projection, they were in pitch-perfect dialogue with the complementary project included in “Flow Out,” a video by Beijing-based artist Ye Funa, titled Flying Dance (2017).

Ye’s 30-minute video collage is from her Self-fiction series (2017– ), in which she probes the constructs of identities by roleplaying various characters. During a remote talk on May 29, also hosted at Bilsart, Ye spoke about her inspiration behind the group of works. “I reacted to the stories that I see on TV. This work is about women’s stories. Those women are controversial in China. They all have a dramatic life and tragic stories,” she said. “I’m always using myself as a character to research the life of real characters.”

YE FUNA, Flying Dance, 2017, still from video: 32 min 41 sec. Courtesy the artist.
YE FUNAFlying Dance, 2017, still from video: 32 min 41 sec. Courtesy the artist.

For Flying Dance in particular, Ye plays a penniless Chinese immigrant student in Germany, whose name is Dong Mei. She presents herself as Fly to a German man called Old Jerk, who she meets at McDonalds. Old Jerk falls in love with Dong, who subsequently blackmails him with her false pregnancy. Interwoven with this storyline are scenes of Dong hanging out with a group of men as her wispy-bearded alter-ego known as Josh. Flying Dance was adapted from one of the first examples of online, Chinese-language fiction, The First Intimate Contact (1999), a love story by Taiwanese writer Tsai Jhi-heng. Ye interwove the aesthetics of early internet chatrooms and dating sites with recordings of Sims games and her original videography, underscoring the virtual, projected facets of what constitutes identity.

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




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




“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


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…



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?


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


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…






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


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…



入戏的砝码:扮演白娘子 苏妲己 叶倩文福瑞达……



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


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.”





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






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