全球定位
I Do (Not) Want To Be Part Of Your Celebration

全球定位-海报横版

“I Do (Not) Want To Be Part Of Your Celebration” is curated by Miao Zijin, taking place at QIAO SPACE and TANK SHANGHAI Project Space from 29th Jun to 27th Aug. 2017.

《全球定位》展览由青年策展人缪子衿策展,将于2017年6月29日至8月27日,在乔空间及油罐艺术中心项目空间同时开幕。

It is problematic to identify an artist according to his or her age, gender, race or nationality. What the artists participating in this exhibition have in common is that they were born in China and studied abroad in USA, UK, France or Germany, which allows them to have global visions. Whether the artists chose to stay abroad, return to China, or to set up their studios in various places, they are present all over the world. Instead of regarding them as Chinese artists, they are artists from China who work in every possible locale. Therefore, the exhibition no longer deals with dual concepts such as global-local, western-eastern, but emphasizes the dynamics of each artist’s global position.

现在,我们很难通过年龄、性别、种族、国籍等特征定义艺术家的身份。参加本次展览的艺术家的共同点在于,他们都是出生在中国,艺术教育在国外。分别在美国、英国、法国和德国留学,成长与全球同步。不论艺术家毕业后选择留在国外、回国、或在两地保留工作室,他们总是随工作需求特别是自己参加的展览出现在世界各处。与其把他们当作中国艺术家,不如说他们是来自中国、活跃于全球的艺术家。因此,“全球定位”从一开始便不再提及全球-本土,西方-东方等二元对立概念,而是强调艺术家的时空定位始终处于动态。

The floating status dictates that we are likely to follow the artists via screen or the Internet. This allows the artists to often propose the unfamiliar. Liu Xinyi places an electronic temperature and humidity monitor next to each artwork included in the exhibition, in order to detect and compare the temperature and humidity changes surrounding the exhibits, while standing back as an observer. Similarly, Tant Zhong hides her artist’s hand in the invisible interactions between materials. Her recent experiment Shadow Sculpture (2017) shifts the focus from the sculptural to a plane, and reserves fragile contents about to disappear on a stable surface. Aspartime displays a stack of paintings that extract geometric shapes from online image banks, which dilutes the significance of each individual painting and simulates the everyday experience of selecting information from multiple websites opened simultaneously.

这种不断位移的状态决定了许多人将持续通过屏幕、网络了解他们。有趣的是,艺术家总能提出令熟悉自己过往创作的观众出乎意料的方案。刘辛夷在每件参展作品附近放一台电子温湿度监控仪以检测并比较作品周围的温湿度变化,让自己退到一个观察者的位置。相似地,钟云舒把她作为艺术家的控制力隐藏在材料间不可见的相互作用中。她近期的实验《影子的雕塑》(2017)将关注点从立体转向了平面,把容易消失的内容保留在一个固定的表面。阿斯巴甜从网络图库提取几何形状,并将一组绘画前后有所遮挡地展示,由此不再强调单张绘画的重要性,并模拟了我们同时打开大量网页浏览、筛选信息的日常状态。

Some artists apply personalized methods to construct their own identities. Liu Wa’s Selfie Series(2016-17)is inspired by the popular phenomena of taking selfies to share on social media. The artist adds cultural elements to photographic selfies, and explores the changing roles she plays within society. Pu Yingwei’s autobiography is integrated with his research on archival materials of a historical western figure: Marianne, which renders his own fictionalized identity both nomadic and public.

一部分艺术家倾向于用个人化的方法构建自己的身份。刘娃的《自拍系列》(2016-17)以当下社交媒体流行的自拍现象为基础,在艺术家的自拍照上叠加文化元素,从而不断寻找她在社会中的位置。蒲英玮撰写的自传融入了他就玛丽安娜这一西方历史形象进行的档案研究,令自己的虚构身份具有游牧性和公共性。

The limitations of being an artist will also be discussed in the exhibition. Yu Feifei’s As artists. We comment(2017)satirizes the fact that artists may make comments about anything and yet may not make any difference. Zhu Tian’s on-going performance Cling To A Curator(2015-)uses cling film to bind herself to curators she works with, and observes changing power relations between the artist and the curator. He Shaotong’s tutorial video How To Be A Successful Artist(2017)even lists six essential steps that lead an artist to success.

艺术家这一身份本身具有的有限性也将被探讨。于霏霏的《As artists. We comment》讽刺了一种现实,即艺术家似乎可以评论任何事,但他们的评论并不能改变什么。朱田从2015年开始的长期行为项目《抱紧策展人》用工业塑料薄膜把自己和她参与的所有展览的策展人捆绑在一起,从而持续观察艺术家和策展人之间权力关系的变化。何绍同的教学视频《How To Be A Successful Artist》(2017)甚至列出了艺术家走向成功的六个显而易见的步骤。谭天以足够直白的方式创作《容易理解的作品》,事实上是为了让他的作品不被固有的观看模式解读。

If globalization implies a tendency towards a homogeneous and integrated celebration, the idea of global position stands beside that tendency and traces each artist’s individualized thinking and practice. It also represents issues faced by the artists: being consumed by repetitive exhibition requirements or judged by rigid, pre-existing criteria. When the artists attempt to criticize or solve something, they somehow celebrate the very existence of those issues whilst also generating further problems.

如果说全球化是一种同质的、一体化的庆祝,全球定位或许是在这种庆祝之外追踪流动中的艺术家所进行的个性化思考和实践。庆祝也可以代表艺术家要面对的各种具体问题,比如,反复被模式化的展览邀约消费,被现有的标准评判。艺术家试图批判、解决这些问题的同时,或多或少在庆祝这些问题的存在,并促使新的问题产生。

TANK SHANGHAI is designed by OPEN. “I Do (Not) Want To Be Part Of Your Celebration” is co-hosted by Shanghai West Bund Group and QIAO SPACE.

油罐艺术中心由OPEN建筑事务所负责设计。《全球定位》展览由上海西岸集团与乔空间联合主办。

Participating Artists: Aspartime, He Shaotong, Liu Wa, Liu Xinyi, Pu Yingwei, Tan Tian, Yu Feifei, Tant Zhong, and Zhu Tian.

参展艺术家:阿斯巴甜、何绍同、刘娃、刘辛夷、蒲英玮、谭天、于霏霏、钟云舒、朱田。

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