艺术头条 
雅昌拍卖图录 
麦勒画廊和光社影像中心荣幸地宣布我们将合作推出艺术家蔡东东(1978年生)的最新个展“脱靶”，展览将于北京光社影像中心举办。“基于现成照片的再创作”一直以来都是蔡东东的主要手法，他从视觉文化的角度把“摄影”带入了图像史或制图史的问题场域，讨论有关呈现的呈现、有关观看的权力等问题。本次展览将选取蔡东东近年来最具代表性的摄影和装置作品。在他的创作中，宏大的历史降维到个体的视角之中，故事的走向在举重若轻的破坏中被悄然改道，图像的意图在灵光乍现的错位中被有机重组，但令人会心的并不只是其作品中的机巧与幽默，更是其传递出的与几代人鲜活的生命史共振交融的感动。
展览入口处的作品《垂柳》(2022，手工银盐照片，水彩，47 x 50 cm（带框），6 版 + 2 AP，2/6版）巧妙地揭开了本次展览标题“脱靶”的序幕。在经年累月的照片实验中，蔡东东始终在践行一种“脱靶”的练习，一次次带领尘封的历史图像逃脱既定的指向关系，从封闭的叙事情节中解放自我，重新激发被折叠和压抑的潜能。
展览中的照片一部分来自他曾经拍过的照片，更多地淘自旧货市场，他从那里搜集到各种各样的旧照片和底片，将它们带回暗房重新洗印。通过对照片的各种破坏和解构以及再造，双手劳作在作品上留下了痕迹，也一并带入了人的温度与态度。
一层展览空间围绕着观看的主体与关系徐徐展开，镜面和照相机镜头的植入不仅是视觉的表层介入，更颠覆了单向的观看运动。展厅中的作品有的从顶部悬挂下来，有的被径直搁置于墙角，或随意倚靠于墙面。高低错落的展陈让原本严肃的对于历史的观看与回溯变得更具有趣味性。这些经由游戏的方式被进行慎重又巧妙的编排的照片或荒诞、或谐趣，但这些微妙的视觉元素不偏不倚、恰到好处地击中观者，并启发人们去反思，去质疑。
相比于一层展厅包罗万象的开放姿态，二楼展厅则显得更为安静与内敛。大型沉浸式摄影装置作品《一百年》（2020，银盐照片，铝门框，亚克力盒子，3x 210 x 150 x 65 cm）中的三道门上的门帘按年代划分，每帘悬挂着780张中国人的一寸肖像照，观众可以穿 过这三道门，来体验1910至2010年以来中国寻常百姓生活面貌的百年变迁。这是蔡东东从飘渺的照片海洋中打捞并用图像串连出的历史，并非官方叙事。无数个来自民间的、无名拍摄者的个体叙事组成了一幅真实、朴素的生活图景。装置作品《两道门》（2018，投影仪，木门，布帘，320 x 280 x 200 cm，3 版）则是关于两个时期、两种意识形态下女性的相貌变化。蔡东东从20万张相关照片中遴选出100张年龄相仿、五官相仿的肖像照，分别投影在现场《两道门》悬挂着的两个布帘上。第一道门是1910–1950年的中国女性照片，第二道门是1950–1980年中国女性的肖像，同时播放对比。不同年代的生动、质朴的生命史在此相遇，照片也因而得以异化为绘画、雕塑、装置，甚至一处剧场空间。
蔡东东的作品并未停留于对摄影本体的延展或对宏大叙事的解构，而是传达了更为深刻的个体生存论与时代动势之间的辩证思考。即此，“脱靶”并非目的，而是人们重访历史和自身的媒介与通道。
Galerie Urs Meile and Light Society are pleased to announce Miss the Target, the latest solo exhibition of Cai Dongdong (b. 1978), on view at Light Society’s location in Beijing. Cai Dongdong’s approach has always been “a reworking based on readymade photographs.” He introduces “photography” into the intricate, problematic field of image history or image-making history, attempting to complicate and discuss issues related to the essence of presentation and the power dynamic of viewing. This exhibition will include some of the most iconic photographs and installations from Cai Dongdong’s recent oeuvre. In his art, the grand narrative of history is demoted to an individualist perspective, the trajectory of the story quietly distorted by serial disruptions, and the intent of the image organically repurposed by displacements. The wit and humor in his works are not the only emotive qualities they possess, but the vivid spirit that aims to mingle with the complex history of generations.
The photograph Weeping Willows (2022, silver gelatin print, watercolor, 47 × 50 cm (framed), edition of 6 + 2 AP, 2/6) subtly addresses the title Miss the Target and unveils the exhibition. Throughout his years of photographic experiments, Cai Dongdong has always been insisting on a practice marked by “missing the target”, which led the derelict historical images in his works, time and again, to escape from their conventional narratives, liberating them from orthodoxies while reigniting the suppressed potential within these images.
Part of the photographs in the exhibition were taken by the artist, while most of it were from flea markets, where he collected all kinds of old photographs and negatives and redeveloped them later in the darkroom. By dismantling and deconstructing these photos through different process, the manual labor left traces on the works, bestowing them a sense of warmth.
The first floor of the exhibition space slowly unfolds around the subject and relationship of viewing. The incorporation of mirrors and camera lenses in his works acts not merely as a superficial visual intervention, but also as a subversion of the status quo one-way viewing movement. Some of the works are suspended directly from the ceiling, and some are placed in the corners or leaned against the walls nonchalantly. The strewn, indiscriminate display injects a whiff of whimsy into this otherwise examination and retracing of history. The photographs, carefully selected and arranged in a playful yet meticulous manner, appear absurd, but these subtle visual elements often manage to confront the audiences in the most unbiased way. They work to inspire reflections and raise questions on these subjects.
In comparison to the all-encompassing openness of the first floor, the second floor seems quiet and introspective. In the large-scale installation A Hundred Years (2020, silver gelatin print, aluminum door, acrylic, 3× 210 × 150 × 65 cm), each of the three doors hangs a curtain from different periods, which consists of 780 miscellaneous one-inch portraits of Chinese citizens, allowing the audiences to walk through three generations and experience the century-long turmoils and changes in the life of ordinary Chinese people from 1910 to 2010. This is a history that Cai Dongdong has salvaged and strung together from a sea of evanescent photographic images, defying the official narrative. The countless individual narratives sourced from unnamed photographers from all walks of life offer an authentic, sweeping diorama of life. While the other installation Two Doors (2018, projector, wooden door, cloth curtain, 320 × 280 × 200 cm, edition of 3, 1/3) ponders on the shift of appearance and aesthetic of two generations of women, living under two different ideologies. Cai Dongdong picked out 100 portraits of women of similar age and features from 200,000 photographs and projected them onto the curtains hanging in Two Doors: on one door hangs portraits of Chinese women from 1910–1950, while the other hangs portraits of Chinese women from 1950–1980, shown simultaneously for comparison. The work became a nexus histories of individuals from different eras to gather, with photography manipulated to blur the boundary of painting, sculpture, installation, or even theater space.
Cai Dongdong’s art does not stop at the goal of the expansion of photography itself or its deconstruction of grand narratives but propounds a profound dialectical contemplation on individual survivalism amidst turbulent upheavals. In this way, “missing the target” is never the objective, but a medium and bridge for audiences to revisit history and their selfhood.
展览入口处的作品《垂柳》(2022，手工银盐照片，水彩，47 x 50 cm（带框），6 版 + 2 AP，2/6版）巧妙地揭开了本次展览标题“脱靶”的序幕。在经年累月的照片实验中，蔡东东始终在践行一种“脱靶”的练习，一次次带领尘封的历史图像逃脱既定的指向关系，从封闭的叙事情节中解放自我，重新激发被折叠和压抑的潜能。
展览中的照片一部分来自他曾经拍过的照片，更多地淘自旧货市场，他从那里搜集到各种各样的旧照片和底片，将它们带回暗房重新洗印。通过对照片的各种破坏和解构以及再造，双手劳作在作品上留下了痕迹，也一并带入了人的温度与态度。
一层展览空间围绕着观看的主体与关系徐徐展开，镜面和照相机镜头的植入不仅是视觉的表层介入，更颠覆了单向的观看运动。展厅中的作品有的从顶部悬挂下来，有的被径直搁置于墙角，或随意倚靠于墙面。高低错落的展陈让原本严肃的对于历史的观看与回溯变得更具有趣味性。这些经由游戏的方式被进行慎重又巧妙的编排的照片或荒诞、或谐趣，但这些微妙的视觉元素不偏不倚、恰到好处地击中观者，并启发人们去反思，去质疑。
相比于一层展厅包罗万象的开放姿态，二楼展厅则显得更为安静与内敛。大型沉浸式摄影装置作品《一百年》（2020，银盐照片，铝门框，亚克力盒子，3x 210 x 150 x 65 cm）中的三道门上的门帘按年代划分，每帘悬挂着780张中国人的一寸肖像照，观众可以穿 过这三道门，来体验1910至2010年以来中国寻常百姓生活面貌的百年变迁。这是蔡东东从飘渺的照片海洋中打捞并用图像串连出的历史，并非官方叙事。无数个来自民间的、无名拍摄者的个体叙事组成了一幅真实、朴素的生活图景。装置作品《两道门》（2018，投影仪，木门，布帘，320 x 280 x 200 cm，3 版）则是关于两个时期、两种意识形态下女性的相貌变化。蔡东东从20万张相关照片中遴选出100张年龄相仿、五官相仿的肖像照，分别投影在现场《两道门》悬挂着的两个布帘上。第一道门是1910–1950年的中国女性照片，第二道门是1950–1980年中国女性的肖像，同时播放对比。不同年代的生动、质朴的生命史在此相遇，照片也因而得以异化为绘画、雕塑、装置，甚至一处剧场空间。
蔡东东的作品并未停留于对摄影本体的延展或对宏大叙事的解构，而是传达了更为深刻的个体生存论与时代动势之间的辩证思考。即此，“脱靶”并非目的，而是人们重访历史和自身的媒介与通道。
Galerie Urs Meile and Light Society are pleased to announce Miss the Target, the latest solo exhibition of Cai Dongdong (b. 1978), on view at Light Society’s location in Beijing. Cai Dongdong’s approach has always been “a reworking based on readymade photographs.” He introduces “photography” into the intricate, problematic field of image history or image-making history, attempting to complicate and discuss issues related to the essence of presentation and the power dynamic of viewing. This exhibition will include some of the most iconic photographs and installations from Cai Dongdong’s recent oeuvre. In his art, the grand narrative of history is demoted to an individualist perspective, the trajectory of the story quietly distorted by serial disruptions, and the intent of the image organically repurposed by displacements. The wit and humor in his works are not the only emotive qualities they possess, but the vivid spirit that aims to mingle with the complex history of generations.
The photograph Weeping Willows (2022, silver gelatin print, watercolor, 47 × 50 cm (framed), edition of 6 + 2 AP, 2/6) subtly addresses the title Miss the Target and unveils the exhibition. Throughout his years of photographic experiments, Cai Dongdong has always been insisting on a practice marked by “missing the target”, which led the derelict historical images in his works, time and again, to escape from their conventional narratives, liberating them from orthodoxies while reigniting the suppressed potential within these images.
Part of the photographs in the exhibition were taken by the artist, while most of it were from flea markets, where he collected all kinds of old photographs and negatives and redeveloped them later in the darkroom. By dismantling and deconstructing these photos through different process, the manual labor left traces on the works, bestowing them a sense of warmth.
The first floor of the exhibition space slowly unfolds around the subject and relationship of viewing. The incorporation of mirrors and camera lenses in his works acts not merely as a superficial visual intervention, but also as a subversion of the status quo one-way viewing movement. Some of the works are suspended directly from the ceiling, and some are placed in the corners or leaned against the walls nonchalantly. The strewn, indiscriminate display injects a whiff of whimsy into this otherwise examination and retracing of history. The photographs, carefully selected and arranged in a playful yet meticulous manner, appear absurd, but these subtle visual elements often manage to confront the audiences in the most unbiased way. They work to inspire reflections and raise questions on these subjects.
In comparison to the all-encompassing openness of the first floor, the second floor seems quiet and introspective. In the large-scale installation A Hundred Years (2020, silver gelatin print, aluminum door, acrylic, 3× 210 × 150 × 65 cm), each of the three doors hangs a curtain from different periods, which consists of 780 miscellaneous one-inch portraits of Chinese citizens, allowing the audiences to walk through three generations and experience the century-long turmoils and changes in the life of ordinary Chinese people from 1910 to 2010. This is a history that Cai Dongdong has salvaged and strung together from a sea of evanescent photographic images, defying the official narrative. The countless individual narratives sourced from unnamed photographers from all walks of life offer an authentic, sweeping diorama of life. While the other installation Two Doors (2018, projector, wooden door, cloth curtain, 320 × 280 × 200 cm, edition of 3, 1/3) ponders on the shift of appearance and aesthetic of two generations of women, living under two different ideologies. Cai Dongdong picked out 100 portraits of women of similar age and features from 200,000 photographs and projected them onto the curtains hanging in Two Doors: on one door hangs portraits of Chinese women from 1910–1950, while the other hangs portraits of Chinese women from 1950–1980, shown simultaneously for comparison. The work became a nexus histories of individuals from different eras to gather, with photography manipulated to blur the boundary of painting, sculpture, installation, or even theater space.
Cai Dongdong’s art does not stop at the goal of the expansion of photography itself or its deconstruction of grand narratives but propounds a profound dialectical contemplation on individual survivalism amidst turbulent upheavals. In this way, “missing the target” is never the objective, but a medium and bridge for audiences to revisit history and their selfhood.
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