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“麸子的时间”麸子个展

  • 展览海报
  • 《G4》 麸子 102x62.1cm 2016年 宝丽来综合材料 Polaroid Mixed Media
  • 《G6》 麸子 55.6x32.4cm 2016年 宝丽来综合材料 Polaroid Mixed Media
  • 《G11》 麸子 85.2x42.4cm 2017年 宝丽来综合材料 Polaroid Mixed Media
  • 《G14》 麸子 106x46.4cm 2017年 宝丽来综合材料 Polaroid Mixed Media
  • 《G21》 麸子 81.2x30.7cm 2018年 宝丽来综合材料 Polaroid Mixed Media
  • 《NO.31》 麸子 40×40cm 2015年 宝丽来综合材料 Polaroid Mixed Media
  • 《NO.113》 麸子 40×40cm 2015年 宝丽来综合材料 Polaroid Mixed Media
  • 《NO.206》 麸子 40×40cm 2016年 宝丽来综合材料 Polaroid Mixed Media
  • 《NO.266》 麸子 40×40cm 2016年 宝丽来综合材料 Polaroid Mixed Media
  • 《NO.382》 麸子 40×40cm 2017年 宝丽来综合材料 Polaroid Mixed Media
展览时间:
2019-05-25 - 2019-07-28
展览城市:
北京 - 北京
展览机构:
本裕空间
展览地址:
北京市朝阳区第三使馆区东方东路22号外交公寓A区LA-04-02
策 展 人:
刘一平
参展人员:
麸子
展览备注:
出品人:伊彦宁 钱晓玫

展览介绍

麸子

麸子出生于1968年,只比我的妈妈小一岁,但是他不让我喊他叔。礼仪教条这种事,对我一个土生土长的山东人来说,可是自小耳提面命,不敢疏忽。于是,第一次见面,我就一直困在一个尴尬的氛围里,硬着头皮、磕磕巴巴地跟着朋友管他叫老大。再后来经过若干次的碰面长谈,我觉得,这种人,你怎么喊他叔?真的张不开口,张口了才是不敬。

第一次看到麸子的作品,是在一年前的夏天,麸子的对门邻居冯先生是我的多年好友,听到我说在找作品,就直接把麸子的作品集打包发了过来。看到作品后的第一印象是很大气,沧海桑田不见芸芸众生,是我很喜欢的风格。再仔细看了一下,尺幅也很大气,基本都是两平米以上。当时对这位冯先生口中的大哥就留下了印象。再后来接到冯先生的电话询问有没有兴趣做他的策展人,我几乎是立刻就答应了。第二天,我就去到了麸子的工作室,然后发现,事情和我想象的完全不一样。在一番简单且客套的了解后,麸子在我面前摊开了十几张宝丽来相片,旁边还有几百张整整齐齐地码在盒子里。他说,这是他这次想要展出的作品。

在我以往的文章中,我是很喜欢通过写人来讲作品的,做的人,看的人,不同的思维气场构建了一个什么样的展览。但是这一次对我来说真的有些难度,因为这一次的展览,包括展览中的所有作品,都是麸子在他几十年的创作生涯中独一无二的一件事。这件事几乎是可以从他的创作脉络中单拎出来的,但是又因为这件事情太“麸子”了,根本动不得。

那天下午,他拿出来了近千张宝丽来相片,他说,这是他这次想要展出的作品。那是和他以往常见创作完全无关的一个系列,唯一的关联可能是创作者都是他。每一张宝丽来的尺寸是8.8cmx10.7cm,成像尺寸是7.9cmx7.9cm。就在这巴掌大的相片里面是一张张的画作。这些宝丽来相片有些是他拍摄过的影像,有些是他收集来的抛弃物,他结合了相片上原有的内容进行了二次创作。他详细地跟我讲述了他是如何开始接触宝丽来、如何开始尝试在宝丽来相片上创作、如何一发不可收拾的过程。

一个创作者在无意识开启一个实验性创作系列的时候,他的思维模式和创作形式往往是单一直线进行的,尤其是这种近千张并耗时五年的作品系列,我们无法自圆其说地给它套上一层学术含义或理论定义。它的起源就是一张废掉的宝丽来相片,它的延续也是无数张废掉的宝丽来,一千张不是结束,这个事件的终点也未知,所以我们无法确切地说明它到底讲述了什么代表了什么。但是一个耗时五年的艺术创作系列呈现出来,并不是放在展厅里给大家看风景的,我们更能看到艺术家本人。当然透过很多不是精心谋划的作品都可以感受到艺术家画像,而这批作品的区别在于,它太细节了,细节到像是一本日记。所以最初的无意识往往到后面也会形成一个庞大的体系,当你把它们都放在一起的时候,无意识里面的引导意识也就昭然若揭了。

我大概花了三个白天把这近千张作品梳理归类,以色彩和叙事性进行基础组合排序,最终选出了将近300张参与这次展览。在我做这些事情的时候,心底有一个词不停地在跳跃,这个词就是时间。每一张宝丽来相片拍摄于一个时间,麸子创作它们于第二个时间,麸子创作后呈现于第三个时间。第一个时间的主角是原片里面的内容,男男女女花草树木。第二个时间的主角是麸子,他当时的状态见闻和喜悲配合着原片内容的引导加以覆盖。第三个时间的主角是空间,也就是这次展览。

我把空间分割成了11个部分,有大到百十平干净敞亮的大屋子,有不到两平米幽暗的洗手间拐角。麸子的作品有着非常明显的时间指向,在不同时期有非常接近的视觉感受。有些时期是幽黄晦涩的花草小景,有些时期是清淡浅白的蜿蜒河山,更有一批宋代水墨风格昭然于上。所以我想尝试着根据这些不同的分类制造出不同的时间氛围,然后把这些作品,归还于时空。但是究竟是归还于我制造的时空还是观者心中的时空,抑或是我们心中想象的麸子的时空,这是不得而知也无须得知的。就像你偶然得到的一本日记,翻开某一页,与你无关,却可能写了一个你也经历过的故事。

而之于麸子,就像开头说过的,他洞悉一切规则常理,因此才无意于按部就班。我们知道很多规则作为形式是基于完成意义,但是有些没有意义的规则,不要也罢。所以这个系列作品和这个展览,对他来说是一个独一无二的事件。他会继续他以往的主要创作,也会将这个系列无限延续下去。就好像在年龄上他永远是我的长辈,但是他永远都不会让我喊他叔一样。我觉得,这真的是一件很有意思的事情。

刘一平

生于1989年,独立策展人。

Fuzi

Born in 1968, Fuzi was only one year younger than my mother, but he never allowed me to call him "uncle". For me, a native of Shandong, the etiquette has been taught to me since my childhood and would never be neglected. So, when we first met, I was stuck in an awkward situation, trying hard and stuttering to address him "boss" like other friends. After several meetings, I felt restrained to call him uncle. For someone like him, it’s disrespectful to call him that.

It was in last summer when I first saw his works. At that time, I was looking for art works. Fuzi’s neighbor Mr. Feng is my old friend. He packaged the collection of Fuzi’s works and sent it to me when he heard of that. His works impressed me at the first sight with its splendid drawing style. I appreciate his philosophy of drawing the dramatic world but not any ordinary figure. On the second look, the scale of the works is also vast, basically more than two square meters of each one. Since then, this "brother" called by Mr. Feng left an impression in my mind. So when I received a phone call from Mr. Feng to ask if I was interested in being Fuzi’s curator, I agreed at once. The next day, I went to Fuzi’s studio and found that things were totally different from what I imagined. After some simple greetings and introductions, he laid more than ten Polaroid photos in front of me and other hundreds of photos were placed neatly in the box beside. He said that these are the works he wanted to exhibit this time.

In my previous articles, I really liked to present the work by writing about the creator and the audience, as well as their distinct angle to view the exhibition. But this time, it was really difficult for me, because this exhibition, including all the works in the exhibition, is a unique to Fuzi during his decades of creating. This event can be even separated from his creating career. But meanwhile, these works are just too "Fuzi" to be altered.

That afternoon, he took out nearly a thousand Polaroid photos. He said those are the works he wants to exhibit this time. It is a series that has nothing to do with his usual creations. The only connection may be that he is the creator. Each Polaroid size is 10.7cmx8.8cm and the imaging size is 7.9cmx7.9 cm. Each hand-sized photo contains a piece of painting. Some of these Polaroid photos are photographed by him and some are collected by him. He conducted re-creation based on the original content of the photos. He told me in detail how he started to contact Polaroid, then started to try to create on Polaroid photos, and finally got obsessed.

Usually when an artist unconsciously starts an experimental art series, his mode of thinking and creating are often single and linear. Especially for this kind of art series which contains nearly a thousand photos and costs four years, we cannot define it academically or theoretically. Its origin is one wasted Polaroid photo, and its continuation is countless ones. One thousand is not the end and the end of this creation is unknown. We cannot tell exactly what it expresses and represents. The demonstration of a five-year series of artistic creations in the exhibition hall presents not only the works but also the artist himself. Of course, many works that are not ingeniously curated can also portrait their creating artists. The difference between these works and Fuzi’s Polaroid works is that they are too detailed, like a diary. Therefore, the initial unconscious creation often forms a huge system when it develops later. When you put them all together, the guiding consciousness of the unconscious creations is obvious.

I spent about three days sorting out the nearly a thousand works. Arranged based on color and narrative, about 300 pieces were selected to be exhibited. When I did this job, there is a word keeping popping up in my heart. The word is time. There is the first time period when each Polaroid photo was taken, the second time period when it was re-created by Fuzi and the third time period when it was exhibited. The protagonist of the first time period is the content of the original photos, men and women, flowers and tree. The protagonist of the second time period is Fuzi, whose re-creation combined his thinking and emotions at that time with the content of the original photos. The protagonist of the third time period is the space or in other words, the exhibition.

I divided the space into 11 parts, with large and clean rooms over one hundred square meters, as well as small and dark bathroom in the corner less than two square meters. The works of Fuzi has an obvious indication of time while his works in different periods have similar visual perception. In some periods, it is a small scene of yellow and obscure flowers and plants and some other periods he tended to draw light-colored wandering rivers and mountains. Even there are a number of works in ink painting style of the Song Dynasty. So I try to create different time atmosphere based on those different categories to represent the time and space of them. But whether the time and space represented are my understanding, or what’s in the viewers’ heart, or just that of Fuzi that we imagined in our minds, we don’t know the answer and we needn’t. Just like a diary you accidentally got, a randomly flipped page may have nothing to do with you, or may have a story that you have experienced.

For Fuzi, as said at the beginning, he has perceived any one the rules and had no intention to follow all. It is known that many rules and forms are based on the meaning of completion. But there are also some rules of no meaning which can be left behind. So, the work series and this exhibition are unique to Fuzi. He will continue his past art creations and meanwhile expand the Polaroid Series indefinitely. It’s like that he is always my elder in terms of age, but he will never let me call him uncle. That’s quite interesting.

Liu Yiping

Born in 1989. Independent Curator.

展开阅读

(责任编辑:杨红柳)

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