動態和記錄

九 2018

视觉系还是概念性？专访郝经芳&王令杰 (上)

视觉系还是概念性？—— 专访郝经芳 & 王令杰 (上)

EXCLUSIVE INTERVIEW OF DUO ARTISTS JINGFANG HAO & LINGJIE WANG (part I)

若你近期跨入唐妮诗画廊上海空间，定会被艺术家组合郝经芳 & 王令杰（下为郝 & 王）为画廊群展“微光”所创作的全新装置«彩虹，云梦泽»所吸引。近日，画廊也与艺术家就这件取得热议的作品展开对话，深入了解这对艺术家组合的创作经历。

If you recently visited Danysz gallery – Shanghai, you will be attracted by Jingfang Hao & Lingjie Wang’s newest installation Rainbow, Yun-Meng Lakes, created for the group show MINIMAL LIGHT. The gallery had a dialogue with the couple about this piece which were ardently discussed. Let’s know more about their career.

Meng YU – Danysz gallery

我们看到你们最初的彩虹系列作品是从简单矩形开始，去年开始延伸到复杂的湖海轮廓，是什么契机让你们想将彩虹投射于河海湖泊中呢？

We saw your original artworks about rainbow series, starting with a simple rectangle and going to the complex outline of the lake and sea from last year. What is the opportunity for you to project the rainbow into the rivers and lakes?

郝 & 王 HAO & WANG

源于水。空气中的小水滴，散在空中是云，凝结滴下来是雨雪，落在地上形成江河湖海。而彩虹正是在空气中尚还有雨滴的时候，阳光照射在空气中无数小水滴上形成的。

我们所选择的河海湖泊，皆是曾经在历史上真实存在过，惠及一方，却由于气候变迁，很遗憾都已经消失了的。

From water. The small water droplets scattered in the air are clouds, and the condensation drops into rain and snow, falling on the ground to form rivers and lakes. The conformation of rainbow is just when there are still raindrops in the air, and the sun shines on the numerous water droplets.
The rivers and lakes that we have chosen, all existed in history and benefited one side, but they have disappeared because of the climate change.

Fiona Chen – Danysz gallery

这次展览为何会选择呈现云梦泽呢？在云梦泽中重现彩虹有什么特殊意义吗？

Why did the exhibition choose to present Yun-Meng Lakes? Is there any special significance in recreating rainbow in Yun-Meng Lakes?

郝 & 王 HAO & WANG

所谓云梦泽就是“气蒸云梦泽”的云梦泽。这两个湖泊，大的叫做云泽，小的为梦泽。云梦地区是古时楚王的狩猎区，包括山区，平原，湖泊等。其中的湖泊地区被称为云梦泽。由于位处汉水和长江的交汇地带，土壤肥沃，孕育了宝贵的楚地文化。而随着时间的推移，云梦泽早已彻底消失，只借助着孟浩然、贾至他们的诗句，活在我们的记忆当中。

The so-called Yun-Meng Lakes are referred from a poem “While vapours all over the Yun-Meng Lakes up roll, bores roar ahead to rock the Yue-Yang City Wall”. These two lakes, the big one is Yun Lake and the small one is Meng Lake. The Yun-Meng area is a hunting area for the ancient kings of Chu, including mountains, plains, and lakes. The lake area is called Yun-Meng Lakes. Because of the intersection of Hanshui and the Yangtze River, the soil is fertile and has nurtured a valuable culture of Chu. As time goes by, Yun-Meng Lakes have completely disappeared, and only with the help of Meng Haoran and Jia Zhi’s verses to live in our memory.

Meng

我们听说二位即将在另一个群展活动中呈现砂面彩虹，这对灯光和空间的掌握就又是新的挑战吧？这些装置在运输和现场布置中会遇到什么困难吗？

We have heard that you will soon present a sand-faced rainbow in another group exhibition. Is this a new challenge for lighting and space? What difficulties will you encounter in transportation and site layout?

郝 & 王 HAO & WANG

我们在九月下旬将会参加一个在川美美术馆，唐克扬老师策划的一个群展。在展览上会展出一个大的彩虹装置，彩虹将会被呈现在空间的下方平面上。作品将会在现场制作，我们曾经已经实现过一个类似的方案在里昂双年展上。这次展厅是一个挑战极高的空间，观众会有机会沿着展厅一侧的坡道拾级而上，而彩虹就在这个过程中逐步逐步呈现在观众的眼前。直到观众走上展厅的最高点，他将会看到一个完美的彩虹形状。

In late September, we will participate in a group exhibition planned by Mr. Tang Keyang at Museum of Sichuan Fine Arts Institute. A large rainbow installation will be displayed in the exhibition, and it will be presented on the lower plane of the space. The work will be produced on site, and we have already implemented a similar program at the Lyon Biennale last year. This exhibition hall is a very challenging space. The audience will have the opportunity to climb up the slope on the side of the exhibition hall, and the rainbow will gradually appear in front of the audience in the process. Until the audience walks to the highest point of the exhibition hall, he will see a perfect rainbow shape.

郝 & 王 HAO & WANG

好几年，我们就一直在研究光。处理光是一件非常棘手的事情，为此我们做了很多实验。由于光线中有许多颜色，彩虹很容易在我们的脑海中浮现。通过在不同的艺术环境和空间中呈现和诠释彩虹，我们试图了解如何在物理世界和人们心中获得彩虹的形式。在我们的中学物理课上，大多数人都已经被告知，彩虹是由太阳光通过空气中的微滴水折射和反射而形成的。然而，再现一个理论的证明恰恰与我们的意图相反。我们探索了另一种媒介的材料世界，它可以支持我们的这个开发彩虹的可能性的想法，例如，在里昂的展览中，我们使用了玻璃微球来改变视角，它相当于在沙子的表面呈现彩虹。

We have been working on light from several years ago. To work on light is very tricky, so we did lots of experimental things. As there are many colors in the light, rainbow emerges easily in our mind. By performing and interpreting rainbow in different artistic contexts and spaces, we made our approach to try to understand how rainbow get its form in physical world and also in people’s mind. Most of us have already been told during our middle school physical lessons, that rainbow is formed by the refraction and reflection of sun light through the micro drips of water in the air. However, reproducing a demonstration of the theory is just the opposite of our intention. We explored the world of materials for another medium which could support our ideas to develop the possibilities of rainbow and for example, during the exhibition in Lyon Biennial, we used glass microspheres to change the perspective, presented a rainbow on a quite surface of sand on the floor.

郝 & 王 HAO & WANG

就布展来说，光源需要从天花板上吊挂下来，精确到空间中一个具体的位置。这对现场配合会是一个挑战。

In terms of the process of arranging the exhibition, the light source needs to be hung from the ceiling to a specific location in the space. This will be a challenge for on-site coordination.

Fiona

二位的工程学背景让艺术作品更具内涵和观赏性，像这次展出的火烧云的灵感是从上海日落时分的云而来，可以给我们介绍一下云朵的具体建模和选择涂层颜色的过程吗？

The engineering background of you two makes the artworks more connotative and ornamental. The inspiration for this burning cloud is from the clouds at sunset in Shanghai. Can you tell us about the specific modeling of the cloud and the process of choosing the color of the coating?

郝 & 王 HAO & WANG
比如大家看到天上一朵云，心里想着真美，会去问这云是如何制作的么？我们其实并不介意透漏具体的制作方法，而且也没什么好隐瞒的。但是我们不想要观众的着重点偏离作品的本意。火烧云就是一朵美的，敏感的，娇羞的，可以随着环境变化的云。

For example, if you see a cloud in the sky you will think about it in your heart and will ask how this cloud is made? We don’t really care about leaking specific production methods, and there is nothing to hide. But we don’t want the audience’s focus to deviate from the original intention of the work. The burning cloud is just beautiful, sensitive, shy, it is the cloud that can change with the environment.

Meng

此次在上海展出的云和欧洲展出的有什么异同吗？

What are the similarities and differences between the clouds exhibited in Shanghai and in Europe?

郝 & 王 HAO & WANG

从形态和技术上说，基本相同。但是这次在上海展出的两件云作品，名字分别叫做《云, 19点01分》和《云, 19点28分》。这两个名字的来源和他们所展出的位置息息相关——一年中日照最长的一天——6月22日，在上海，太阳下山时接触到地平线的时间、和太阳完全没入地平线的时间。就这么短短不到半小时的时光里，天空呈现出最丰富的色彩。而云的色彩也是来源于此。同样，在欧洲展出的时候，就会根据欧洲展出地的时间来确定名字了。

In terms of form and technology, they are basically the same. But the two works exhibited in Shanghai this time are called A step to Sky, 19h01 and A step to Sky, 19h28. The origin of the two names is closely related to the position they are exhibiting – the longest day of the year – June 22 in Shanghai, when the sun goes down to the horizon, and when the sun is completely out of the horizon. In such a short time of less than half an hour, the sky is the most colorful. The color of the cloud is also derived from this. Similarly, when it is exhibited in Europe, the name will be determined based on the time of the place of exhibition in Europe.

微光
郝经芳 & 王令杰
马立华
宋兮
2018年9月1日–10月31日
唐妮诗画廊 – 上海黄浦区北京东路256号
周一至周六10 – 18点/周日12 – 18点

MINIMAL LIGHT

Hao Jingfang & Wang Lingjie
Ma Lihua
Song Xi
SEP. 1st – OCT. 31st, 2018
Danysz gallery, 256 Beijing East Road, Shanghai
Open from Monday to Saturday 10am-6pm / Sunday 12am – 6pm

郝经芳 & 王令杰（Jiangfang Hao & Lingjie Wang）

今时的阳光，必不是当日照在那片湖海上的阳光，而此时出现在作品上的彩虹，能否让我们回忆起曾经和我们息息相关，甚至可能是孕育了一方文明的湖海的生机勃勃？

The sunshine of the present day is not the sunshine that shined on the lake at that time. Can the rainbow appearing on the works right now remind us of the once-related relationship with us or maybe it is the vitality of the lake that gave birth to one civilization?

八 2018

微光

唐妮诗画廊-上海，将在今年秋天呈现四位中国当代艺术家的群展。群展的主题是“微光”，灵感来源于加拿大传奇诗人兼歌手莱昂纳德·科恩的诗歌作品《讼歌》。在这首诗里，他写道“万物皆有裂痕，那是光照进来的地方。”缝隙里的光总是那么微弱，但是它给万物带来希望。如此一来，光便成为了一种精神意识。

在«微光»这个展览中，我们能欣赏到郝经芳和王令杰《彩虹》系列的最新作品。他们将各种濒临干涸的湖泊形状放入作品中。当有光照射的时候，玻璃颗粒对光的折射和反射会给站在不同位置的观众带去不同的彩虹。

«微光»同时还将呈现宋兮的一系列概念艺术作品。他的影像作品《欢乐颂》记录了一个行为表演：在黑暗中，他用电蝇拍拍打飞舞的小飞虫。当飞虫们触碰到电蝇拍的一瞬间，就产生如烟火般美丽而又绚烂的火花。这不禁让我们想起泰戈尔诗集《流萤集》的一句诗词：“你微小，但你并不渺小”。单只萤火虫仅能发出一丝微弱的光芒。然而当它们汇聚起来，便会为世界闪耀、发光。

这次群展的另一个关键词是“极少的” ，它恰如其分地体现在马立华的艺术创作中。艺术家将白色和沙子这两种基本语言相结合，通过穿插的笔迹，从而组合出深层次的空间，近而形成节奏和情绪的表达。马立华通过一种适当的抽象形象来表达真正的精神世界。

六 2018

云图 / L’Atlas des Nuages

illustration-l-atlas-des-nuages_1-1527150983

The International Cloud Atlas, published in 1896, was compiled thanks to the research and classification work conducted by researchers like Jean-Baptiste Lamarck, Luke Howard and Ralph Abercrombie. It was the first publication to set out a nomenclature for clouds, using Latin names, which allowed all European meteorologists to work together. This was how names like Cumulus, Stratus and Nimbus were applied to the different types of clouds, bearing witness to the establishment and recognition of meteorology in the 19th century. The theme of clouds has been present in iconography since Antiquity and has been a major source of inspiration over the centuries, particularly in painting and photography.

Symbolic, poetic, threatening, divine… clouds have played a central role in artistic representation. In the 21st century, they continue to fascinate numerous artists, whilst environmental and political issues have also come into play. The Cloud Atlas takes an approach that is both playful and sensory, arousing the curiosity of a broad audience, as it takes us on a geographical, sociological and philosophical journey.

The project encompasses the work of over twenty international artists, with photographs, daguerreotypes, neon works, lightbulb installations, videos, fabric sculptures, drawings and more.

Anne Immelé’s cloud flags ask questions about borders, in the same way as Marco Godinho’s cloud stamps raise issues of migratory politics and the movement of people over the past decade. The cloud composed of 6,000 lightbulbs created by the collective of Caitlind Brown & Wayne Garett invites visitors to play with a tree of light. Pollution and smoke appear in the work of Christophe Urbain, whereas Hoang Duong Cam denounces the systems of Asia’s megacities. Berndnaut Smilde creates ephemeral clouds. And whilst Emilie Faïf sets hearts beating, they are pierced by Marion Baruch. Shilpa Gupta imprisons them or speaks to the sky. Julie Guillem and Jean Gabriel Lopez recreate their own cloud atlas using historic processes.

Artist list : Marion Baruch, Hicham Berrada, Olaf Brzeski, Caitlind Brown & Wayne Garrett, Rhona Byrne, Hoang Duong Cam, Julien Discrit, Arpaïs du Bois, Latifa Echakhch, Emilie Faïf, Marco Godinho, Julie Guillem, Shilpa Gupta, Anne Immelé, Hao Jinfang & Wang Lijie, Feng Li, Jean-Gabriel Lopez, Johan Parent, Berndnaut Smilde, Christophe Urbain, Bruno v. Roels, Sophie Zénon.

一 2018

La lumière n’existe pas / 光不存在

Après leur participation à la 14ème biennale de Lyon et au 62ème salon de Montrouge, Anne-Sarah Bénichou invite Jingfang Hao et Lingjie Wang pour une exposition personnelle à la galerie. Le duo d’artistes, qui vit à Mulhouse et travaille entre Paris et Shanghai, propose principalement des installations. Formés en tant qu’ingénieurs avant d’intégrer une école d’art en France et particulièrement sensibles aux changements indétectables dans la nature, qu’il s’agisse du soleil, des étoiles ou du passage du temps, Jingfang Hao et Lingjie Wang proposent une vision poétique de ces changements tout en les exposant à la vue de tous.

Pour l’exposition, plusieurs œuvres et installations qui constituent des temps forts dans leur travail ces dernières années seront produites, ré-activées ou présentées pour la première fois, avec pour angle principal la réflexion des artistes autour de la lumière. Intitulée « La lumière n’existe pas », elle fait référence à une citation de Francis Picabia : “Ce sont les mots qui existent, ce qui n’a pas de nom n’existe pas. Le mot lumière existe, la lumière n’existe pas.” Il s’agit ici d’interroger notre perception de la lumière, de la beauté et des illusions qu’elle peut créer.

十二 2017

Les faits du hasard / 偶然事件

无论是艺术、科学还是宗教，历史上一般将偶然视为敌人，因为在技艺、天赋和运算的面前，以及对于上帝和命运来说，偶然是不存在的。直到二十世纪，杜尚第一个以偶发性进行创作，海森堡发布了量子物理理论的启发性理论——不确定原理，上帝已死的时代，偶然的价值才越来越多地受到艺术家和科学家的重视。

此次展览是巴黎地区的第三届数码艺术双年展（Némo），作品整体以装置和影像为主，不一定以偶然为题，而是操纵算法巧合，让观者体验。比如被算法干扰的圣经文本，机器人根据环境数据进行绘画，让观众戴上VR进入另一个人的身体，如同濒死体验的灯光装置（如图）等等，请尽情去发现吧！

The international Biennial of digital arts of Île-de-France, heir of the Némo festival, will return to its nerve centre of the CENTQUATRE for its second edition (December 2017 – March 2018) on the occasion of its big thematic and transversal exhibition: Les Faits du hasard.

Like for the two previous exhibitions, the artistic direction is co-signed by Gilles Alvarez, director of the Biennial and the event coordination of Arcadi, and José-Manuel Gonçalvès, director of the CENTQUATRE. A token of continuity for a programme that will once again inscribe itself in the large artistic mechanism of chance, the accidental and serendipity that was opened two years ago by the exhibition Prosopopées : quand les objets prennent vie. “Before, chance in art was error”, declared Gilles Alvarez. “But ever since Marcel Duchamp and quantum mechanics, there is an intentional chance, a tool that is asking to be organised by an artistic gesture.”

In this new exploration of the relationship between Man and machine, where the technological process collides with an often capricious artistic equation, several installations will testify of the convoluted creative steps, going through a multiplicity of supports, such as Quentin Euverte’s Buzz Aldrin Syndrom, in which analog material, digital data, chemical processes and live cinema screenings participate in an unpredictable result, with the appearance of an exquisite corpse game. For José-Manuel Gonçalvès, the idea is to “build a contemporary art exhibition that draws from all forms of aesthetics, in digital technology, in the theatre of objects, and that plays with the variety of chance to show that the result of an artwork isn’t always replicable”. You can therefore expect surprises when you will project yourself into the body of another, using a headset (the body sway experience of The Machine to Be Another of the BeAnotherLab collective) or when you will observe the pixelated choreographies of augmented snails by Cyril Leclerc and Elizabeth Saint-Jalmes (Le Pixel lent).

The exhibition Les Faits du hasard will not however be settled as much in technological absurdity as Prosopopées. It will look for a more poetic and contemplative reading of our technological society through a digital filter. “Chance is the contrary of what we believe digital art is, as we think it brings us to total control, to perfection”, José-Manuel Gonçalvès sums up. “But maybe the greatest perfection is actually the things that are not completely perfect?”. Human, did you say human?

十二 2017

华宇青年奖

　　诞生于2012年的三亚艺术季，在过去六年的历练中，在展览规模和艺术水准上已具备相当的专业性，并在艺术界引起广泛讨论。

　　即将于2017年12月8日开幕的第六届三亚艺术季“共同风景”，汇集华宇青年奖入围艺术家群展、华宇青年奖五周年回顾展、华宇艺术论坛等活动，在延续以往公益性的同时，更加强调公共性与在地性，助力艺术走进人们的日常生活。

　　华宇青年奖于今年迎来了它的五周岁，本届艺术家提名名单也着眼于全球华人范围，汇集了来自北京、广州、台湾、香港、纽约、伦敦、柏林及洛杉矶等地的110位艺术家。华宇青年奖组委会邀请了活跃于当代艺术现场的54位艺术家、策展人及艺术写作者为提名嘉宾，鲍栋（独立策展人）、刘畑（独立策展人）、鲁明军（四川大学副教授、策展人、评论家）、彭禹（艺术家）及孙冬冬（独立策展人）为初评委员会成员。经过近三个月的资料收集与筹备，本届华宇青年奖初评委员会已于2017年9月23日完成初选评审工作，经过四轮评选与讨论，20位入围艺术家名单为：（排名按姓氏首字母序）

　　陈哲、邓国骞、冯晨、郝经芳&王令杰、黄炳、简策、蒋竹韵、李宝玖、李明、廖斐、刘月、史镇豪、唐潮、王博、王拓、徐家维、杨露子、郑源、致颖、朱昶全。

　　以上20位艺术家的创作形式包括且不限于绘画、装置、影像以及行为表演等，他们将携作品参与由孙冬冬任策展人的华宇青年奖入围艺术家群展。届时由评委会主席侯瀚如（古根海姆美术馆博物馆顾问策展人、评论家）、林天苗（艺术家）、凯伦·史密斯（OCAT西安馆执行馆长、评论家）、皮力（香港M+博物馆高级策展人）及张培力（艺术家）组成的终评委员会于现场召开闭门终评会议，最终甄选出两位获奖艺术家，在12月9日华宇青年奖颁奖现场授予“评委会大奖”和“评委会特别奖”。除现金奖励外，华宇青年奖将给与获奖艺术家在专业领域持续的支持，包括艺术家作品和项目的实施及展览，以及相关的策划、宣传和文献出版等。

　　关于华宇青年奖

　　华宇青年奖发起于2013年，是由华宇集团主办的公益性艺术奖项，专为在复杂的当代文化语境下不断实验和探索的青年艺术家而设，旨在持续性地呈现中国当代艺术的前沿面貌，展示新生代艺术家多维度的创作样态。华宇青年奖于2015年资助获奖艺术家胡为一实现了他在尤伦斯当代艺术中心的第一场美术馆个展“两点之间，没有直线”，同时也支持了艺术家吴超及其团队的“植物人视听唤醒项目”。