亚生产——倪海峰个展

策展人：姚嘉善
开幕时间：2008年9月27日星期六下午4点
展览时间：2008年9月28日－11月
展览地点：卓越艺术，北京市朝阳区酒仙桥路4号798艺术D区
开放时间：周二至周日上午10点至下午6点
联系电话：010-5978 9788
电子邮箱：info@joyart-beijing.com
网    址：www.joyart-beijing.com
赞助：荷兰王国驻华大使馆

倪海峰的艺术实践起源于对回归、交换、语言和生产等文化系统的关注。他通过影像和装置的方式，探索同时发生的意义的产生和消偃，提醒人们注意常常映射出殖民主义和全球化建构模式的人、产品以及商品的循环运动。倪海峰以打破现状、对抗预先形成的艺术概念为目标，用艺术家的话表达是一种致力于达到“零度意义”的努力。在他的艺术实践中，处处渗透着某种潜在的政治批判因素，这与他对“无用性观念”的追求和以此抵消伴随消费主义与资本主义而生的“有效生产”的渴望是分不开的。
    
生产和制造成为倪海峰艺术实践中一再出现的主题。他在之前的作品中就已经将创作重心放在对材料生产和消费的关注上，如在荷兰城市代菲特实施的、涉及中荷瓷器贸易的项目《离境与抵达》（2005年）；指涉不断重复的再生产过程和原创性贫乏的《缩水10%》（2007年）；以及标识全球商品贸易标准化编码机制的装置项目《HS 0902.20, 0904.11 & 6911.10》。

《碎布的回归》是倪海峰2007年于荷兰莱顿市(Leiden)初展的一件作品。展览于莱顿市市立莱肯哈尔博物馆(the Stedelijk Museum De Lakenhal)举行，作品以商品和材料的循环运转为主题，“中国为西方生产”所带来的，留在中国的那些西方所不愿意要的哪些元素在作品中象征性地回归西方。作为“中国制造”现象的副产品，纺织品生产中产生的废弃碎布条由浙江海运至莱顿，与一块巨大的由碎布编织而成的挂件和记录工厂环境以及著名品牌的影像构成作品的基础。

此次《亚生产》于北京的展示中，倪海峰的兴趣在于同样受制于材料的生产模式，只不过此次的重点已经转向艺术生产中的社会性生产，后者是通过其劳动的凸显以及工人和个体的积极参与体现出来的。整个装置由一块巨大的由碎布编织成的挂件组成，悬挂在展览空间的对角线方向，整块布从天花板垂直垂下，带着轻柔的曲线延展在地面之上。布面在地板上延展一段距离，最终引申到一组缝纫机前。布面就靠在第一排缝纫机上，好像仍未完成一样。缝纫机上会有一些没有缝好的碎布条，背景是一个巨大的碎布条堆。
 
《亚生产》将焦点从贸易和全球化转移到生产的社会美学上，个体和工人因此被涵纳于指向生产与消费、创造性与无用性的过程中。通过工人的集体努力，成衣工厂的废弃碎布条被编织成一块巨大的挂布，展览场所也转变成一处生产的空间，提出的疑问并非是这种“表征”是如何显现出来的，而是什么东西正在被生产。在这样一种社会关系的语境中，“织”与“被织”的概念象征性地成为可视性和艺术生产的社会性元素。展览中还将展示一个声音装置，倪海峰试图在其中探索与发生在展览现场的美学生产密切相关的多重叙事。通过材料的可视性及声响语言，《碎布的回归》试图涵纳的是深刻的寂静和打破寂静、劳动的痕迹和消失，视觉的现时性和它的历史。


Para-Production: An Exhibition by Ni Haifeng

curator: Pauline J. Yao
Opening: 4pm, Saturday, September 27, 2008
Exhibition Dates: September 28 –November 2008
Venue: JoyArt, Zone D, 798 Art District, 4 Jiuxian Qiao Road, Chaoyang District, Beijing, China
Opening Hours: 10am – 6pm, Tuesday – Sunday
Tel: ＋86 10 59789788
Email: info@joyart-beijing.com
Website: www.joyart –beijing.com
Sponsor:Embassy of the Kingdom of the Netherlands


Ni Haifeng’s practice stems from an interest in cultural systems of return, exchange, language and production. Through photography, video and installations he explores the simultaneous creation and obliteration of meaning while drawing attention to the cyclical movements of people, products and goods that are often reflective of patterns of colonialism and globalization. Ni’s aims to subvert the status quo and counteract preconceived notions of art are, in the artist’s words, an effort towards reaching a ‘zero degree of meaning’. An underlying element of political critique permeates Ni’s practice, as defined through his engagement with the concept of uselessness and desire to offset ‘the production of the useful’ that accompanies consumerism and capitalism.

Aspects of manufacturing and production have formed recurring themes within Ni’s artistic practice. Previous projects have centered upon material production and consumption, from his Of the Departure and the Arrival (2005) project in Delft concerning the ceramic trade between China and the Netherlands; to Shrinkage 10% (2007) which references the repeated processes of reproduction and tenuousness towards originality; to the installation HS 0902.20, 0904.11 & 6911.10 (2007) that denotes the standardized coding systems for globally traded commodities.

Return of the Shreds is a work that Ni first exhibited in Leiden, the Netherlands in 2007.  In its presentation at the Stedelijk Museum De Lakenhal, the work centered on the cyclical movement of goods and materials and the symbolic return of unwanted elements resulting from production in China to the West. Shreds of discarded fabric—byproducts of the “Made in China” phenomenon—were shipped from Zhejiang to Leiden and formed the basis of the installation, along with a woven hanging and video component that documented the factory environment and name brands.

In Beijing Ni presents Para-Production, a large scale installation that references a mode of production mired in the material, with an emphasis that is shifted towards production of the social through its foregrounding of labor and the active participation of workers and individuals in the production of art. Piles of shreds, a gigantic piece of sewn cloth, and an array of sewing machines are positioned to create a workshop environment that is both collective and participatory.

By shifting trajectories from trade and globalism to the social aesthetics of making, Para-Production enmeshes individuals and workers in a process that references production and consumption, creativity and futility. As discarded scraps from clothing factories are woven into a giant tapestry through the collective effort of workers, the exhibition site is transformed into a place of production with the question being not one of how this ‘representation’ is manifested but of what is being produced. Here, in the context of social relations, the concepts of weaving and woven become symbolically tied to visibility and the social component of artistic production. Accompanying the main installation work will additional elements in which Ni explores a complex web of narratives that relate to the aesthetic production taking place in the site. Through a combination of the material visibility and verbal language, Para-Production is a work intended to contain both a profound silence and its interruption, the trace of labor and its disappearance, the presence of an image and its history.

About the artist
Ni Haifeng was born in Zhoushan, Zhejiang province in 1964. He currently lives in Amsterdam and works between Amsterdam and Beijing. A graduate of the Zhejiang Academy of Fine Arts (now China Academy of Art) in Hangzhou in 1986, Ni belongs to the early generation of experimental artists active in the mid 1980s in China. His work has been exhibited globally in solo and group exhibitions.

About the curator
Pauline J. Yao is an independent curator and writer based in Beijing and San Francisco. She worked previously as Assistant Curator of Chinese Art at the Asian Art Museum of San Francisco and as Senior Lecturer in the Graduate Program at California College of Arts, San Francisco. In 2006 she received a Fulbright Grant to research contemporary art in China and in 2007 was awarded inaugural CCAA (Contemporary Chinese Art Awards) Art Critic Award. Yao is also a co-founder of the alternative art space Arrow Factory in Beijing. She received her M.A. in East Asian Languages and Civilizations from the University of Chicago.

一进门就是堆积如山的深色裁缝边角料。靠墙是2排老式缝纫机。
整堆材料应该都被处理过的，没闻出什么异味。

里面臭哄哄的

在里面一个小房间，墙上密密麻麻的贴满了贸易码。
音箱发出轻微的声音。好像是剪刀发出的，但是不能确定。

这样的好展览太少了！ 顶！

有意思的，今年为艺术“缝纫年”VS“车间年”

[quote]引用第6楼guest于2008-9-28 23:44:10发表的:

有意思的，今年为艺术“缝纫年”VS“车间年”...[/quote]

不，垃圾年

跟哈密尔屯的好像

里面屋子的才是实质，外面的缝纫机和布料只是表现，或者说表象。
贸易码是国际通用hs码，就是把所有的可以贸易的物品进行编码的方式，比如包括动物类、人体毛发和器官等等的编码，采用HS编码检索，可以准确定位所要查找的商品。一切都是可贸易的。
那一页书页是马克思的著作，写着资本和市场的公式 云云。
布料来自北京郊区的成衣加工厂，有15吨布头。

艺术与工业废品结婚， 结果废品只是转移了地方， 实质没有改变， 可惜啊可惜。 事实上，倪海峰的作品往往是符号的堆积， 艺术的感性不足，理性太多， 显得僵化而虚张声势。 如果按楼上的说里面屋子的才是实质，外面的缝纫机和布料只是表现，或者说表象。 问题是，如果是商人当然了解商品贸易码， 这些商品贸易码在这里并没有实质性的艺术转换， 还是
贸易码， 象是工商业流程图例，对象是普通观众， 或艺术爱好者。
因此， 这是一个翻译没有成功的作品， 尽管野心很大， 作品做得很大。

这种货色说个屁啊，就俩字，我呸！

好展览顶

时下这类废品堆积展，实在太多。讨巧，可已滥了。