XYZ

谢墨凛个展 | Xie Molin Solo Exhibition

展览指导：孙冬冬 | Exhibition Director :Sun Dongdong

开幕式 | Opening：16:00 April 23.2011.

展览日期 | Exhibiting Time：2011.4.23 -2011.6.20

地点 | Venue：空间站Space Station




XYZ

文：孙冬冬

谢墨凛的自动绘画机与它制作的“视觉之物”之间是何种关系，或者说，这种关系应该在何种范畴之下进行表述才更为精确——这些来自外界的疑问暂时都被艺术家本人搁置在了一旁，因为对于谢墨凛来说，这些都是在他制造并开始使用机器以后的追问，而在这之前，如何制造出一台他设想中的机器才是他关注的全部问题。

在这个问题尚未成为问题的时候，谢墨凛的艺术实践同许多学艺青年一样，与个人的求学生涯交互在一起。无论是在国内的中央美术学院，还是在英国爱丁堡留学期间，谢墨凛的平面作品都有着强调艺术自律性的形式特征，从中既能看到他对于媒介材料的物质性所抱有的浓厚兴趣，也能发现一条他关于秩序感以及由此衍生出的视觉可能性的实践轨迹。虽然，无可否认这些作品多少携带着一股课堂作业般的气息和正趋流行的学院新做派，但对于谢墨凛现在的实践来说，一个稍长的前导过程业已澄清了他在语言形式上的美学态度，并且在英国留学期间，他切身体验到艺术与自然学科跨界交流所带来的启发，而这正是谢墨凛不止一次提到的制造自动绘画机器的原动力。

谢墨凛的自动绘画机器的灵感来自于他所使用过的刻字机。刻字机是目前广告装饰业中极为常见的一种输出设备。用户首先通过安装在电脑中和刻字机匹配的图文编辑处理软件，输入所需的文字，并且设置好所需要的字体和字号，或者制作好所需要的矢量图形。在完成所需的刻制内容设计之后，用户通过电脑向刻字机发出指令，最为常见的刻制对像是即时贴。而艺术家一般使用刻字机是为了与平涂或喷绘技术相结合，以求在平面上获得一种极致的超平、硬边等视觉效果。谢墨凛当然不是第一个使用刻字机的艺术家，但他想到去改造它，这不是什么苹果落在头顶的灵光乍现，相反的它恰能对应着深埋在艺术史中有关媒介工具偶尔提及又时常忽略的伏笔——媒介技术的推进对于视觉艺术的影响。

虽然，刻字机与自动绘画机器的工作原理相近，同属于XYZ三轴联动电脑输出设备，但完成从前者向后者的转化，谢墨凛却花费了三年的时间，其困难在于一方面受限于谢墨凛自身的经济状况，另一方面则是国内的艺术与科技之间的合作缺少有效的途径，借用谢墨凛自己的说法，他制造自动绘画机器的过程显得很“山寨”。“山寨”在谢墨凛这里并不指向某种美学上的修辞，而是在暴露出他的先天不足，不仅是在形容局促的客观条件，也是在表述他在初始阶段持有的那种非科学式的思考模式，这也就决定了谢墨凛不得不阶段性的去实现他设想中的自动绘画机。目前这台最新的机器属于第二代，相比于前一代，它从直观上已经非常接近现代工业机床，其实质性的突破表现在它可以自动制作弧线、塑造多样的空间关系以及拥有令人接受的工艺精度。但第二代机器仍是一台“半自动”机器，比如它并未安装自动的颜料出料控制系统，所以，颜料摆放在画布上的步骤还必须通过手工作业来完成。

第二代机器的完成使得谢墨凛对于自动绘画机的制造工作暂时告一段落。而当谢墨凛开始将注意力转向机器的制作之物的时候，他必然会遭遇到本文开始时的提问——他目前所进行的基于机器平台的实践到底是对其“机器”进行的某种质量评测，还是一种独立的艺术实践。如果是后者，那么他的自动绘画机很可能被指认为一种另类的绘制工具，另一种人手的延伸。只是这样的疑问大多来自画廊的经营者，他们考虑问题的逻辑原点设定在到底要卖什么，是机器，还是机器出的“产品”，就像谢墨凛自嘲的那样，机器与他后续的实践之间成了“母鸡与蛋”的关系。有趣的是，谢墨凛的自嘲很容易联想到“先有蛋还是先有鸡”的古老争辩。而如果将他的实践纳入到这一逻辑中加以追问，或许，之前的问题就变得不那么令人纠结。因为在面对这种“发生学”问题的时候，我们会更加留意其实践的整个过程，而这也是对谢墨凛的艺术实践进行价值判断的关键之处：自动绘画机以及基于这一平台的后续实践，实际上是谢墨凛对他之前视觉实验纯粹性的一次引申，其中包涵着对多样性的建构（物质层面），也有对精确性的诉求（表述层面），而当精度要求成为一种机械原理遵循的美学态度时，那么两者的关系就不应该再被割裂看待了。

在工作室，谢墨凛在机器的操作台面上铺好一幅画布，然后沿着它的边缘堆上厚厚的白颜料，再回到电脑前点击软件界面上的输出键，电机转动，XYZ三轴根据程序计算好的轨迹运行，锯齿刮板在颜料上划了一个“m”形。后来，这件作品被挂到展厅里，有观众发现每条弧线都很饱满，高度与间距又很平均，怀疑艺术家用了什么工具，当被告知这件作品是由机器制作的，观众表示很想看看这台机器。虽然，以上只是一种假设，但对于谢墨凛来说，他的这些零度质感的“视觉之物”如何让观众摆脱对于机器本身的好奇，才是他在未来实验中需要正视的一个根本性问题。


T: +86 10 59789671
W: www.space-station-art.com
E: spacestationart@163.com
地点：空间站 北京市朝阳区酒仙桥路4号798艺术区中一街
Address: Space Station，NO.4 Jiuxianqiao Rd，798 Art Zone，Chaoyang District Beijing 100015

始终都是自圆其说，浪费时间，“皇家”什么奖特别无聊

展览还要指导哈哈哈。

孙东东也能混到艺术指导?这个圈子都在干什么?

顶孙冬冬！

布展中~

明天下午开幕~

@ x杨X城 展览指导是什么概念 (4月21日 00:58)

@付晓东 回复@杨X城:类似于策展人~ 不过我们都觉得策展人这个词俗气~ (4月21日 01:07)

@杨X城 回复@付晓东:恩 策展人这个词现在是俗透了，该尝试些新概念了 (4月21日 01:18)

XYZ

Xie Molin Solo Exhibition

Exhibition Director :Sun Dongdong

Opening：16:00 April 23.2011.

Exhibiting Time：2011.4.23 -2011.6.20

Venue：Space Station

XYZ

Sun Dongdong

What is the relationship between the automatic drawing machine created by Xie Molin and "visual works" created by it? Or in what scope could this relationship be expressed more accurately. These doubts from the outside world have been temporarily set aside by the artist himself. Because for Xie Molin, these were the questions asked after he has made and begun to use the machine. While before this, only how to make one machine he conceived was all of his concerns.

When this doubt has not been a real question, Xie Molin's art practices were the same as many youths learning art and interacted with his personal learning life. No matter studying in domestic Central Academy of Fine Art or while studying in Edinburgh aboard, all of Xie Molin's graphic works had formal characteristics emphasizing on self-regulation of art, from which we can not only see his strong interest in the material property of the medium materials, but also find out a sense of orderliness and the visual possibilities of practice path derived from it. Although we could not deny these works more or less carried a smell of class assignments and increasingly popular new academic style, for Xie Molin's current practices, a slightly longer preceding process has clarified his aesthetics attitude to language form. What's more, during studying aboard in England, he experienced in person the inspiration brought about by the cross-border exchange between the art and nature disciplines, while this just was the motive power to drive Xie Molin to propose more than once the creation of automatic drawing machine.

Xie Molin's automatic drawing machine was inspired by his used carving machine. Carving machine is a very common output device used in ad décoration industry at present. Firstly, user inputs the needed character and sets the needed font and sizes, or makes the needed vector graphics through graph-text editing processing software matching the carving ma chine and installed in the computer. After completing the design for all the needed carving contents, user sends instructions to the carving machine via computer. The most common carving object is stick note. Generally, the artists use the carving machine to combine it with flat coated and spray painting techniques so as to obtain a kind of visual effects of supreme supper level and hard edge in a the plane. Of course, Xie Molin was not the first artist who used the carving machine. But, he wanted to transform it. This was not what flash of genius gained from apple hitting on the head. Instead, it exactly corresponded to the occasionally mentioned and often overlooked foreshadowing buried deeply in relative medium tools in the art history——the impact of the advancement of medium technology on visual art.

Although the carving machine's working principle is similar to the automatic drawing machine's and both of them belong to XUZ three-axis linkage computer output devices. But Xie Molin spent three years to complete the transformation from the former to the latter. The difficulty, on one hand, was limited to Xie Molin's own economic situation. On the other hand, it was due to lack of effective ways of cooperation of domestic art and technology. Just as Xie Molin's statement, the process he made the automatic drawing machine looked very "Shanzhai". "Shanzhai" here did not mean some rhetoric in aesthetics but revealed his inherent shortages. "Shanzhai" not only described the hasty objective conditions but also presented that kind of non-scientific thinking mode he held in the initial stage. This also determined Xie Molin had to periodically realize his imagined automatic drawing machine. At present, this latest machine belongs to the second generation. Compared with the former generation, it has been very close to the modern industrial machine tool intuitively. Its substantive breakthrough is that it can automatically make arc line, create diverse spatial relationships and own acceptable process accuracy. But the second generation machine is still a "semi-automatic" machine. For example, no automatic pigment outward control system is installed in it. Therefore, the steps to put the pigment on the canvas still must be completed by manual work.

The completion of the second generation of the machine made Xie Molin's creation work on the automatic drawing machine temporarily come to an end of a stage. However, when Xie Molin began to turn to pay his attention to the productions of the machine, he certainly encountered the questions in the beginning of this article ——what he is practicing based on machine platform currently is performing some quality assessment of the "machine " or a kind of independent art practice on earth. If it is the latter one, his automatic drawing machine is largely likely to be identified as an alternative drawing tool and the extension of another kind of human hands. But, such questions mostly are from the operators of the gallery. The set logical origin point of the question they consider is what to sell on earth, machine or "products" produced by the machine. Just as Xie Molin's self-mockery, the machine and his follow-up practices become a relationship of "hen and egg". Interestingly, Xie Molin's self-mockery makes easily the old argument on "which came first, the egg or the chicken" associated with. However, if his practices are to be incorporated into this logic and asked, maybe, the previous question will become not so entangled. Because when facing this "genetics" problem, we will pay more attention to his whole practice procedure, while this also is the key point to the value judgments of Xie Molin's art practices. The automatic drawing machine and the follow-up practice based on this platform are actually a pure meaning extended to his previous visual experiments by Xie Molin, including the construction of diversity (material level) and accuracy appeals (expression level), while when accuracy requirements become a kind of aesthetic attitude followed by the mechanical principle, the relationship between the two shall not be viewed separately.

In the studio, Xie Molin put a piece of canvas on the operation table. Then, he stacked a thick of white pigment along its edge and then came back to be in front of the computer and clicked the output key on the software interface. The motor rotated and XYZ axis ran following the track calculated by the program. The serrated scraper painted a "m" shape in the pigments. Later, this work was hanged in the exhibition hall. Some audiences found the arc lines were very full with very mean heights and intervals and thus doubted what tools must be used by the artist. When they were told this work was made by a machine, the audiences showed their willing to see this machine. Although the above is only an assumption, For Xie Molin, how his zero texture "visual works" to be clear of the audiences' curiosity on the machine itself is a fundamental problem he needs to face up to in the future experiments.



T: +86 10 59789671
W: www.space-station-art.com
E: spacestationart@163.com
Address: Space Station，NO.4 Jiuxianqiao Rd，798 Art Zone，Chaoyang District Beijing 100015

@彭_晖：#哪本书读过很多遍#谢墨凛个展


@空间站spacestation：谢墨凛个展——“XZY”开幕进行中…… 原文转发(4)|


XYZ谢墨凛个展开幕，@王春晨，@孙冬冬冬 ，和小谢


@尤洋，@孙冬冬冬，@杨子杨子


@鲍栋，@戴伟平，尚一新,江帆


@仇晓飞，@胡晓媛，@董菁


高岭，@邵逸农，黄彦和小谢~


@卢迎华 @刘鼎 和替小谢值班的尚一新


谭平老师出现了~~~


@郭芳，@雷本本，还有老徐


安静和史金淞


@肖戈


@贺潇，@梁远苇，@leo许


老何那饱经沧桑的脸和英俊的山猪


郭氏姐妹~


房方 和展览指导 @孙冬冬冬




晚宴在洞房咖啡，@空间站 和@北京公社 联合举办，集中了100位北京青年骨干，据说再超50位就要算非法聚会了~整个酒会很欢乐~光乐和小谢在交杯~


王一凡在主持脱口秀~光乐和小谢