【上苑展讯】​一枚同名个展《一枚》
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[楼主] 上苑艺术馆 2019-08-24 09:08:20
【上苑展讯】一枚同名个展《一枚》

Yimei Solo Exhibition YIMEI


一枚个展海报.jpg

展览信息:

【一个人的开幕式】:

2019.9.1.(周日)3:00 - 3:30 pm

观众入场时间:开幕式后

学术主持:张

展   期:2019.9.1 - 9.7

主   办: 北京上苑艺术馆

地    点:北京怀柔区桥梓镇沙峪口村上苑艺术馆


【One Person’s Opening】:  

3:00-3:30 pm, Sept. 1st (Sun.), 2019

Audience’s entrance time: after the opening

Academic Host: Zhang Qiang

Duration: Sept. 1st to 7th, 2019

Organizer: Shangyuan Art Museum, Beijing

Location: Shangyuan Art Museum, Qiaozi County, Huairou District, Beijing


前言:

诗:绝望中的期望


我无法猜测当一枚躺在大地上的时候,看到些什么?……以至于让她一直不停地在不同的地方,非常自然地选择“横陈玉体”的动作。

作为诗人的一枚,窥探这个世界的方式,肯定与一般艺术家的视角是不同,或许,她觉得这个世界比例,既然是为直立的人体所设计的,那么,躺在地面上一定可以看到不同的世界。

这一动作的改变,不仅让一枚窃喜不已,也让她的关照者逐渐产生了兴趣,一个横躺的身体,对于这个世界的人物关系发生了改变——这是一种温和的改变,不是骚乱的改变。如果是一个熟谙美术史的女性艺术家,一定会采取的是人体方式,而不是身体方式。在这里,身体与人体的区别,前者秉持了社会学的立场,也就是着衣的身份联系;而后者则是脱略了社会学征兆,将服装褪去。——挑衅大众,引起骚乱,继而重审期间的关系,这无疑是一位当代艺术家的获取问题的基本逻辑起点。

一枚的躺在大地上,其实还是对于一种诗义的姿态。作为诗人的身份,在当代社会之中的尴尬可想而知。通常是无法发出声音,发出声音无人倾听,即使有人倾听,也会被喧哗的噪音所吞噬。诗要孤,画要静,这是生活在诗的国度了,古人对于诗与画境界的一个基本的描述。诗的“孤”,意味着一个独特的体验,方可称之为是诗;“画”注定是对于世界的旁观,而不被其干预也不去干预。

一枚的诗,是极其个人化的体验的、有关句式的河流,其实,内容也许不再重要,在这个图像的世界里,一枚放弃了让人们理解其诗义的初衷,她开始了读诗的行为——给她遇到的所有的事物与对象去读诗。

2019年7月29日,一枚驻留上苑艺术馆,来到了我的工作室,为我——一个艺术家及其我面前的一幅石头长卷,开始读诗行为。头戴花冠的一枚,开始了抑扬顿挫的读诗行为——一连串的字句从她的双唇之中,嗫喏地流出,洒满了一地。我没有任何想窥探真相的欲望,一枚似乎也不关心我是否在倾听她的诗义。空旷的房间里,只有墙壁上布满尘土的北齐书法大师僧安道壹“大空王佛”拓片,在声音的气流中偶尔抖动,还有长几对面的两个人。

我坐在一枚的对面,双手相合,思绪万千,“诗”在这里真的已经成为一个借口,一种名义,一种失去了魂灵的躯壳,一种无力的召唤,一种没有内容的仪式……。最后通过手机纪录下来的只剩下了一种貌似神圣的图像。

诗歌最终在一枚这里变成了图像,这是一枚的聪敏,却是诗歌的葬礼。因为聪敏的一枚知道,如果说在纳粹时代“奥斯维辛集中营之后写诗是可耻的”,那么,在图像的消费时代,——写诗就是一种孤独的疾病,它非但不能治疗孤独,反而成为侵蚀你生命的病毒。诗在当下,已经被抽离了情感,只剩下了“欲望与灵魂”,前者因为可以随意挥洒而廉价,后者需神性的触摸而变得遥不可及。

回首上苑,一枚躺在众生之下,并不是世界倾斜的浪漫,而是意味着诗人的绝望;一枚的读诗行为,则是对于绝望的祭奠——尽管绝望,对于绝望的描述与纪录,却可以让我们窥见其中潜伏的期望。

沙丘张强

2019-08-18 于巴渝泓月丘十二云石阁


(张强:两江学者、四川美院教授、英国温切斯特艺术学院荣誉教授。著有《张强艺术学体系》四十卷(文化艺术出版社))



Poetry: Expectations in Despair


I can’t guess what Yimei has seen when she is lying on the land…so that she has been constantly, in different places, very naturally chosen the action of "Display of Beautiful Nude Lain Down".

As a poet, the way to see the world must be different from the perspective of ordinary artists. Perhaps, she thinks that the proportion of the world is designed for the upright human body, so lying on the ground could enable her to see different worlds.

The change of this action not only makes Yimei delighted, but also makes her caregivers interested gradually. A lying body has changed the relationship between the characters in the world -- it is a gentle change, not a turbulent change. If a female artist is familiar with art history, she will be certain to adopt the human figure style, not the body style. Here, the difference between the body and figure is that the former holds the position of sociology, that is, the identity relation of clothes, while the latter takes off the symptoms of sociology and fades clothes. -- It is undoubtedly a basic logical starting point for contemporary artists to provoke the public, cause disturbances and then re-examine the relationship between them.

Yimei is lying on the land, in fact, for a poetic posture. As a poet, the embarrassment in contemporary society can be imagined. Usually no sound can be made, no one listens to it, even if someone listens, it will be engulfed by the noise. Poetry should be lonely and painting should be quiet. This is a basic description of the realm of poetry and painting by the ancients who lived in the country of poetry. The "loneliness" of poetry means a unique experience, which can only be called poetry; "painting" is doomed to be a spectator of the world without its intervention or intervening it.

Yimei’s poetry is a river of extremely personal experience and related sentence structures. In fact, the content may no longer be important. In this image world, Yimei abandons the original intention of letting people understand her poems. She begins her poetry reading performance -- to read poems for all the things and objects she meets.

On July 29, 2019, as a resident artist in Shangyuan Art Museum, Yimei came to my studio and began to read poems for me, an artist and for a long roll of stone painting in front of me. Yimei with the crown on her head began to read poems in a cadence, a series of words and sentences flowing out of her lips and sprinkled all over the place. I didn’t have any desire to pry into the truth, nor did Yimei seem to care if I was listening to her poem. In the empty room, only the rubbing of An Dao Yi, a great monk calligrapher of the Northern Qi Dynasty, which was covered with dust on the wall, occasionally trembled in the air of the voice, and there were two people across the long narrow table.


I sat opposite Yimei, with my hands matched and my thoughts varied. Poetry here has really become an excuse, a name, a body without a soul, a weak call, a ritual without content...Finally, only a seemingly sacred image was recorded by mobile phone.

Poetry eventually becomes an image here with Yimei. It’s a smart and perceptive Yimei, but it’s a funeral of poetry. Because the smart and perceptive Yimei knows that if “Writing poetry after Auschwitz Concentration Camp is shameful” in the Nazi era, writing poetry is a lonely disease in the age of image consumption. It cannot cure loneliness, instead it becomes a virus that erodes your life. Poetry at present has been separated from emotions, leaving only "desire and soul", the former becomes cheap because it can be freely sprinkled, the latter needs divine touch and grows remote.

A look back at Shangyuan: Yimei’s lying under all living beings is not the world’s inclined romance, but the poet’s despair. Her poetry reading performance, so to speak, is a memorial to despair -- although despair, the description and record of despair can let us see the hidden expectations.


Zhang Qiang

Twelve Dolomite Chamber, Hongyueqiu, Chongqing

August 18, 2019

(About the author Zhang Qiang: Two Rivers Scholar, professor of Sichuan Academy of Fine Arts,Honorary professor of UK Winchester School of Art, author of Zhang Qiang Art System in 40 volumes.)

行为艺术作品


1.在张强工作室给他和他画的石头读诗Reading Yimei’s poem to Zhang Qiang & his stone painting in his studio,2019.7.29


2.给Irina和她的画读诗Reading poems to Irina & her paintings, 2019.


3.给王峰和他的画读诗Reading Yimei’s poem to Wang Feng & his painting,2019


4.给十字架读诗Reading Yimei’s poem to the cross,2019


5.给空椅子读诗Reading Yimei’s poem to an empty chair,2018


6.给铁轨读诗Reading a poem to the rail track,2019

摄影作品


1.红色布拉格 Red  Prague, 2017,Prague


2.纽约警察局 NYPD, 2017,NY


3.一枚孤独的星球 Her Lonely Planet, 2018


4.种我 Planting  Me, 2017


5.一枚躺中英边界线,深圳沙头角 Yimei’s lying on Anglo-Chinese boundary,Shen Zhen,2018


6.一枚诗新娘在天安门 Yimei Poetry Bride on Tiananmen,2018


简历:

一枚,本名王轶梅,摄影师、行为艺术家、诗人。上海对外经贸大学副教授,英国访问学者。《头发与世界的关系》:一枚摄影上海个展暨一枚诗歌朗诵会和研讨会,2016.4;美国纽约Art Centro双个展,2017.8;一枚诗行影集《我需要采取行动 在我忧伤前》由中国文联出版社出版,2017.9;上海浦东图书馆一枚诗歌与行为专场,2018.4;ArtBank微展多次,2018;获北京红门画廊“中国新锐艺术家驻地奖”,2018.6;北京上苑女诗人艺术展,2018.8;艺术外滩-中法当代艺术邀请展,2019.1;面向未来:首届秦皇岛当代国际艺术单年展,2019.4。现居上海。


Yimei, full name Wang Yimei
Photographer, performance artist and poet. Lives in Shanghai


2018 Received “the Emerging Chinese Artist Residency Award” of Red Gate     Gallery, Beijing

2018 Shangyuan Art Museum Women Poets’ Art Exhibition, Beijing

2018 Yimei Poetry Reading & Performance in Pudong Library, Shanghai

2018 ArtBank Online Exhibitions

2018 “Her Vision” exhibition, NL Art Museum, Beijing

2017 Yimei’s Poetry book with photographs I Need to Take Action before I Feel Blue published by China Literary Federation Press, Beijing

2017 Ten Artists’ Exhibition “We Are Here” in Mid-Hudson Heritage Center, NY

2017 Double Show in Art Centro, Poughkeepsie, NY

2016-17 “Pure China”-- National Tour Art Exhibition

2016 Her works exhibited in Shanghai Tower (the highest building in Asia) and on Bund18, Shanghai

2016 successfully held Link the World with Her Hair--Yimei’s Shanghai Solo Photography Exhibition along with Yimei Poetry Reading and Academic Seminar, Shanghai

Associate professor of Shanghai University of In’t Business & Economics, visiting scholar of UK


作品简述

Brief Description of Artwork

我的行为摄影既是在实景现实中,又超越了实景现实,二者同构互构在同一时空中。我喜欢使用自己的身体进行摄影创作,表达观念,对现实起到干预。在我的这些摄影中, 大多是“躺”的行为,以此来展现和表达个体生命状态与社会、自然和文化之间的多维度和多元化的关系。


当代艺术家做当代艺术,对他/她而言,艺术是开放的,对物开放、对自然、社会和文化开放,也可以对政治开放。同时,艺术家要把这种开放性用艺术语言转换成艺术形式,这种转换必须具有个体符号。


While my performance photographs are completed in realistic contexts, they go beyond them and appear surrealistic. Such realistic and surrealistic scenarios coexist in the same time and space, or they are mutually constructive. I have a passion to use my body for photographic creations, to express ideas or concepts, with an attempt to intervene in reality. These photographs of mine are mainly “Lying Performances”, through which I try to show and express the multi-dimensional and multi-cultural correlations between the individual life and the society, nature and culture.


To contemporary artists, art is an open thing, open to objects, to nature, to society and culture, even open to politics. Meanwhile, to express this openness, artists need to convert the art language into an art form. And this conversion should possess its individual logo.



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