“外滩”＋“灰·尘” ：三水、庞海龙双个展

Bund+ Ash·Dust : San Shui & Pang Hailong Exhibition

2011.10.22-2011.11.10

策展人：马琳

开幕时间：2011年10月22日 下午3 : 30

地点：上海大学美术学院99创意中心 （莫干山路50号6号楼1F）Curator : Ma Lin

Opening : 10.22,2011 3:30pm

Venue : 99 Art Center Fine Arts College of Shanghai University

“外滩”＋“灰•尘”：三水和庞海龙的作品阐释
马琳

2011年10月，上海大学美术学院99创意中心举办的三水、庞海龙的双个展，是两位年轻艺术家的新作。三水的影像作品以上海外滩建筑为对象，为我们呈现了外滩在2050年即将被淹没的景象。庞海龙的雕塑作品以现成品、灰尘为对象，演绎了弃物和灰尘之间的共通关系。当代艺术作品中如何表达观念，如何超越宏大而抽象的叙事，如何在形式主义的表达中体现个人精神，是这个展览要讨论的话题。

“外滩”

《外滩》是三水于2008年开始创作并一直延续至今的系列作品（包括观念摄影、视频、录像装置等），其中《外滩》观念摄影作品共汇集了24座外滩标志性建筑。在这组作品中，三水以独特的视角，为观众描述了一幅幅灾难性的画面——预演了在不远的将来，上海外滩即将被淹没的瞬间景象。只是这灾难的呈现不是狂风暴雨式的，也不是惊涛骇浪式的，而是以一种平静的、灰色的、忧郁的方式来呈现。

在中国当代摄影发展的进程中，在1990年代，以摆拍中国符号的观念摄影曾一度非常流行，这是因为中国符号的照片往往能够到国外去展览，也容易引起西方藏家的兴趣。三水的摄影作品，并没有以摆拍中国符号为能事，当然也没有采用纪实手法的观念摄影，而是以形式主义的手法来进行他的面向社会环境问题的观念表达。这意味着三水的作品出现了转向，从关注个人精神的表达转移到对社会问题尤其是环境问题的关注。

创作《外滩》这组作品的背景起源于三水对全球气候变暖问题的关注。早在几年前联合国就曾经发布一份报告，声称世界正处在巨大灾难的边缘，包括纽约、孟买、上海在内的一些沿海城市将被淹没。面对这一灾难性的预言，三水用局部而非全景式的摄影手法表达了他对这一环境事件的关注和审思。由此，我们可以看到在灰濛濛的天空下，一栋栋曾经代表上海历史记忆的标志性建筑，比如外滩1号（原亚细亚大楼）、外滩2号（原上海总会大楼）、外滩3号（原有利大楼）、外滩18号（原麦加利银行大楼）以及原来的汇中饭店大楼、沙逊大厦、格林游船大楼、外滩百老汇、江海关大楼等孤零零的矗立在水的包围中。除了水天一色，那渐被淹没的楼顶和飘扬的红色旗帜似乎在提醒我们它们曾有的荣耀与辉煌。这既引起我们的历史记忆，又勾起我们的无限感伤。这组作品似乎在提醒我们，人类对地球的破坏已至于此，难道我们还要让灾难继续吗？

“灰•尘”

在庞海龙的雕塑作品中，灰尘，既成了他作品主要的创作材料，也是其作品本身的一部分。以灰尘作为创作材料，在不少艺术家作品中都有尝试。比如徐冰在《何处惹尘埃》这件作品中，就是运用了在美国9.11世贸废墟收集到的灰尘这一材料来创作的。提到灰尘，我们总是会不由自主的产生一些比较消极的情绪和用词，比如“灰飞烟灭”、“尘埃落定”、“废墟”。的确，庞海龙在灰尘的世界中给我们表达了他对弃物与灰尘、存在与逝去、生命与死亡的思考与理解。


本次展览选取了庞海龙最新创作的四组作品：《灰•尘01》、《灰•尘02》、《灰•尘03》和《still life》系列。这几组作品都是以现成品、灰尘为材料，重新演绎弃物和灰尘之间皆有的共通关系。在庞海龙看来，灰尘从物质材料本身讲并没有意义，但同时它又具有无限的精神性，是以物质为载体的物质。从时间维度讲，灰尘消解掉了现实中的真实，无力中隐含着暴力。而弃物作为一种物质是时间痕迹的集合，是从废墟中诞生又成为了废墟，是一种存在的姿态。灰尘和弃物都具有一种悲剧色彩和意识，隐喻着记忆的逝去与对生命反思的焦虑。

对现成品的“挪用”，已成为自杜尚以来，后现代艺术的创作方法之一。它意味着艺术家在“挪用”现成品时怎样进行言说，而在言说中怎样改变其原有“物”的属性。庞海龙在“挪用”现成品时，比如玩具、电视机、窗帘、电风扇、吉他等弃物，用灰尘这一材料言说了他对现实的焦虑与困惑，以及宿命的悲剧意识，从而改变了弃物原有的属性而使弃物变成作品本身。比如《灰•尘0３》这件作品中隐含的意义是被复杂化、抽象化的。其通过各种不同随意被丢弃的玩具制造出不连贯的片断性、不稳定性和非持续性，在暧昧的多重意义中弥漫着一种残酷幽默的荒诞意味。《灰•尘0２》更是反映了庞海龙作品中的悲剧色彩与乌托邦的幻灭。生活是虚空的，也许只是现实的一个幻觉，每一秒中现在发生的都是明天的回忆，一切都会过去，一切都会消逝，一切都会灰飞烟灭，一切都会成为时间的记忆。庞海龙用这种“非舒适的安慰”方式传达出他内心深处的痛感以及对痛感的深度迷恋。


Bund+ Ash•Dust---The Interpretation of San Shui and Pang Hailong’s Art Works

Ma Lin

The San Shui and Pang Hailong’s art works show, held in the Creativity Center 99 of academy of fine arts, Shanghai University, is the two young artists’ new works. Targeting the building on the Bund, Shan Shui’s video works present us the scene that Bund is being flooded in the year of 2005. Pang Hailong’s sculpture works take the ready-mades, ash and dust as target; illustrate the common relationship between the abandoned objects, ash and dust. The topics that how to express ideas in modern arts, how to surpass grand and abstract narration, how to express individual spirits in formalistic expression, are those this show aims to discuss.

Bund
The series of Bund is San Shui’s camera and video works, which is having been made from 2008 until now. The Bund idea photo works collect 24 landmark sites on the Bund. In these works, based on unique angles, San Shui describe the disastrous pictures for the audience---rehearsal the instant scenes that the Bund is being flooded in the near future. Presenting disasters is not drastically interpenetrating but by the calm, grey and melancholy ways.

In the process of Chinese photo works development, especially in 1990s, the staged photography expressing Chinese symbols is used to be very popular because these Chinese symbol photos are likely to be adopted by foreign exhibits and trigger the western collectors’ interests. San Shui’s photo works do not focus on posing Chinese symbols, nor taking document approach, but express his ideas on social surroundings by formalistic approach. That means a shift in San Shui’s works, turning from focus on individual spirit expression to social matters, environment matters in particular.

The background of creating the Bund works comes from San Shui’s attention to Global Warming. Years ago, UN published a report claiming that the world is on the edge of terrible disasters; some coastal cities including New York, Mumbai, Shanghai will be flooded. Being faced with this disastrous prophecy, San Shui uses partial instead of panoramic skills to express his attention and thinking about this environmental matter. Therefore, we can see, under the grey sky, those buildings which used to be the landmarks representing Shanghai’s historic memory such as Bund One (Asia Building), Bund Two (Shanghai Association Building), Bund Three (Union Building), Bund Eighteen (Chartered Bank Building), and the former Palace Hotel Building, Sassoon House, Green Cruise Ship Building, Bund Broadway, Jianghai Customs House, etc., are all standing very lonely in the water. Apart from the sky and the water, the building roofs and the waving red banners that are being devoured seem to remind us their old honor and glory. This triggers us both historic memory and endless sadness. These works seem to remind us the globe has been destroyed so much; shall we let the disasters go on?

Ash • Dust
In Pang Hailong’s sculpture works, dust is both his main material in creation and one part of his works. Many artists attempt to take dust as material in their works, such as Where does Dust Make of Xu Bing, in which the dust was collected from the debris of World Trade Center in 9.11. Concerning dust, we cannot help thinking of some passive feelings and words such as destruction, being decided, debris, etc. Indeed, Pang expresses his thinking and understanding about the abandoned and dust, being and missing, life and death in the world of dust.

This exhibition shows Pang Hailong’s for new works: Ash •Dust 01, Ash •Dust 02, Ash •Dust 03 and Still Life. These works all take the ready-mades and dust as material to represent the common relationship between the abandoned and the dust. From Pang’s point, dust makes nonsense as material per se, but it has endless spirituality and is material by the carrier of material. From the temporal dimension, dust dismisses the reality in the real world but has implicit violence in the powerless. While the abandoned objects, as material, are the collection of time trace, born in the debris and grow up to be debris, and a stance of being. Dust and the abandoned both has tragedy color and awareness, representing implicitly the memory to the past and reflection and worrying about life.

Embezzling the ready-mades has been a postmodern creation way since Duchamp. It means artists how to speak in embezzling the ready-mades, and how to change the properties of the previous things in speaking. Pang, in embezzling the ready-mades such as toys, TVs, curtains, fans, etc., takes dust as material to tell his worrying and puzzling about the reality, and his tragedy awareness about determinism, thus changes the original quality of the abandoned and turns the abandoned into works. Take Ash •Dust 03 as an example, this piece of work implicitly presents the complicated and abstract meaning. It makes incoherent incompletion, instability and unsustainability, expresses cruel humorous sense of fantasy in the ambiguous multi-meaning. Ash •Dust 02 particularly reflects the tragic color and the death of Utopia in Pang’s works. Living is empty, maybe is the illusion of the reality. Each second of being is all the memory of tomorrow, everything will be the past, everything will disappear, everything will be destructed, everything will be the memory of time. Pang Hailong uses this comfort without comfort way to express his inner hurts and his fascination to hurts.


外滩：我的精神“祭坛”
三水

每座建筑都有灵魂，时刻激发着人们的情感。

对中国来说，外滩是独一无二的建筑形态，世界建筑史也在外滩这么浓缩的环境里以多种性格体现。从1843年上海开埠到1945年上海光复的百年间，战争的屈辱成就了外滩这座人类文明史上的经典，它见证了历史，是历史的亲历者，这是事实。

我的《外滩》系列作品围绕着建筑景观与个人生存体验而展开，以沉雾中的大海与上海外滩标志性建筑组成一种海市蜃楼般的、令人心悸的场景——纪念碑式的场景具有一种强烈的精神祭奠感。一方面当我们面向一望无垠的海水，心中的无望便与悲欢的情绪联系在一起。这种乌托邦式的悲剧正越演越烈，对人类生存状态、思想意识和行为方向提出了警示。当作品中被灰蒙蒙的水雾围绕着的楼宇孤立无援地矗立于此时,我们该如何面对这样的危机?或许一场现实与文化直至生命的浩劫将不可避免。

外滩的“沉没”是否正预演着人类文明的消亡？

同时这种即真实又虚幻的场景，也传达了生存于大都市的人们生活迷茫、无助、渴望而不可及的困境。幸福感成为每个人的乌托邦愿景。通过场景所呈现的灰蒙蒙感觉造成观者心理忧郁、悲观的体验。这种体验正是现代都市生活人们内心现实与生存现实的真实反照。那矗立在深邃、虚幻可怖大海深处的建筑，带给我们的不是一种对于都市生活的亲近感，而是一种疏离、错位、冰冷、陌生。我们穿行其间，却时刻渴望逃离。对权力、声望和财富病态的追求使我们沦为物质的奴隶，那么在最终失去系统的平衡之后，我们又将回到哪里？回到大屠杀或者古拉格集中营？这也是事实？


The Bund: My Spirit Altar

San Shui

Each building has soul, and activates men’s emotion.

For Chinese, the Bund is the very unique form of architecture in which the history of world architecture is both intensively realized as muti-chacters. During the 100 years from 1843--Shanghai’s open port to 1945--Shanghai recovery, the humiliation of wars make the Bund as the classic of human civilization history. It witnesses history, and is the participant of history. That is the truth.

My series works Bund revolve around architecture and personal living experience; a mirage -like and frightening scene---a monument-like scene, connected by the sea in heavy fog and the landmarks in the Bund, has the strong sense of spirit altar. On the one hand, when we face the endless seawater, the hopeless in heart is connected with sorrow and happiness. Such utopia tragedy is increasing intense, warning men’s living conditions, ideology and action orientation. How can we deal with such crisis when buildings are surrounded hopelessly by the grey water in works? Perhaps, a disaster between reality and culture, even life has no way to be avoided.

Whether sinking of the Bund is a pre-play of human civilization’s dying?

Meanwhile, the both real and illusory scene expresses the puzzled, helpless, longing but untouchable situations of people living in metropolis. The sense of happiness becomes our utopian wish. Such scene presenting grey makes audience feel melancholy and sadness. Such feeling is just the reflection of modern citizens’ inner reality and living reality. Those buildings standing in deep, fictional and horrible see bring us no closeness to city living but the sense of estrangement, dislocation, coldness and strangeness. We linger among them but are longing for escaping from them. We become material slaves as our sick pursue for power, reputation and wealth. Then where can we return when the final system becomes unbalanced? Return to massacre or the Gulag? Is it a truth?



END 视频装置 2分钟 2011


临在 视频 3分钟 2011



临在 艺术微喷 尺寸可变 2011



外滩1号甲 艺术微喷 尺寸可变 2010



外滩3号 艺术微喷 尺寸可变 2010



外滩7号 艺术微喷 尺寸可变 2010



外滩10-12号 艺术微喷 尺寸可变 2010



外滩13号 艺术微喷 尺寸可变 2010



外滩20号 艺术微喷 尺寸可变 2010



关于“灰·尘”

庞海龙

我重新演绎了弃物和灰尘之间皆有的共通关系。两者都具有悲剧意识，也是生命本体的一种终极方式。灰尘从物质材料本身讲无意义，但同时它又具有无限的精神性。是以物质为载体的物质。从时间维度讲，它消解掉了现实中的真实，无力中隐含着暴力。弃物作为一种物质是时间痕迹的集合，是从“废墟”中诞生又成为了废墟。是一个存在的姿态。

剥离“彼处”与“此处”的互文关系，把这些随处可及的材料从它们日常的叙述中解放出来。来改变物件在通常意义上的认知。从而触发某种精神上的东西。对物件的去功能化是其宿命式的尴尬，引发人们超越对生活本身的思考。

物件本身从某种意义上说它仅仅是个道具，只是在虚假的作用下得以存在，并具有了合理性和欺骗性。

作品中隐含的意义是被复杂化、抽象化了的以及映射出对问题的恐惧和困惑。其背后的隐喻是通过面对这个“物”的心理体验得以实现的 。是一种匿名的态度。面对当下不断堆积的不确定性所产生的恐惧、困惑和不安，制造不连贯的片段性、不稳定性和非持续性。透出在暧昧的多重意义中弥漫着的残酷、黑色幽默及其荒诞意味。

我无意放大线性的时间切片，只是彼时在此时失效之后对“现实”的逃脱或消解。并重新构建了一个新的语意。

用这种“非舒适的安慰”的极端方式传达出一种莫须有的痛感以及对痛感迷恋的深度放逐。

“无以名状”的虚无感透过物体潜藏在意识之下。

生活只是虚空中的煞有介事。只是人们尽可能的赋予了它们更多的戏剧性和现场感。它也许只是现实的一个幻觉或是对记忆的一种焦虑。每一秒所发生的都可以用各种方式来解读或者误读，并对这个发生有所“反省”。但具体又该反省什么呢?

一切都会坍塌，惟有“被时间后

About Ash ·Dust

Pang Hailong

I reinterpret the common relationship between the abandoned objects and dust. Both has tragic awareness and is an extreme way of original life. Dust makes nonsense as material per se, but has endless spirituality, is material by the carrier of material. From the temporal dimension, dust dismisses the reality in the real world but has implicit violence in the powerless. While the abandoned objects, as material, are the collection of time trace, born in the debris and grow up to be debris, and a stance of being.

Stripping the intertextual relationship between There and Here, these common materials can be freed from their conventional narration. To change our knowing about objects in common sense, thus something on spirit is triggered. Disablement of objects is deterministic embarrassment, and attracts people to think about surpassing life.

Objects per se, in some sense, are just properties, exist in the mask of false with rationality and fraudulence.

The meaning embodied in my works is complicated and abstract, reflects fear and puzzling about matters. The metaphor behind meaning is realized by psychological experience for this object; it’s an anonymous stance. In the face of increasing uncertainty that causes fear, confusion and upset, these works make incoherent incompletion, instability and unsustainability, expresses cruel humorous sense of fantasy in the ambiguous multi-meaning.

I have no intention to enlarge the linear time slice, but to escape or dispel from reality after that time is invalid at this time; and reconstruct new semantics.

Comfort without comfort, an extreme way expresses nameless hurts and enormous exile from the fantasy to hurts.

Nameless, such empty feeling lurks below awareness through objects. Living is just pretending in empty, while men give it more sense of drama and presence as far as possible. It is maybe an illusion for reality or worrying about memory. What is happening in each second can be interpreted or misunderstood. What has happened can be reflected, but what is such reflection?




庞海龙 “Still • Life ”03 材料：现成品、灰尘 2011年


庞海龙 “Still • Life ”05 材料：现成品、灰尘 2011年


庞海龙 “Still • Life”01 材料：现成品、灰尘 2011年


庞海龙 “Still • Life”02 材料：现成品、灰尘 2011年


庞海龙 “Still • Life”04 材料：现成品、灰尘 2011年


“Still • Life”06 材料：现成品、灰尘 2011年


“Still • Life”07 材料：现成品、灰尘 2011年


“灰•尘”02 材料：现成品、声音、灰尘 2011


“灰•尘”03 材料：现成品、灰尘 2011