…..About Together We Shine
19 二月 2019

策展语 / Curatorial Statement

“路边野餐”里有这么一段诗

There is a poem in the “Kaili Blues”.

冬天是十一月 十二月

一月 二月 三月 四月

The Winter months are: November, December

January, February, March and April.

当我的光曝在你身上

重逢就是一间暗室

When your body is exposed to my light

Reunion is a darkroom.

—— 毕赣

这次的展览是我正式回厦门后做的第一个展,在外求学的这10年,也是厦门“爆炸”的10年。我认为这次的展览是非常“自私”的,大部分的展览作品的创作都基于我的个人记忆,是单纯描述有关这些记忆的衍生物。

This is my first exhibition after I officially came back to Xiamen. My 10 years abroad for study is also the “explosive” period for Xiamen. As far as I’m concerned, this exhibition is quite “selfish” for most of the creation of artworks are based on my personal memories, purely describing memory-relevant derivatives.

我尝试将过往的创作逻辑运用在这次以厦门为主题的作品上,创作过程与我在国外做的一些在地项目很类似,我会在城市中慢慢踱步,从不同的角度,带着不同的思路观察。甚至是非常客观的、冷静的(或许与在德国学习有关),但这次的创作体验有些奇妙,厦门是我出生成长的地方,在进行观察时,我无法做到完全的不受情感干扰。索性放任回忆一次次在脑中回闪。我被动地接受着眼前所看到的新景象与脑中过往的记忆不断交叠所带来的冲突感。这种碰撞感就像厦门这些每晚都如期“爆炸”的夜景工程灯光。

I try to exert past creation logic on these artworks themed as Xiamen. The whole creation process bears resemblance to some local projects I have done abroad. I stroll slowly in the city, observing it with different perspectives and ideas. The process is even objective and dispassionate. (May have relations with my study period in Germany) However, the creation experience this time is somewhat intriguing. Xiamen is the city that I was born and grew up. I fail to be completely unaffected by emotion during my observation. So I just simply indulge memories flash over and over again in my brain. I passively accept the sense of conflict, which consists of the constant crossover between new scene at present and the past memories in brain. It is just like the “explosive” night view lights up every night on schedule in Xiamen.

“我在百度厦门夜景 me Baiduing Xiamen night view”

从我房间的窗看出去,恰好有个楼宇间的缺口能够看到对面海沧的“厦门中心”。第一次看到我就为之震撼,因为它极为契合我以前拍摄的内容(只不过概念是反过来)。每天晚上拉上窗帘就寝之前都下意识地多看它几眼,只是突然有一天“厦门中心”几个中文字也被投影了上去。在我看来,这个“作品”就被破坏了,无能为力且感到无奈。

Seeing through my window, there is a gap among buildings, via which can exactly observe the “Xiamen Center” from opposite Haicang District. I was shocked when I first saw it, since it has perfectly matched with my past shooting content. (Only in the reverse concept) Every night before sleep, I subconsciously look at it for a few times. However, I find the “work” destroyed after the Chinese characters of “Xiamen Center” have been projected on it, leaving me with the sense of helplessness.

“在白天观察厦门中心 Observe the Xiamen center during the day”

所以,我想把“光”作为这次展览的线索——极具日常关怀的质地和温度。我常说我对厦门的记忆被“冻结”在了10年前,把这些年里厦门夜景的发展浓缩到几分钟里的过程中,我像是从高空中俯瞰,环绕筼筜湖的景观灯、对岸的海沧夜景、会展中心的外墙装饰、五缘湾等,我在一个个夜景工程被点亮的瞬间感到兴奋。“光”往往都包含着宗教性和精神内涵。但是这次我希望这次作品里的“光”是平凡的,非常日常的。

Therefore, I would like to take “light,” which with great texture and temperature of daily care, as the clue of this exhibition. As I always say, my memories about Xiamen has been “frozen” to ten years ago. For me, condensing the development of Xiamen night view into the process lasts for a few minutes is like overlooking the following things from the upper air: landscape light around the Yuandang Lake, night view from the opposite Haicang District, exterior wall decoration of Conference and Exhibition Center, Wuyuan Bay etc. I feel excited the instant that the night view has been lighted up one after another. Usually, “light” contains religiousness and spirit. But this time I hope the “light” in the work is ordinary and daily.

在拍演武大桥的时候,被咸湿的海风包围,有一些特定的光景让我无论如何都想把他变成作品,但是我尝试了很多次却都不让我满意。我的作品大都事前在脑中预设好的,所以在实现的过程中必定存在很多失败经历,但这真的是一个有趣的过程,所以我应该会把这个“失败”的作品,以另一种形式在这次展览中展示出来。让我想起了在荷兰拍摄大海的经历:海风吹得手指逐渐僵硬,慢慢又下起了最讨厌的小雨,镜头前全都是水汽,我不得不用纸巾直接擦拭滤镜,根本无法考虑这对滤镜的伤害。但我还是无法放弃离开,半小时以后我躲到了海边的cafe,又过了半小时以后还是在下雨。

Shooting the Yanwu Bridge and surrounded by the salty sea breeze, I would like to transform some specific scenes into work anyhow. But I tried scores of times and still felt unsatisfactory. Most of my works have been predetermined in my brain, hence the existence of failure in realizing it during the process. However, this is a really interesting process. So I might present this “failing” work in this exhibition in another form. It occurred to me my sea shooting experience in Holland: The sea breeze blew my fingers to gradual stiffness. The annoying drizzle began to drop. The lens was covered by water vapor, so I had to wipe the filter with tissue directly regardless of its harm on it. In spite of this, I still couldn’t give up and leave. I sheltered in a café beside the sea and it was still raining after half an hour.

除了我的作品之外,我还邀请了另外3位同为艺术爱好者的朋友来与我共同完成这个展览,作品包括了诗歌,绘画,物件。我们各人之间分别有些许类似的经历。比如经朋友介绍认识的王勰,我们有着相似的音乐喜好,也都热爱文字,我更多是作为欣赏者而他却是真正的文字创作者。第二位是董姗姗,我羡慕她对绘画的热忱以及耐心(她的猫别总在她创作的时候捣乱)。最后一位是杨栩靖,我们有着类似的经历,都在外读书多年以后回到厦门。偶然一次,我们从她高中时的旧书包里发现了一张科测验纸,这张纸上承载的内容/回忆,或许比文字或图像的表达都有厚度,于是最终,我们决定将这个物品,作为一个作品,完整地呈现出来。

Apart from my works, I also invite three friends who also loves art to complete this exhibition together. The works include poetry, painting and objects. We share some similar experience with each other. For instance, I meet WANG Xie through my friend. We have similar hobbies of music and character. I’m more like a character appreciator and he as a real creator. The second person is DONG Shanshan, whose passion and patience for painting arouse my admiration. (Hope her cat don’t always make trouble during her painting process) The last person is YANG Xujing, who shares the similar experience with me that we have both studied abroad for years and finally come back to Xiamen. We found a piece of test paper from her old high school bag by chance. The contents and memories carried by the paper might thicker than the words or images can explain. Thus in the end, we decided to take this object as a work to present completely in exhibition.

相较于以往传统的展览形式,我希望这次的展览,作品能表现得更现实更有力,带给观者的是更沉浸式的观展体验。生活中有很多看起来并不重要的小事,让我想接着延展开来——虽然这在别人眼中可能毫无意义。我希望这些作品是平静的,直接的。每个观看这些影像的观众,能够在面对影像本身的时候得到一些直观的体验,尽管可能是碎片化的、潜意识的。观者看到的,都是我直接表达出来的。更甚,我鼓励一种且称为“看过”的状态,如果能跟作品产生共鸣,得到的情绪自然也会与作品甚至是我产生连接。观者不应该该被艺术家束缚,反而在理解作品的时候,有自己的权力。(可能是我过分喜欢John Baldessari的Choosing Green Beans)

Comparing to the past traditional exhibition forms, I hope the work of this exhibition can present more realistically and powerfully so as to bring immersive visiting experience for visitors. Some insignificant things in life drive me to extend further, though it is meaningless to other people. I wish these works are dispassionate and direct. Visitors who watch these images and videos can obtain some intuitionistic experience in front of it, despite it might be fragmented and subconscious. What the visitors see is the direct explanation from me. Furthermore, I encourage a condition called “have seen.” If visitors can resonate with works, the obtained emotion will naturally connect with the works and even me. Visitors should not be constrained by artists. Instead, they will possess individual power in understanding the work. (May because of my obsession with John Baldessari’s Choosing Green Beans)

“无题 Untitled”

我不擅长言语表达,但是作为策展我还是需要多少写点文字。大概这是作为艺术爱好者的一点侥幸,我不用对我的文章形式过多纠结。我甚至用第一人称记录,在这个特定的展览中,我必须把我自己放大,我觉得这很重要。记忆是私有财产,在回忆这些创作过程的点滴之中,我也与各位分享了很多原本属于自己内心的独白。让我用James Turrell的一句话作为结语,因为我从他的作品中得到了这次展览标题“about together we shine”的灵感

“Everyone has a light in them and we come together to find that light in us again and again” —— James Turrell ​​

​​I’m not so good at verbal expressions, but as a curator I still have to write something. It might be the fluke as an art lover that I don’t have to worry too much about my article format. I even write in the first person. In this specific exhibition, I must amplify myself and it is vital to do so. Memory is private property. Through recalling my creation process, I also share with you the interior monologue deep inside. Let me conclude my statement with a saying by James Turrell, from whose work I obtain the inspiration of title for this exhibition “About Together We Shine.” “Everyone has a light in them and we come together to find that light in us again and again”

—— James Turrell ​​​​