2018年9月22日(本周六)下午4时,由北京光社影像中心主办、在3画廊协办的“道和丸——雎安奇个展”将于北京光社影像中心正式开幕。
本次展览由著名评论家、策展人董冰峰担任学术主持。展出作品包括《比体温低1.5~2℃》、《R级:观癖》、《咏舞》和《大字》以及一件全新的与展览同名的装置作品《道和丸》。展期至2018年11月22日。
展览期间,三部雎安奇的电影作品《失踪的警察》、《诗人出差了》和《北京的风很大》会安排专场放映。
On September 22, 2018 (this Saturday) at 4 pm, the “Bowl and Ball – Ju Anqi Solo Exhibition” will be officially opened at Light Society.
This exhibition is organized by Light Society and co-organized by BEING 3 GALLERY. Works including “1.5~2℃ Lower than Temperature”, “Restricted: Gaze”, “Dance Aria” and “Big Characters”, along with a brand new eponymous installation “Bowl and Ball” are exhibited. The exhibition runs until November 22, 2018.
During the exhibition, three films – “A Missing Policeman”, “Poet on a Business Trip” and “There is a Strong Wind in Beijing” would be arranged for exclusively filming.
“作为当代中国最为活跃的电影导演和艺术家之一,雎安奇自2000年拍摄的处女作《北京的风很大》开始即赢得全球范围内的广泛赞誉和关注。而随着近年他的创作日益进入包括绘画、录像以及装置艺术等融汇多种媒介形式的实验性阶段,重新考虑及尝试以一种全新的图像研究的路径来探讨雎安奇的艺术实践成为此次北京个展的主题目标。
《道和丸》这个展览遴选了雎安奇部分时期的影像代表作品如《比体温低1.5~2℃》、《R级:观癖》、《咏舞》和《大字》。艺术家也特别为此次展览创作了一件与展览同名的装置作品《道和丸》。他制作了数千个名为“道和丸”的传统蜡装蜜制药丸,将其放置在成为古董的米斗中,经过荒诞和戏谑的外化,象征着“道”和“丸”相互的形塑关系,“丸”是万物发生的本源,既可称之为药又可隐喻一种器官,米斗作为一种量器,其承载功能即为规则也隐喻一种器官,有如规则和伦理对于爱和欲望的规训作用;而展览标题中的“和”在此仿佛制衡两端的天平,寄寓了某种理想中的平衡,亦或是二者间得以相互流动的通道。这件作品也可视为对整个展览主题的一个指引。
本次展览,雎安奇将为《比体温低比1.5~2℃》提供全新的展示方式,紧随其后的《R级:观癖》模拟了一个会议室,观众可以坐在会议桌前用窥视的方式去观看一个伪色情的惊悚剧;《咏舞》则以一个密闭空间作为展示空间,观众隔着窗户观看三段由雎安奇用红外线摄像机在成都的一个地下舞厅偷拍的画面;单频录像作品《大字》是展览的压轴之作,影片中出现的这些构建奇迹的不计其数的碎石,也将从新疆的拍摄现场运至展场并置一隅,形成了一段简洁而深刻的互文。
雎安奇的艺术实践不仅为其电影创作提供一种必要的视觉知识的理路,同时也深入揭示了今天观看机制及艺术系统本身面临的压抑与经验的匮乏。抑或在艺术家解构电影与当代艺术不同的形式装置之时,即推动和产生了梅洛-庞蒂所说“想象与视觉的统一”的思考与内在动力。”
——学术主持 董冰峰
“雎安奇的创作结合自身经验,打破且糅合了两个领域的方法,为今天的实验影像提供了新的思考。被抽象后的电影结构语言,与当代艺术的观念转化相结合,我们看到他的作品具有一种清醒的含混,幽默的无奈,欲言又止。某种意义上说,他的作品是给醒着的人看的。从全球的视野来看,他的创作也具有不同层面的启示性。”
——艺术评论家 夏彦国
“As one of the most active film directors in contemporary China, Ju Anqi has won worldwide acclaim and attention since his debut of " There's a Strong Wind in Beijing " in 2000. With his creations gradually stepping into the experimental stage of incorporating multi medias such as paintings, videos and installations into his work, it has become a themed purpose to rethink and reattempt through a brand new approach regarding image research on Ju Anqi’s artistic practice in this Beijing solo exhibition.
Representative works from different periods of Ju Anqi such as "1.5 to 2 °C Lower than Body Temperature", "Restricted: Gaze", "Dance Aria" and "Big Characters" were selected to form the exhibition of "Bowl and Ball". Specially, the artist has created a site-specific eponymous installation for this exhibition. For this work named as “Bowl and Ball”, he has made thousands of traditional wax-packed pharmaceutical pills made by honey and put them into a Chinese rice peck now is seen as antique. Under the appearance of absurdity and irony, the “bowl” and the “ball” have symbolized the vagina and the testicle as well as the mutual-molded relationship between the two. The "ball" is the origin of all things, and it can be seen as a medicine or a metaphor of organ, meanwhile as a measuring device, the “bowl” along with its carrying function is not only a measuring standard but also a metaphor of organ too. Moreover, the "and" in the title of the exhibition represents the balance between the two ends, acting as a metaphor of ideal yin and yang or the channel of mutual communication. The work of “Bowl and Ball” can also be regarded as a guide to the theme of the exhibition.
For “Bowl and Ball”, Ju Anqi has designed a new way of display for the work of "1.5 ~ 2 ° C Lower than Body Temperature ". And "Restricted: Gaze" mimics a conference room, where audiences can sit at the conference table and peep into a pseudo-porn thriller. "Dance Aria” applies a closed space to display, allowing audiences to watch three scenes shot by Ju Anqi with an infrared camera in an underground ballroom in Chengdu through the glass. The single-channel video work of "Big Characters" is the finale of the exhibition, and the countless gravel that appears in the film to build a miracle will also be transported from the shooting scene in Xinjiang to the corner of the exhibition venue, together forming a precise and profound Intertextuality.
Ju Anqi's artistic practice not only provides a necessary visual knowledge for his film creation, but also reveals the oppression and lack of experience faced by today's seeing mechanism and the art system itself. Or when the artist deconstructs different forms of installations - films and contemporary art, it promotes and generates the thinking and inner motivation of Merleau-Ponty's ‘unification of imagination and vision’.”
Dong Bingfeng
Academic Host
“As one of the most eye-catching new-generation of film directors and conceptual artists, Ju Anqi's artistic creation, usually based on his own experiences, has provided new reflections on today’s experimental films through breaking and combining the approaches of the two fields. The abstracted language of his film structure, combined with the transformation of contemporary art concepts, has provided us with sober ambiguity and humorous frustration, as well as the desire to say yet stop. To some degree, his work is for audiences who are awakened and his creations also have different levels of enlightenment from a global perspective.”
Art Critic Xia Yanguo