05 Jan 展览｜在半个迷宫中 Be in a Half of Maze 开幕现场
在半个迷宫中 / Be in a Half of Maze
——中国美术学院美术馆青年艺术家扶持项目 / Young Artist Project of CAA Art Museum
开幕 / Opening：2019.12.3 14:00
展期 / Duration: 2019.12.4 – 2020.1.3, 9:00-17:00
地点：杭州市南山路 216 号 中国美术学院美术馆实验展厅（-1F）
Address: Basement of the Gallery, CAA Art Museum, 216 Nanshan Rd., Hangzhou
艺术家：冯冰伊 唐潮 吴鼎 郑源
Artist: Feng Bingyi, Tang Chao, Wu Ding, Zheng Yuan
Curator: Liu Tian
Project Director: Yu Xuhong
Academic Director: Yang Fudong
执行策展人：冯宇纯 冯均桥 陈天琪 黄利红 梅之险
Executive Curator: Feng Yuchun, Feng Junqiao, Chen Tianqi, Huang Lihong, Mei Zhixian
Exhibition Coordination: Xia Shangzhou, Cai Kecheng
Visual Design: Transwhite Studio
Organizer: CAA Art Museum
协办：中国美术学院跨媒体艺术学院 中国美术学院视觉中国协同创新中心 中国美术学院校友会
Co-Organizer: School of Intermedia Art, The Institute for Collaborative Innovation in Chinese Visual Studies, China Academy of Art Alumni Association
特别资助：新世纪当代艺术基金会 上海河路文化传播有限公司 清影艺术空间
Special Support: New Century Art Foundation, Shanghai HELU Culture Communication, Inna Art Space
吴鼎（12 月 7 日）
唐潮（12 月 14 日）
冯冰伊（12 月 21 日）
郑源（12 月 28 日）
Lecture & Talk:Wu Ding（Dec. 7th）
Tang Chao（ Dec. 14th）
Feng Bingyi（ Dec. 21st）
Zheng Yuan（Dec. 28th）
时间 / Time: 14:00
地点 / Venue：缪斯咖啡 / Muse Coffee（中国美术学院美术馆旁 / Next to the CAA Art Museum）
Be in a Half of Maze
Be in a Half of Maze means a improbable chase.
A maze is not really trying completely strand the visitor. Its essence manifests itself as parts in an intangible substance: Roads. Nevertheless, by the walking it allows, we can always face only part of it.
Parts do not mean that it can not reflect or shield the whole. Among the glowing fragments witnessed: guessing, searching, trying to synthesize a gestalt. Where there is no light there exists unilluminated breath.
Does not matter whether or not we believe that each fragment is connected while hidden, some fragments do reflect others. The most wonderful thing about fragment is that it leaves a variety of filler possibilities, to imagine different versions of the whole.
There will be the superposition of possibilities: the possibility from one fragment leavesversus that of another one and another… This is no doubt an open product of enormous magnitude, from which no other inferences can be drawn, only means just countless tiny twists and turns. It is precisely all attempts of escaping and solving that pave the path of the maze.
Therefore some give up, some stay roaming. Owing to this state, when facing the maze, it becomes more and more of an eternal half.
This eternal gesture of viewing comes through sceneries. It has no center, no exitand no perfection. However, it is not confusing. The difficulty is precisely that the maze tends to appear as a number of common rooms.
If you are able to look down at a maze, you will naturally find it is indeed a half. But even if the perspective from the sky makes it clear, when you look at the ground plan, you are already trapped by it again.
This time, you’ll meet geometric planners of preciseness, the researcher rescuing forhistorical debris, you’ll see suicide notes and volcanoes lighting up each other in games or dreams, and will see people who grow up in a maze and in the end devour it.
It is still the ancient metaphor. The world is half a maze, the viewers and walkers participate in the other.
So there may not be a complete maze at all; the maze is always half, just as infinity cannot be a certain value. When infinity is halved, it is still infinite; and even after the perplexity in the mind doubles it, it’s still the same.
Everyone, whether strong or weak, assumes he/she to be the King at the center of the world, which proves the infinity of the world. An insider can only believe that he/she is a unique running away one; in fact, ends up to be one of the anonymous constructors.
In the brain, in the eyes, in the hands, in walking, in half a maze. The unsolvable intertwinement and disentanglement are spells and keys of artists. Obsession is a symptom that rely on but need to overcome. Just like bows and lyres share the same strings. Like this is not a Foreword but a Chord.
Once a friend wrote, dipped in the water, a promptly fleeting sentence as a gift: In an open maze, the general draws the bow; weary in the mountains, the zephyr follows.
Text / Liu Tian
展览现场 / Exhibition Scene
展览平面图 / Exhibition Plan
作品简介 / Artwork Introduction
Nature hides itself on the other side of logic.
From the Cave
They are walking out of the cave, or, into the cave of human beings? If the vision of human beings has been predicted by Plato, then what about theirs? What can human see from the animals? What can they see from the human beings? Are “we” in the same place? Where is this place？
Mr Life & Death
It is “that kind of thing”.
After a certain period of time, this Mr dies automatically, as his metabolism stops without any visible omen. After this, if the key in his scapula is turned, he will turn back to a baby and grow up once again.
As one can see, this series of works is generally about Searching, which is usually accompanied by crossroads. In this process, is it wise or stubborn to believe in oneself? Maybe, only “someone else” can know.
SCP████-Project Leve: Love & Conflict
It is like another sense beyond the five senses. It is there, but we can’t confirm it. It is like another number hidden among 1 to 5. It is not 6, but another one beyond any calculation. It’s also like an immaterial element, beyond the five elements of the Universe. This mystery, this…thing, can only be found when the entire human being meets the comfort. My travelling companion told me that it is about Time, the only item that even allows for the possibility of change. It is through time that aggregation and disruption have any meaning, that holds the universe between freezing in stasis, and blown like scattered dust to irrelevance.
The world is thinking in unison. Aggregation is dominant. I fear the state of Love and the end of all Time comes soon.
The Philosopher that jumps into volcanic vent
He is not against the rumor that he is a prophet and the one who brings miracles. Someone even says that he can bring the dying back to life. Time never stops. It carves histories into stones, while changing everything, even the stone.
It must be so. When an idea should appear, it appears. Changes should be embraced, so that the stasis will never rule. And embrace the teaches from “the four people who will never show themselves”, knowing that, everyone is the fifth.
The poet says:
The great Empedocles, the passionate soul, throws himself into the volcanic vent of Etna, and burns into ashes.
Hidden in tears
Preface: Raindrops Click On The Sight
Opening the eyes, a randomly generated place
Clear view, blurry view, in repeat as so
Raindrops fall and click on the horizon, guiding the sight that keeps focusing.
Imitating a shackle on the street, behavior, words and voice slowly form an intertextual relationship.
Short-term Memory Loss
The fish is in the tank, the tank is in the house, it has been raining outside, and the house is like a bigger fish tank.
Water fills the container and covers the city. We make memories in the water like fish, and then evaporate quickly.
The scales flicker, like a tree flitted through fire
Scales are often used to describe insignificant things.
Light passes through the cracks in the woods, and as we move, it keeps flashing.
It can be understood that such flicker divides and converts a moving image into countless pieces.
Then insert a still frame in the gaps of each fragment, there are flowers, horses, and snapshots of daily life.
They are the scales of a person’s growth, a type of residual or piecemeal.
In the twinkling of an eye, time passes by…
The reference substance is constantly moving and disappearing, only the flow itself is static and solid.
Dive Into The Night With The Wind
I couldn’t sleep at night, and took it when I went for a walk outside.
把演员扮演的士兵安插在上个世纪 40-80 年代的图集中，尽量去还原一种因环境所迫而产生的自娱自乐，一个天然的暗房，一种黑白相册式的生活。当两个时代的人在一些不同形式的山水和飞行物中相遇，我们发现很多东西其实并未改变。
Place the actors who dressed up as soldiers in a 40s to 80s album, trying to restore a self-entertainment caused by the environment, a natural darkroom, a life like a black-and-white photo album. When people of both eras met in different forms of landscapes and flying objects, we found that many things did not change.
When we squeeze the plastic foams hard, we are actually showing a relationship between destructiveness and emotion. The bubble bursts; the force of the fingertips is disassembled in an instant, along with the touch of the skin and the sound of cracking, a comprehensive sense makes us feel that the pressure seems to be released a bit. At the same time, on a flat screen, we keep clicking and swiping, turning into a fruit-addicted ninja or a person who constantly arranges graphics and then eliminates them, eliminating, eliminating, and the destructiveness of such act is gradually zoomed in. Zoom in slowly, zoom in a bit more. If you don’t have to use rigorous logic to test these analogies, what I want to do is to constantly look with a restricted view, to organize the fragile and transient characteristics of things.
Sweets In The Bedroom
Most dreams and sweets are sweet, but it’s better not to eat sweets before going to bed.
If you think of the world as a virtual model, then the act of taking a photo is like getting the texture mapping of it.
Reveling layer by layer is not hoping to spy on anything, but focusing on the act of ingesting.
Ending: Pomegranate And Stars
A person suffers from eye diseases since childhood, his left eye can only see close-up while the right one can only look into the distance.
This world has always been a mystery to him because he can’t unify the view from his both eyes…
Day after day, besides the aging of the body, the sight of his left eye is getting more and more close-up, and the right eye is the opposite. Adding up, all things in between in the world are omitted at a glance.
At noon, he sat on the lawn and took a pomegranate trying to peel with his hands. The sunlight passed through the crystal-clear flesh, reflecting dazzling lights. Tearing the peel with a slight of mist, he felt the air and smelled the beauty. He then took the courage to start giving up unifying his vision. He used his left eye to observe the pomegranate and his right eye to look at the sun. The world slowly became one, colorful and bright…
“The image retreats and the truth emerge.”
“This is the first time he has broken away from the suffocating mess.”
“Where is the world?”
“Red, orange, green, blue, and purple, that is below the fence deep into the garden.”
Imagination is a reliable image of cognition
On the History of the Circle
…The true picture of the past flits by, The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again…For every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably.
Once Occupied the Same Sky
1979 年，中国的改革开放确立了以建立区域化的经济特区为主要手段的发展路线，与开放市场所平行的是同样被国家意志所打开的广袤空域。在 1979 年邓小平访美之后，1980 年邓小平提出了“民航一定要企业化”的指示。中国民用航空开始进行与军队脱离的企业化改革。《曾经占据过这片天空》以中国改革开放以来的中国民用航空的发展为主要线索，拍摄取材于北京，西安，兰州及嘉峪关，作品详细调查了中国民航与国家外交，经济，政治详细而复杂的联系。通过对企业，档案以及对当事人采访片段的梳理与连接，作品试图讨论记忆与档案，图像与语言，物件与事件是如何在巨变时期中不断地改变自身的叙事与性质，以及个体在这种不断瓦解，不断重述的历史中所获得的经验。
In 1979, with the Chinese economic reform (literally: “reform and opening-up”, known in the West as the Opening of China) were established special economic zones in order to establish regionalization as a primary means of development path. Parallel to the open market there was a vast airspace opened by the state. After visiting United States in 1979, Comrade Deng Xiaoping put stated in 1980, that “civil aviation must be handled via entrepreneurship”. China’s civil aviation began the reform of separation from the air force. “This sky has been occupied” is the main idea of the development of China’s civil aviation since China’s reform and opening-up. Filmed in Beijing, Xi’an, Lanzhou and Jiayuguan, this work makes a detailed examination of complex links between Chinese civil aviation and national diplomacy, economy, and politics. Through the enterprise, archives and combination of interview footage of interested parties, the work attempts to discuss how memories and archives, images and language, objects and events constantly changed narratives and characters during the time of a great change; as well as the experience, gained by the individual in this history of constant disintegration and constant retelling.
A Brief History of China Northwest Airlines
1980 年 2 月 14 日，邓小平指出：“民航一定要企业化”。1987 年，中国政府决定对民航业进行体制改革，组建 6 个航空公司，实行自主经营、自负盈亏、平等竞争等原则。中国西北航空公司（China Northwest Airlines）成立于 1989 年 12 月 6 日，2002 年 3 月，中国民航业再次进行重组，根据中国国务院组建“三大航空集团”的改革方案，一直处于亏损状态的中国西北航空公司被东方航空集团并购，自此消失于历史的进程中。《一段简短的历史：中国西北航空公司》追踪了原中国西北航空公司所运营的每一架飞机在公司破产后的命运。客机作为商品的特殊性，制造序号的唯一性以及国际民航组织网络数据的健全，使得在网络中持续流通着的图像与在空中不断移动着的客机成为了在全球贸易中可被循迹的“档案”。作为中国“政企分开”改革过程中的一次尝试，对西北航空公司破产之后的“资产清算”，显示出曾作为整体的物质基础与意识形态是如何在被市场这只“看不见的手”全面接管后全面分崩离析的。
On February 14th, 1980, the former Chinese leader Deng Xiaoping declared that “civil aviation must corporatize.” In 1987, the Chinese government decided to carry out reforms in the civil aviation industry and establish six major airlines under the principle of independent operation, self-financing, as well as equal competition. In March 2002, another round of restructuring was carried out for China’s civil aviation. According to the reform plan of “Constructing Three Airlines Groups” by the State Council of the People’s Republic of China, China Northwest Airlines, founded on December 6th, 1989, was acquired by China Eastern Airlines due to a long-term run in the red, and the airline bowed out of people’s sight. A Brief History: China Northwest Airlines traces the follow-up stories of every plane after the airline’s bankruptcy. The particularity of passenger planes as a commodity, uniqueness of the Manufacturer Serial Number, and adequate data from well-established networks of international civil aviation organizations made images of sustainable online circulation and passenger planes in constant motion overhead into traceable “archives” in global trade. Despite a frustrating attempt in China’s reform to separate functions of government from enterprises, the archaeological investigation of China Northwest Airlines suggested how the potential national airspace had been controlled by the strength of policies and how material basis and value as a whole had been segmented after a complete take-over by the market economy.
Nights of Proletarian
《普罗大众之夜》的题目来源于 1981 年雅克·朗西埃的著作《劳动者之夜：十九世纪法国劳工的幻想》Nights of Labor: The Workers Dream in Nineteenth Century France，2012 年，这本书被 Verso 出版社重新发行，更名为《劳动者之夜》Proletarian Nights。
《普罗大众之夜》开始于凯文·曹颇具戏剧性的人生经历。在接连获得 2009 年全国脚斗士精英赛中量级冠军、2009 年“CCTV5 挑战脚斗王”六连冠之后，他与团队决定远赴美国推广这一竞技项目，但最终以失败告终。凯文·曹旋即选择留在美国，成为了一名婚礼影片摄影师，并开始从大众文化与视觉艺术中汲取养分。而身份与职业的转换也使他从舞台中央走向了无人知晓的边缘：从镜头前到摄影机后，从暴力的呈现者到幸福的记录者，平行于他动感颇强的颠沛人生，《普罗大众之夜》由凯文·曹在美国所拍摄的婚礼影片，早年的比赛录像和对他的采访片段而组成，作品试图围绕着图像内外中的劳动，价值以及身份问题而展开讨论，并将这些影像重新写入虚构与纪实交织而成的叙事中。
Nights of Proletarian took its name from the book by Jacques Rancière in 1981 (then titled Nights of Labor: The Workers Dream in Nineteenth Century France) which was re-published by Verso Books under the new name of Proletarian Nights in 2012.
Nights of Proletarian based on the dramatic life experience of Kevin Cao. After becoming the middleweight champion in the 2009 National Judose Classic and topping the 2009 CCTV5 Judose Tournament for the sixth consecutive time, he and his team decided to head to the US to internationalise the sport of Judose, but it ended in failure. In the aftermath of the setback, Kevin Cao chose to remain in the US and became a wedding videographer immersed in popular culture and filmmaking. The shift in profession led him to step away from center stage and retreat to unnoticed corners: from the limelight to behind the scenes, from a violent performer to a witness to happiness. As a parallel to his turbulent and displaced life, Proletarian Nights weaving together of wedding videos Cao made in the US, game recaps in his early years, and interview clips at his studio in Chicago, attempts to spark discussions over issues of labor, value, and identity in and outside the image-making process, and reconstructs images into a narrative entwined by both fictional and documentary elements.
一位已疲乏到极点的外卖小哥瘫倒在街边公园的长椅上，熟睡了。而在被长镜头所虚构出的梦境中，这些个体的劳动者们被聚集在荒漠中的一处山寨公园里: 在这里，奔波的外卖骑士成为了静止的“塑像”，形成了与他们日夜疲于追求速度与效率的反差。这些原本离散的当代劳动者的集体出场，指向了中国经济奇迹的反⾯：在技术与资本共谋下愈发同质化的城市生活，及其所造成的新型劳动与社会剥削——永远不能减速的移动和永远无法停止的劳动。在Jonathan Crary的《24/7》中，睡眠在当代资本主义社会中被形容成成一种稀缺的资源，而作为全球资本主义前线的中国，睡眠成为了这些移动者们所无法承受的风险。在超现实却又极端写实的梦境中，艺术家试图去捕捉到这自身所处时代的倦怠与焦虑——在现实中一直移动着的人，在梦里应该一动不动，在现实中从未被记住的脸，在梦中应该被给予特写。
An exhausted delivery rider sprawled on the bench of a roadside park and fell asleep safe and sound. In the dream composed of a long take, laborers gathered together in a Shanzhai park in the desert where dynamic riders became static “statues,” forming a contrast with the speed and efficiency they pursued inexhaustibly around the clock. The all-star lineup of contemporary laborers revealed the other side of Chinese economic miracle: an increasingly homogeneous urban life infused with technology and capital as well as new kinds of labor and social exploitation — perpetual mobility with speed and labor without rest. In 24/7 by Jonathan Crary, sleep was described as something rarely available in the contemporary capitalist society. And in China, at the forefront of global capitalism, sleep has become a costly risk for these mobile people. In surreal and extremely realistic dreams, the artist made an attempt to capture the elements of fatigue and anxiety in this era — ceaseless mobility day-to-day is frozen in the virtual world, while unremembered faces in real life deserve close-ups in imaginary dreams.
The thrust of Game is the deconstruction of “presentation” and “observation” in different media. The deconstruction is displayed in nonlinear and saltatory narratives: from the comparison between images photographed by cameras and computer-generated images, to the track of camera positions in live sports on television, and then emulation of human eyes in first-person shooter games. This piece of work intends to, by comparing these borrowed heterogeneous images with montage, unroll the mechanism, iteration, and recurrence behind, as well as the position and corresponding perspectives of observers. ”How is the world represented by images? How does the represented world reconstruct the way we observe?“ It is hard to answer the question in simply one single piece of work. Game is a humble attempt.
Nothing Happened began with a video made by a minimalist. A few vehicles occasionally passed by the viewer and there were no pedestrians in sight on the highway in a freezing winter. Meanwhile, according to the real-time city simulation, a serious accident simultaneously occurred on the same highway while the photographer made this video. As a minimalist in favor of the minimalist aesthetic, she chose not to shoot the accident, in a way to maintain the tranquility of a cold winter day.
《图像研究》是一部桌面录屏作品，一幅罗兰·巴特抽烟的照片窗口缩小后，旋即弹出的窗口中是一段由电脑的前置摄像头所拍摄下的卷烟教学视频。与“如何去卷一根完美的香烟”同时出现在电脑桌面上的，是“如何去制作一副完美的图像”，在这个窗口中，艺术家挪用了不同影像中的“教学片段”：从 YouTube 上的 Photoshop 教学，到哈伦·法罗基所拍摄下的《花花公子》杂志封面的制作过程，再到电影《放大》中商业影棚的拍摄场景…与这些不同的“如何去…” 所对应的，是艺术家本人在作品中所做出的声明：“我，除非在万不得已的情况下，才会使用摄影机”，暗示了在景观社会永远在场的现今我们已无需生产出更多的图像去制作一部影片。
Image Study is a piece of screen recording work. After zooming out from a picture of Roland Barthes smoking in front of his desk, a tutorial video on how to roll a cigarette recorded by the front camera of the macbook popped out. Along with this “how to roll a perfect cigarette” tutorial, another window appears showing “how to create a perfect image”, where artists appropriates various “tutorial clips” from different contexts, from photoshop tutorial on YouTube, to the making of a Playboy magazine cover photographed by Harun Farocki, and scenes of the studio for the film Blow-Up. Corresponding to these different versions of how-to, the artist declared in the work that “I would only use a camera as a last resort,” indicating that in the world where the spectacle is always on the scene, there is no need to produce any more images to create a new film or artworks.
（特邀翻译 / Translator：Halina，徐子涵/Xu Zihan，黄兆铜/Huang Zhaotong）