| 王鲁炎：整体的背面
策划：刘鼎
开幕时间：2008年1月26日星期六下午3点
展览时间：2008年1月26日——3月26日
展览地点：北京朝阳区酒仙桥路4号798艺术D区卓越艺术
开放时间：周二至周日上午10点至下午6点
联系电话：010－81679255
电子邮箱：joyart@yahoo.cn
网址： www.joyart-beijing.com
从70年代末，王鲁炎就积极地参与中国当代艺术的实践。他是北京观念艺术小组“新刻度”的三位成员之一。从1988年至1995年，新刻度小组的成员一直以讨论、绘图、出版和展览等形式开展他们的艺术实践，运用分析几何学的方法，开拓出一套以理性代替艺术家的个性来传达经验和感受的方法论。机械工程师出身的他自然而然地把他对机械设计的兴趣融入他的个人创作之中，他的创作更多地再现了机械的精细构造中所有复杂和矛盾性的关系。他的一系列硬边绘画和阳刚的机械制图对锯、枪、坦克、螺丝刀、手表、剪刀、自行车等的内部构造和功能进行了改造，意喻棘手的国际政治关系以及以各种力量互相抗衡和制约为特征的格局。在这些构造中引进一种悖论式的关系成为王鲁炎标志性的设计。
卓越艺术的第一个艺术项目是王鲁炎的观念项目“整体的背面”，“整体”本应该是完整的、缜密的，包含了所有，没有任何遗漏，它总是排斥另一面的存在。在题目中的“整体”指的是我们所能认识的整体，而我们所能识别的“整体”实际上只是“整体”的局部，这个“整体”存在着我们接触不到的一面——“背面”。事实上我们永远无法洞悉事物的“整体”面貌，也即是事物的“本质”，我们了解“整体”的过程就是不断地去接近这个“背面”的过程，尽管我们离这个“背面”的距离可能是无止境的。“没有同一个世界，同一个现实，同一个真相之说，我们生活在平行的世界和现实之中。”“整体的背面”讨论的是一个关于认识的问题，是对人类的认知的一种新的认识，是身处于这个世界，而对“另外一个世界”保持着知觉和好奇之心的状态。
在“整体的背面”中，王鲁炎建构了一个放大的微观世界：在展厅的四面墙上用他一贯使用的机械构图的方法和风格描绘出由坦克轮组成的连续纹样，填满了高10米的墙面。并在展厅的地面用混凝土塑造了一个球体的局部。不管站立在隆起的地面的哪个点，往哪个方向看，只有局部。这些局部的几何图形被抽离了具体的指向。局部的放大和抽象使我们失去了具体的参照体系。隆起的球体改变了观众的观看方式。事实上，我们本来就已经生活在一个圆形的球面上，只不过它的尺度给了我们生活在平面上的幻觉。艺术家在圆形的球面上又建造了一个球面，用微观的方法强化了我们日常的经验，以物理的方式拟造出一种认识世界的可能性。也许整体的背面永远都是无法被察觉的一面，但是超越这种认识的局限和自我的局限却是我们永远的命题。也许我们永远看不到月亮黑暗的一面，但这也不应该阻挡我们不断地尝试去想像，去演绎，去接近它，去遥望我们之外的“另外一个世界”。
WANG LUYAN: The Other Side of Totality
Curator: Liu Ding
Opening: 3pm, Saturday, January 26, 2008
Exhibition Dates: January 26 – March 26, 2008
Venue: JoyArt, Zone D, 798 Art District, 4 Jiuxian Qiao Road, Chaoyang District, Beijing,
China
Opening Hours: 10am – 6pm, Tuesday – Sunday
Tel: ＋86 10 81679255
Email: joyart@yahoo.cn
Website: www.joyart-beijing.com
Actively engaged in China’s avant-garde art movement since the late 1970s, Wang was deeply involved with the New Measurement Group, a three-member initiative of Conceptual artists that existed from 1988 to 1995. Introducing the rules of analytic geometry into their practice, the New Measurement Group explored the possibilities of communicating experiences and perceptions through quantities and measurements as opposed to erratic individuality. A trained mechanical engineer, Wang Luyan’s individual practice has stemmed from his fascination with mechanical design but more importantly, the potential complex and paradoxical relationship of all kinds as embodied in the intricate makeup of machinery. In his series of minimalist paintings and masculine mechanical sketches, Wang Luyan exposes the inner designs of sawing machines, guns, tanks, screws, wristwatches, scissors, bicycles and so on and incorporates his alterations and manipulations into these designs to suggest thorny international political relationships as well as more general situations where forces from all sides contain and implicate each other.
JoyArt presents Wang Luyan’s conceptual project, “Wang Luyan: The Other Side of Totality”.
“Totality” should imply integrity, meticulousness, the inclusion of everything without a single omission, thus it rejects another side to existence. The “totality” in our title speaks of a totality that we are capable of recognizing, this “totality” that we are capable of discerning is, in actuality, a partial “totality”. This version of “totality” exists in a realm that we cannot touch––the “other side”. In fact, by no means will we ever be able to discern the “total” appearance of things, to be precise: the “essence” of things. Our process of understanding “totality” is the never-ending process of making contact with the “other side”, even though we are quite possibly forever at distance from it. There is no such thing as one world, one reality, or one right way of saying something; we live in parallel worlds and a parallel reality. “The Other Side of Totality” discusses the issue of cognition, it proposes a new understanding of mankind’s perceptions, it is the body located in this world, but maintaining a consciousness and curiosity for the “other world”.
In “The Other Side of Totality” Wang Luyan constructs an enlarged microscopic world: on the four walls of the exhibition space, he uses methods of mechanized composition and style to portray repetitive patterns made by the wheels of a tank, he covers the entire 10 meter height of the four exhibition walls. On the exhibition floor he uses concrete to create a partial sphere. No matter what point on the floor you are standing in, or from which angle you are viewing, you can only view it in partiality. The geometric shapes of these fragments are pulled out of their specific position; their enlargement and abstraction causes us to lose our specific reference scheme. The protuberance of the sphere changes the viewers’ approach. In actuality, we exist on a spherical globe, but its scale gives the illusion of living on a flat surface. The artist then constructs a sphere on this convex shape, using microscopic methods to enhance our everyday experiences, a physical approach that seems to create a possibility for understanding the world. Perhaps the other side will forever escape our consciousness, but surpassing limits of understanding and self-limitations will nevertheless forever be a possibility. Perhaps we will never see the dark side of the moon, but this shouldn’t stop us from forever trying to imagine, deduce, get closer to, or look off in the distance for “another world”.
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