| 隋建国——公共化的个人痕迹
策划：刘鼎
开幕时间：2008年4月19日星期六下午4点
展览时间：2008年4月20日－5月
展览地点：卓越艺术，北京市朝阳区酒仙桥路4号798艺术D区
开放时间：周二至周日上午10点至下午6点
联系电话：010-8167 9255
电子邮箱：info@joyart-beijing.com
网 址：www.joyart-beijing.com
隋建国长期以来通过雕塑实践来对雕塑的观念和形态进行思考和拓展，也同时运用录像、装置、行为等其他的媒介对社会生活形态的变迁和塑造社会生活形态的力量和 机制进行反思和讨论。卓越艺术的第二个项目“公共化的个人痕迹”是隋建国通过抽离和呈现雕塑创作中翻制和放大泥稿的过程而对个人意志被转化成公共意志的社 会现实所展开的研究。
“公共化的个人痕迹”是艺术家将自己个人的偶然的塑造痕迹，通过一个公共放大器放大从而获得了公共性的过程。私人的手迹在被放大后，呈现出某种类似巨人的接触 后留下的痕迹，从个人到巨人、从普通人到巨人、从私密到公共、从真人到超人，成为一个即是个人的又非个人的存在的证据。在这中间，作为放大器的雕塑放大体 系，担当了重要的角色。
“公共化的个人痕迹”讨论的不仅仅是艺术家思想的主观性和个人化印记的转化，而是在更广泛的层面上揭示公共意志的源泉，即个人欲望、意愿、野心、思想和价值 观，即使进入了完全非个人化、由他人掌控和执行的、理性的生产、传播和流通的流程，结果也只是放大和强化这种个体性的需求和存在。只不过这种存在通过各种 再现系统披着普遍性和合法化的外衣更加隐蔽地遍布在我们的四周并支配着我们。这些匿名和隐形的力量对从实体的建筑物、城市的规划到无形的社会规则、道德观 和价值判断到国家的意识形态等方面都施加着有力的影响。在这样的现实中，“历史萎缩成了（永恒的）现在，一切事物都围绕着个体私利和个体生活而运转。”
Sui Jianguo: Revealing Traces
Curator: Liu Ding
Opening: 4pm, Saturday, April 19, 2008
Exhibition Dates: April 20 – May 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 8167 9255
Email: info@joyart-beijing.com
Website: www.joyart –beijing.com
For many years Sui Jianguo has used his art practice to contemplate and expand upon sculptural concepts and forms. He also employs related media, video, installation and performance to reflect and discuss the changing patterns in our social lives and the forces and mechanisms that shape our social patterns. In JoyArt’s second artist’s project “Revealing Traces” Sui Jianguo unfolds his research through the extracting and presentation of molding and the enlargement process of a small clay model; he also examines the social phenomenon that is the transformation of individual will into the public will.
In “Revealing Traces” the artist sculpts his own haphazard imprint; through this public amplifier he enlarges them, thus achieving a communal process. Once one’s personal fingerprints have been enlarged, it appears as if a giant has left behind an imprint; from individual to a colossus, from average person to god, from personal to public, or from a real person to a superman, these become testimony to the existence of something personal, yet also impersonal. Amidst all this, the system that achieves these sculptures’ magnification assumes a major role.
“Revealing Traces” is not merely a discussion on the subjectivity of the artist’s ideas or of the transformation of an individual’s imprint; on a broader level it reveals the source of the public will: the personal desires, aspirations, ambitions, ideology and values of the individual. Even though the manufacturing process is executed and manipulated by others, it is rationally produced, and its propagation and circulation is completely impersonal; the result is the enlargement and intensification of the individual’s desires and existence. Draped as a cloak of universality and legitimacy, this kind of existence is concealed everywhere around us, and it governs us through its various resurgent devices. These anonymous and invisible forces impose a powerful influence on society, from architectural entities, urban planning, intangible social rules, moral concepts, value judgments and even to national ideology. In such a reality, “History has withered to become the now, everything revolves around the individual’s personal gain and the individual’s life.” |
