| 隋建國——公共化的個人痕跡
策劃：劉鼎
開幕時間：2008年4月19日星期六下午4點
展覽時間：2008年4月20日－5月
展覽地點：卓越藝術，北京市朝陽區酒仙橋路4號798藝術D區
開放時間：周二至周日上午10點至下午6點
聯系電話：010-8167 9255
電子郵箱：info@joyart-beijing.com
網 址：www.joyart-beijing.com
隋建國長期以來通過雕塑實踐來對雕塑的觀念和形態進行思考和拓展，也同時運用錄像、裝置、行為等其他的媒介對社會生活形態的變遷和塑造社會生活形態的力量和 機制進行反思和討論。卓越藝術的第二個項目“公共化的個人痕跡”是隋建國通過抽離和呈現雕塑創作中翻制和放大泥稿的過程而對個人意志被轉化成公共意志的社 會現實所展開的研究。
“公共化的個人痕跡”是藝術家將自己個人的偶然的塑造痕跡，通過一個公共放大器放大從而獲得了公共性的過程。私人的手跡在被放大后，呈現出某種類似巨人的接觸 后留下的痕跡，從個人到巨人、從普通人到巨人、從私密到公共、從真人到超人，成為一個即是個人的又非個人的存在的證據。在這中間，作為放大器的雕塑放大體 系，擔當了重要的角色。
“公共化的個人痕跡”討論的不僅僅是藝術家思想的主觀性和個人化印記的轉化，而是在更廣泛的層面上揭示公共意志的源泉，即個人欲望、意愿、野心、思想和價值 觀，即使進入了完全非個人化、由他人掌控和執行的、理性的生產、傳播和流通的流程，結果也只是放大和強化這種個體性的需求和存在。只不過這種存在通過各種 再現系統披著普遍性和合法化的外衣更加隱蔽地遍布在我們的四周并支配著我們。這些匿名和隱形的力量對從實體的建筑物、城市的規劃到無形的社會規則、道德觀 和價值判斷到國家的意識形態等方面都施加著有力的影響。在這樣的現實中，“歷史萎縮成了（永恒的）現在，一切事物都圍繞著個體私利和個體生活而運轉。”
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.” |
