| 王魯炎：整體的背面
策劃：劉鼎
開幕時間：2008年1月26日星期六下午3點
展覽時間：2008年1月26日——3月26日
展覽地點：北京朝陽區酒仙橋路4號798藝術D區卓越藝術
開放時間：周二至周日上午10點至下午6點
聯系電話：010－81679255
電子郵箱：joyart@yahoo.cn
網址： www.joyart-beijing.com
從70年代末，王魯炎就積極地參與中國當代藝術的實踐。他是北京觀念藝術小組“新刻度”的三位成員之一。從1988年至1995年，新刻度小組的成員一直以討論、繪圖、出版和展覽等形式開展他們的藝術實踐，運用分析幾何學的方法，開拓出一套以理性代替藝術家的個性來傳達經驗和感受的方法論。機械工程師出身的他自然而然地把他對機械設計的興趣融入他的個人創作之中，他的創作更多地再現了機械的精細構造中所有復雜和矛盾性的關系。他的一系列硬邊繪畫和陽剛的機械制圖對鋸、槍、坦克、螺絲刀、手表、剪刀、自行車等的內部構造和功能進行了改造，意喻棘手的國際政治關系以及以各種力量互相抗衡和制約為特征的格局。在這些構造中引進一種悖論式的關系成為王魯炎標志性的設計。
卓越藝術的第一個藝術項目是王魯炎的觀念項目“整體的背面”，“整體”本應該是完整的、縝密的，包含了所有，沒有任何遺漏，它總是排斥另一面的存在。在題目中的“整體”指的是我們所能認識的整體，而我們所能識別的“整體”實際上只是“整體”的局部，這個“整體”存在著我們接觸不到的一面——“背面”。事實上我們永遠無法洞悉事物的“整體”面貌，也即是事物的“本質”，我們了解“整體”的過程就是不斷地去接近這個“背面”的過程，盡管我們離這個“背面”的距離可能是無止境的。“沒有同一個世界，同一個現實，同一個真相之說，我們生活在平行的世界和現實之中。”“整體的背面”討論的是一個關于認識的問題，是對人類的認知的一種新的認識，是身處于這個世界，而對“另外一個世界”保持著知覺和好奇之心的狀態。
在“整體的背面”中，王魯炎建構了一個放大的微觀世界：在展廳的四面墻上用他一貫使用的機械構圖的方法和風格描繪出由坦克輪組成的連續紋樣，填滿了高10米的墻面。并在展廳的地面用混凝土塑造了一個球體的局部。不管站立在隆起的地面的哪個點，往哪個方向看，只有局部。這些局部的幾何圖形被抽離了具體的指向。局部的放大和抽象使我們失去了具體的參照體系。隆起的球體改變了觀眾的觀看方式。事實上，我們本來就已經生活在一個圓形的球面上，只不過它的尺度給了我們生活在平面上的幻覺。藝術家在圓形的球面上又建造了一個球面，用微觀的方法強化了我們日常的經驗，以物理的方式擬造出一種認識世界的可能性。也許整體的背面永遠都是無法被察覺的一面，但是超越這種認識的局限和自我的局限卻是我們永遠的命題。也許我們永遠看不到月亮黑暗的一面，但這也不應該阻擋我們不斷地嘗試去想像，去演繹，去接近它，去遙望我們之外的“另外一個世界”。
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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