Dec 26

《伪》

mayongfeng , 23:07 , art | 走秀 , 评论(0) , 引用(0) , 阅读(1651) , Via 本站原创
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展览时间:2007.12.1 – 2007.12.30|11:00 - 18:00|周一休息
展览地点:站台中国798项目空间
展览地址:北京市朝阳区酒仙桥路4号大山子798艺术区内

在一个道德沦丧的时代,大意的人们忘记了、回避了、或说视而不见了一个基本的事实:今天的文明还剩下多少真实性值得推敲?很少有人还真正在意文化的本义究竟是什么,真伪交错,鱼龙混珠,难道这就是一切事物的真相?文明的虚伪性使得艺术家们总是不断地抱着脑袋与自己较劲,然而他们没有拿轻薄的自我说事儿,而是试图通过制假反假的方式揭露伪文化带来的一切假象,以此发出自己的声音,哪怕是微弱的。是不是可以怀疑,无论从自我还是群体来说,文明本身就是一个虚伪的代名词?

陈维作品中的人物,或抑郁、或沉思、或不知所措,在被置换的场景中,他们找不到自身的坐标和出口。封闭的空间里充斥着一种很微妙很紧张的心理暗示:当时间概念被模糊时,带有过去痕迹的陈旧物品的反复罗列,对于人的心理是永远无法回避的刺痛。

马永峰利用大胆的假设还原了人们最初关于自然的梦想。这些美丽的人造景观造成强有力的图像侵略,虽非颓废摄影,却有意哀伤,控诉着人与动物作为原始自然的他者最终缺席的自省,摄像机镜头下,充满了戏剧化的讽刺。

金闪镜头下的人群、词典、旗帜、绳索、宗教色彩,是造成一切光怪陆离幻觉的起源。他似乎要表达一种精神出轨的游离感,使得“游行”也变得虚伪和浮夸,仿佛是马戏团恶作剧的表演。

王宁德的作品有意在虚构的时间、空间里将人物的身份与事件置换:成年人在想象中的世界天真无邪地玩着儿时的游戏。记忆越遥远,生活越真实,幻象也就越趋于假作。艺术家用图像而不是破烂的文字告诉人们,当我们将梦想嫁接于不合适的载体,一切都变得那么苍白而没有延续性。

杨龙海的装置则设置了一个骗局,用性感的嘴唇和言语引诱观众靠近,当人们怀着好奇的心态去尝试,却发现自己成为被愚弄的对象。他用这种直观的方式提醒人们,禁不住诱惑,其本质就是被自我欺骗。

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Exhibition Duration: 2007.12.01 - 12.30 | 11:00 - 18:00 | Closed on Monday
Place: Platform China Contemporary Art Institute 798 Project Space
Address: 798 Art Distr., Dashanzi, No.4 Jiuxianqiao Rd., Chaoyang Distr., Beijing

As nowadays moral is neglected, people don’t pay attention anymore to the fact, avoid or disregard it: Today how much authenticity is still in our civilization? Only few people care about what the culture’s original meaning is. The world is both true and false. The civilization’s inveracity makes the artists struggle with their ideas. However they don’t want to attract the audience’s attention on themselves, but they try their best to expose the gloss of a pseudo-culture, expressing their own perspective even if it won’t be persuasive. As an individual or a group, can we imagine that civilization is another pronoun for false?

In his work, Chen Wei set up a depressed, lost or meditating character that couldn’t find his own way in those similar scenes. The enclosed space is filled up with a delicate and tense psychological hint: when time is unknowable, the accumulation of obsolete items from memories gives somewhat to everyone an unavoidable quiver.

Through his work, Ma Yongfeng restores people’s primordial dream about nature. The beautiful man-made landscapes become a powerful accusation to the human and animal’s absence. His photography is not passive but saddening, likes a theatrical satire.

The crowd, dictionaries, flags, ropes and religious themes are the hallucination’s origin of Jin Shan’s works. He seems to describe a dissociation of spirit, which makes the parade looks like performing a circus’s chaffing sideshow.

In an imaginary time and space, Wang Ningde exchanges on purpose characters identity and event: in a dream world adults are innocently playing like in their childhood. While memories are quickly fading away, life is becoming more real and illusions more false. The artist uses images instead of words to show us that if dreams are grafted on unsuitable medium everything becomes fad and effectiveness.

In his installations, Yang Longhai uses sexy lips and tongue to flirt with the audience, but as people walk towards it with curiosity he refuses. He is making a joke to call people’s attention: failed resisting the temptation is actually a self-deception.
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