邀请展:艺术家邵译农个展

 

                                                     策展人:黄笃

《木本心 十年树轮》 
     
与主题展“不期而遇”并行,邀请展旨在以个案研究的方法来呈现艺术家个展,邀请具有实验性、观念性和创造性的艺术家,意在挖掘和展现艺术家在创作中的观念、形式和语言与社会、语境、日常、传统及文化节点的内在关系及其个人经验。这里,作为邀请展的艺术家个案,著名艺术家邵译农的受邀和参与就是对以上议题的确证。
     
邵译农是一位很具独特性和创造性的艺术家。他的艺术跨度较大,涵盖了不同媒介和观念。他早期从事绘画,后来转向摄影,近来则专注雕塑与装置。邵译农早期的绘画带有“时效”特点。后来他(与慕辰合作)的摄影作品在形式上呈现出绝对客观的图像,又传递出对其蕴涵的历史意义的解读。近来,邵译农转向了雕塑和装置的创作,他通过用黑丝绒作为媒介对昔日殖民时代繁冗的日常器物的模仿,暗喻了人们对虚幻的奢华的想像。尤其是邵译农最近的作品则转向了对中国传统美学挖掘和利用,并以此重新界定了物、自然、空间与人的关系。邵译农在这次个展中奉献了两件巨大的作品“木本心 十年树轮”(室内)和“道和门”(户外)。
     
在这件室内的作品“木本心 十年树轮”(20092019)中,邵译农把一棵树主干切割成六段,通过利用传统工艺方法,即日复一日对树木进行烘烤、打磨、披麻、挂灰、上漆以及再上漆的工艺,正如他所预期的那样,以每十四天达一张普通纸的厚度增长,十年之后,漆树生长的厚度约十厘米左。最后将这种赋予人工的漆器悬挂于排序的拱形不锈钢结构中,呈现出了奇异的装置雕塑效果。该作品的观念就在于集木、人、时间、劳动和美于一体。我们从他的作品中既能洞察到木的自然节律和质朴简约,也能感悟到人的劳动与自然相关的生命、时间、生长的外化状态相吻合。
      对于“木本心 十年树轮”的观念,正如邵译农所自述,“人从心出发,至物达物,至性达性,格物之志。这时物心即本心。对我而言,于外时间与生命年轮之外观,于内心闲杂,行简约至本之心路,这件作品也就是生命内化之附带物品而已。”



道和门                       
     
邵译农是一位很具独特性和创造性的艺术家。他现在北京生活工作。他近来创作的大型装置雕塑作品,充分反映了他回归传统美学价值的意义:即不仅放大了传统美学的能量,又转译成当代性的艺术语言。
     
在大型户外作品“道和门”中,邵译农就充分发挥了这一思路,并付诸实践。“道和门”中醒目的花墙由一块一块铁浇铸图案组成:具体由传统四只蝙蝠组合成一个图案,呈四方连续状,以十字连接。其含义为福上加福。作品由花墙形成狭窄的通道、各式洞门和空间构成一个场。迂回婉转的曲线状犹如缠绕的巨龙,而这种四米高的铁幕花墙给观者心理上和空间上带来某种体验——或在约束、在延伸、在通透、在隔绝之间,或在冰冷、在华丽之间展开生存和自由的微妙思考。该作品在花墙内和花墙外形成两个空间的一个场,也形成了如同剧场看和被看的不同视点。因此,该作品的整体空间理念构成了对现实空间、艺术空间和心理空间的追问和换位。                                 
     邵译农曾参加过许多重要的国际性大展,如上海双年展、广州三年展、日本森美术馆开馆展“幸福”、今日文献展等等。鉴于邵译农出色的艺术实践,作为此次邀请展的艺术家,他是一个非常值得研究的当代艺术个案。


Invitational Exhibition:

                Solo Show of Artist Shao Yinong

                                              

                                                                                                                                                    Curator: Huang Du
Ligneous Heart-Ten Years of Annual Rings

    Collateral to the thematic exhibition "Encounters," this invitational exhibition aims to present solo shows of each artist, in a “case study”-like approach. We invite experimental, conceptual, and creative artists in order to explore and display the personal experiences of artists as well as the internal relationship between concept, form, language, and society, context, daily objects, traditions, as well as cultural factors. Here, as one case study from the artists in the invitational exhibition, the famous artist Shao Yinong has been picked out, with his participation demonstrating the aspects listed above.

    Shao Yinong is a very unique artist demonstrating great creativity. His art ranges widely in media and concept. In his early period, he focused on painting, then turned to photography, and later began working on sculpture and installation. Early paintings by Shao Yinong reflected a sense of “timeliness.” Later he showed absolute objective images in the form of his photography works (in cooperation with Mu Chen), which however, transmitted an interpretation of the historical meaning implicated in them. Recently, Shao Yinong turned to work on sculpture and installation art. Through imitating the gorgeous daily objects of a colonial era with black velvet, he implied a people's imagination of an unreal luxury. Especially in his recent artworks, Shao Yinong has begun to explore and utilize traditional Chinese aesthetics; he has re-defined the relationships between objects, nature, space and human beings. In this solo-show, Shao Yinong has contributed two large artworks “Ligneous Heart - Ten Years of Annual Rings” (indoor) and “Ways and Doors” (outdoor).

     In the indoor work, “Ligneous Heart-Ten Years of Annual Rings” (2009-2019), Shao Yinong cut the trunk of a tree into 6 parts and burned and polished them, covered them with haircloth and dust, lacquering them over and over, day after day in a traditional way; as he anticipated, its surface depth increased by the thickness of a sheet of paper every 14 days. After ten years, this lacquered tree will grow thicker by about 10cm. In the end this kind of artificial lacquer is hung from arched steel structures, arranged in order; they partake of the appearance of both installation and sculpture. The concept of this artwork lies in its combination of wood, people, time, labor and beauty. We could perceive the natural rhythms and minimalist features of wood; meanwhile, we can also appreciate that human labor matches well with the states of natural life, time, and growth that the wood itself embodies.

     As accounted by Shao Yinong, the concept in the “Ligneous Heart - Ten Years of Annual Rings” is, “people who have the will to explore objects from their inner heart, could reach both objects and their spirits spontaneously. Thus the objects and people share the same heart. For me, I would like to show the appearance of time and life with annual rings, reaching the origin in a free and brief way. This work is merely an incidental item in which life is internalized."

"Ways and Doors"

   Shao Yinong is a truly unique artist, exhibiting great creativity, currently living and working in Beijing. Shao's recent creations of large-scale installations and sculptural works fully reflect the significance of his return to traditional aesthetic values: he has not only expanded the energy of traditional aesthetics, but also interpreted them in the language of contemporary art.

    In the large scale, outdoor work “Ways and Doors,” Shao Yinong has given full play to this idea and put it firmly into practice. The eye-catching tracery on the walls in “Ways and Doors” is constituted of metal pieces with cast patterns: specifically, there are four bats combined into one traditional image, which is connected by crosses and continues in a tetragonal form; it is designed to mean blessing upon blessing. In this work, the tracery walls form narrow channels, and various doors and spaces; together they constitute an overall field. The winding curves look like twisting dragons; meanwhile, the four-meter-high metal tracery walls give the viewer a certain psychological and spatial experience - they will be left subtly pondering on survival and freedom under restricted circumstances, extension, permeability, isolation, or a cold magnificence. Two spaces and one field are formed within and outside the tracery walls. At the same time, two different perspectives can be perceived, namely to see and be seen, like in a theater. Therefore, the whole spatial idea of this work constituted a questioning and transposition of real space, art space, and psychological space.

    Shao Yinong has participated in many important international exhibitions, including the Shanghai Biennale, the Guangzhou Triennial, “Happiness” (the opening exhibition of Mori Art Museum, Japan), Today Art Museum's “Documents,” and many others. Based on Shao Yinong's outstanding artistic practices, he is case of a contemporary artist well deserving of study as one of our invited artist.