第零 · 预告｜朱羿郎实验作品展

朱羿郎实验作品展

Experimental Works Exhibition of Yilang Zhu

学术主持：吕品晶

Academic Support：Lv Pinjing

策展人：王冲

Curator：Wang Chong

出品人：王海英

Producer：Wang Haiying

展览总监：李裕君

Exhibition Director：Li Yujun

主办机构：《雕塑》杂志社、第零空间

Organizer：Sculpture Magazine，Zero Space

开幕｜Opening：2021.7.18，4:00pm

展期｜Duration：2021.7.17-7.27

地点：798第零空间

北京市朝阳区酒仙桥路2号798艺术区红石广场B01

Venue：798 Zero Space, No.B01, Hongshi Square, 798 Art Zone, No.2 Jiuxianqiao Road, Chaoyang District, Beijing

前言

这是一个关于“物”的群体实验，它们居于空间之中，具备自己的形态，投下自己的影子，把握自己的话语。它们和我们在同一时空中相遇，不由得让人想到那亘古不变的“object”与“subject”的辩证，即“物”与“人”谁才应该居于画面的中心？

由启蒙思想沿袭而来的人文主义致力于将人置于至高无上的地位，即一切从“主体”出发，既而倡导通过直接解释的方式来认知世界，以及以明确的目的性为指导来改造世界。不过，这种“科学式”地与万物的接触是否就能如愿？正如这个展览中的作品，哪些是雕塑？哪些是建筑？它们为何而来？它们有何诉求？这些问题可以获得解释吗？

不过这些问题的无解对于它们作为“物”来说，以及人对它们的感知来说，都没有关系。因为追求解释与目的的路径是闭合的，只指向唯一的出口。但“物”的本质是复杂和多元的，而人的直觉感知以及想象力也是发散和多解的，这正是“物”与艺术的魅力所在。因此，当人们了解到一味地坚持“subject”，就会使艺术沦为解决特定问题的手段，其背后隐藏的多元物性便会被无情地遮蔽。就此而言，以敬畏之心面对“物”，物才能发声，艺术才能生发。

那如何发掘物性呢？这个展览提供了一些方案。首先在生产端，作品虽由人作，但创作者却在创作过程中主动退场，因此创作目的和题材内容等均被移除，呈现出来的只是在三维空间中独立存在的“物”；其次在接收端，去掉创作者主体干涉的作品，反而向观者开放，所以这次的展品都没有名字，这正为此次展览的名称“N/A”点题，即“没有合适的”——一方面悬置了作者为“物”取名的合法性，另一方面也递出了寄望观者参与的邀请函。

吕品晶

Preface

This is a group experiment about "objects". They sit in the space, have their own form, cast their own shadow, and control their own discourse. They meet with us in the same time and space, which reminds us of the eternal dialectical "object" and "subject", that is, who should be at the center of the picture, the "objects" or us?

Humanism, inherited from the Enlightenment thinking, is committed to the supremacy of human-beings, that is, to start everything from the "subject", and to advocate the cognition of the world through direct explanation, and the transformation of the world under the guidance of clear purposes. But is this kind of "scientific" contact with everything going to work? Simply as in the works in this exhibition, which of those are sculptures? Which are buildings? Where did they come from? What are their claims? Can these questions be solved?

However, the lack of a solution to these questions does not matter for them to be "objects" or for people to perceive them. The path of pursuing explanation and purpose is a closed one and only points to the only exit, but the nature of "object" is complex and diversified, while human’s intuitive perception and imagination are also divergent and open, which is exactly the charm of "object" and art. Therefore, when people realize that persisting in "subject" will make art become a means to solve specific problems, the objecthood behind will be mercilessly obscured. In this regard, only when the object is confronted with our awe can the object make its voice heard, and can the art flourish.

Then how to discover the objecthood? The exhibition offers some solutions. Firstly, in the side of producing, although the work is made by human beings, the creator actively leaves the scene in the process of creation. Therefore, the purpose and subject matter of creation are removed, leaving the "object" solely that exists independently in the three-dimensional space.  Secondly, at the receiving end, removing the creator’s subjective interference opens up the works to the spectators, so the titles of the works are leaving blank, which coincide with the name of the exhibition--"N/A", or "not applicable" –suspending the legitimacy of the given name to the “object” by authors on the one hand, and forward the invitation letter to the spectators for participation on the other.

Lv Pinjing

关于艺术家

朱羿郎

男，1984年7月出生于四川成都

美国加利福尼亚州注册景观建筑师

中国文化产业促进会公共艺术委员会常务副秘书长

美国景观建筑学会(ASLA)会员

中国雕塑学会会员

北京美术家协会会员

学习与工作经历

艺术参展经历

2019年8月   

雕塑作品《两扇门》入选参加“华日初上——2019青年雕塑创作营”

关于策展人

王冲

中央美术学院博士生

中央美术学院城市设计学院教师

东京大学建筑系硕士

曾就职于WOHA.CCDI

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