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【上苑现场】一枚同名个展《一枚》/ Yimei Solo Exhibition YIMEI

[2019-9-5 22:41:50]


【上苑现场】一枚同名个展《一枚》

 Yimei Solo Exhibition YIMEI


一枚个展海报.jpg

展览信息:

【一个人的开幕式】:

2019.9.1.(周日)3:00 - 3:30 pm

观众入场时间:开幕式后

学术主持:张

展   期:2019.9.1 - 9.7

主   办: 北京上苑艺术馆

地    点:北京怀柔区桥梓镇沙峪口村 上苑艺术馆


【One Person’s Opening】:  

3:00-3:30 pm, Sept. 1st (Sun.), 2019

Audience’s entrance time: after the opening

Academic Host: Zhang Qiang

Duration: Sept. 1st to 7th, 2019

Organizer: Shangyuan Art Museum, Beijing

Location: Shangyuan Art Museum, Qiaozi County, Huairou District, Beijing


前言:

诗:绝望中的期望


我无法猜测当一枚躺在大地上的时候,看到些什么?……以至于让她一直不停地在不同的地方,非常自然地选择“横陈玉体”的动作。

作为诗人的一枚,窥探这个世界的方式,肯定与一般艺术家的视角是不同,或许,她觉得这个世界比例,既然是为直立的人体所设计的,那么,躺在地面上一定可以看到不同的世界。

这一动作的改变,不仅让一枚窃喜不已,也让她的关照者逐渐产生了兴趣,一个横躺的身体,对于这个世界的人物关系发生了改变——这是一种温和的改变,不是骚乱的改变。如果是一个熟谙美术史的女性艺术家,一定会采取的是人体方式,而不是身体方式。在这里,身体与人体的区别,前者秉持了社会学的立场,也就是着衣的身份联系;而后者则是脱略了社会学征兆,将服装褪去。——挑衅大众,引起骚乱,继而重审期间的关系,这无疑是一位当代艺术家的获取问题的基本逻辑起点。

一枚的躺在大地上,其实还是对于一种诗义的姿态。作为诗人的身份,在当代社会之中的尴尬可想而知。通常是无法发出声音,发出声音无人倾听,即使有人倾听,也会被喧哗的噪音所吞噬。诗要孤,画要静,这是生活在诗的国度了,古人对于诗与画境界的一个基本的描述。诗的“孤”,意味着一个独特的体验,方可称之为是诗;“画”注定是对于世界的旁观,而不被其干预也不去干预。

一枚的诗,是极其个人化的体验的、有关句式的河流,其实,内容也许不再重要,在这个图像的世界里,一枚放弃了让人们理解其诗义的初衷,她开始了读诗的行为——给她遇到的所有的事物与对象去读诗。

2019年7月29日,一枚驻留上苑艺术馆,来到了我的工作室,为我——一个艺术家及其我面前的一幅石头长卷,开始读诗行为。头戴花冠的一枚,开始了抑扬顿挫的读诗行为——一连串的字句从她的双唇之中,嗫喏地流出,洒满了一地。我没有任何想窥探真相的欲望,一枚似乎也不关心我是否在倾听她的诗义。空旷的房间里,只有墙壁上布满尘土的北齐书法大师僧安道壹“大空王佛”拓片,在声音的气流中偶尔抖动,还有长几对面的两个人。

我坐在一枚的对面,双手相合,思绪万千,“诗”在这里真的已经成为一个借口,一种名义,一种失去了魂灵的躯壳,一种无力的召唤,一种没有内容的仪式……。最后通过手机纪录下来的只剩下了一种貌似神圣的图像。

诗歌最终在一枚这里变成了图像,这是一枚的聪敏,却是诗歌的葬礼。因为聪敏的一枚知道,如果说在纳粹时代“奥斯维辛集中营之后写诗是可耻的”,那么,在图像的消费时代,——写诗就是一种孤独的疾病,它非但不能治疗孤独,反而成为侵蚀你生命的病毒。诗在当下,已经被抽离了情感,只剩下了“欲望与灵魂”,前者因为可以随意挥洒而廉价,后者需神性的触摸而变得遥不可及。

回首上苑,一枚躺在众生之下,并不是世界倾斜的浪漫,而是意味着诗人的绝望;一枚的读诗行为,则是对于绝望的祭奠——尽管绝望,对于绝望的描述与纪录,却可以让我们窥见其中潜伏的期望。

  

沙丘张强

2019-08-18 于巴渝泓月丘十二云石阁


(张强:两江学者、四川美院教授、英国温切斯特艺术学院荣誉教授。著有《张强艺术学体系》四十卷(文化艺术出版社))



Poetry: Expectations in Despair (excerpts)


Poetry eventually becomes an image here with Yimei. It’s a smart and perceptive Yimei, but it’s a funeral of poetry. Because the smart and perceptive Yimei knows that if “Writing poetry after Auschwitz Concentration Camp is shameful” in the Nazi era, writing poetry is a lonely disease in the age of image consumption. It cannot cure loneliness, instead it becomes a virus that erodes your life. Poetry at present has been separated from emotions, leaving only "desire and soul", the former becomes cheap because it can be freely sprinkled, the latter needs divine touch and grows remote.

A look back at Shangyuan: Yimei’s lying under all living beings is not the world’s inclined romance, but the poet’s despair. Her poetry reading performance, so to speak, is a memorial to despair -- although despair, the description and record of despair can let us see the hidden expectations.


Zhang Qiang

Twelve Dolomite Chamber, Hongyueqiu, Chongqing

August 18, 2019

  

(About the author Zhang Qiang: Two Rivers Scholar, professor of Sichuan Academy of Fine Arts,Honorary professor of UK Winchester School of Art, author of Zhang Qiang Art System in 40 volumes.)


现场图片

Photos from the opening performance & its exhibition

一枚 “一个人的开幕式”:现场行为

Yimei’s One Person’s Opening Performance 


一枚给她的个展和作品读诗

Yimei’s reading her poems to her solo exhibition & works




一枚撕自己的诗 Yimei Tearing Her Poetry Book




这既是一个结束,又是一个新的开始。

作品元素:红玫瑰、沙峪口紫橙菊花和树叶、燕山石头、盐、一枚诗歌之碎片、六枚蜡烛/台

It’s both an ending and a new beginning. 

Performance elements: red roses,local purple & orange chrysanthemums, local leaves, Yanshan mountain stones, salt, torn pieces of Yimei’s poetry book and 6 pieces of candles/stands





当点燃蜡烛时 When candles were lit

03.jpg





观众在楼上观看“一个人的开幕式”

The audience were watching ’One Person’s Opening’ upstairs 



观众入场看展 The audience entered the exhibition hall 



02.jpg



现场作品图 Photos of exhibited works 



04.jpg


一枚个展闭幕式|上苑读诗活动 

Yimei’s closing ceremony of the solo exhibition | Shangyuan Poetry Reading Event 2019.9.5






网上留言 Online Comments





鸣谢:

特别感谢行为现场协助Leire Lacunza和Irina Ideas,以及照片提供者: Estelle Magnin、李念奴、蓝京华、王虹懿 Special thanks to performance assistants Leire Lacunza and Irina Ideas, as well as photographers Estelle Magnin, Li Niannu, Lan Jinghua and Wang Hongyi


展览随读 

Thoughts after the opening performance & its exhibition

“梅花落了一地 就晚了”。

一枚的诗句,就这么简单平淡,平淡到让人落泪。

一枚的行为艺术,也一直与她的诗句一样,安静、简单、平淡。

一枚躺在世界任何一个地方,任何一个国度,任何一种温度,任何一种气息,她就是一粒尘埃,回归到尘埃的位置。

大地是卑微的身躯丈量不过来的,苍茫俗世里,一枚以卑微的身躯感受街道、河流、沙滩、瓦砾的冷暖与尖利,以入睡、禁闭、隔离、冥想、死亡与涅槃的姿态。这是一种朝圣与救赎,以自己的卑微去怜悯、去体悟、去献祭、去拯救另一种卑微。或许,这仅仅是旁观者的过度阐释,也许,一枚仅仅只是为了生命里的一个片刻的休憩。一枚在躺下的一刻,释放了自己,获得了心灵的自由。

一枚还喜欢读诗。

一枚喜欢给大地、虚空、一堵墙、一幅画、一个茶盏读诗。也许,她不需要对方听懂她的诗,也不需要对方理解她的诗意,这样,其实才是真正的诗意。让诗弥漫在空气中,慢慢消散。

一枚不太喜欢给人读诗,如果你遇到一枚读诗,你可以捂住耳朵,让她的诗,从你身边的空气流过。


蓝京华

2019.9.2宋庄


一枚的一个行为作品是她的“给画读诗/给万物读诗”系列。一枚认为,通常的情境是,给人读诗,但她要反常规地给人之外的万物读诗。在这里我看到了一枚的孤绝,仿佛是对诗的当下处境的指陈,在公众那里,诗被甩出了他们唯利是求的生活圈之外,诗的读者消失了。对人的失望——艺术的反常对应着社会的反常——导向一枚把除人之外的万物当做诗歌的读者,这是一个莫大的讽喻。但她似乎并没墨守这一自定的要求,我也看到了她对着人读诗的那些作品,她最近在上苑艺术馆实施的大多是这类作品,对着静默的艺术家及其作品读自己的诗,很有仪式感,我非常喜欢。这些“行为”非常日常化,但更偏向于处理人际之间的关系,它们凸现出交流双方的身份。在一次被邀请的倾听中,对方被诗(本体的诗)以及一枚的诗(具体的诗)多少影响了。它有一种诗化人际关系的功能,在偏重功利的社会环境中制造了一个诗介入的非功利性场景。另外这一交流情形还形成一种模型,它对拉近陌生人之间关系,消除生人间的隔膜是有效的。且这一实用功能相比于当下过度功利化,仍具有非功利性,因为它指向着对人与人之间不可被实利化部分的理解,指向着人对于他人的深度敞开,渴望抵达人际交流的狂喜状态,在最低的境况是一次诗歌表演,在最高的境界是觅得知音或收获深刻的批评。

一枚“一个人的开幕式”,图像作品布置在两层空间的底层的入口和南北西三面,居中是一张铺上了白布的大长桌,桌子东面靠着一张高脚椅。她先是坐在椅子上环绕周围的图像作品读诗,她把观众排斥在展览空间之外,这是她命名的“一个人的开幕展”的个人赋予的意涵。但观众并没有被严格屏蔽,一层门口的观众可直接观看,二层观众则穿过这一层特别设计的敞口(通达一层),穿过上苑艺术馆创办人程小蓓那件隐喻麇集的造梦者的有趣装置俯看“行为表演”。接着椅子上的总体性的、个人化的读诗,她开始对展出的图像作品一一读诗,读完后回到长桌边,开始一页页撕诗集——她自己的由某知名出版社出版的诗集。先是在桌边撕,然后爬到桌上,撕得仿佛很有快感,碎纸屑凌乱在桌上和桌边。撕完了一本诗集,她躺倒在桌上。之前安排好的两位艺术家在她身上撒下剪碎的花枝,里面醒目的有红色玫瑰和紫橙菊花,还有树叶。并在一枚的身体四周放置了一些石头,又在长桌周边点上了六枚蜡烛。据一枚讲,石头和大部分花枝树叶就来自于沙峪口(她今年驻馆的上苑艺术馆所在地),撒下的花枝树叶中还添加了食用盐。躺了几分钟后,她缓缓起身,祈祷,随手捡起身边的石子从身后抛出,石头落到地面发出清脆空灵的响声,然后她下了桌面,躬身施礼,示意“行为”结束。

一枚通过捧诗读诗这一综合性媒介,既显示了诗在她生命中的位置或她的身份,又体现出诗在当下的尴尬处境,诗的听众讽喻地成为除人之外的万物,但因为观众没有被严格屏蔽,诗也明显提升了人际关系(一枚与观众)的审美纬度,这是实际发生的。其实,她对着自己图像作品读诗,依然存在这种自己与已经客观化的作品或过去之间审美纬度——她渴望以一种诗化的方式面对自己的作品或过去的自己。正是因为这种诗化的对客观关系的审美提升,所以后来“撕诗”的环节,也可以做多样的审美化的理解。但它首先是一种告别,一种“看空”,诗本身(读诗与写诗)美化了我们的生活,但它的物质成果所缠裹的精神内容却有很多名利欲求,而它们是束缚人的自由心性的,撕碎它,就是告别这一层古老的束缚,抵达“不假于物”、“不累于俗”的自由境界。“现在我可以枯萎而进入真理”,“死亡”被一枚美化了。碎花细枝的美丽馨香(人间的祝福)消解了石头(死亡)的坚硬冰冷,盐和光的美好寓意是对死者在世上曾做光做盐的贴切象征。一枚用三个场景指喻了漫长的一生,读诗(指向她所有的作品),撕诗(艺术成果,比如诗集),死亡,这里面有个人的人生认定和生命态度,它们通过对死亡场景的诗化描述反向地确认艺术的意义和生命态度的正确性。“死亡”这一场景的功能,有点像塞尚那幅名作《圣维克多山》中的远景,因为有远景,近景变得更近了,更贴身(贴心)了,“向死而生”的重心是生,是生命的当下此刻,是我们日常化的行止。一枚作品中最动人处即在标举我们日常生活的神圣性。开幕式行为作品仿佛以重生收尾,但那恰好是这一作品自然的收束。不必将其理解为重生,那只是结束了一件充满个人态度的作品而平缓地回返到真切的日常生活中,这里无始无终,也随时都是终始。(节选)

苏丰雷 2019.9.3



Review of Yimei Solo Exhibition on 1.09.2019


Yimei Wang, like a mountain, stands without standing, observes without watching, touches upon the palpable but invisible testaments of our times. Our flux, the reality that changes under the influence of so many ideas, constructs, constrains but at the same time freedom that today more than ever can make us feeling lost in so many choices. Yimei Wang’s photography pieces and her performances are inseparable part of the whole, through playful but deeply meaningful interaction between now and then, alive and dead she encompasses the ends of both spectrum. The atmosphere and the depth of communication between objects and Yimei as a channel, allude in a way to "A thing in itself" from a Kantian philosophy. There is a great distance and respect towards everything that surrounds her, she is giving the autonomy of life to objects, ranging from a chair to a window, to a mountain of the world behind each frame, behind each poem.

Yimei Wang constructs and then tears apart just because she can! Her Oneness allows it, as it transports us to the atmosphere of the rarified air all mountain peaks possess, or maybe the air possesses all the mountain peaks, it is a question of interaction of realities Yimei constantly poses. At one end of the spectrum she freezes in time the moments that are condensed with meanings in her photography, at other times she makes the inanimate alive, unfreezes the static nature of objects by interacting with and reading poetry to them. The appearance and disappearance chase each other in the eternal game of life, our quest to understand the relations between things that surround us are carefully bound in the interdisciplinary nature of her work.

A sense of solitude but not loneliness is emphasized in her photography pieces in this exhibition, communicating a wide range of subjects and commenting upon the society, nature and our planet, ancient sites, contemporary life always in haste of finding the purposeful moment, while she carries a cross through those moments in different poses and circumstances of life.

Objects are not there to just serve, they are alive in their presence, that Yimei honors. She reads her poetry to them and then further freezes in time through her visual language in photography, finally to culminate the whole process with the performance art, which again gets frozen in time with video recording. The nature of a circle and a cross permeate throughout her work both in thematic body and external execution.

A performance, a moment in time, a statement, carefully elaborated, towards the world that heavily emphasizes on the impermanence of life, with use of highly symbolic elements, salt to purify (water), flowers and leaves (wood) to bring us back to nature that fluctuates all the time between living and dying, stones (earth) and candles (fire) to transform with the sound of the falling stones that give life to a vibration (sound) marking a beginning.  

The sense of religiosity prevails in her artwork which is one of the strongest testaments that her work questions and goes deeply into the sense of being, penetrating all the way to the layers of nothingness where the circle closes and the Phoenix can rise from the Ashes yet again. 

Religiosity is meant here not in a sense of any of the religions but rather the feeling of awe upon entering the Sacred Place. 


Irina Ideas

行为艺术作品


1.在张强工作室给他和他画的石头读诗Reading Yimei’s poem to Zhang Qiang & his stone painting in his studio,2019.7.29


2.给Irina和她的画读诗Reading poems to Irina & her paintings, 2019. 


3.给王峰和他的画读诗Reading Yimei’s poem to Wang Feng & his painting,2019


4.给十字架读诗Reading Yimei’s poem to the cross,2019


5.给空椅子读诗Reading Yimei’s poem to an empty chair,2018


6.给铁轨读诗Reading a poem to the rail track,2019

摄影作品


1.红色布拉格 Red  Prague, 2017,Prague


2.纽约警察局 NYPD, 2017,NY


3.一枚孤独的星球 Her Lonely Planet, 2018


4.种我 Planting  Me, 2017


5.一枚躺中英边界线,深圳沙头角 Yimei’s lying on Anglo-Chinese boundary,Shen Zhen,2018


6.一枚诗新娘在天安门 Yimei Poetry Bride on Tiananmen,2018


简历:

一枚,本名王轶梅,摄影师、行为艺术家、诗人。上海对外经贸大学副教授,英国访问学者。《头发与世界的关系》:一枚摄影上海个展暨一枚诗歌朗诵会和研讨会,2016.4;美国纽约Art Centro双个展,2017.8;一枚诗行影集《我需要采取行动 在我忧伤前》由中国文联出版社出版,2017.9;上海浦东图书馆一枚诗歌与行为专场,2018.4;ArtBank微展多次,2018;获北京红门画廊“中国新锐艺术家驻地奖”,2018.6;北京上苑女诗人艺术展,2018.8;艺术外滩-中法当代艺术邀请展,2019.1;面向未来:首届秦皇岛当代国际艺术单年展,2019.4。现居上海。


Yimei, full name Wang Yimei
Photographer, performance artist and poet. Lives in Shanghai


2018 Received “the Emerging Chinese Artist Residency Award” of Red Gate     Gallery, Beijing

2018 Shangyuan Art Museum Women Poets’ Art Exhibition, Beijing

2018 Yimei Poetry Reading & Performance in Pudong Library, Shanghai

2018 ArtBank Online Exhibitions

2018 “Her Vision” exhibition, NL Art Museum, Beijing

2017 Yimei’s Poetry book with photographs I Need to Take Action before I Feel Blue published by China Literary Federation Press, Beijing

2017 Ten Artists’ Exhibition “We Are Here” in Mid-Hudson Heritage Center, NY

2017 Double Show in Art Centro, Poughkeepsie, NY

2016-17 “Pure China”-- National Tour Art Exhibition

2016 Her works exhibited in Shanghai Tower (the highest building in Asia) and on Bund18, Shanghai

2016 successfully held Link the World with Her Hair--Yimei’s Shanghai Solo Photography Exhibition along with Yimei Poetry Reading and Academic Seminar, Shanghai

Associate professor of Shanghai University of In’t Business & Economics, visiting scholar of UK


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