* 在展期内，作为展览的场外部分和延伸，一部关于五位在广州生活的母亲的片子《渠道》将于在博尔赫斯书店循环播放。（地址：广州市越秀区中山五路昌兴街7号一楼） Note: As an extension to the exhibition, a video entitled “Solutions” will be shown in Borges Libreria (book store) on a daily basis. The address is No. 7 Chang Xing Street, Zhong Shan 5th Road, Yue Xiu Disctrict, Guangzhou.
Two series of paintings, one double-screen video; these are the elements I will use to talk about “emotion foundation” in HB station exhibition space, using the word “soulmates” as a disguise and way of connecting with English.
“Emotion foundation” is a Chinese (communist) term. It was coined and came into our lives alongside various of its linguistic relatives: for example, material foundation, mass foundation etc. It is under this rhetoric that our experiences reside: those that cannot be easily subsumed within certain standpoints or the usual dichotomies, those where we all have blurred faces and become deformed mirrors for one another.
Two series of paintings: one focuses on portraits, called “Soulmates”, and the other focuses on details, called “Touch of Consensus”. Carrying their own specific mark-making and image-making capacity, these paintings are exhibited in an equally specific physical arrangement. “Songs of Consensus” is a 16-minute long video punctuated by three “popular” songs (“popular” depends on where you live and when you were born and what you believe in). Loosely developed from fragments of a recording of a young scholar speaking about Chinese left-wing art discourse of the last century, the video samples a range of people from different backgrounds and their views on the debate about the relationship between “art” and “life”. This process of sampling and collaging aims to bring out my reading of each individual’s inner logic in conjunction with the conditions in which they live. Together I hope to suggest a world that exists both as a part and result of two competing but interlocked official attitudes towards art.
The exhibition invites the audience to trace – and to a certain extent face – the substance/subjectivities of our foundations, regardless of how we name them and their immediate relevance to us now. It is a probe into what happened and what we are aware has happened; it is a probe into what is left and what we think is left of our access. In the end I hope to be able to deliver an artistic speculation: the relationship between art and politics, determined by Mao in his 1942 speeches at the Yan’an Forum on Literature and Art (in the Yan'an Rectification Movement), has greatly shaped the mode by which we connect with each other (through art). To a degree, it is still one of the few “soulmates” we all share to this day. In finding our future, I suggest, the task is simultaneously verbal and physical, and the creation of new soulmates will involve simultaneously reinventing the performative and accepting the non-performative; just like our soulmate.
——Huang Jing Yuan （校对：施笛闻）
［ Curator's Introduction ］
The twentieth edition of HB Station Art Project, first began in the early summer of 2017, when Jing Yuan has spent more than a month at HB Station’s residency program, during which she interviewed people from various backgrounds on their intersection with arts. Jing Yuan's choice of interviewees is at once enigmatic and diverse, manifesting the puzzles and different networks of art infrastructures existing in today’s China.
Before the end of her residency, Jing Yuan hosted a gathering for most of her interviewees and organised a screening. It was at this moment that her interests and approaches gradually manifested itself for her audience and participants. For Jing Yuan, arts is the agency to experience and unveil the social reality. “Discussing arts” thus makes those at once symbiotic and contradictory aspects of these practitioners visible, exposed to the open air. These individuals’ differences on a perceptual level, as it is evident in Jing Yuan’s work, is the result of different social class, eras, and education background these interviewees carry along with. In China, the space where these differences meet has yet to exist, giving rise to the illusion that conflicts have been flattened, diversity and free will are favoured. However, if we had made these differences invisible, it is only because no one can be confronted and convinced, nor they ever have a chance to. It is exactly this peculiar disabled negotiation that Jing Yuan is picking up and constantly examining.
This sloppy, lingering state of mind, yet, becomes so digestive with excuses such as “this is the reality,” as if it is written in the Words of Wisdom for every living soul. In her work “Songs of Consensus,” Jing Yuan scrutinises this way of the world, and projects it on our daily life experience through incorporating them into TV series, live-show, and read them along with other previous interview clips.
I speculate that, the audience will be confronted with two different sentiments. Consciously or not, one might be sunk deep into a sense of empathy that helps one to temper those unmanageable doubts. The moment of “being touched” becomes the essence, as it draws people closer, as it eliminates one’s attempts “to reason.” Or, one might be burdened with determination and frustration at once. The initiative of “seeking the truth” finds its temporary shelter in reason before it manages to cross path with the general public.
When sentiments—buried deep within these struggles—are expressed through Jing Yuan’s artistically appointed “meeting space” of differences, such as mainstream cultures, symposium; and are presented as a collection of facts in front of us, we can not escape but wonder: where do we meet? What do we argue for? Why we yearn for tears instead of happiness? After all, for whose souls we mate?
—— Liang Jianhua （翻译：yisi）
>>>特别致谢 衷心感谢喻旭东、黄叶韵子在拍摄期间提供的各种帮助。 Special thanks to Yu Xudong and Huang Ye Yun Zi for their help during the interview and research process. 衷心感谢片中所有出镜者的理解和支持，片子因他们的出镜而成为可能。 My gratitude to all individuals that appear in the video. I thank them for their understanding and generosity. This video would not be possible without them. 衷心感谢广东时代美术馆提供的“作为话语的“现实主义” 研讨会录像资料。它是广东时代美术馆2016年策划的《脉冲反应II——关于现实与现实主义的讨论》研讨活动的一个部分。 My gratitude to Guangdong Times Museum for allowing me access to their video archive of “Pulse Reaction II—Discussions on Reality and Realism”. This symposium took place in 2016. The footage came from the section titled “Realism as Discourse”.
About the Artist Huang Jing Yuan，Born in 1979, Guangxi. Huang received a BFA from Concordia University (Montreal) in 2005 and a MFA from the School of the Art Institute of Chicago in 2008. Since returning to China in 2010, her work has focused on the contradictions and disconnections within Chinese society, and between China and the world. Since 2014, concerned over the diminution of a civil society under the current administration, Huang has worked with the idea of socialist realism, attempting to subvert the key mechanics of this historically complex genre. During 2017, her exhibitions and residencies have focused on exploring the conflicted inner strength of people in the provincial setting. She is the initiator of “Writing Mothers,” an on-going collaborative writing project with the ambition of discovering the potential of a feminist critique offered through the lens of family life.