活动详情
黄边站项目实验室第二十期
感 情 基 础
艺术家：黄静远
策展人：梁健华
开幕：2019年3月23日（周六）下午3:00
Opening: 2019.3.23 (Saturday) 3:00pm
展期：2019年3月23日 - 5月2日 逢周三四五六日 下午2:30 -下午6:30
Duration: From Wednesday to Sunday: 2:30pm - 6:30pm（2019.3.23-2019.5.2）
地点：黄边站（广州市白云区黄边北路向荣街338号，时代美术馆一楼全家便利店转角后）
Address: NO.338, Xiangrong Street. Huangbianbei Road, Baiyun Avenue, Guangzhou
* 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.
［ 展览自述 ］
展览以现场装置的方式安放了两个绘画系列和一对双频录像。
绘画分别是以肖像为主的《灵魂伴侣》 系列和以特写为主的《感情基础之力》系列。绘画带来的笔触和图像感，在现场与空间的物理基础发生特定关系。录像名为《感情基础之歌》。结构上它以三首比较上口的歌曲作为情感标点，层层推进。内容上它围绕着“艺术和生活”的话题，以一位青年学者 * 对左翼文艺的回溯和展望为暗线，由点及面地端出不同背景和职业的人对艺术的看法。
展览的题目有意映射群众基础、物质基础等词汇，以及这些词汇包含的长期以来你中有我我中有你的日子。展览希望通过对不同个体内在逻辑和外在生活环境的穿插勾勒，追追那些维系不同利益／历史主体的共处，测测我们的感情渠道。展览通过艺术小心揣测，认为政治和文艺之间那些年那些事这些年这些事，也许很大程度上缔造了我们现今的感情模式：它是关于口头语言的，也是关于身体语言的——正如可能的出路那样，它是生活演绎，也是媒体演绎。
* 录像里不一一对应地标注每个受访者的身份和名字，但是有具体鸣谢。
—— 黄静远
艺术家驻留期间采访工作照片
（图片由艺术家提供）
Huang Jing Yuan at work
(courtesy of the artist)
项目实验室第二十期始于2017年初夏，黄静远在黄边站驻地工作历时一个多月，这一个月里她分别采访了来自不同背景的人，逐一记录下Ta们与艺术相关的种种经历。对于如何选择对象，黄静远有出奇庞杂的胃口。Ta们也“庞杂”地依赖着不同生态系统展开着各自的艺术生涯。
在驻地结束前，黄静远将采访对象尽可能的召集在一起，举办了一次放映会。此刻艺术家的工作面向，对于参与者和观众来说才逐渐清晰起来。在这里，艺术是作为黄静远进入社会现场的通道而存在。巨大差异背后展现着不同阶层、年代、教育背景的区别。“谈艺术”成为剖开各种艺术生涯之间既共存又相互抵触之处的切口。这些差异巨大的经验在中国并没有一个“相会”的空间，也因此而淡化了它们之间的矛盾，也让它们似乎各有天地。但实际上这之间不可能视而不见，只是谁也没力、也没有机会说服对方。黄静远的工作正是在翻检当中的来回拉锯。
《感情基础之歌》录像视频截图
（图片由艺术家提供）
Screenshot from "Songs of Consensus"
(courtesy of the artist)
这种拖泥带水的情状，被一种“这就是现实”的情感所消化，或许我们几乎能在每个人身上都能看见这种世故的生存智慧。黄静远在作品《感情基础之歌》中仔细端详着这种世故，她把视线放大到日常生活中，涵盖了电视剧、综艺节目和此前的采访视频，将它们并置在两个屏幕中。观众在影像中可以看见两种身影，或者更应该说是两种情绪。一种在有意无意间，让自己陷入一种悲悯中，这也许能缓和那些不受控制的怀疑。因为让人感动是得那么的重要，它可以斩断思索，能让人们能再次接近。另一种则苦于无法把求真和所得送到“大众”面前，但仍需上下求索，以求用理性建立一个“相会”之处。当艺术家将裹在这些挣扎里面的情感，通过大众形象、研讨会现场等等自认是“相会”点的场景拼接在一起，并作为一个事实集合在观众面前时。不禁让人自问：我们相会或争吵的地方在哪？我们期待的为什么是泪流满面的感动，而不是快乐？情感基础是怎样的基础？
—— 梁健华
HB Station Art Project Lab No.20
Soulmates
Artist: Huang Jing Yuan
Curator: Liang Jianhua
［ Artist Statement ］
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”.
关于艺术家
黄静远，1979年生于广西。2006年毕业于康考迪亚大学艺术系，2008年毕业于芝加哥艺术学院。她的创作试图反映中国社会内部以及在和外部对话时产生的各种（自我）矛盾和（自我）隔离。有感于社会主义写实审美在面对后网络图像生活时显示出的威力和无力，她有意回到这个历史范畴里，尝试从内部反转写实图像叙述中已有的权力关系。她于2017年七月发起“写母亲”的共同写作计划。
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.
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感 情 基 础
艺术家：黄静远
策展人：梁健华
开幕：2019年3月23日（周六）下午3:00
Opening: 2019.3.23 (Saturday) 3:00pm
展期：2019年3月23日 - 5月2日 逢周三四五六日 下午2:30 -下午6:30
Duration: From Wednesday to Sunday: 2:30pm - 6:30pm（2019.3.23-2019.5.2）
地点：黄边站（广州市白云区黄边北路向荣街338号，时代美术馆一楼全家便利店转角后）
Address: NO.338, Xiangrong Street. Huangbianbei Road, Baiyun Avenue, Guangzhou
* 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.
［ 展览自述 ］
展览以现场装置的方式安放了两个绘画系列和一对双频录像。
绘画分别是以肖像为主的《灵魂伴侣》 系列和以特写为主的《感情基础之力》系列。绘画带来的笔触和图像感，在现场与空间的物理基础发生特定关系。录像名为《感情基础之歌》。结构上它以三首比较上口的歌曲作为情感标点，层层推进。内容上它围绕着“艺术和生活”的话题，以一位青年学者 * 对左翼文艺的回溯和展望为暗线，由点及面地端出不同背景和职业的人对艺术的看法。
展览的题目有意映射群众基础、物质基础等词汇，以及这些词汇包含的长期以来你中有我我中有你的日子。展览希望通过对不同个体内在逻辑和外在生活环境的穿插勾勒，追追那些维系不同利益／历史主体的共处，测测我们的感情渠道。展览通过艺术小心揣测，认为政治和文艺之间那些年那些事这些年这些事，也许很大程度上缔造了我们现今的感情模式：它是关于口头语言的，也是关于身体语言的——正如可能的出路那样，它是生活演绎，也是媒体演绎。
* 录像里不一一对应地标注每个受访者的身份和名字，但是有具体鸣谢。
—— 黄静远
艺术家驻留期间采访工作照片
（图片由艺术家提供）
Huang Jing Yuan at work
(courtesy of the artist)
项目实验室第二十期始于2017年初夏，黄静远在黄边站驻地工作历时一个多月，这一个月里她分别采访了来自不同背景的人，逐一记录下Ta们与艺术相关的种种经历。对于如何选择对象，黄静远有出奇庞杂的胃口。Ta们也“庞杂”地依赖着不同生态系统展开着各自的艺术生涯。
在驻地结束前，黄静远将采访对象尽可能的召集在一起，举办了一次放映会。此刻艺术家的工作面向，对于参与者和观众来说才逐渐清晰起来。在这里，艺术是作为黄静远进入社会现场的通道而存在。巨大差异背后展现着不同阶层、年代、教育背景的区别。“谈艺术”成为剖开各种艺术生涯之间既共存又相互抵触之处的切口。这些差异巨大的经验在中国并没有一个“相会”的空间，也因此而淡化了它们之间的矛盾，也让它们似乎各有天地。但实际上这之间不可能视而不见，只是谁也没力、也没有机会说服对方。黄静远的工作正是在翻检当中的来回拉锯。
《感情基础之歌》录像视频截图
（图片由艺术家提供）
Screenshot from "Songs of Consensus"
(courtesy of the artist)
这种拖泥带水的情状，被一种“这就是现实”的情感所消化，或许我们几乎能在每个人身上都能看见这种世故的生存智慧。黄静远在作品《感情基础之歌》中仔细端详着这种世故，她把视线放大到日常生活中，涵盖了电视剧、综艺节目和此前的采访视频，将它们并置在两个屏幕中。观众在影像中可以看见两种身影，或者更应该说是两种情绪。一种在有意无意间，让自己陷入一种悲悯中，这也许能缓和那些不受控制的怀疑。因为让人感动是得那么的重要，它可以斩断思索，能让人们能再次接近。另一种则苦于无法把求真和所得送到“大众”面前，但仍需上下求索，以求用理性建立一个“相会”之处。当艺术家将裹在这些挣扎里面的情感，通过大众形象、研讨会现场等等自认是“相会”点的场景拼接在一起，并作为一个事实集合在观众面前时。不禁让人自问：我们相会或争吵的地方在哪？我们期待的为什么是泪流满面的感动，而不是快乐？情感基础是怎样的基础？
—— 梁健华
HB Station Art Project Lab No.20
Soulmates
Artist: Huang Jing Yuan
Curator: Liang Jianhua
［ Artist Statement ］
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”.
关于艺术家
黄静远，1979年生于广西。2006年毕业于康考迪亚大学艺术系，2008年毕业于芝加哥艺术学院。她的创作试图反映中国社会内部以及在和外部对话时产生的各种（自我）矛盾和（自我）隔离。有感于社会主义写实审美在面对后网络图像生活时显示出的威力和无力，她有意回到这个历史范畴里，尝试从内部反转写实图像叙述中已有的权力关系。她于2017年七月发起“写母亲”的共同写作计划。
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.
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