纸本·设色：关怀与趣味

开幕式：2018年9月23日，17：00

展览日期：2018年9月23日——11月11日

展览地点：北京中间美术馆

策展人：杨天歌

艺术家（按姓氏首字母）：托马斯·盖勒、高佳醇、郝浩然、黄成、尤利西斯·卡瑞昂、李超、李俊男、李燕华、乒乒翻、克里斯塔·齐格勒、丝瓜集团、王波、文皆俊杰、耶苏、塞西尔·于梅尔、特莎·泽特尔、张可、周泽亮、朱湘

    “纸本·设色：关怀与趣味”是“中间实践”的第四期。在展览的双重视野下，“纸本”与“设色”在此拆分使用：承载文字与阅读性的“纸本”指向的是社会关怀的问题；而传递形式感为主的“设色”讨论的则是艺术趣味的选择。这种表面的二元结构并非是将关怀与趣味对立，简单化地把社会视为物理的政治空间，将艺术归为精神的审美空间，以此切断彼此的关联；相反，展览意图考量的是在今天的共生状态下，艺术之于社会的相对位置。

Stacks of Paper, Riot of Color: The Politics of Taste

Opening: 17:00, September 23, 2018

Exhibition Dates: September 23 – November 11, 2018

Inside-Out Art Museum,Beijing

Curator: Yang Tiange

Artists (in the order of the Chinese version): Thomas Galler, Gao Jiachun, Hao Haoran, Huang Cheng, Ulises Carrión, Li Chao, Li Junnan, Lee Yen-Hua, Ping Ping Fan, Christa Ziegler, Sponge Gourd Collective, Wang Bo, Wenjie Junjie, Ye Su, Cécile Hummel, Tessa Zettel, Zhang Ke, Zhou Zeliang, Zhu Xiang

      As the fourth episode of the Inside-Out Practice, the exhibition aims to address the contemporary concern. Stacks of paper, Riot of Color, the two terms are used individually and carry different significances. “Stacks of paper”, being the medium for texts and reading activities, epitomizes social concern. In contrast, to “riots of color” which mainly communicates the sense of form, artistic taste becomes a primary issue. To separate the two terms is not to place them in a binary structure where they are cut off from each other, or to regard the society as a physical, political space and art as a spiritual, aesthetic one. Rather, the exhibition examines art in relation to society in the context of their symbiosis. 

耶苏,假山海，2017—2018年，绘画、装置，112×22×31厘米

Ye Su, Fake Mountain and Sea, 2017-2018, Painting and Installation, 112×22×31cm

      耶苏本次展览呈现的《假山海》是他2017年在中国西北驻留时的作品。以一个微缩展厅的形式呈现，《假山海》包括了艺术家的画作和一本小说集《假山海经》。这些画作中的主体是小说的插画，在这本魔幻而现实的著作中，西宁作家张正（笔名毛雄鹰）写就诸多短篇，实验性地将神怪与历史穿插于平淡而诡谲的西宁当今。小说本身的社会关怀和文字趣味，得到了艺术家耶苏和高元在艺术和设计层面的形式支持，构成了有机的一体。

 

      耶苏绘制的短篇小说的插画，恰切地描绘了各篇小说的主角（往往是怪物）和场景，赋予其视觉的呈现。值得一提的是，在这个微缩展厅中，我们有意呈现了耶苏西北驻留时同期的绘画作品。在那个月中，艺术家参访青海、甘肃、宁夏三省的文化自然情境，抑或吸取灵感，抑或直接在自然中作画。烙印在艺术家记忆中的地点包括“废弃的军事基地、三教九流的土楼、牧区的大学和苍雄的贺兰山”。这些回忆催生了《假山海》中的其他小画。它们虽然在内容上脱离了小说，但却足够有说服力，可以让我们明辨艺术家绘制插画时的形式来源，如他的笔法习惯、伊斯兰书法灵感，等等。无疑，在魔幻现实的内容基础上，这将引导我们走向形式趣味的品鉴。

龙树系列  (No.1)   Dragon tree series (No.1)  

镜片纸上墨汁  Ink drawing on mirror-paper 

   30cm×9cm  2017

      Ye Su’s Fake Mountain and Sea was a project he created when he was artist-in-residence in the Northwest of China. Presented as a miniature exhibition gallery, the project includes Ye Su’s paintings and a short story collection called Fake Book of Mountain and Sea. The paintings are mainly the illustrations of the magic-realist short story collection, in which the writer Zhang Zheng (under the pen name Mao Xiongying) interspersed the monstrous legends and histories into the contemporary realities in the city of Xining, which is both plain and eerie. The novelist’s concerns of society and the word game he plays, echo perfectly with the artistic forms designed by Ye Su and Gao Yuan. All of these creations form an organic unity.

      Through his illustrations, Ye Su produces vivid depictions of the protagonists (who are often monsters) and the scenes for each short story, giving them a visual life. Specially in this miniature exhibition gallery, we choose to present paintings Ye Su created during his residence in the Northwest of China. In that month, the artist immersed himself in the cultural and natural landscapes of the northwestern provinces like Qinghai, Gansu and Ningxia. Nature became both his source of inspiration and his workstation. Some places left a strong mark in the artist’s memory, including “the abandoned military base; the buildings made of earth for different religions, groups and purposes; the universities at the pasturing region and the boundless; majestic Mountain Helan”. These memories inspired other small paintings exhibited in Fake Mountain and Sea. Although they are not part of the short stories, they show us where the forms of the illustrations come from, for instance, his brushstrokes, the influence of Islamic calligraphy, and so on. Certainly, these small paintings can bring us to the appreciation of forms, on the basis of the magic-realist content.

     耶苏, 假山海 (局部)

      Ye Su, Fake Mountain and Sea (Detail)

拉内卡  (W1)    镜片纸上墨汁  

Ranaka (W1)    Ink drawing on mirror-paper  30cm×9cm  2017

    《假山海经》 插图之一    镜片纸上墨汁

      Illustration of  “Fake Mountains and Rivers” (No.1)，  Ink drawing on mirror-paper  

      13cm×12cm   2017  

    《假山海经》 插图之二    镜片纸上墨汁

      Illustration of  “Fake Mountains and Rivers” (No.2)，  Ink drawing on mirror-paper  

      13cm×12cm   2017