零件池 Parts pool 

艺术家/ARTIST：耶苏 Ye Su

艺术总监 Director：杨述 Yang Shu

策展人 Curator：倪昆 Ni Kun

展务 Art Handler：王健 Wang Jian

主办 Organizer：Organhaus

开幕时间/Opening Date

2022/01.03（周一 Mon.） 19:00-21:00

展期/Duration

2022/01/03 - 2022/01/08

（逢星期一闭馆，预约看展/ Close on Monday）

Exhibition Description

This residency tends to be more about seeing myself as a local and integrating into this three-dimensional city in my life. Chongqing is also like a constantly rotating post-industrial leviathan that wraps me up inside and out. When aimlessness becomes a daily routine, it is detached from many pivot points. The exhibition will respond to some aspects of the city from both photography and painting perspectives. A number of key words below are another clue.

Ring (Fire)

The walk in Chongqing starts with constantly getting lost.

The polycentric structure of the city comes not only from the geographical ups and downs, but also from the elevation differences created by the combination of various mountains and slopes. Gravity becomes the force that forges the city's character here, with circular shopping areas and terraced drop-offs that desperately need to be interconnected. People part here and suddenly meet again.

Parts Pool

Photography, ink on paper & canvas

Variable size

2022

Cave (water)

The pull ring in the carriage of Light Rail Line 1 is red, while that of Line 2 is green.

For me, the pull ring is one of the orientation points in this three-dimensional city, like a cave. On the body of a giant industrial leviathan, these acupuncture points are strung one on top of the other, stretching on and on.

Parts (Gold)

Ware Space's artist studio in building 501 is a converted warehouse building.

Curiously, these internal organs of the Industrial Leviathan are very close to the production of art. A metal spacer, about two centimeters in diameter with a hole in the middle, is left on the work table. Corresponding to the constantly transforming railroad and power plant around Huangjueping, this circle seems to suggest a certain irreversible movement.

Production (earth)

The drawing of the circular "Cross" series was a complete accident.

The unpredictable planning and intensive labor suddenly appeared in the daily work: I divided the circles I needed to draw, such as paper cloth, into 15 cm, 20 cm, 30 cm and 70 cm diameters. The quantity of each size varied and the quota was to complete an average of 7 pieces per day, producing them in a step-by-step manner. The final batch of contraptions were centrally painted, with the year and author added.

Five lines

The two guards below the Liberation Monument pace around the high monument counterclockwise in an infinite loop at a rate of 30 seconds per circle, like a clock. Beyond that more cavities rotate individually via circular outlines: signs, grapes, stone tables, balloons, switches, nails, bowls, fans, life preservers, ropes ......

The Core

The "core", hypothetically, refers to the atom-like meta-energy, divided into five colors. The core corresponding to spirituality (water) is a mixture of black and white.

In contemporary society, the "five elements" are still mutually exclusive. Technology brings authority (fire generates earth), and power suppresses spirituality (earth grinds water). The existence of the parts and caves, or rather Cross's round ink paintings, may simply be an attempt to add some round objects to the world in their own way.

Square Circle (Wood)

"The Red Squared One plans to build another merchant circle here."

"Will the Tomb Raider agree? Unless the two sets of power plants are modified first."

"There's no need to worry about that, the Akafangist will make the best of the situation. Two groups of shopping centers, Block A is round and Block B is square, connected by antique wooden bridges in Between."

"Boring design. If that's the case, where should we move to?"

"We'll live inside."

展览介绍

Exhibition Description

这次的驻留更倾向于将自己视为本地人，在生活中融入这座立体都市。重庆也像一个不断旋转的后工业利维坦，将我里里外外包裹起来。当无目的成为了日常的时候，脱离了很多支点。展览将以摄影与绘画两个角度来回应城市的一些侧面。以下的若干关键词，则是另一条线索。

环形（火）

在重庆的行走是以不断迷路开始的。

城市的多中心结构不仅来自地理上的起伏，还有各种山脉与坡地组合而成的海拔差异。重力在此处成为了锻造市井性情的力量，环形商圈和梯坎落差急需相互连接。人们在此处分别，忽然再次相遇。

零件池

摄影，纸本与布面水墨

尺寸可变

2022

穴位（水）

轻轨一号线车厢内的拉环是红色的，二号线的则是绿色。

对我来说，拉环是这个立体城市里的定位点之一，就像穴位。在一只巨大的工业利维坦的身体上，这些穴位一个串着一个的，延绵不绝。

零件（金）

器空间位于501大楼的艺术家工作室是由仓储建筑改造的。

奇妙的是，工业利维坦的这些内脏十分贴近艺术的生产。工作桌上遗留了一枚金属垫片，直径大约两厘米，中间有孔。与黄桷坪周边不断改造的铁路与电厂相应，这枚圆形似乎也提示出某种不可逆的运动。

生产（土）

绘制圆形的“Cross”系列作品完全是个意外。

不可预计的计划性与密集劳动突然出现在日常工作中：我将需要绘制的圆形纸布等，分为直径15厘米、20厘米、30厘米以及70厘米。每一尺寸的数量不等，定额是平均每天完成7件，按部就班来生产。最后这批玩意儿被集中喷漆，加上年份和作者。

五行

解放碑下面的两位保安以每圈30秒的速度，无限循环地绕着高碑逆时针踱步，就像时钟一般。除此之外更多的穴位经由圆形轮廓各自旋转着：标识、葡萄、石桌、气球、开关、钉子、碗、风扇、救生圈、绳索......

之芯

“之芯”，假设指的是类似原子的元能量，分为五色。与灵性（水）相应的之芯是黑白混色。

在当代社会，“五行”依然相生相克。技术带来权威（火生土），权力压制灵性（土克水）。零件与穴位，或者说Cross这批圆形的水墨绘画的存在，可能仅仅是想尽一己之力为世界增添一些圆形物。

方圆（木）

“赤方者计划在这里再建造一个商圈。”

“盗墓者会答应？除非先改造这两组发电厂。”

“这问题不必担心了，赤方者会因地制宜。两组购物中心，A座是圆形，B座是方形，中间有仿古木质桥梁相连。”

“无聊的设计。如果是这样，我们该搬去哪里？”

“我们就住在里面。”