桥艺术空间
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展 览
EXHIBLTION
人＋物
前言 | Preface
从偶发到常态，是避无可避到习惯。当新冠疫情成为从2020年到2021年的常态，这个二十一世纪最冷的冬天似乎更加难捱。
这次展览其实从去年就已经开始筹备，因为疫情一拖再拖，在临近开展前又赶上了新一波的疫情。河北石家庄是我和雕塑家黄铁舟的家乡，一批作品也被困在家乡，增加了展览的不确定性。常态又促成了偶然，艺术的魅力或许也在于此，在措不及防的偶发中生发出无限的创造力。
黄铁舟原定准备展出的一组人物，延续着一贯以人的形象为主体的系列。《世界》中那些异化了的人的形态，没有性别，身体与面孔趋于一致，圆瞪得眼睛如力士般不怒自威，大张的嘴仿佛在无声的嘶吼，过分纤细的腰肢与四肢，被拉长后充满物体感的完美身躯，夸张的肢体动作，聚集在一起形成了人所构成的场域。所有的异化特征都在昭示着艺术家对于人特质的特意去除，和另一种意义上的统一和同化。在《世界》中，是人的身份去除后，他者的凝视消失后，雕塑家对于人本身的存在，关于自我意识的剖析。
另一位雕塑家郭煜将创作重心放在了“物”的理解上。在他的“框”系列金属浮雕作品中，基于以往创作雕塑作品草图中的形体，将偶发的“形”以金属材质碳钢涂漆的方式固化下来，作为一个个镂空的几何形体以鲜明的色彩在空间中组合重叠。郭煜的另一组作品以推敲形体为乐，在日常积累的形体感受上，将物体经过不同方式的旋转而最终成为创作中的形态。物的使用价值被消除了，从而放大了物体本身的特征，通过对于形体的把握占据限定的空间，从而表达出对于“力”与“秩序”的思考。
“人与物”的关系在远古时代人类的祖先开始制作和使用打制石器时，就已经开始出现。而在大数据时代，人和物的界限却越来越模糊。人在算法下被解构为一个个数据流；而AI时代的到来，使得人工智能变得越来越趋向于人。人逐渐物化，物逐渐拟人化。
展览中选择了两位雕塑家，他们以人之手创造物，把人的思考具现在物体中。
人言物，物喻人。在人与物不断变化的关系中，艺术作品成为了最佳的诠释。
孟媛 策展人 清华大学美术学院博士
2021.01.19
When the occasional became normal, the inevitable became our habit, here you see what the covid-19 epidemic did to us from 2019 till 2021. Now we have the most freezing winter in twenty-first Century.
In fact, the preparations for this exhibition have been started since last year. Because of the epidemic situation, the exhibition has
been delayed several times and caught up with a new wave of epidemic situation just as we decided our opening ceremony date.
Shijiazhuang, Hebei Province is the hometown of sculptor Huang Tiezhou and I. A number of works are also trapped in our
hometown, which increases the uncertainty of the exhibition. The charm of art may also lie in this, which produces infinite creativity in the unexpected.
Originally, Huang Tiezhou planned to exhibit a group of characters, which continues his series of human image. The alienated
human form in the World (2020) has no gender, the body and face tend to be the same, the eyes are like the warriors’ , the mouth
seems to roar silently, the waist and limbs are slender, the elongated body full of sense of object seems perfect, and the body
movements is exaggerated, all of these elements gather together to form a human field domain. All the features of alienation show
the artist's intentional removal of human characteristics. This represent the unity and assimilation in some sense. World represent
the sculptor's analysis of human existence and self-consciousness after the removal of human identity and the disappearance of the gaze of the other.
Guo Yu, another sculptor, focuses on the understanding of "object". In his metal relief works, Frame (2020) series, based on the
previous sketches, the occasional "shape" is solidified in the way of metal carbon steel, as a hollowed out geometric shape,
combined and overlapped in the space with bright colors. Another group of Guo Yu's works relates to his intrerst in examining the
shape of objects. In the daily accumulation of his feelings, the object is rotated in different ways and finally becomes the form in his
creation. The use value of the object is eliminated, which enlarges the characteristics of the object itself. Through the grasp of the
form, it occupies the limited space, thus expressing the thinking of "force" and "order".
The relationship between man and object began to appear in ancient times when our ancestors began to make and use stone tools.
In the age of Big Data, the boundaries between people and things are becoming more and more blurred. People are deconstructed
as data streams under the algorithm, and the arrival of AI era makes artificial intelligence looks more and more like human being.
Gradually, humans are materialized and things imitate people.There are two sculptors in this exhibition. Focusing the theme of
human or object, they created objects with human hands and injected human thinking into the objects.
Human becomes object and object becomes human. In the changing relationship between human and object, art works are the best interpretation.
Meng Yuan, Curator, PhD, Academy of Fine Arts, Tsinghua University
19th, Jan, 2021