Q&A｜赵邦 Zhao Bang #大他者的箴言
赵邦
Zhao Bang
赵邦，(b.1989，洛阳)，中国美术学院肄业，现工作生活于北京。赵邦的作品以幽默、可爱和具有启 发性的方式重新构思与设想日常事物、艺术系统以及人们界面化的生活之间的关系。艺术家邀请观 众使用新的意义和解释，来挑战人类的逻辑和常识。他的作品在更广泛的概念上组织和结构「语言- 图像」，试图探讨根植于当代技术生活景观下的意识形态以何种方式被建构与颠覆，并提供一种可能被称为荒谬的内在逻辑体验。
Zhao Bang (b. 1989, Luoyang), a dropout from the China Academy of Art, now lives and works in Beijing. Zhao Bang's works reconceptualize and envision the relationship between everyday objects, art systems, and people's interfaced lives in a humorous, endearing, and inspiring way. The artist invites viewers to use new meanings and interpretations that challenge human logic and common sense. His work often uses "low-tech" tongue-in-cheek language to bridge comprehension, and providing an experience of what might be regarded as absurd internal logic.
展览现场
Exhibition View
云涂鸦（即将到来的承诺） Cloud doodle（Upcoming Promises）
收藏级数字喷绘铝板装裱 Archival Digital Print, Alumium Mounted
120*73 cm
2022
云涂鸦（这是最后的斗争） Cloud doodle（This is the final fight）
收藏级数字喷绘铝板装裱 Archival Digital Print, Alumium Mounted
120*73 cm
2020
Q: 相比于涂鸦的公共性，你的云涂鸦建立在虚拟的数字技术之上，这和真实世界公共空间中涂鸦的区别在于什么？
A: 随着生活中数字化程度的加深，这种区别正在逐渐缩小，我们对屏幕的依赖使得越来越多的活动转移至线上进行，人们现在甚至使用租房软件中的VR进行在线看房。另一方面，那些被创作在城市公共景观中的作品有哪些是我们真的在实地看到过的？绝大部分都是在社交媒体或网页的图片中进行观看，换言之，互联网本身就是另一种公共空间。当然了，区别永远存在，比如在现实中涂鸦很多时候是违法的。
Q: Compared to the public nature of graffiti, your cloud doodle is built on virtual digital technology; what is the difference between this and graffiti in real-world public spaces?
A: This distinction is shrinking as life becomes more digitized. Our reliance on screens is causing more and more activities to shift online, and people are now even using VR in rental software to view properties online. On the other hand, how many of those works that are created in the urban public landscape have we seen in the real world? The vast majority are viewed on social media or in images on the web - in other words, the Internet itself is another kind of public space. Of course, there is always a difference; for example, in reality, graffiti is often illegal.
Previous Works
Q: 为什么是这些文本？你对文本内容与环境的选择基于一种怎样的考虑？
A: 作品中出现的所有文本都不是我的原创，是在各种地方看到的「现成品」，至于将某句话放置在某个环境中，我更倾向于让它们之间的协调与撕裂感并存，这也是意识形态在我们身上运行的基本方法之一。
Q: Why these texts? What kind of consideration did you base your choice of textual content and environment on?
A: All the texts in the works are not my originals; they are "ready-made" that I have seen in various places. As for placing a particular sentence in a specific environment, I prefer to allow a sense of harmony and tear to coexist between them, which is one of the fundamental ways in which ideology operates on us.
Q: 当作品中使用文字，就会涉及到对字体的选择，谈谈你对字体的理解。
A: 不同的字体必然携带着不同的表情与意义系统，这个作品选择了社会主义早期阶段使用的标语字体的几种不同类型，我想重现一个「大他者」在城市中不断显现并吐出箴言的景象。
Q: When words are used in a work, it involves the choice of fonts; talk about your understanding of fonts.
A: Different fonts necessarily carry different systems of expression and meaning. This work chooses several different types of slogan fonts used in the early stages of socialism, and I want to recreate the scene of a 'Big Other' constantly manifesting and spitting out aphorisms in the city.
Q: 你如何看待互联网与数字技术在不同意识形态之间扮演的角色？
A: 人们通常认为互联网使不同的观念之间的裂痕弥合并保持其多元性，在它刚出现的时候事情的确朝这个方向发展。但现在的情况是，大型公司的垄断正在塑造新的帝国，互联网成为一个个孤岛将拥有相同观念的人聚合。在Facebook上的确能看到乌克兰战火摧残下的民众，但相比这些，我们更在意新一代苹果手机的屏幕尺寸与摄像头数量。
Q: How do you see the Internet's and digital technology's role in the interplay between different ideologies?
A: It is often thought that the Internet bridges the gap between different ideas and maintains their plurality, and things did move in that direction when it first appeared. However, what is happening now is that large corporate monopolies are shaping new empires, and the Internet is becoming islands that bring together people with the same ideas. You can indeed see the war-torn people of Ukraine on Facebook, but we care more about the size of the screen and the number of cameras on the new generation of iPhones than we do about that.
新浪潮 A New Wave
收藏级数字喷绘 Collectible digital inkjet
100*78cm
2019
Q: 你的作品中经常使用APP、网页、在线服务作为媒介，为什么？你如何选择并使用它们？
A: 这就是我每天要面对的现实，异化来的太快，我甚至忘了它们还不存在时的生活是什么样的。大多数情况下我不会为作品而去琢磨开发复杂的技术与媒介，它最好是傻瓜、简单并且被人们普遍使用的数字产品，只有在这个基础上，当作品挖掘并展现了日常中它被遮蔽的某个维度时，结果才足够荒诞惊悚。
Q: You frequently use apps, web pages, and online services as media in your work. Why? How do you choose and use them?
A: This is the reality I have to face every day. Alienation comes so fast that I forget what life was like when they did not exist. Most of the time, I do not try to develop complex technologies and media for my work; it is better to have digital products that are foolproof, simple, and commonly used, and only on this basis when the work explores and shows a dimension of every day that is hidden from me, the result will be absurd and frightening enough.
陌生人来信 Letter friom strangers
数字图⽚、播放器 Digital image，Monitor
尺寸可变 Dimentions Variable
2016
Q: 充斥当下生活的数字技术在你的作品中经常呈现一种滑稽失效的状态，这是否是一种抵抗？如果是，这种抵抗是否有可能生效？
A: 我没觉得这是抵抗，恰恰相反，我想发现一些更有趣的与当今的数字生活和谐相处的自我技术，就像面对你控制欲爆棚的男/女朋友时的绥靖策略。去爱会受罪，不去爱也会受罪，为了获得爱，谁没说过些言不由衷的话呢？
Q: The digital technology that floods our lives today often appears to be comically ineffective in your works. Is this a kind of resistance? If so, is it possible for this resistance to take effect?
A: I do not see it as resistance; on the contrary, I want to discover some more interesting self-developed techniques for living in harmony with today's digital life, like an appeasement strategy when dealing with your control freak boyfriend/girlfriend. You will suffer if you love, you will suffer if you do not, and who has never said things that were not meant to be said in order to be loved?
我也只有在夜⾥需要你 I only need you at night
艺术家书籍、视频、数字喷绘、环境装置
artists' book, video, digital inkjet, site-specific installation
尺寸可变 Dimentions Variable
2015-2020