#on paper one# 展览现场及作品介绍
on paper one
陈彧君、高露迪、简策 × 程昱峥、韩磊、贺勋、蒋志、雎安奇、鞠婷、林科 × tria、milan grygar，肖武聪、许炯、渣巴、翟倞、纸今
chen yujun, gao ludi, ce jian × cheng yuzheng, han lei, he xun, jiang zhi, ju anqi, ju ting, lin ke × tria, milan grygar, xiao wucong, xu jiong, zha ba, zhai liang, zhi jin
11.25 - 12.10 @ zapbeijing
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贺勋 He Xun
月亮爱好者 Moon Enthusiast，2014，档案袋、手电筒，针管笔，诗歌 archival bag paper, flashlight, needle pen, poem，37.3×23.8cm
列车上，关了灯，句子们就往外跑，只能摸黑写下；这种感觉在青天白日里难以还原，便剪短了笔，深入一只档案袋中模拟一次摸黑者，模拟真正的月亮爱好者。
On the moving train, the light was off. Words were flowing out but I could only write things down in the dark. The experience is very different from writing in the daylight so I tried to restore it. I shortened a pen and stick it into a envelope, mimicking a writer in the dark and channeling a moon enthusiast.
家书 A Letter from Home，2017，印刷品、书信，paper presswork, letter，21×14.5×4.5cm
在我带孩子的工具书《育儿百科》中给母亲写一封信，我们以为这是艺术，实际只是家书。
I wrote a letter to my mother in my parenting manual Encyclopedia of Childcare. The viewers may consider this book as an art work, but it is merely a piece of message for my family.
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渣巴 Zha Ba
旅行 Journey，2003, 2017，数码打印 digital print，18×16cm, 1000P
莫兰迪通过摆放瓶子、静物，减缓了光的速度，得以使时间在一张画里停留。《旅行》是在一张画里的旅行。《旅行》脱胎于2003年制作《闪烁》的同时期，实际制作完成于2017年，这也是一场有她的旅行，此为光。
By arranging bottles and objects, Morandi slows the speed of light and makes time stand still within a painting. Journey is a journey in a painting. The work comes from the artist's flsh in 2003, and is eventually completed in 2017.
去(打孔)之“郑文公碑” ，Delete (Perforation): Zheng Wengong Stela，2016，印刷品 paper presswork，31.5×18.5cm，159P
去(打孔)，若无其事的失去。
Delete (Perforation), omitting as if it never happens.
去角(历史)之“纽约琐记” ，Notches (History): Random Notes from New York，2013，印刷品 paper presswork，22.9×15cm, 384P
精确的个人行为导致不精确的集体行为。
Precise individual actions result in imprecise collective actions.
平行或雾 Fog，2016，纸上综合材料 mixed media on paper，23×17cm，25×16.7cm
平行(或雾)，地平线其实是不存在的，一张画的边缘总是在强制停止和无限漫延之间徘徊。
Parallel (or Fog), the horizon does not exist, and the borderline of a painting always oscillates between forced suspension and indefinite permeation.
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Milan Grygar
Milan Grygar，Barevna Partitura，1972，纸上综合材料 mixed media on paper，40×28cm
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纸今 Zhi Jin
停顿 Pause，2017，印刷品 paper presswork，海子 Hai Zi：5.1×14.1×2 cm, 红楼梦 A Dream of Red Mansions：7.2×14.8×3.3cm; Borremans: 7.1×15×1.2cm
原书被裁切成3或5本，裁切后的书成为一本新的书，并不是原书的“局部”，新书拥有自己的边缘和逻辑。
诗歌和小说则因为文本断裂而发展为一种带“想象”的阅读。
Pause is cut into three or five books; the newly created books are not parts of the original one, but control their own frames and logics.
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高露迪 Gao Ludi
Friedrich，2017，综合材料 mixed media，23.5×21.5×5cm
艺术家将其2011年的一本画册的图版部分挖去，书的体例保留了，“内容”没有了，但挖出的“虚空”成了新的内容，一种荒芜感。
Gao Ludi's Friedrich is a reduction of one of the artist's catalogues published in 2011. The book is still the same; just that all the images are gone. The newly created void becomes the new content that is effectively a ruin.
工作室 Studio，2017，46.2×32.2cm, 36P，纸上丙烯、喷漆 acrylic and spray on paper
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翟倞 Zhai Liang
主角 Protagonist，2017，印刷品 paper presswork，24×20cm, 176P
这部小说写的是一个自述者来自述一个流亡者在异国的爱情故事，交错的情节里面主人公的定位模糊，像一个分叉交错的路径，直到小说的结尾，真正的主角才浮出水面。翟倞重新通过涂抹覆盖住关键的情节或者词语，把“路口”改变，让主角的定义重新模糊化，甚至把主角变成了另外一个人.....
The narrator in this novel speaks about a romance involving one in exile. The complex plots blurs the identity of the protagonist, and as difficult, crisscrossing path it only reveals the true protagonist towards the end. By covering or erasing key plots and words, Zhai Liang blocks entrances and makes new openings, further blurs the definition of the protagonist, and even shapes a new protagonist….
笔记 Note，2013，笔记本 notebook，21×14×3cm; 20.8×13×2cm
艺术家在正式进行布面之前，会有大量纸上的水彩或其他材质的手稿以及阅读笔记的准备。这可以看作是一张油画作品的史前史，也可以想象成一个花园里小径分岔之外的草地，那些没有成为路径的那一部分——作者向何处去，艺术家放弃掉的部分是什么？
Before the artiststarts painting on canvas, he would prepare himself with a large number ofdrawings and studies on paper in water colour. This could be read as aprehistory of an oil painting, or could be viewed as an often-neglected spacein a garden, the space where there is no apparent path - in other words, wherea writer decides the future of his work or where an artist decides what to omiton a canvas.
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简策 Ce Jian
K2，2015，PVC打印，线装 PVC print, traditional thread binding，29.3×20.8cm, 7P
K2”是简策2015年的作品，同时创作的还有“变形风景”和“电脑山脉”系列绘画。艺术家在透明薄膜上绘制了15幅线条构成的抽象图案，任选其中7幅重叠在一起成为一本书。利用15种不同的排列组合，完成了15本各自不同的书。书打开时就是一幅可以被分解成很多层次的画，翻阅的过程中山景跟着变化，就像Photoshop中的图层一样。
Ce Jian created K2 in 2015, when she was also creating Landscape anamorphosis and digital mountains. The artist draws abstract forms that consist of 15 lines on transparent paper, and makes a book by folding any 7 of these lines. The book therefore has in total 15 variations. It can be viewed as a multi-layered painting, the reading of which involves the changing of the landscape, as if it is a physical Photoshop setup.
简策 Ce Jian × 程昱峥 Cheng Yuzheng
穿越欧洲 Transeuropa，2017，数码印刷 digital print，14.8×21cm, 60P
简策和程昱峥的合作项目《穿越欧洲》是一组共60幅纸上丙烯作品，从第一幅直接临摹2014年的欧盟政治地图开始，每位艺术家都以对方完成的上一副为范本，依次临摹。在两个月不断熟练的合作过程中，欧盟地图在不知不觉间，变成了完全脱离其原本政治含义的图案——正如地图是抽象化的世界，而抽象化的地图则是绘画。
Ce Jian and Cheng Yuzheng's collaboration Transeuropa is a group of 60 acrylic on paper works. From the first study and copying of the map of EU political powers, the two artists study each other's version and create more copies. In two months' time, the map gradually loses its original political significance - the map is an abstracted world, and the abstracted map is painting.
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陈彧君 Chen Yujun
来自吉隆坡的礼物 The Gift from Kuala Lumpur，2014，纸上综合材料 mixed media on paper，28×42.6cm×4
《来自吉隆坡的礼物》是对《木兰溪》的多声部和声之一种，是对艺术家与侨居亲族的生活过往的童年记忆的叠加描述。木兰溪存在于艺术家的展览画册里，艺术家通过对画册里的内容进行修改补充以到达记忆的完整，而这是不可能的，所以总会不断创作下去，如溪如江如河。
The Gift from Kuala Lumpur is one part of the chorus Mulan River, and it is a reinforced statement regarding the artist's childhood with his overseas family. The chorus Mulan River is included in an exhibition catalogue of Chen's, and the artist here takes up the impossible task of rewriting it. For the impossibility of such task, the artist will perpetually rewrite such personal history and let it flows like water, stream, and river.
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林科×Tria Lin Ke×Tria
Lin_ke，2017，数码印刷 digital printing，20×14cm, 176P
通过添加一层增强现实科技的使用，使这本书成为林科作品从 2010 到 2016 年内按时间排序的档案记录，通过免费的增强现实软件的下载，电子文件得以实体化，而且读者可以通过手机扫码去观看原始视频。
以这种阅读方式去了解林科的美学世界也是模仿着视频的观看方式，并强调了在电子创作时艺术家的纯人力劳动的重要性。增强现实技术的运用满足了即时更新内容和与对跟上科技发展脚步的需求。艺术家在最后的一个视频中留下了文字线索，读者读后可以被隐形地带领在书中漫游，当手机扫码时也同时完成了一场电子的行为表演。
The publication is a chronological record of Lin Ke's works from 2010 to 2016, with an extra layer of AR technology application. The reader can download a free app and animate the works, watch the original videos.
This reading of Lin Ke's artistic world is a reading that simulates the viewing experience of video watching. It emphasises the important of purely manual labour of the artist in the realm of the digital. The application of AR technology meets the demand for instant updates of contents and the need for technological advancement. The artist leaves a hint in the last video; the reader can follow the hint and wander in the world of the book. The act of scanning with one's phone could be also considered an act of digital performance.
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许炯 Xu Jiong
无题 Untitle，2014-2017，综合材料 mixed media，28×42.6cm×2
对于普通中国大陆人来说，拍卖图录是最早能看到丰富知名艺术家作品的方式了，十多年前看佳、苏两记战后当代艺术的图录是一件兴奋和幸福的事。到了时间看过了这些原作，就觉得之前那种面对大师作品不敢造次的想法有些多馀，于是这些“过时”的图录被重新拿出来，被许炯当作了材料本身。在这些西方经典的、程式化的且被记忆度很高的图示上继续进行东方书写的创作是一件很爽的事情，同时述说著和它们相关的又属于东方的事情和意象产生了奇妙的体验。艺术家不认为自己是这些印刷品的“批阅者”，更自我认同为是一个穿越者，去画面的时代和场景，把“大师”拉到现在，和他们对视静默，亦或寒暄交流，甚至争执吵架，让他和他们回到一个原点，同时观者也被穿越到这种看似平等的现状中。只是偶尔还露在表面的拍卖价格提醒著我们经历过什么。
To a lot of Chinese people, auction catalogues bring about an early second-hand experience of masterpieces. It was exciting reading Christie's or Sotheby's catalogues of post-war art. In retrospect, after seeing the original works, one realises that the timidity in front of the catalogues was redundant. Therefore Xu Jiong brings out these "outdated" catalogues and uses these as art making materials. It is exciting working in an "Oriental" way writing on these motifs that are Western, classic, conventional and memorable. It is an amazing experience speaking of the relationship between the two. The artist does not consider himself the reviewer of the publications, but more an intruder, going to the time and space of the motifs, dragging the masters to our world, meeting them in silence, in chats, in fights. Going back to an origin, inviting the audience to also come to this situation that is apparently marked by an equality. The estimates, however, from time to time still remind us of some differences.
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鞠婷 Ju Ting
绿书 Green book，2017，印刷品 paper presswork，33.7×28.5×2cm
去掉四色印刷中的一色，结束了四年分裂的状态。
Taking one colour out from four-colour printing process, concluding a separation that lasted for four years.
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肖武聪 Xiao Wucong
艺术的准备之一 Preparation for Art I，2014-，速写簿 sketchbook，20.8×14×3.3cm
艺术的准备之二艺术的准备之二 Preparation for Art I I，2014-，速写簿 sketchbook，29×20×2cm
《艺术的准备》是一个对语境不断吸收，消化又去覆盖的过程。从创作动机的缘起到实体结束缘落之间，让准备工作成为艺术本身。
Preparation for Art is a process of absorbing from, digesting and replacing the context. Between the initial inspiration and the eventual conclusion, the preparation becomes the art itself.
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雎安奇 Ju Anqi
邮包 Post Parcel，1999，剧本手稿，剧照，信纸 script, c-print, letter，剧照stage photo：8.6×12.6cm×5；剧本script：25.6×18.2cm，22p
剧本是注定要消失在电影里的一种文本，却因为导演的使用留下不同其他文本的独特痕迹。
The script is a form of text that is deemed to dissolve in the film, but it is rendered unique with idiosyncratic traces left by the director.
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蒋志 Jiang Zhi
图像笔记 Notes on Image，1994，速写簿，蚀刻铜板 sketchbook, copperplate etching，24.1×18×1.5 cm
在键盘输入时代来临之前，手写传统让一个文本拥有大量的艺术家个人印记。
Before the arrival of the age of typing, the tradition of handwriting makes a text individual and personal.
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韩磊 Han Lei
on paper one 这个关于书的展览呼唤出了我深压在抽屉里的两本旧相册。这两本相册都是十年前在北京生活时从潘家园买到的，随之我对它们进行了改造。这种改造书籍的意图和习惯来自于大学我的书籍装帧专业的技能训练，那时候，各种搜集到的印刷品对我们这些学生而言就是一种重构新的边界的材料而已。”
"on paper one summons two old albums I buried deep
in a drawer. I bought these two albums at Panjiayuan when I was living in Beijing 10 years ago, and I immediately modified them. The intention and habit come from my professional book binding training when I was in university. Back then, collected print materials meant for us students materials that one could use to reconstruct new territories."
衬托物 Foil，2006，相册现成品 photo album，15.3×20.3×4cm
红色封面这本的原始形态是相册的前半部分用黑色心形相角和各种直角的彩色相角夹了很多黑白照片，韩磊把这些并没有太大意义的照片全部抽取出来，只保留了这些零落的相角。
The album with red cover was an album of monochrome photos. Han Lei takes out the photos and leaves only the black or colourful stops in.
旧限制 Existing Restrictions，2006-2017，相册现成品，纸，照片，拼贴，绘画 ，photo album, paper, c-print, collages, drawing，21.5×17×2cm
绿色封面这本打开来就是零星粘贴在一些页面上的不明觉厉的图像，照片，烟盒......和照片，它瞬间激发了韩磊对这个佚名的未知图像序列进行重新“编码”，这种重构的编码趣味集合在这本相册的每一页皮肤上，在拿出来正式展览前，艺术家也再次对它进行了一次微小的编码更新。
The album with green cover was a commonplace book, in which were images of all sorts. It immediately inspired Han to "re-code" the random images. Available on each page is Han's reconstruction of the coding system. The artist moderately renewed the system before the exhibition.
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卢施福摄影集 National Famous Mountains - Photography of Lu Shifu，1955
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The Grandeur of TheGorges，1928
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主办 Organizer: on paper
展览地点 Venue: zapbeijing (Opening: Thu. - Sun. / 13:00 - 17:00)
798艺术区01商务楼南楼316（798艺术区2号门前行100米，工美楼路口左转15米，再左转15米，红色拱门，上3楼）
Room 316, 01 Business Building, 798 Art District (100 meters in from the 2nd Gate of 798 Art District, turn left at the Gongmei Building crossroad, 15 meters forward, turn left, 15 meters forward, on the 3rd through the red arch)
＃ on paper ＃
左页右页，或正、背
＃ on paper_另存 ＃
帮助艺术家建立一个新的形象，“另存”正式的价值是“另存为”成为的那部分。虽是原料的无损拷贝，却建立与世界新的沟通的可能，更为兼容的格式。
＃ on paper_未命名 ＃
一切争辩都是言词之辨。未经描述为“山”“水”的之先，我们能领略更多的一切，虽然不能说出。
＃ on paper_lab ＃
纸上可能性之探索。
联系：on_paper@outlook.com
新浪微博：on_paper
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