#on paper_未命名# on paper 2 艺术家书（上）

onpaperstudio

on paper 2 艺术家书

6.30 - 8.5, 2018

钟云舒 Tant ZHONG

断章取义 Mis-Quotation

2018

磁力皮，保密纸 Magnet, security paper

尺寸可变 Dimensions variable

独版 unique

密码纸里的内容是随机选择的“我想读的书”的书名。这一本密码纸做的“艺术家书”，也是一本“艺术家(想读的)书”的书。作品分为两部分：一部分在书架上陈列，观众可以取走，并自己决定是否打开这个密码纸(操作不可逆)。第二部分是六本完整的连续密码纸，每一本可单独销售。其中单张都可以像日历一样撕下来，购买者可以选择永远不知道是什么书名，也可以好奇的时候撕下一张。每本大约有100个不同的书名。

In Mis-Quotation, concealed contents is a random selection of titles of books the artist wants to read. The artist’s book is a concealment; the artist’s book is a book of artist’s (wishlist) books. The work consists of two parts: one part is shelved; the audience can freely take away a copy and decide whether he or she is going to disclose the title. The second part are six complete series of concealed titles available for sales. Whoever purchases these can freely disclose each title out of curiosity, or not. There are about 100 different titles in each series.

蒲英玮 PU Yingwei

新界杂志 Horizon Nouvel

2014 - 2018

黑白打印，装订 digital print, B&W bookbound

29.7×21cm

edition: 100

《新界杂志》是一本关于郊区的持续出版项目。其内容现以涉及巴黎、里昂、马赛三个法国大型城市的边缘地区，同时也向其它大型城市蔓延（柏林、威尼斯、北京······）。每期杂志以A4为标准尺寸，由80g打印纸黑白打印而成。杂志持续更新中。

此次展览的作品是《新界杂志》的第三期。杂志内容由7张空白纸张构成，而这些白纸所具有的“面积”则以十比一的比例尺代表了法国民众申请住房补助所要求的最低居住面积。“杂志”变为了一份测量生存状况的标尺，而读者目光在杂志上的游移则象征着对居住在这些最低保障中的人群生活的想象。

《新界杂志》is an ongoing publication about the suburb. It covers the marginal territories of Paris, Lyons, and Marseilles, and actively expands into other big cities (Berlin, Venice, Beijing and more). Each publication uses a standardised A4 format, printed in monochrome on 80g xerox papers. It is an ongoing project.

Exhibited here is the third issue of the新界杂志. The publication consists of seven blank papers - a space formed by seven A4 papers is in an 1:10 ratio to the minimum living space requirement, for a French housing subsidy application. The publication then becomes a measurement, effectively a ruler, against which living conditions are to be measured. A reader’s gaze imagines the lives in the poorly conditioned housings.

三姐妹 The Three Sisters

2018

印刷海报 digital colored print

折叠成册 fold：25×50cm，平展 unfold：125×100cm

edition: 100

《三姐妹》挪用了一张90年代末的老照片，内容为一张刚刚建好的纪念馆的花岗岩石柱。而在照片的左下角，有三位比例微小的女子在散步。照片的本意在于以女子们的身体作为“道具”，用其比例来衬托出石柱的高大宏伟，给予观众以崇高的具体想象。而这三位女子到底是谁，她们在说什么，则并不重要。《三姐妹》则把这张照片做成一个折叠的册页，而“三姐妹”的形象也由于出版物折叠的形态成为了封面，成为叙事的“主体”，而她们口中也同时谈论着各自对于“崇高”的不同看法······

The Three Sisters appropriates an old photo taken in the 90s. Against the background of a newly completed memorial hall and its granite columns, are three tiny women in the bottom left corner, taking a walk. The photo initially aimed at demonstrating the grand scale and sublime nature of the columns by contrasting these with the prop-like female figures; who these women were or what their exchange was, was not of significance. Three Sisters makes this photo into a folded album, and the female figures have then become the cover of the album in the folding process, effectively the protagonists of the narrative, who would state their respective views and opinions regarding the sublime.

彭薇 PENG Wei

遥远的信件 Letters From A Distance

习画记 No.1 - No.4

Record of Painting Exercises No.1 - No.4

2017

宣纸水墨 ink on rice paper mixed media

144×27cm×2, 144×23cm×2

27×18×0.5cm×2 (closed), 23×18×0.5 cm×2 (closed)

144×27cm×2 (open), 144×23cm×2 (open)

彭薇以古山水画的卷轴与册页为灵感创造《遥远的信件》系列作品。这些卷轴与册页的手绘装置呈现了“再现”与“复制”的视觉错位与暧昧关系。

艺术家用西方文学大师的私信“篡改”了古典山水画的题跋，甚至题目，于是，“西方”这一概念“进入”了中国山水文本。在挪用古典绘画图像的同时，西方文人的信件、诗歌，“替代”了题跋。在画作完成后，她又用现代数码高仿真技术复制，复归印刷品。复制品的数量和体积，与其作品同一尺寸，同步累积。

艺术家在创作这些作品的时候并不旨在“画山水”，而是“画卷轴”或“画册页”，并在创作的过程中主动制造并期待传统山水画与现代观念作品的错位。就绘画而言，艺术家企图以再传统不过的手法，与传统分离，又使传统文本与当代观念在纸面上合一。这组作品是在宣示传统的不可更动性和持久性的同时，又与传统割裂，企图在难以觉察的颠覆中，心思细密地维护着传统的完整。

Peng Wei ’s Letters From A Distance is inspired by traditional Chinese landscape paintings. Specifically, by the forms of scroll and album. The series of hand-drawn installations demonstrates a visual misplacement and an ambivalent relationship between representation and reproduction.

The artist inserts important Western authors’ letters into the traditional paintings, replacing the writings that were initially on the paintings. Therefore, the notion of the Western enters into text of Chinese landscape painting. Appropriating the classical art, Western intellectuals’ letters and poetry replace the Chinese inscriptions. After an artwork’s finished, she would copy the work with modern technologies and make it into a reproduction again. The amount and the size of the reproductions are the same as the original works.

The artist is not creating landscape paintings. Instead, she “paints scrolls” or “paints albums,” and actively anticipates in the process the misplacement between traditional landscape paintings and modern conceptual artworks. Regarding painting, the artist aims at departing from the tradition by using most traditional means, and reconcile the traditional text with the modern concept. This group of works creates a rupture while demonstrating the immobility and endurance of the tradition. In barely noticeable subversions, Peng Wei meticulously preserves the integrity of the tradition.

翟倞 ZHAI Liang

饿肚子的隐士可什么都干不了

Starving Hermit can’t Do Anything

2017 - 2018

绢上水彩 watercolor on silk

30.4×30.2cm×6, 35.5×37.5cm×2 (covers)

册页, 16页 album with 16 leaves

35.5×37.5×2.5cm (closed), 35.5×597cm (open)

鲁迅的新编故事集里面有一篇《采薇》，讲的是周武王时的商朝遗民，伯夷叔齐两人，本来在周文王治下养老，后来武王伐纣成功后，决定不食周粟，离开宗周，采薇首阳山的故事。成为隐士，首先要具有的“态度”：如何面对政治？一方面在不断逃离政治，一方面越逃离人群，填饱肚子就越成问题。“肚子”和“态度”交织在一起，构成了一种吊诡的局面。这个册页就像个记事本，描述了隐士平时的饮食状态：平时我们吃什么，如何面对饿肚子？

Lu Xun has a story about two men from the Shang Dynasty, under the reign of King Wu of Zhou, Bo Yi and Shu Qi. They had a peaceful life when King Wen of Zhou ruled, but after King Wu of Zhou overthrew Shang Dynasty, they decided to leave the country and became hermits on the Shou Yang Shan Mountain. Becoming a hermit is a demonstration of an attitude: how to face politics? Getting away from politics, and getting away from civilisation, means starving. Basic needs therefore intertwine with attitude - a strange situation. This album is like a notebook, depicting the hermits’ diet. What do we eat, and how can we confrontstarving?

中国运动会 National Games

2017 - 2018

绢上水彩 watercolor on silk

30.4×30.2cm×8, 35.5×37.5cm×2 (covers)

册页，16页 album with 16 leaves

35.5×37.5×2.8 cm (closed)

35.5×746cm (open)

新中国后，全民发展体育锻炼。“友谊第一”，“增强体质”，“锻炼意志”等等混合着身体和精神的口号，锻炼培育着具有强健体魄的新时代的主人，更好的为宏大的现代主义目标而服务。今天的中国类似于古希腊，体育中掺杂了很多政治意味，各个阶层也都参与进来——甚至科学家周培源，画家李可染都在练武术…《中国运动会》作品是根据一本中国60-70年代的体育画刊创作的，就像是片段回忆一样，记录了当时那个奇妙的时代。

In new China, people are encouraged to actively and frequently exercise. “Friendship first,” “For a healthier body,” “For a stronger will” - slogans mix the physical and the spiritual as such, nurturing the strong, powerful lords of the new age, serving for a grand modernist mission. Just like in ancient Greece, sports are today political, involving all classes and professions. Physicist Zhou Peiyuan and painter Li Keran both were known for practising martial arts… This work is based on a Chinese sports magazine from the 1960s and 70s, reminiscing the wonderful epoch in flashbacks.

白色城堡 Beyaz Kale / 酉阳杂俎 Youyang Miscellany / 中国运动会 Springtime for Sport in China / 傅科摆 Foucault’s pendulum

2018

绢上水彩 watercolor on silk

34×34cm×4

framed: 36×36cm×4

苍蝇 Fly

2013

布面油画 oil on canvas

18×25cm

两只小苍蝇 Two Small Flies

2018

布面油画 oil on canvas

30×35cm

《苍蝇》（2013）与《两只小苍蝇》（2018）这两幅画描绘的是两本不同画册上相同的静物、画册与苍蝇这几个不同的“现实”层面。两幅作品描绘的对象在大小比例上有意进行了错位安排，以此强调了绘画和图像的固有欺骗性。本质上，图像只是一种试图超越幻象，使人认为具有“真实性”，但容易被虚构的东西。

The two paintings《苍蝇》(Fly, 2013) and 《两只小苍蝇》(Two Small Flies, 2018) depicts different layers of “reality”: the same objects from two different catalogues, the catalogues themselves and the flies. The two works misplace the subject matters in terms of size and scale, emphasising the deceptive nature of painting and representation. Essentially, a representation is an image that attempts at transcending illusions, and obtaining verisimilitude, but is only easily subject to manipulations.

渣巴 ZHA Ba

千字老之博、物、馆 / 禽、浮 / 上、海 / 永、恒

A Dictionary of A Thousand Characters - 博、物、馆 / 禽、浮 / 上、海 / 永、恒

2018

木板，出版物，胶带，夹子 wood plank, publications, fish tape, clip

55×39cm×4

现在通行的每一个汉字都很大程度上包含了这个字从甲骨文到金文到隶书的正确的写法，而篆书是破坏性的美术字。渣巴的《千字老》通过对笔划的微细调整在伟大的古代与伟大的现在之间重新建立一个连接，打开这个一直存在的孔穴。在体例上，夹子收集的书页相当于一个临时编纂并且可以不断增修的“字的简明史”，或是一个带公告牌的小册子，把研究成果表现在公告栏上。《千字老》不把整体汉字作为一个对象进行美术化的使用，而是深入汉字、服务于汉字的。

The Chinese characters we are using today largely contain traces of graphic and linguistic evolutions from oracle writings, bronze writings, Li style of writings in ancient time. Seal script (Zhuan style of writing), is a destructive form of writing. Via minute adjustments of various strokes, 千字老aims at re-establishing links between the great Ancient and the great Modern, also opening a gap that always exists. Formally speaking, the pages collected form a concise history of the evolution of Chinese characters that is at once temporary and freely subject to further editing, or a “billboard brochure”, on which studies and researches can be found. 千字老is not an aestheticization of Chinese language, but is a deep exploration into Chinese language, and serves this language.

注释（草原帝国+元史）Annotation（草原帝国+元史）

2004

出版物 publications

21×30×8cm

《草原帝国》与《元史》在内容上可以互为注释。

俩本书在各自保持为一本书的情况下，互相干扰，造成部分的不可阅读。

The two books here, the Prairie Empire and the History of Yuan Dynasty serve each other as annotations. The two books, maintaining each other's integrity, interfere each other and brings about unreadability

阅读史 History of Reading

2018

布面油画 oil on canvas

100×80cm

在过去的一个时光，一个人走在山岭上，月光不亮，静静地打在刚才才开的桃花身上。以此解读《阅读史》。

Long time ago, a person walked on the mountain, with a dim moon quietly shining upon a branch of peach blossom that was not there until just now. This is Zha Ba’s reading of the history of reading.

马树青 MA Shuqing

被封存的记忆——来自作者青年时期的三本书

Sealed Memory: Three Books from the Artist’s Young Age

2018

出版物上丙烯 acrylic on publications

13×19×7cm

在马树青的青少年时代，书籍资源匮乏，但阅读仍然是艺术家成长过程中的重要习惯。艺术家选择了三本少年时读过的书——《外国音乐曲名词典》、《马丁·伊登》及《美术史文选》——并选出三种代表着阅读印象的颜色（橙色代表了阳光及梦想；蓝色代表了自由；灰色代表了历史及理性），涂抹在它们的外表。这些书及相关的阅读记忆因此得以被封存起来。对于拥有了丰富的书籍条件却丧失了阅读的热情和耐心的当代人来说，这些记忆弥足珍贵。

When Ma Shuqing was young, books were scarce, but reading was a habit that the artist grew up with. The artist has chosen three books he read when he was young -Dictionary of Classical Music,Martin Edenand Art history selections- and coloured these in three colours that could represent the reading experiences (the orange for an uplifting, aspiring experience; the blue for freedom; the grey for history and reason). For the world today with an abundance of books but a dramatic lack of passion and patience, the reading memories are precious.