ISBN: 9787214056061
ISBN: 9787214056061
策展人：李泊岩
艺术家：高宇、李海光、张悦群
Curator：Li Boyan
Artists: Gao Yu, Li Haiguang, Zhang Yuequn
开幕时间 / Opening Reception: 2016/6/5, 4pm
展览时间 / On View：2016/6/5—2016/6/18
地址：吸尘器空间（VACUUM GALLERY）北京市朝阳区酒仙桥北路1号院环铁北宿舍
Location: Vacuum Gallery, North Dorm of Ring Rail Area, 1 Jiuxianqiao N Rd, Chaoyang Qu, Beijing
“ISBN: 9787214056061”是一本常常出现在机场或者火车站书店里的书，和这本书相呼应的一些书还有“ISBN: 9787501233045”“ISBN: 9787807538639”“ISBN: 9787536057142”等，和这本书相对应的是“ISBN: 9787506035101”。它们几乎都是同时出现并列在书架上的，显得莫名其妙，又自相矛盾。“高兴”与“不高兴”在此成了举旗不定的悖论，而“祖国”被拟人化为一个大佬式的人物，荒诞且幽默。
“ISBN: 9787214056061”的书名具有挑衅意味，引人窥探究竟。然而，它与它的兄弟姐妹书籍的内容都乏善可陈，营养不良，可想而知。在此，展览借用该书名的目的是通过一个窥视内部的方式企图引人好奇，观众可以通过空间大门上的猫眼分别看到三件作品，对应着“ISBN: 9787214056061”的副标题中的三个部分，“大时代、大目标及我们的内忧外患”。
李海光的录像作品《零地点》偏向纪念碑式的表达，危险程度很高。两桶88发的礼花在高速公路的桥下引爆，艺术家带着头盔站立于中间。这一具有爆发力和伤害力的行为，以及那震耳欲聋的爆破声，叫不明真相的观众好奇窥视，这一在大时代中叫人心生敬畏的激烈在空间中变得安全。这件作品对应副标题中的“大时代”。
张悦群的录像作品《如何在Bad Sulza裸体》，是以偷拍的方式记录了2014年艺术家在德国的一个桑拿间中实施了一次干预行为，艺术家用口红将身体的一部份涂成红色，看起来好像穿着衣服一般。一来为了满足艺术家希望遮挡赤裸的身体这一需求，另一方面又避免了触犯桑拿间的规定。这个行为通过艺术的姿态游走于不同社会和文化的构建之间，而努力不受任一方面的影响。这件作品对应副标题中的“大目标”。
高宇的作品《968》是在墙上放大并重新书写一张童年的日记，日记的内容纪录了1996年8月洪水泛滥期间给予一个孩子的日常印象，这个作品反映了一个个人化的叙事与群体事件之间的距离是那么遥远，这种即苍白又无助的关系对应副标题中“我们的内忧外患”。
从展览的构思上，展览试图将吸尘器空间所在的地域和特别的位置得以发挥。黑色紧闭的大门上让观众与作品分开，窥看，成了观众与艺术作品之间唯一的交流通道。被隐去的名字无疑是为了安全，同时，也是有意尽量不给观众过于煽动性的暗示。在临街的橱窗中，“大字报”与作为灵感来源的“书籍”作为引导被放置其中，内外呼应。三件作品通过远窥的、偷窥的、窥视过往的，昭示出整体的社会状况，在诱导的观看情境下彼此互为线索。总的来说“ISBN: 9787214056061”肯定是一个众人记不住的展览名字，正如集体需要个体忘记需要忘记的。最后，“高兴”与“不高兴”其实只是脾气，而不是思想。
ISBN: 9787214056061 is a book frequently found in bookstores in airports or train stations. Books with similar names are ISBN: 9787501233045, ISBN: 9787807538639, and ISBN: 9787536057142. The one corresponds to the book ISBN: 9787214056061 is ISBN: 9787506035101. They appear together in book shelves, which look perplexing and contradictory. Happy and Unhappy form a pair of indecisive paradox, while Homeland impersonates a baron like figure, which is ridiculous and humorous.
The book’s name ISBN: 9787214056061 is provocative and intriguing. Yet, it is not hard to imagine that its content, together with its sibling books, is dull and poor. Here, the exhibition borrows the name from the book in order to inspire curiosity via a peeping manner, where audiences could view the three art work through the peep holes on the door. The three art work correspond to the three parts of ISBN: 9787214056061’s subheading: the great time, the big goal, and our domestic concerns and foreign challenges.
Li Haiguang’s video work Site Zero favors a monumental expression, which was risky and dangerous. Two buckets of eighty-eight display shells were detonated under a highway’s bridge, with the artist himself standing in the middle wearing a helmet. The explosive and destructive behavior and earsplitting explosion sound make the uninformed audiences curious and want to steal a glance. The fearful violence in the big era becomes safe in the space. This work corresponds to “the great time” in the book’s subheading.
Zhang Yuequn’s video work How to be naked in Bad Sulza recorded, with a hidden camera, an interference she made in a sauna room in German in 2014. The artist colored part of her body red with lipsticks, appearing as if she was wearing some clothes. This was done to satisfy the artist’s wish to cover the naked body, on the one hand, and, on the other, to avoid breaking the rule of the sauna room. The behavior travels the construction of different societies and cultures as art, striving not to be unaffected by any of them. This work corresponds to “the big goal” in the subheading.
The work 968 from Gao Yu is a piece from childhood dairy, enlarged, rewritten and hanged on the wall. The dairy entry records the everyday impression from a child’s perspective of August 1966, during the flooding period. The work reflects the huge gap between an individual narration of a group event and the group event itself. The pale and helpless relationship in the work corresponds to “our domestic concerns and foreign challenges” in the subheading.
The idea of the exhibition is to play with the neighborhood of Vacuum Gallery and its special location. The tightly closed black gate separates audiences from the work, making peeping the only communication channel between audiences and the work. Names are concealed for security reason, as well as, not to give audiences implications overly inciting. In the displaying windows along the street, big-character posters and books, as the inspiration of the exhibition, are placed inside, echoing with the outside. The three work, via being snooped from afar, peeped at, and pried into the past, attests to the general social conditions, with each other as clues through the enticed viewing. Generally speaking, ISBN: 9787214056061 is for sure an exhibition name that nobody would remember, just as the collective needs the individual to forget what should be forgotten. In the end, being happy or unhappy is merely mood, not thoughts.
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