TYPING...
对方正在输入……
TYPING...
艺术家：葛雅静、张佳星
策展人：李泊岩、刘佳璐
ARTISTS: Ge Yajing , Zhang Jiaxiong
CURATORS: Li Boyan , Liu Jialu
2019.5.25 - 未来 6个月 持续输入...
开幕时间：2019年5月25日，下午4点
Opening：4pm, May 25,2019
北京市朝阳区酒仙桥路798艺术区中二街
Main 2nd Street, 798 Art District, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing, China
开放时间：周二 - 周日，10:00 - 18:00
Opening hours：Tue - Sun，10 - 18h
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5.25-7.12
在位于AC画廊的天台上，葛雅静、张佳星从自己的作品和空间的特点出发，进行不设预计的创作，在长达六个月的展期中，作品每个月进行一次更深层的推进，他们试图带着自身问题去探讨艺术劳作的消耗，与时间的拉锯，以及对于各自意志力的审问，从夏到冬，从热到冷，作品不断更新，在变化的情境中，在不断理性和感性的输入中，在材料语言和方法的更替中，体力的消耗带来对作品消耗的抵抗，对于不必完成的理性自知的态度，以及对未完成和不断持续的双重追问，形成了，对方正在输入……
木框、电脑、油桶、玩具、颜料罐，以及一些不可名状的杂物，各种各样的东西出现……纷杂的外部世界在此聚集……它们没有完全失去本来的样子，只是在这一不断变化的运动场中被重新审视，它们超越了作为商品身份的单一性，反而成为了从天台眺望周遭景观的滤镜或参照，这是价值多元化的证据，也是全球化给予当下的另类遗产……葛雅静和张佳星，希望在这场不断更新的展览中追问：废弃掉的东西价值在哪儿？而艺术价值是否正在发生变化……
在“对方正在输入……”第一期的展览中，攀升的走廊墙面，以涂鸦的方式书写着展览名称和两位艺术家的名字，粗糙、简陋，都彰显出即将登场的空间的不同寻常。推开天台的门，紫色的地板在阳光的照射下十分耀眼，这是突兀的，带有神秘情调的色彩，似乎可以联想到广袤的薰衣草花园，同时，又很诡异，因为伴随着散落在这花园中的作品，像不速之客的到来，伫立在中央，或依靠着栏杆，或在墙角偷看……这是带有戏虐拟人色彩的装置，在天台之外，隔壁建筑的屋顶上，六个接近圆形的白色色块，像是施工的败笔，未完成的，临时的，或是有待修补的：“省略号”，这是天台之外回应主题的巧妙处理，具有灵机一动的随即感，其本质是两位艺术家对于材料把控和空间属性的再理解，当然，这是从工作室的工作逻辑上延续下来的，在这样一个另类空间中，敏锐的判断力是成就展览气氛的关键，或说是将艺术放在发生地而非展示地的一种制衡。
在这一次“对方正在输入……”中，在看似散落粗糙的外表下，具有精准的计划性，潜藏着一些伏笔和隐蔽的姿态，比如，张佳星的《闪灵》悬挂在房檐下的一个并不显著的位置，当观众不经意的回身，一个神秘狰狞诡异的脸，在冲着你笑……他的《蓝色生活》由一个米老鼠玩偶的头和一个废弃油桶组成，它被悬挂在铁栏杆上，成为了一个“大垃圾桶”，观众吸烟后的烟蒂随手丢了进去……再比如，在天台入口玻璃门后，是葛雅静的《骨头》，在关门时门框正好与它形成一个画面……在这扇门正对面还有一个门，里面远端的墙上也藏着一件作品《Walking-related Experiences》的一部分 ……这些隐蔽去除了观看和凝视的惯性，投射出对建筑结构性的利用，即有一览无余的分量感，又有无处不在的发现惊喜。
另外，我们从展览中可以看到材料的可变性、防潮性、耐腐蚀性，也成为他们探讨的话题，在对于场地环境的直觉反应中，艺术家考虑到材料的可变性和风吹雨打等自然因素的互动，水性漆可以在日后被冲刷成斑驳的效果，或被日照褪色，软木板可能被雨水泡烂，而候透明的有机玻璃、金属、水泥则成为固若金汤的堡垒……当然，就一个不断变化的展览来说，目前是没有结论的，一切变化都值得期待，正如题目所昭示的：对方正在输入……
On the rooftop of the AC Gallery，Yajing Ge and Jiaxing Zhang set out from the characteristics of their works and spaces. During the six months of exhibition, they elevate their thoughts each month and explore the cost of artistic labor with hypothetical questions. They are questioning about the pull of time, as well as the interrogation of their willpower. As time goes by, they update their works constantly even in the changing situation of rationality and sensibility. Physical exertion brings resistance to the exertion of the work through the replacement of material language and methods. The attitude of ongoing self-reflections, and a dual question of the unfinished and continuous, the other party is entering... (leads to typing…)
Wooden frames, computers, oil drums, toys, paint cans, and some indescribable odds and ends, various things appear... The diverse external world is gathering here... They did not lose their original form completely, but have been re-examined in this constantly changing field. Beyond the oneness of commodity identity, they serve as a filter or reference for viewing the landscape from the rooftop. Everything functions as an evidence of the diversity of values and as an alternative legacy of contemporary globalization... Yajing Ge and Jiaxing Zhang are questioning in this constantly updated exhibition: What is the value of the discarded things? And is the value of art changing...
In "typing..." the first exhibition, the climbing corridor walls, with the name of the exhibition and the names of the two artists in a graffiti style, is rough and simple, and all show the unusual space of the upcoming debut. Push open the door of the rooftop, purple floor is very dazzling in the sunshine, this is abrupt, with mysterious color, seem to think of the vast lavender garden, and at the same time, it's weird,t because with the works scattered in this garden, like the arrival of an uninvited guest, standing in the center, relying on railings, or peek at the corner... This is a Installations with a playful anthropomorphic color. Outside the rooftop, on the roof of the next building，six nearly circular white color blocks, like construction failures, unfinished, temporary, or to be repaired: "Ellipsis", which is a clever treatment of the theme outside the rooftop, with a sense of ingenuity, the essence of which is the two artists' understanding of material control and spatial attributes. Of course, this is from the work logic of the studio. Continuing, in such an alternative space, keen judgment is the key to achieving the atmosphere of the exhibition, or a check and balance that places art at the place of occurrence rather than the place where it is displayed.
During the " typing..." ,under the seemingly rough appearance，In fact, it has precise planning and hides some foreshadowing,For example, JiaxingZhang's 《The Shining》 is hanging in an inconspicuous position under the eaves. When the audience turns around, a mysterious and hideous face is smiling at you... His 《Blue Life 》 was made up of the head of a Mickey Mouse doll and an abandoned oil drum, It was suspended from the iron railings and turned into a "big trash can" where the cigarette butts of the audience were thrown in... In addition，behind the glass door at the roof entrance, is YajingGe 's 《Bones》, when the door is closed, the door frame just forms a picture with it... There is a door directly opposite the door, and the wall on the far side is also hidden a part of 《Walking-related Experiences》... These concealments remove the inertia of viewing and gazing, projecting the structural use of the building, that is, there is an unobstructed sense of weight, and there are ubiquitous surprises.
In addition, we can see the variability, moisture resistance and corrosion resistance of the materials from the exhibition. It has also become a topic of discussion. In the intuitive response to the site environment, the artist considers the variability of materials and the natural wind and rain. The interaction of factors, water-based paint can be washed into mottled effect in the future, or faded by sunlight, cork board may be soaked by rain, and transparent plexiglass, metal, cement become a fortress of impregnation... Of course, one For the ever-changing exhibition, there is no conclusion at present. All changes are worth looking forward to, as the exhibition title : Typing...
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7.13-8.31
“Eyeball To Eyeball是面对面的意思，也描述出针锋相对，形势正在发生变化，一触即发的场面！谐音篮球术语elbow to elbow，表示肘击对肘击的意思，暗示艺术家是以面对面、硬碰硬的态度看待当代艺术现状。同时elbow区又是篮球场上罚球线两端的端点，分割内线与外线，这暗示着是一场街头篮球与艺术跨界相结合的创作，用绚丽的色彩碰撞出生命的活力。罚球区的圆形被两个“elbow”区分成对半的两个圆，同时也表达了展览是由两位艺术家共同合作完成的一个整体。”
1891年12月21日，篮球由詹姆斯·奈史密斯在美国马萨诸塞州发明创造，这是一个有明确生日记载的体育项目，这项运动令人着迷的很重要一点，是它有着很强的个性，甚至引申到某种独特的审美趣味上，它背后的审美逻辑充斥着潮流文化、街头文化和黑人文化，不得不把它和说唱、涂鸦联系到一起，它曾经是穷人的游戏，是街头运动的霸主……在“对方正在输入…”中，葛雅静和张佳星所找寻的随机性、个人化、从街头到空间的策略，是否受这种审美意识的激发？
在位于AC画廊的天台上，“对方正在出入…”过去一个月了，两位艺术家对于物质的获取逐渐摆脱了现实的自我构建……这些作品出现在目标比较明确的阶段，是一口气做出来的，相比之前的“输入”显得计划性更强，更完整，更有主题性，更充分，更专心、更像一个“展览”……这可能是一个月的时间里默契和交流的结果，也可能是一个巧合，这个展览的出发点不就是巧合吗……愈发达成合作与共识，在现实经验和变化意识里，在有限的空间中，生发出合力的追问——是什么让我们喜欢篮球又沉迷于艺术……对方正在输入……
演员杰克·尼科尔森（ Jack Nicholson）的脸再次出现在展览的一个细节中，他从上一回项目里那件借用《闪灵》剧照做成的作品中穿越而来，这次是在电影《飞越疯人院》的剧照中，在篮球架的柱子上，一群打篮球的疯子，看着现场的另一群疯子……这是艺术家有意的挪用，要知道，在电影中正常人和神经病人打篮球是输了的，因此，在这里被挪用的图像指涉着某种精神病人的智慧，这些智慧在重新拼贴的篮球场地板上，在篮球鞋的鞋坑里，在篮球胶皮的边缘上……在艺术不应该在的地方，又在那些无处不在的地方，在“无用之用”的偶然获得中……在短暂的时间里，从白天到黑夜……从晴天到大雨……改变展览现场的主要面貌，透露出敏锐地反应，以及积累的经验，这是疯子般的摸索，也是炫技的赛点……
运动中的展览，和运动本身是一种呼应，材料从何而来，自然是两位艺术家一以贯之的偶然收获，在发现、搬运、加工、调试的过程中，自我“较量”演化成重新塑造形象的动力，因此在这样的创作过程中，艺术不仅仅是艺术，艺术还是艺术家自我测量的仪器，对于观众而言，艺术和竞赛的关键时刻，无疑都是凝视的，所有变化与过程是要凝聚在这一刻的，在天台上的一切，所有作品将不可分割，包括观众，都成为一个作品的场域，你所看到的都是真实现场的一刻（赛点）。
今天，艺术的本质极像一场竞赛，对问题的正视，对无解的表达，对无意义的回应，对身体力行的拿捏……正如Eyeball To Eyeball所暗示的那样，情形随时变化、一触即发，再次肯定了整个项目的不确定性，在这场持续的输入中，一开始就注定了这是一场竞赛。背后的故事与背后的逻辑仍需要在不断输入中进行诞生，并长期审视……
“Eyeball To Eyeball means face-to-face, It also describes the tit-for-tat, the situation is changing, and the scene is on the verge of breaking out! The homophonic basketball term means elbow hitting the elbow, suggesting that artists view the present situation of contemporary art in a face-to-face and hard-hitting attitude. At the same time, the elbow area is the end point of the free-throw line on the basketball court, dividing the inside and the outside lines, which implies a combination of street basketball and art cross-border creation, colliding with the vitality of life with brilliant colors. The circle of penalty area is divided into two halves by two ‘elbow’, and it also expresses that the exhibition is a whole that the two artists work together to achieve.”
Basketball was invented by James Naismith in Massachusetts on December 21, 1891. This is a sports project with a clear record. What is fascinating about this sport is that it has a strong personality and even extends to a unique aesthetic taste. The aesthetic logic behind it is full of trendy culture, street culture and black culture. It has to be associated with rap and graffiti. It used to be the game of the poor and the overlord of the street sports. In”typing...”, is the strategy of randomness, individuality, from street to space that Ge Yajing and Zhang Jiaxing seek inspired by this aesthetic consciousness?
Over the past month, the two artists are gradually getting got of the reality of self-construction for material acquisition...These works appear in a definite stage of the target, which is done in one breath, and compared with the previous “input”, it is more planned, complete thematicand fully, more focused and more like a “EXHIBITION”. It may be the result of an understanding and exchange in a month’s time, or may be a coincidence just like the starting point of this exhibition.More and more cooperation and consensus, in the sense of real experience and change, in limited space, it’s a question of what makes us like basketball and the art...They’re typing...
Actor Jack Nicholson's face reappeared in one of the details of the exhibition, passing through the last project using a photo of “The Shinning”, this time in the picture of the movie "One Flew Over the Cuckoo’s Nest" , on the pilliar of the basketball stands. At the scene, a group of lunatics who were playing basketball watching another group of lunatics...This is the artist’s intentional misappropriation, you know, in this film, normal people lost , but neurotic patients win. So, the image misappropriated here refers to some kind of mental patient's wisdom, which is on the floor of the rebuilt basketball court, in the shoe pit of the basketball shoes, on the edge of the basketball rubber...In places where art should not be, and where it is everywhere, in the accidental acquisition of the use of the useless... In a short period of time, from day to night... From sunny to heavy rain...Artists change the main appearance of the exhibition site, reveal keen reaction and accumulated experience. This is crazy groping, but also the game point of dazzling skills.
The exhibition in the sports and the sports itself is a kind of response. Where the materials come from? Of course, it is the accidental harvest of the two artists. In the process of discovery, handling, processing and debugging, the self-contest evolved into the motive force to reshape the image. Therefore, in the process of creation, art is not only art, art is also an instrument for artists to measure themselves. For the audience, the critical moment of art and competition is undoubtedly gazing, all the changes and processes art to be condensed at this moment, all the works will be indivisible,including the audience, all become the field of a work. What all you see is the moment of the real scene(competition point)... Today, the essence of art is very much like a competition, facing up to problems, expressing the inexplicable, responding to the meaningless and pinching on physical practice. As Eyeball To Eyeball hinted, the situation changed at any time and was imminent, reconfirming the uncertainty of the whole project.In this continuous input, it was meant to be a competition from the beginning. The story behind it and the logic behind it still need to be presented in continuous input and examined over a long period of time...
