Tabernas：Believes For Strangeness
艺术家：李亭葳 、刘耀华、孙存明、司马源、施昀佑、蒲英玮、姚清妹、张钊瀛 策展人：李泊岩 艺术总监: 闫 彦 展 期: 2019.11.02-11.30 开幕 : 2019.11.02 15:00 展览助理：殷世炎、陈雨萱 地址：重庆市九龙坡区黄桷坪正街501基地2楼1008室 序空间
Aritsts：Li Tingwei, Liu Yaohua, Sun Cunming, Sima Yuan, Yunyu Ayo Shih ,Pu Yingwei, Yao Qingmei, Zhang Zhaoying Curator：Li boyan Art Director: Yan Yan Duration: 2019.11.02-11.30 Opening：2th Nov. 15:00 Asistant： Yin Shiyan, Chen Yuxuan Venue: 501xuartspace Room 1008, 2nd floor, 501 Base, Huanghuping Zhengjie, Chongqing,China
由策展人李泊岩所策划的［塔韦纳斯：对于陌生的确信］（Tabernas：Believes For Strangeness），邀请了八位艺术家的八部录像作品，11月2日起于重庆501序空间展播。 ［塔韦纳斯］是西班牙的一个地名，同时也是电影［荒野大镖客］的取景地。［荒野大镖客］本是一部意大利和西班牙的合拍片，故事却发生在美国和墨西哥边境，而且这是一部抄袭作品。它抄袭了黑泽明的［用心棒］。黑泽明赢得官司后，获得了［荒野大镖客］在日本的发行权，收入比［用心棒］还要多。本次展览［塔韦纳斯］探讨艺术创作对于陌生文化的借用，和因此获得的创作动因。歧义、好奇、探索、未知，永远是人类进步的诱因，在此，［塔韦纳斯］象征着一个陌生的情境，由一个地理方位被跨时空挪用，所引起的一系列连锁反应，昭示出人类面对当下所需要的更为广阔的猜想。 本次展映的八部影片，经过排序，形成了一个从对话开始，再到对话结束的过程；中间的大部分影片，可以理解为对于陌生之地的借用和虚构叙事。由此，我们试图形成一个由当下出发，再回到当下的循环。
Organized By the curator Li Boyan, the exhibition (Tabernas: Believes the For Strangeness) invites eight video works of eight artists, starting screening on November 2rd at 501xuartspace in Chongqing. Tabernas is a place in Spain and also the location for the film Red Dead: Redemption. Red Dead: Redemption is a co-production of Italy and Spain, but the story took place on the US-Mexico border. and this is a plagiarized work. It plagiarized Kurosawa's Yojinbo . After Akira Kurosawa won the lawsuit, he obtained the distribution rights of Red Dead: Redemption in Japan and the income was even more than Yojinbo. The exhibition Tabernas explores the phenomenon of ‘borrowing of unfamiliar culture’ in artistic creation and the creative motivation thus obtained. Ambiguity, curiosity, exploration and the unknown are always the incentives for human progress. Here, ‘Tabernas’ symbolizes a strange situation, a series of chain reactions caused by the appropriation of a geographic location across time and space, which indicates that human beings need a broader conjecture in the face of the present. The eight films shown in this exhibition, after sorting, formed a process from the beginning of the dialogue to the end of the dialogue; Most of these films can be understood as the borrowing and fictional narration of strange places. Thus, we try to form a cycle starting from the present and returning to the present.
(依展映顺序排列，全长共116分钟) 刘耀华| <艺术的故事> 单频道录像，12分55秒，2012 孙存明| <探> 单频道录像，25分14秒，2019 蒲英玮| <热带礼赠> 单频道录像，2分28秒，2019 李亭葳| <一个七分钟和五张明信片> 双屏幕视频，7 分钟，2018 施昀佑| <克莱门特西游记> 单频道录像，8分27秒，2006/2015 姚清妹| <二分旗帜> 单频道录像，13分16秒，2018 司马源| <及时行乐> 单频道录像，26分31秒，2019 张钊瀛| <榴莲> 单频道录像，21分钟，2018
(arranged in the order in which the videos are played, total length of 116 minutes)
Liu Yaohua\THE STORY OF ART\Single Channel Video,12’55”,2012 Sun Cunming\SEEK\Single Channel Video,25’14”,2019 Pu Yingwei\Tropical Gift\Single channel video,2’28'', 2019 Li Tingwei\A 7-minute and 5 postcards\two-channel video,7’,2018 Yunyu Ayo Shih\The Travels of Clemented\Single Channel Video,8’27”,2006/2015 Yao Qingmei\Dichotomus Flag\ Single Channel Video,13’16”,2018 Sima Yuan\SEIZE THE DAY\ Single Channel Video,26’31”,2019 Zhang Zhaoying\Durian\Single Channel Video,21’,2019
作品介绍 · About the video works
刘耀华 LIU Yaohua
艺术的故事 THE STORY OF ART 单频道录像，12分55秒， 2012 Single Channel Video,12'55'',2012 作品命名借用英国著名的艺术史家贡布里希（1909-2001）的著作《THE STORY OF ART》。艺术家将自己曾经居住的草场地艺术区两家艺术餐厅里的所有艺术读物（包括画册、杂志、批评文集等等）借出，堆砌在展览现场，请一名9岁儿童坐在其中随机抽取进行即兴诵读，过程中释放数只活兔。通过这种片段性的阅读行为，重新构成一个碎片拼接的杂交文本。 (表演者：王嘉宜, 时间：2012年9月5日, 地点：中央美术学院美术馆学术报告厅)
The name of the work borrowed from the famous British ART historian Gombrich (1909-2001), THE STORY OF ART. The artist borrowed all the art books (including picture books, magazines, critical essays, etc.) from two art restaurants in Caochangdi art district, where he used to live, and piled them on the exhibition site. He invited a 9-year-old child to sit in them and read them at random. Through this fragmentary reading behavior, a hybrid text is reconstructed by splicing fragments. ( Performer: Wang jiayi, time: September 5, 2012Venue: Lecture hall, art museum, CFCCA )
孙存明 SUN Cunming
探 Seek 单频道录像，25分14秒，2019 Single Channel Video, 25'14'', 2019 （鸣谢：北京户尔空间 thanks to：XC HUA GALLERY ） 影片《探 Seek》是一段探寻与描述空间的影片。影片拍摄于一个电石厂的夜晚，工厂由于废弃，没有任何电力设备，在整个影片中，镜头跟随手电筒的照射的部分，一步一步地将这个空间呈现。每一个画面都是整个空间的局部。 从影片中我们看到空间的描述是稍纵即逝且被平面化的。这让最初作者企图用探寻的方式去呈现一个空间的概念成为了一个悖论。
The film "Seek" is a piece of exploration and description of space.The film was shot at night in a calcium carbide factory, which was abandoned without any electrical equipment. In the whole film, the camera followed the part of the flashlight to present the space step by step. Each picture is a part of the whole space. From the film, we can see that the description of space is fleeting and flat. This makes the original attempt of the author to present the concept of space by means of exploration become a paradox.
蒲英玮 PU Yingwei
热带礼赠 Tropical Gift 单频道录像，2分28秒，2019 Single channel video, 2'28'', 2019 2013年，舅舅开始频繁地去往非洲，参与援助非洲的水利工程建设。就在同一年，我离开家乡去法国学习。而舅舅所去的国家，也大多作为之前的法属殖民地。或许是由于舅舅在非洲时每天发在社交网络的那些照片，又或许是因为我在法国时不断被现实所提示出的那些历史;或今或古，或远或近，我遭遇了非洲。一方面，我试图理解“别人的非洲”，例如舅舅作为一个连家乡的小城都不常走出的人，如何在到达非洲时去感受这样一个差异巨大的文明。或者说，在宏大的中非共同体背景下， 一个面对具体工作，具体人群的中国水利工程师又是如何定位自身。另一方面，我试图理解“自己的非洲”，那些发生在我身体里的异质经验，那些关于“开化”或“改造”的经历。
Pu Yingwei’s uncle has been visiting Africa since 2013, participating in hydraulic engineering construction. During the same year, I left my hometown and went to study in France. The countries that my uncle visited in Africa were mostly French colonies. Perhaps it was because my uncle posted abundant photos about Africa on social media, or perhaps it was because during my stay in France I have been constantly hinted about the history relating toAfrica, I did had encounters with the continent. On one hand, I tried to understand how Africa is like from others’ perspective. I tried to understand how my uncle encountered such a culture that is so different from his own when he arrived in Africa, and how he was never able to leave his small town when he was young. On the other hand, I tried to understand Africa from my own perspective: Those experiences that happened inside me, and those experiences about disclosure or transformation.
李亭葳 LI Tingwei
一个七分钟和五张明信片
A 7-minute and 5 postcards
双屏幕视频，4K，7 分钟 . 2018.
Two-channel video, 4K, 7', 2018
旅游在中产阶级消费中是重要的一环。视频用五张明信片模拟书写了一个旅行的开始到结束过程与心情，从无法忍受日常说走就走的行程开始、到旅行攻略、学习如何看风景、拍摄看路途中的景与人时，与自身真实经历产生一种错位。通过简化的蓝精灵动画片与毛姆《月亮与六便士》、卡夫卡《小寓言》文字中的细腻含蓄对比，展示出的旅行惯常景象与真实的旅行意义。如果说对于当下青年与中产阶级旅行的意义就是在24/7制度下的出逃，那么逃离的最终结果也许就是一个绝对消耗与相对收获的过程——旅途在新奇与冲突中归家，生命又翻过了一页，距离那谁也逃脱不掉的死亡又迈进一步。
Travel is an important part in the consumption of middle classes. In this two-channel video, a fictitious journey was told by five postcards that seemed to be sent out——A journey began with getting tired of everyday life and left home without hesitation, making plans and booking, learning how to enjoy the best view of landscape and taking pictures for social media, which is partly shifted from real experience. Cliché about travel experience has been replaced by simple Smurf comics to make the comparison with Maugham and Kafka’s reserved sentiments in text. The contrast reveals not only the ideal version of traveling away from home and finding philosophical meaning of life. The idea of travel, as a paradoxically optimistic solution to current problems under 24/7 mode, is rather an escape—a means to break free from the capitalistic race to the people in midcult. At the same time, under capitalism it is also a nonoptimal process of absolute consumption and relative gains. The infinity newness encounters stresses on the way of one kind or another. That is declared that going back home is ultimately the optimal destination ---after all, it is just when a chapter of life closed. Along with melancholic feelings in a familiar setting, we are just a little nearer to inevitable death.
施昀佑 Yunyu “Ayo” Shih
克莱门特西游记
The Travels of Clemented
单频道录像，8分27秒，2006/2015
Single Channel Video, with sound, 8'27'', 2006/2015
（鸣谢：哥伦比亚4-18 thanks to：4-18 ）
我在哥伦比亚的东部小镇曼尼遇到了克莱门特。在知道我来自台湾后，他突然开口请求我为他翻译一段语音：他向我展示了一段在2006年他受邀造访台湾宜兰国际童玩节演出，以及一段主持人用中文介绍他的视频。这段语音是一个在他心中将近十年的疑惑。我也如实一字一句地为他进行翻译，同时，我也邀请他为我重新演唱了一次当年演出视频中的歌曲。略微不合常规的是，该片只有中文和西语字幕，且在片尾才同时出现——观看时给不同语言的观众造成的暂时或者完全的理解障碍也恰好响应了我和克莱门特的这次遭遇。
I met Clemente in Mani, Colombia. Knowing I am from Taiwan, he suddenly asked me to translate a video clip for him, a video of he being introduced in Mandarin when he was visiting Taiwan to perform for the Yilan International Children’s Folklore & Folkgame Festival in 2006. In the past nine years, he didn’t have any access to know what this video clip says. I translated the introduction word by word, meanwhile, I asked him to re-perform his singing in the video again for me. What makes this work slightly strange is that there are only Chinese and Spanish subtitles available, both showed at the end of the video. Viewers from different language backgrounds may experience difficulties understanding the context, which actually corresponds to my encounter with Clemente.
姚清妹 YAO Qingmei
二分旗帜
Dichotomus Flag
单频道录像, 13分16秒, 2018
Single Channel Video, 13'16'', 2018
（鸣谢：北京魔金石空间、巴黎Galerie Liusa Wang）
（thanks to：MAGICIAN SPACE & GALERIE LIUSA WANG ）
这个短片呈现了一次户外对抗竞技游戏的场景。这个集体竞技游戏将法国68风暴中作为反抗象征的投掷动作和行动绘画结合起来。游戏队员以红蓝这两种区分左右派政党的颜色分成两组，通过投掷蘸有红蓝颜料的海绵占据白布来完成这幅行动绘画。“画布即战场”。承载这个政治象征性的行为的痕迹，和每一次投掷的身体的联系在一起。这个游戏通过一种集体性的竞技行为和竞技结果的评判对当下的民主政治图式的做出了讽喻。这个短片也是艺术家将行为表演和虚构情节结合做出的尝试。
The video “Dichotomous Flag” features a match of “pavement-painting” whose result is a “flag-painting”. Like a reference to Action Painting: “the canvas is an arena”. The canvas is a common territory that absorbs symbolic, subversive and sporting gestures. Animated by an umpire, this match, as an allegory of electoral system, taking place in two rounds leads to an absurd calculation to determine the winner. The action ends with the reconciliation of the two teams under the flag.
司马源 SIMA Yuan
及时行乐
SEIZE THE DAY
单频道录像, 26分31秒, 2019
Single Channel Video, 26'31'', 2019
在网络时代中，人与外部的链接变得轻松而快捷，但那些并非身临其境的链接，时常造成感官上的误差。镜头的边框，由于截取事件的发生而排斥了事件的因果关系。艺术家司马源，通过观看与行走，试图将那些生活中的微小的视错觉、碎片记忆、“无意义”的图像串联起来，形成一个跨时空的对话和情绪表达。在貌似不加处理的顺序链接背后，那些给予拍摄者拍摄动机的时刻，成为了回顾彼时的影像之诗/生活史。及时行乐，或许说明了那些拍摄动机背后隐藏的愉悦和分享的陷阱。
In the Internet age, links between people and the outside world have become easier and faster. But those links are not immersive.They often cause sensory errors. The frame of the lens rejects the causal relationship of the event due to the occurrence of the "event interception ". Artist Sima Yuan tries to connect the tiny visual illusions，fragmentary memories, and “meaningless” images in life through watching and walking, to form a dialogue and emotional expression across time and space. Behind the seemingly unprocessed sequence of links, the collected moments became a visual poem/life history that recalled the time. SEIZE THE DAY, perhaps illustrates the traps of pleasure and sharing hidden behind the motives of shooting.
张钊瀛 ZHANG Zhaoying
榴莲
Durian
单频道录像,21分钟,2018
Single Channel Video, 21' , 2018
女孩很早就出来工作了，她有点早熟，跟我聊了她的家庭，她看待父母，看待没有和看待现在工作的态度，看似坚强，看似什么都看透了，甚至看到了身边形形色色的男女和这个世界的关系。女孩17岁，没几个月就快成人了，我说给她拍一段记录吧，她不愿露面，却谈了很多，我再问她，生日了想要什么礼物，我当作答谢，她说要一个榴莲，榴莲就是她现在的生活，她最后唱了一首歌作为答谢，一首看似有什么经历的人才会选择的歌，跟榴莲一样。
The girl came out to work very early. She was a little precocious. She talked to me about her family,her attitude towards her parents,things she didn’t have and current job. She seems very strong and have seen through everything, even the relationship between the men and women and the world around them.The girl was 17 years old and almost adult in a few months. I said to give her a record. She didn't want to show up, but she talked a lot. I thanked her and asked her what kind of gift she wanted for her birthday. She said she wanted a durian, she thought her life is like a durian now.In the end, she sang a song as a thank-you, a song that seems a person who has some strange experience would choose, as same as durian.