杨天娜对话孙原和彭禹: 不可能完全得到
You started working as a couple in the late 1990s, and you still work as an artist couple. How does this cooperation function? 你们从90年代末就开始合作直到今天。那么你们的合作、分工或者具体是怎么展开的?
Sun Yuan, one of the first exhibitions you took part in was “Post-sense Sensibility. Alien Bodies & Delusion” in 1999, an underground exhibition in a Beijing basement. You showed “Honey” an installation of a human embryo on a bed of ice. The work with human waste material, with the body and bodies has become like a brand mark of your work as a couple. How do these early works relate to your recent more sculptural works?
孙:作品使用的材料不会成为固定的对象,所以材料变化了也不需要拉上关系。平庸有两种情况,一种是理性的分析出来一种价值之后顺着这个价值硬编下去。另一种是自认为有价值,拼命地将这个价值放大。 In China you belong to the post 89 generation of artists. What does this mean for you? How would you relate your work to that of artists of the ‘85 movement generation, like for example Zhang Peili, Wu Shanzhuan or Huang Yongping?
“Can’t have it all” is the title of one of your recent catalogues. Is this a motto for your creation? Do you consider restriction a source of creativity?
Game and concealment play an important role in your work。Is art a game of concealment and camouflage?
孙:灵活多变看起来很有游戏的味道,但它不会因此就可以下定论,艺术不会有标准答案,只是有时候看起来很像游戏。 Many of your works resemble a kind of simulacrum of power play. 你们的作品有不少像是权力游戏的替代物,你们使用的方式简练而且直接并让观众通过自身的经验来体会这种权力游戏,是这样的吗?请讲一下你们的生活经验。
我们生活的经验不知道该怎么说,因为没有引人入胜的历史事件,没有大悲也没有大喜。只有个人爱好。 The work you show in Venice is called “Wait”. It is the sculpture of a vulture. Who does this animal represent? What is he waiting for?
彭:秃鹰是一种食腐的肉食禽类。不代表什么,所有该来的都会来,所以等 Did you ever think of making self-portraits? How would these self portraits look like?
彭: 自画像是个很私密的内容,往往公开的自画像不是不客观就是不真实,或者很表现。而内心的自画像是很困难和受保护的。我估计我不会公开。 你们近期的作品的语言已经很成熟,离开了中国当代艺术的语言。你们怎样达到这一步的? 彭:我就活在中国当代艺术语境中,也正在中国进行着创作,这就是中国当代艺术的语言。至于它看起来是中国的,还是世界的,甚至是不是艺术的,都是个表面因素。你说的“中国当代艺术的语言”更偏向“中国符号”或“中国面孔”,这种“中国当代艺术语言”留给我们参照的价值不多。中国还没有形成自己的艺术语言环境,也没有语言的上下文关系。这个问题是需要个体和时间来解决的。
彭:早期的尝试。
In 2005 you participated in the first Chinese national Pavilion at the Venice Biennial. You showed a work entitled “Farmer Du Wenda’s Flying Saucer”, a UFO conceived by a Chinese peasant. The launch of the Chinese national pavilion, of the UFO and of your first participation as a national artist in the Venice Biennial coincided. How did you conceive this participation and position?
In your works existence is always conditioned. How would you describe your role as Chinese artists in China and also in a larger global context? 在你们的作品“存在”总是有条件的。你们怎样看待作为中国艺术家或者更加普遍来讲作为艺术家的角色?
彭:存在从来都是有条件的,没有独立的存在。艺术作品的媒介就是条件,观念也是条件,就像上一个问题中农民的飞碟这个作品,飞碟,中国馆,我们,人们的想象,心理变化,评论等等都是条件。条件只有动用的多少或者层面不同的区别。
Finally, can you tell me something about your next projects? 你们近期有一些什么新的作品计划。
彭:我们正在寻找条件。
2011年6月 |
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