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Légendes de gauche à droite :
1/ Huang Jingyuan - 黄静远, I am Your Agency No.01 - 各就各位01, oil on canvas - 布面油画, 133cm x 155cm, 2013.
2/ Huang Jingyuan - 黄静远, I am Your Agency No.00 - 各就各位00, oil on canvas - 布面油画, 133cm x 155cm, 2013.
3/ Huang Jingyuan - 黄静远, I am Your Agency No.24 - 各就各位24, oil on canvas - 布面油画, 133cm x 155cm, 2013.
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présentation - 展览介绍 :
Everything seems ready in Huang’s paintings, be it the steamed buns, conference chairs, or taxidermy. To gaze into this moment causes discomfort, as if something is staring back at us. What has driven the artist to focus her gaze upon this moment of readiness that looks back? More importantly, why is this relevant? Have we not already moved beyond this contemporaneity?
artist statement
On the wall of my parents’ bedroom there is a photo from their dating period (1979, southern China). They stand side-by-side like well-prepare d soldiers trying to impress their leaders. But underneath this affectation of allegiance, I can detect an intimacy that comes from their shared experience as casualties of war.
Three decades later, my parents’ material life, just as for many Chinese, has greatly improved. There are more photos on the walls of their living room now, with international icons serving as backdrops: the Statue of Liberty, the Eiffel Tower, Niagara Falls, etc. And yet they still occasionally adopt that familiar, classical pose from three decades ago. It seems their bodies have been trained to affect a particular way of posing as an accepted way of marking a place (culturally and geographically). It is this most common, normal, and self-subscribed body language and its lasting impact that reveal the most to me.
On the Internet, I have found many variations of this way of posing; some more personalized and up-to-date than those of my parents. My attention was continually drawn to how things look when people are deprived of their default stance or their “go-to” poses. They begin to exhibit symptoms of a cultural ostracism: as if their individual gesture and personal outlook has been taken away from them. Divested of a guise, they seem condemned to a certain anxious informality that suggests nowhere and finds no support. People, and the artifacts they document, become casualties of their own image-in-the-making, and their image production is reduced to a self-imposed performance. This crisis of losing face remains, perhaps anachronistically, particular to this country at this particular time in history, and my series is an exploration of what, why, and how this crisis is produced an d maintained.
黄静远画中的人物与事物看上去都准备好了,包括包子、椅子和标本。长久地凝视这一刻会让一切变得不自然起来,仿佛自己在和某人对视。是什么促使静远将目光投向了这“时刻准备着”的时刻?更重要的是,在今天谈这个有什么意义?这个时刻的时代不是早已过去了吗?恰恰相反,对她来说,这个时刻的当代性正是问题所在。
艺术家自述
我父母的卧室里挂着一张来自他们恋爱时期的照片。图中他们犹如战友般各就各位的齐肩站好，整齐的眺望远方，神情美好且幸福。三十年后，退休的他们得以通过旅行社周游列国。我们家墙上于是多了不少以自由女神、尼亚加拉大瀑布、埃菲尔铁塔等为背景的照片。这些照片里的他们虽然有着比三十年前多元丰富的表达，但是依然不时冒出一些整齐的眺望远方表达憧憬的姿势。这个身体语言似乎成了他们重申安全感，并且与所在物理+文化地点建立相互从属关系的有效方式。
互联网时代的自拍自爆自审提供给我们一个从来没有过的公共镜子。在那里，我找到了很多类似我父母的各就各位，以及围绕着这种摆拍出现的新品种和升级版。我也找到了在这种身体语言落寞失效以后出现的某种空虚，暴力，和枯竭；以及这样的主体心态下看到的物体。在这样的图片世界里，一种审美呼之欲出：由于感到一个更高的权利体在考察着，从而自我要求的表达出一种动作来表明立场，以或得安全。虽然人类社会通过文化认同来构建权利阶级的做法是普遍的，但是它现有的内化深度和广度已经使它成为这个国家的此时此刻的危机。
这种内化发生在一个“宣传工作”和各种当代语言相互渗透、不懈更新的时代；发生在一个各种当代工具对其向未来的无限延伸束手无策的时间里。当它坐落在没有解决的过去和无法爆发的将来之间的时候，我们显得如此的无处可逃。如果这个时代的危险在于万物都可以如此轻易的当代（比如我父母共产主义风范自我摆拍的延续和社交媒体、自由贸易、智能手机的深化在时间上是都同时的）；那么它的希望也许在于我们如何拆分，在于如何出离和再出离——在相同的工具的帮助下。
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