二展：黄静远《是谁把你带到我身边》

                
                
LAB47有幸于2016年5月14日开启艺术家黄静远的展览“是谁把你带到我身边”，此次展览将持续至6月25日。
艺术家自述
这次展览只有一张画，画的是一位站立的女性解说员的全身像。不过这个等大于整个墙面的立像不是竖着悬挂，而是横着: 里面女性的姿势也因此不是站着的，而是“躺”着的。她被画在自然状态松弛的油画布上，由于空间的特殊形状，观众和画面的最远直线距离只有1.5米。
我并不知道这位解说员是谁，她的形象来自网络图片的一个边角。她穿着某种盛装：一种我们常见到的对少数民族服饰的初级同时又过度的模拟。她带着耳麦和扬声器在工作，她的工作可能就是讲解她所穿服饰代表族群的文化。她的表情被摄影凝固在一个类似睡眠和言说之间的漠然的瞬间 ------ 一个我们每个人都可能被摄影捕捉到的数码影像瞬间。
一个水平横着的身体，以及她上面所有细枝末节的服饰，被手工描绘并且放大到非真实的程度后陈铺于我们眼前。如果她有声音，她发出的是谁的声音? 而这个声音和她的身体的温度之间，哪个更加属于她自己? 哪个更加被图像所屏蔽，哪个更加被绘画所激发?
“是谁把你带到我身边”在LAB47的项目是“公民三部曲”的第三部分。
黄静远
二零一六年五月，北京
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展览推介
“是谁把你带到我身边”初看上去像是一句被广泛熟知的，带有亲密感和着西部旋律的歌词。但是当我们把这个句子剥开来看，这种亲密感似乎暗示了一种既全面又抽象，既深入又隐秘的控制。陌生人的肖像、谁、你、我，这些模糊的语词，没有明显主语和谈论对象的陈述，它们赋予了展览巨大而沉重的内容链，使展览变得复杂且诡秘。
承担这种文字多点指向和绘画图像传达交叉性的，是绘画自身的最终物质性。在展览现场，一幅巨型的绘画占据了LAB 47整个纵深一侧。这个横卧着的“站立”姿态对整个展线的填充造成视觉空间的极大溢满。观展体验被有意建立在一个或长或短的行动轨迹与记忆序列之上。在狭窄的观展距离设定里，人们只有从门口走入进深，最终方能探得全貌。正是由于对画面完整性占有的困难，正是这种有限缺失，某种意义上激发了观者对画面诸多问题的进一步揣度。
绘画性是黄静远艺术实践中的一层维度，这种维度来源于图像生产和循环里的问题意识，即，图像不应终结于图像和现实固有的媒体对应关系。在当代，当我们质疑绘画对于复杂问题的呈现是否仍然有效时，一种边界意识却成为黄静远自发自为的路径选择。很难说她是从问题走向绘画，还是从绘画走向问题。二者似乎在一种纽结中化合成一种独特的实践方式。这一点让我们想起福柯，“绘画至少在它的某一范围中是一种在技术和效果中成型的话语实践。绘画——独立于科学知识和哲学主题——贯穿着知识的实证性”。很大程度上，“是谁把你带到我身边”与其“公民三部曲”艺术项目，看似主题先行，但绝非是简单地用实践填充概念：它的媒介自发性流露出一种真诚。这既关乎艺术创作的主体价值，又是对绘画自身所承载的知识实证性及其空间介入有效性的积极探寻。
展览支持
此次展览由新世纪当代艺术基金会资助支持。
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Lab 47 is pleased to present "The Interpreter", a solo exhibition by Huang Jing Yuan, May 14 - Jun 25, 2016
Artist Statement
There is only one painting in this exhibition "The Interpreter": it is a full-length portrait of a woman speaker. She is standing upright but the canvas is hung horizontally: she is presented as if in a sleeping posture. Tailor-made to the full size of the exhibition wall, she was painted on unstretched canvas, which is draped naturally from the ceiling to the floor. We are provided a viewing distance of only 1.5 meters, as that is the width of LAB 47, the exhibition venue.
 
I don't know the woman I have portrayed; she comes from the ocean of internet images, if not a forgotten stream of it. She is dressed to convey sincerity, in a style commonly used to imitate ethnic minorities: a clumsy and stereotypical exotification. She is equipped with a remote microphone; we could speculate that she is an interpreter for the culture her dress is intended to represent. Her facial expression reflects a moment seemingly between being hypnotized and being indifferent, but this is a photographic moment that anyone could be caught in.
 
A body and the "accessory" that covers it have been painted by hand and displayed at a larger-than-human scale in front of us. Is this woman speaking? If so, of her voice and body, which more belongs to her? To this question, we can further ask: from an image and a painting, what can be activated separately and what can be activated jointly?
"The Interpreter" is the final installment of the "Civility Trilogy."
Introduction
What necessity can the medium of painting fulfill when we face an ocean of images and an increasing range of pictorial formats? How can painting, carrying connotations centuries old, actively generate a criticality that addresses the speed and complexity of social and political life in China? In response to these challenges, Huang Jing Yuan chooses to work with this fascinating knot of image and painting. She trawls on the internet but not just reproduce randomly. In her recent projects, she tracks how the image world (advertising, official imagery, entertainment, tv, film, etc.) is infusing the ways in which ordinary Chinese people picture themselves to themselves and each other. From thousands of these images, she paints a few - with and against their grain as virtual images. Her final output is always centered on maximizing the physical presence of painting, as we can see here in the hallway that Lab 47 has become.
This hand-made painting is based on a virtual image. The virtual image registers a scene that was observed by a digital camera and posted as a digital image resembling a photograph for viewing on a screen. In the exhibition, the image is enlarged wildly beyond its usual scale. As a result, memory’s residual presence emerges through the fullness of the surfaces and textures, yet approaching this completeness, paradoxically brings the realization of the impossibility of capturing complete wholeness. When something is both an image and a painting, and at the same time is both more and less than both, what are you seeing?
This question is indeed echoed in the title of the show, "The Interpreter,” as it is not only a questioning of what is being interpreted, who the interpreter is, and to whom the interpretation is offered. But as well, a questioning of how these things are considered through the use of the medium.
Funding Credits
The Interpreter is made possible through financial support from the New Century Art Foundation.