| 王魯炎：整體的背面
策劃：劉鼎
開(kāi)幕時(shí)間：2008年1月26日星期六下午3點(diǎn)
展覽時(shí)間：2008年1月26日——3月26日
展覽地點(diǎn)：北京朝陽(yáng)區(qū)酒仙橋路4號(hào)798藝術(shù)D區(qū)卓越藝術(shù)
開(kāi)放時(shí)間：周二至周日上午10點(diǎn)至下午6點(diǎn)
聯(lián)系電話：010－81679255
電子郵箱：joyart@yahoo.cn
網(wǎng)址： www.joyart-beijing.com
從70年代末，王魯炎就積極地參與中國(guó)當(dāng)代藝術(shù)的實(shí)踐。他是北京觀念藝術(shù)小組“新刻度”的三位成員之一。從1988年至1995年，新刻度小組的成員一直以討論、繪圖、出版和展覽等形式開(kāi)展他們的藝術(shù)實(shí)踐，運(yùn)用分析幾何學(xué)的方法，開(kāi)拓出一套以理性代替藝術(shù)家的個(gè)性來(lái)傳達(dá)經(jīng)驗(yàn)和感受的方法論。機(jī)械工程師出身的他自然而然地把他對(duì)機(jī)械設(shè)計(jì)的興趣融入他的個(gè)人創(chuàng)作之中，他的創(chuàng)作更多地再現(xiàn)了機(jī)械的精細(xì)構(gòu)造中所有復(fù)雜和矛盾性的關(guān)系。他的一系列硬邊繪畫(huà)和陽(yáng)剛的機(jī)械制圖對(duì)鋸、槍、坦克、螺絲刀、手表、剪刀、自行車(chē)等的內(nèi)部構(gòu)造和功能進(jìn)行了改造，意喻棘手的國(guó)際政治關(guān)系以及以各種力量互相抗衡和制約為特征的格局。在這些構(gòu)造中引進(jìn)一種悖論式的關(guān)系成為王魯炎標(biāo)志性的設(shè)計(jì)。
卓越藝術(shù)的第一個(gè)藝術(shù)項(xiàng)目是王魯炎的觀念項(xiàng)目“整體的背面”，“整體”本應(yīng)該是完整的、縝密的，包含了所有，沒(méi)有任何遺漏，它總是排斥另一面的存在。在題目中的“整體”指的是我們所能認(rèn)識(shí)的整體，而我們所能識(shí)別的“整體”實(shí)際上只是“整體”的局部，這個(gè)“整體”存在著我們接觸不到的一面——“背面”。事實(shí)上我們永遠(yuǎn)無(wú)法洞悉事物的“整體”面貌，也即是事物的“本質(zhì)”，我們了解“整體”的過(guò)程就是不斷地去接近這個(gè)“背面”的過(guò)程，盡管我們離這個(gè)“背面”的距離可能是無(wú)止境的。“沒(méi)有同一個(gè)世界，同一個(gè)現(xiàn)實(shí)，同一個(gè)真相之說(shuō)，我們生活在平行的世界和現(xiàn)實(shí)之中。”“整體的背面”討論的是一個(gè)關(guān)于認(rèn)識(shí)的問(wèn)題，是對(duì)人類(lèi)的認(rèn)知的一種新的認(rèn)識(shí)，是身處于這個(gè)世界，而對(duì)“另外一個(gè)世界”保持著知覺(jué)和好奇之心的狀態(tài)。
在“整體的背面”中，王魯炎建構(gòu)了一個(gè)放大的微觀世界：在展廳的四面墻上用他一貫使用的機(jī)械構(gòu)圖的方法和風(fēng)格描繪出由坦克輪組成的連續(xù)紋樣，填滿了高10米的墻面。并在展廳的地面用混凝土塑造了一個(gè)球體的局部。不管站立在隆起的地面的哪個(gè)點(diǎn)，往哪個(gè)方向看，只有局部。這些局部的幾何圖形被抽離了具體的指向。局部的放大和抽象使我們失去了具體的參照體系。隆起的球體改變了觀眾的觀看方式。事實(shí)上，我們本來(lái)就已經(jīng)生活在一個(gè)圓形的球面上，只不過(guò)它的尺度給了我們生活在平面上的幻覺(jué)。藝術(shù)家在圓形的球面上又建造了一個(gè)球面，用微觀的方法強(qiáng)化了我們?nèi)粘５慕?jīng)驗(yàn)，以物理的方式擬造出一種認(rèn)識(shí)世界的可能性。也許整體的背面永遠(yuǎn)都是無(wú)法被察覺(jué)的一面，但是超越這種認(rèn)識(shí)的局限和自我的局限卻是我們永遠(yuǎn)的命題。也許我們永遠(yuǎn)看不到月亮黑暗的一面，但這也不應(yīng)該阻擋我們不斷地嘗試去想像，去演繹，去接近它，去遙望我們之外的“另外一個(gè)世界”。
WANG LUYAN: The Other Side of Totality
Curator: Liu Ding
Opening: 3pm, Saturday, January 26, 2008
Exhibition Dates: January 26 – March 26, 2008
Venue: JoyArt, Zone D, 798 Art District, 4 Jiuxian Qiao Road, Chaoyang District, Beijing,
China
Opening Hours: 10am – 6pm, Tuesday – Sunday
Tel: ＋86 10 81679255
Email: joyart@yahoo.cn
Website: www.joyart-beijing.com
Actively engaged in China’s avant-garde art movement since the late 1970s, Wang was deeply involved with the New Measurement Group, a three-member initiative of Conceptual artists that existed from 1988 to 1995. Introducing the rules of analytic geometry into their practice, the New Measurement Group explored the possibilities of communicating experiences and perceptions through quantities and measurements as opposed to erratic individuality. A trained mechanical engineer, Wang Luyan’s individual practice has stemmed from his fascination with mechanical design but more importantly, the potential complex and paradoxical relationship of all kinds as embodied in the intricate makeup of machinery. In his series of minimalist paintings and masculine mechanical sketches, Wang Luyan exposes the inner designs of sawing machines, guns, tanks, screws, wristwatches, scissors, bicycles and so on and incorporates his alterations and manipulations into these designs to suggest thorny international political relationships as well as more general situations where forces from all sides contain and implicate each other.
JoyArt presents Wang Luyan’s conceptual project, “Wang Luyan: The Other Side of Totality”.
“Totality” should imply integrity, meticulousness, the inclusion of everything without a single omission, thus it rejects another side to existence. The “totality” in our title speaks of a totality that we are capable of recognizing, this “totality” that we are capable of discerning is, in actuality, a partial “totality”. This version of “totality” exists in a realm that we cannot touch––the “other side”. In fact, by no means will we ever be able to discern the “total” appearance of things, to be precise: the “essence” of things. Our process of understanding “totality” is the never-ending process of making contact with the “other side”, even though we are quite possibly forever at distance from it. There is no such thing as one world, one reality, or one right way of saying something; we live in parallel worlds and a parallel reality. “The Other Side of Totality” discusses the issue of cognition, it proposes a new understanding of mankind’s perceptions, it is the body located in this world, but maintaining a consciousness and curiosity for the “other world”.
In “The Other Side of Totality” Wang Luyan constructs an enlarged microscopic world: on the four walls of the exhibition space, he uses methods of mechanized composition and style to portray repetitive patterns made by the wheels of a tank, he covers the entire 10 meter height of the four exhibition walls. On the exhibition floor he uses concrete to create a partial sphere. No matter what point on the floor you are standing in, or from which angle you are viewing, you can only view it in partiality. The geometric shapes of these fragments are pulled out of their specific position; their enlargement and abstraction causes us to lose our specific reference scheme. The protuberance of the sphere changes the viewers’ approach. In actuality, we exist on a spherical globe, but its scale gives the illusion of living on a flat surface. The artist then constructs a sphere on this convex shape, using microscopic methods to enhance our everyday experiences, a physical approach that seems to create a possibility for understanding the world. Perhaps the other side will forever escape our consciousness, but surpassing limits of understanding and self-limitations will nevertheless forever be a possibility. Perhaps we will never see the dark side of the moon, but this shouldn’t stop us from forever trying to imagine, deduce, get closer to, or look off in the distance for “another world”.
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