亞生產(chǎn)——倪海峰個(gè)展
　　策展人：姚嘉善
　　開幕時(shí)間：2008年9月27日星期六下午4點(diǎn)
　　展覽時(shí)間：2008年9月28日－11月
　　展覽地點(diǎn)：卓越藝術(shù)，北京市朝陽(yáng)區(qū)酒仙橋路4號(hào)798藝術(shù)D區(qū)
　　開放時(shí)間：周二至周日上午10點(diǎn)至下午6點(diǎn)
　　聯(lián)系電話：010-5978 9788
　　電子郵箱：info@joyart-beijing.com
　　網(wǎng) 址：www.joyart-beijing.com
　　贊助：荷蘭王國(guó)駐華大使館

　　倪海峰的藝術(shù)實(shí)踐起源于對(duì)回歸、交換、語(yǔ)言和生產(chǎn)等文化系統(tǒng)的關(guān)注。他通過(guò)影像和裝置的方式，探索同時(shí)發(fā)生的意義的產(chǎn)生和消偃，提醒人們注意常常映射出殖民主義和全球化建構(gòu)模式的人、產(chǎn)品以及商品的循環(huán)運(yùn)動(dòng)。倪海峰以打破現(xiàn)狀、對(duì)抗預(yù)先形成的藝術(shù)概念為目標(biāo)，用藝術(shù)家的話表達(dá)是一種致力于達(dá)到“零度意義”的努力。在他的藝術(shù)實(shí)踐中，處處滲透著某種潛在的政治批判因素，這與他對(duì)“無(wú)用性觀念”的追求和以此抵消伴隨消費(fèi)主義與資本主義而生的“有效生產(chǎn)”的渴望是分不開的。

　　生產(chǎn)和制造成為倪海峰藝術(shù)實(shí)踐中一再出現(xiàn)的主題。他在之前的作品中就已經(jīng)將創(chuàng)作重心放在對(duì)材料生產(chǎn)和消費(fèi)的關(guān)注上，如在荷蘭城市代菲特實(shí)施的、涉及中荷瓷器貿(mào)易的項(xiàng)目《離境與抵達(dá)》（2005年）；指涉不斷重復(fù)的再生產(chǎn)過(guò)程和原創(chuàng)性貧乏的《縮水10%》（2007年）；以及標(biāo)識(shí)全球商品貿(mào)易標(biāo)準(zhǔn)化編碼機(jī)制的裝置項(xiàng)目《HS 0902.20, 0904.11 & 6911.10》。

　　《碎布的回歸》是倪海峰2007年于荷蘭萊頓市(Leiden)初展的一件作品。展覽于萊頓市市立萊肯哈爾博物館(the Stedelijk Museum De Lakenhal)舉行，作品以商品和材料的循環(huán)運(yùn)轉(zhuǎn)為主題，“中國(guó)為西方生產(chǎn)”所帶來(lái)的，留在中國(guó)的那些西方所不愿意要的哪些元素在作品中象征性地回歸西方。作為“中國(guó)制造”現(xiàn)象的副產(chǎn)品，紡織品生產(chǎn)中產(chǎn)生的廢棄碎布條由浙江海運(yùn)至萊頓，與一塊巨大的由碎布編織而成的掛件和記錄工廠環(huán)境以及著名品牌的影像構(gòu)成作品的基礎(chǔ)。

　　此次《亞生產(chǎn)》于北京的展示中，倪海峰的興趣在于同樣受制于材料的生產(chǎn)模式，只不過(guò)此次的重點(diǎn)已經(jīng)轉(zhuǎn)向藝術(shù)生產(chǎn)中的社會(huì)性生產(chǎn)，后者是通過(guò)其勞動(dòng)的凸顯以及工人和個(gè)體的積極參與體現(xiàn)出來(lái)的。整個(gè)裝置由一塊巨大的由碎布編織成的掛件組成，懸掛在展覽空間的對(duì)角線方向，整塊布從天花板垂直垂下，帶著輕柔的曲線延展在地面之上。布面在地板上延展一段距離，最終引申到一組縫紉機(jī)前。布面就靠在第一排縫紉機(jī)上，好像仍未完成一樣?？p紉機(jī)上會(huì)有一些沒有縫好的碎布條，背景是一個(gè)巨大的碎布條堆。

　　《亞生產(chǎn)》將焦點(diǎn)從貿(mào)易和全球化轉(zhuǎn)移到生產(chǎn)的社會(huì)美學(xué)上，個(gè)體和工人因此被涵納于指向生產(chǎn)與消費(fèi)、創(chuàng)造性與無(wú)用性的過(guò)程中。通過(guò)工人的集體努力，成衣工廠的廢棄碎布條被編織成一塊巨大的掛布，展覽場(chǎng)所也轉(zhuǎn)變成一處生產(chǎn)的空間，提出的疑問(wèn)并非是這種“表征”是如何顯現(xiàn)出來(lái)的，而是什么東西正在被生產(chǎn)。在這樣一種社會(huì)關(guān)系的語(yǔ)境中，“織”與“被織”的概念象征性地成為可視性和藝術(shù)生產(chǎn)的社會(huì)性元素。展覽中還將展示一個(gè)聲音裝置，倪海峰試圖在其中探索與發(fā)生在展覽現(xiàn)場(chǎng)的美學(xué)生產(chǎn)密切相關(guān)的多重?cái)⑹?。通過(guò)材料的可視性及聲響語(yǔ)言，《碎布的回歸》試圖涵納的是深刻的寂靜和打破寂靜、勞動(dòng)的痕跡和消失，視覺的現(xiàn)時(shí)性和它的歷史。

　　Para-Production: An Exhibition by Ni Haifeng
　　curator: Pauline J. Yao
　　Opening: 4pm, Saturday, September 27, 2008
　　Exhibition Dates: September 28 –November 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 59789788
　　Email: info@joyart-beijing.com
　　Website: www.joyart –beijing.com
　　Sponsor:Embassy of the Kingdom of the Netherlands

　　Ni Haifeng’s practice stems from an interest in cultural systems of return, exchange, language and production. Through photography, video and installations he explores the simultaneous creation and obliteration of meaning while drawing attention to the cyclical movements of people, products and goods that are often reflective of patterns of colonialism and globalization. Ni’s aims to subvert the status quo and counteract preconceived notions of art are, in the artist’s words, an effort towards reaching a ‘zero degree of meaning’. An underlying element of political critique permeates Ni’s practice, as defined through his engagement with the concept of uselessness and desire to offset ‘the production of the useful’ that accompanies consumerism and capitalism.

　　Aspects of manufacturing and production have formed recurring themes within Ni’s artistic practice. Previous projects have centered upon material production and consumption, from his Of the Departure and the Arrival (2005) project in Delft concerning the ceramic trade between China and the Netherlands; to Shrinkage 10% (2007) which references the repeated processes of reproduction and tenuousness towards originality; to the installation HS 0902.20, 0904.11 & 6911.10 (2007) that denotes the standardized coding systems for globally traded commodities.

　　Return of the Shreds is a work that Ni first exhibited in Leiden, the Netherlands in 2007. In its presentation at the Stedelijk Museum De Lakenhal, the work centered on the cyclical movement of goods and materials and the symbolic return of unwanted elements resulting from production in China to the West. Shreds of discarded fabric—byproducts of the “Made in China” phenomenon—were shipped from Zhejiang to Leiden and formed the basis of the installation, along with a woven hanging and video component that documented the factory environment and name brands.

　　In Beijing Ni presents Para-Production, a large scale installation that references a mode of production mired in the material, with an emphasis that is shifted towards production of the social through its foregrounding of labor and the active participation of workers and individuals in the production of art. Piles of shreds, a gigantic piece of sewn cloth, and an array of sewing machines are positioned to create a workshop environment that is both collective and participatory.

　　By shifting trajectories from trade and globalism to the social aesthetics of making, Para-Production enmeshes individuals and workers in a process that references production and consumption, creativity and futility. As discarded scraps from clothing factories are woven into a giant tapestry through the collective effort of workers, the exhibition site is transformed into a place of production with the question being not one of how this ‘representation’ is manifested but of what is being produced. Here, in the context of social relations, the concepts of weaving and woven become symbolically tied to visibility and the social component of artistic production. Accompanying the main installation work will additional elements in which Ni explores a complex web of narratives that relate to the aesthetic production taking place in the site. Through a combination of the material visibility and verbal language, Para-Production is a work intended to contain both a profound silence and its interruption, the trace of labor and its disappearance, the presence of an image and its history.

　　About the artist

　　Ni Haifeng was born in Zhoushan, Zhejiang province in 1964. He currently lives in Amsterdam and works between Amsterdam and Beijing. A graduate of the Zhejiang Academy of Fine Arts (now China Academy of Art) in Hangzhou in 1986, Ni belongs to the early generation of experimental artists active in the mid 1980s in China. His work has been exhibited globally in solo and group exhibitions.

　　About the curator

　　Pauline J. Yao is an independent curator and writer based in Beijing and San Francisco. She worked previously as Assistant Curator of Chinese Art at the Asian Art Museum of San Francisco and as Senior Lecturer in the Graduate Program at California College of Arts, San Francisco. In 2006 she received a Fulbright Grant to research contemporary art in China and in 2007 was awarded inaugural CCAA (Contemporary Chinese Art Awards) Art Critic Award. Yao is also a co-founder of the alternative art space Arrow Factory in Beijing. She received her M.A. in East Asian Languages and Civilizations from the University of Chicago.