信则有 Seeing is Believing/装置 installation/2009

 

进入画廊空间,观众可能什么也看不到——只有在晴天的时候(这个季节的北京晴天其实很少),观众才可能会在画廊的地板上看到一些字的影子。这些字安装在画廊西墙的高窗上,内容是一堆银行的广告语:如花旗银行的“Citi never sleeps”,它旁边是摩根斯坦利银行的“World Wise”, 这些宣传语像是偶发诗歌的句子。午后,阳光将这些宣传口号的影子投射在画廊光秃秃的水泥地板上。

Entering the gallery space, the viewer may find nothing at all. On a clear day—rare for Beijing this time of year—one may notice a series of letters along the gallery floor. Lettering installed in the elevated windows of the Western wall spells out the advertising slogans of a number of international banks: Citi Bank’s “Citi never sleeps,” positioned next to HSBC’s “The world’s local bank,” offers a certain type of accidental poetry. The afternoon sun casts the shadows of these and other slogans across the bare concrete floor.

这两组作品试图阐释信仰与资本之间的关系。因着时间与天气的巧合,画廊空间中被投射下的影子一遍遍重复着金融机构的生存方式——“金钱就是上帝”。实际上,大大的画廊看上去空荡荡的,但是,就像陈劭雄说的那样——“只要你相信它就存在”。像是对世界经济问题的答复或是呼应,艺术成了经济危机下发生的无实体的影子。

The work attempt to elucidate the relationships between belief and capital. Riffing on the statement that “money is god,” the very existence of these financial institutions in the gallery space relies on the fortuitous coincidence of time and weather. The large gallery may indeed appear completely empty—but, as Chen Shaoxiong would say, “it exists when you believe.” As a response to global issues, art thus becomes an insubstantial shadow of the economic crisis.

陈劭雄的这件作品要依靠观众的观念和天气这两方面因素同时作用,才能最终完成(像是全球化、全球交流、神祗的概念,这些都要依靠自然与人的信念两方面的条件来得以实现)。展览英文名字的灵感来自贺卡上的词句,当然在这里又赋予了新的含义——“无论是否相信,你都是对的”。金钱其实没有达到它们所应代表的价值,这点从银行股票价格的惨重下跌中暴露无疑。

Exposing the faith-based existence of concepts like globalization, the work’s reliance on both nature and belief ties the concept of universal exchange to that of god itself. The English exhibition title, borrowed from inspirational greeting card rhetoric, takes on new meaning: whatever you believe, you’re right. Money’s lack of intrinsic value is mirrored by the artificially achieved stock prices of banks reduced to shadows.

陈劭雄的这些作品所涉及的概念也直指北京当代艺术界某些常见的做法——那些蚁穴式密布的画廊展出的越来越大的装置作品来填充自己的空间。在陈劭雄的个展上,观众会发现,画廊几乎还是空的,展出的作品甚至没有一个实体的存在。

The project additionally functions as a critique of dominant practices of contemporary art in Beijing, oriented towards filling the city’s cavernous gallery spaces with ever-larger installation work. Here, the gallery remains empty, and the work never gains material existence.

 

 

 

 
 
 

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