每个人都有一把时间性的尺度 Everyone has a time scale

Zhujiajiao Art Archive Project Discussion Seires

第一次诧异：“在我们的生活的社区里，我耳闻了很多大侠的传说，传说会形成飘忽的感觉，因为语言刺激了想象力：听说他是一个出道很早的艺术家，所有的社会符号编码都无法嵌入，作品优异，生活状态独特；他是一个孤独的男人，在一个破败的房子里和一只鹅生活在一起，有一天这个鹅消失了，他到底是把鹅吃掉了还是……？我对这种生命状态的想象很感兴趣，就像进入了一个十日谈的状态。”

第二次诧异：“第一次见到了大侠本人，是在疫情前一个朱家角的展览上，他坐在旁边，那时候我还没有把他和’大侠’这个名字对上。我在发表意见，突然两个人就抽象表现主义开始争论了起来。具体观点就不说了，过于无聊。但是这种争论的状态很有意思，水火不容的冲突-我是个辩论狂，因为我的职业习惯就是喜欢追根究底。他受惊了，想离开现场，我像猫抓老鼠一样追着他，继续提问。”

第三次的诧异：“这次在朱家角，我生活的社区里举办了大侠的个展，前两次的’诧异’具体地落实在了肉身上，我诧异的是，此刻我面前的面容和肉身，很符合一切的社会符码，他非常谦虚、热情，像所有展览上的艺术家一样，每个行为每句话，都嵌进去了。”

就如博伊斯所说”人人都是艺术家“。张念认为我们不能字面地去理解这句话，这句话应该是指，每个具体的生命都有一把时间性的尺度。这个尺度可能是对人、事物、事态。尤其我们在艺术场域，就要拿出勇气来，去挑战自己的时间性尺度，去证明自己可以。

整个展览中，张念对他那一件摆在展厅正中的麻将缝制的香奈儿风格的套装以及他的创作过程很感兴趣。当出现“香奈儿”、“衣服”这样的语言和概念时，我们很容易被带进沟里。“衣服”出现的时候出现它的功能性，在展览现场，每个人都把头伸在作品上，落实了它的功能性。艺术作品存在的理由，是挑战目的性和功能性的存在，大侠很成功的挑战了。但是他制作了一件不可穿的衣服，所有的现场观众又把它拉回日常语法，把不可穿的变成可穿的，张念说，这“如同车祸现场和悲剧，但恰恰，达到了艺术品本身的震撼力量”。

The second time I was surprised: “The first time I saw Zhou himself was at an exhibition in Zhujiajiao before the pandemic. He was sitting next to me. At that time, I hadn’t paired him with the name ‘Da Xia‘.I was giving opinions, we started arguing about abstract expressionism out of a sudden. I won’t talk about the specific views, it’s too boring. But this kind of debate is very interesting, and the conflict is incompatible-I’m a debate freak because my professional habit is I like to get to the bottom of things. He was frightened and wanted to leave the scene. I chased him like a cat catching a mouse and continued to ask questions.

Surprise for the third time: “This time in Zhujiajiao, the community where I live held a solo exhibition of Zhou. The “surprise” of the first two times was concretely implemented in the flesh, what surprised me was the face and body in front of me at this moment, fits all social codes. He is very humble and enthusiastic. Like all the artists in the exhibition, every action and every word is embedded in it.

As Beuys said, “Everyone is an artist”. Zhang believes that we cannot understand this sentence literally. This sentence should mean that every specific life has a time scale. This scale may be on people, things, and situations. Especially in the art field, we must show courage, challenge our own time scale, and prove that we can.

Throughout the exhibition, Zhang was very interested in his Chanel-style suit made of mahjong placed in the center of the exhibition hall and his creative process. When words and concepts such as “Chanel” and “clothes” appear, we are easily led in the wrong path. When “clothes” appeared, its functionality appeared. At the exhibition opening, everyone put their heads on the work and realized its functionality. The reason for the existence of works of art is to challenge the existence of purpose and functionality, and Zhou has successfully challenged it. But he made an unwearable dress, and the audience pulled it back to the daily grammar, turning the unwearable into wearable. Zhang said, this is “like a car crash scene and a tragedy, but precisely, it has reached the shocking power of the work of art itself”.

 主持人 Host 

甘莹莹，艺术家，工作、生活于 朱家角，以摄影、装置、行为、策展为创作媒介，主要关注身份、 环境与权利的关系，以自我袒露、与环境对抗等方式去引起观众对 于相关社会议题的关注、讨论和共振。朱家角艺术家平台 “不急宇宙”主创之一。

Gan Yingying, an independent artist who works and lives in Zhujiajiao, uses photography, installation, performance, and curation as media, mainly focusing on the identity related to its environment and power, and using self-disclosure and confrontation with the environment to arouse the audience’s attention, discussion and resonance on relevant social issues. One of the members from ‘BUJISM’.