馬秋莎：沃德蘭

馬秋莎：沃德蘭

Ma Qiusha: Wonderland

編者按：“我是誰”是一個尋回思考的哲學(xué)命題，“我”存在不僅局限于當(dāng)下真實我，也有基于血液流傳的隱形符號組成的“我”，或是時代前行中迷茫而被磨礪的“我”?！拔覍⒌侥娜ァ?，是基于自我認(rèn)定后，對未知的思考。不論未來將前往何處，總會帶有“本我”的特質(zhì)。本期，我們關(guān)注于80后青年藝術(shù)家馬秋莎的跨媒介藝術(shù)。其藝術(shù)運用多種表現(xiàn)形式（影像、裝置、身體表演等），融合個人生命體驗、生活感知，以女性細(xì)膩的情感認(rèn)知，探討人與人之間的情感、當(dāng)今社會運行情境中的矛盾、快節(jié)奏生活中人們自我認(rèn)知的彷徨與焦慮等。馬秋莎的藝術(shù)以其強烈的代入感、時代感、生動感受到業(yè)界關(guān)注。

Editor's note:“Who am I?” is a philosophical proposition. The existence of “I” does not refer to the authentic self only, but also the “I”constituted by the invisible symbols based on blood lineage or the “I”confused and hardened in the advance of era. “Where am I going?” is a question about the unknown based on self-identification. No matter where the future is heading, id is there. In this issue, we pay attention to the cross-media art by Ma Qiusha, a young artist born in the 1980s. Her art adopts various forms of expression, such as videos, installations and physical performances, etc. It integrates personal life experiences with life perception. She uses her female sentiments to discuss the feelings between people, the contradictions in the current social functioning scenarios and people’s hesitation and anxiety in their self-cognition in a rapid pace of life. Ma Qiusha’s art has attracted attention in the art circles with its strong sense of substitution, sense of the times and vivid feeling.

展覽鏈接：

馬秋莎：沃德蘭

主辦單位：北京公社

展覽時間：2016年6月25日—8月6日

展覽地點：北京朝陽區(qū)酒仙橋路4號大山子798藝術(shù)區(qū)（北京公社）

Exhibition Link:

Ma Qiusha: Wonderland

Sponsor: Beijing Commune

Exhibition Date: June 25 – August 6, 2016

Venue: Dashanzi 798 Art District, No. 4, Jiuxianqiao Road,Chaoyang District, Beijing (Beijing Commune)

北京公社榮幸地宣布，我們將于2016年6月25日開啟新展覽“馬秋莎：沃德蘭”。這是馬秋莎在北京公社的第五場個展，展覽將持續(xù)到2016年8月6日。

展覽名稱“沃德蘭”取自北京昌平上世紀(jì)90年代斥巨資建造的巨型游樂園的名字，也是英文單詞“Wonderland”的漢語音譯。這座充滿了奇觀與雄心的巨城被寄予了熱烈的期望，號稱當(dāng)時的“世界第一大樂園”，卻由于復(fù)雜的原因而爛尾，直至荒廢數(shù)十年后被悄然拆除。

主展廳里的同名作品《沃德蘭》，是馬秋莎從去年起開始探索的新作。摔碎的同規(guī)格水泥板被深淺不一的肉色尼龍襪包裹，再重新拼合，連接成塊。彈性不佳、色彩帶有濃厚人造感的肉色尼龍襪在今天早已過時，卻曾被八九十年代的中國女性視為時髦裝扮。在藝術(shù)家對童年的追溯中，肉色尼龍襪的存在仿佛并非為宣揚個性，而是對身體及其差異性的遮蔽。作品的準(zhǔn)備及制作過程中，她使用了透明指甲油來粘補襪子上細(xì)小的破損，而這也正是馬秋莎的母親在那個生產(chǎn)遠(yuǎn)未過剩的時代里出于節(jié)約而修補尼龍襪的方法。身體的私密性與集體性、貼身物品中包含的記憶和溫度與時代美學(xué)交織在大面積覆蓋了展廳地面的《沃德蘭》中。

Beijing Commune is pleased to announce the opening of Ma Qiusha’s fifth solo exhibition “Wonderland” at the gallery on June 15th , 2016. The exhibition will continue until August 6th , 2016.

The exhibition title “Wonderland” derives from a mega-scale amusement park extravagantly built in the 1990s in Changping District, the fringe of Beijing city. Like the Chinese exhibition title “沃德蘭”, the park’s Chinese name was a phonetic translation from the English word. Eagerly anticipated at the time, this giant town of spectacles and ambition claimed to be the “world’s largest amusement park”, only to find itself delayed for complex reasons and was eventually quietly demolished after decades of abandonment.

Exhibited in the main hall, the eponymous work Wonderland is a new installation that Ma began working on since last year. Smashed cement slabs of the same model are wrapped in nylon stockings in different shades of nude, then reattached into new blocks. Nude nylon stockings have certainly gone out of fashion today for their poor elasticity and artificial colors, but were once trendy items among Chinese women in 80s and 90s. In the artist’s retrospection of her childhood, nude nylon stockings do not signify idiosyncrasies, but the masking of bodies and their inherent differences. While preparing and producing the work, Ma used clear nail polish to patch the snags and tears on the stockings –the precise way in which Ma’s mother used to fix her stockings in a time far before the ubiquity of overproduction. The body as a both private and collective entity, the memory and texture of an intimate object worn next to the skin, and the aesthetics of a bygone era interweave and meet in this Wonderland that enclothes a large proportion of the exhibition floor.

馬秋莎 火星 單頻錄像 3’53” 2016年 Ma Qiusha, Mars, shingle channel video, 3’53”, edition of 5, 2016

同一展廳中的三頻錄像《化身》表面看起來更像是一則制作精美的廣告：年輕女孩兒擺脫了舊時遮掩身體的尼龍襪，鏡頭下閃爍著金粉修飾過的裸露身體。圣經(jīng)、佛珠、墨鏡觸手可及，陽光正好，一切是那么燦爛、慵懶且漫不經(jīng)心。三個屏幕的同步完結(jié)后，唯有中間屏幕的影像還在繼續(xù)：鏡頭飛速上旋的畫面中呈現(xiàn)的景象將觀眾從精心設(shè)置的虛構(gòu)中拉回現(xiàn)實。

In the same exhibition hall, the three-channel videoAvatarseems to resemble an exquisitely crafted TV commercial: young girls, extricated from old-style nylon stockings, bathe their bikini bodies shimmering with gold powder under the lens. With the Bible, the prayer beads, and sunglasses within reach, everything in this perfect sunny day appears resplendent, lethargic, carefree. As the three synchronized screens come to an end, images on the screen at center continue to play: the lens rotating at high speed presents a scene which brings the audience from a meticulously wrought illusion back to reality.

馬秋莎 沃德蘭 水泥、尼龍襪、多層板、鐵、樹脂 980×615cm 2016年 Ma Qiusha, Wonderland，cement, nylon stocking, plywood, iron, resin, 980×615 cm, 2016

二號展廳投射在整面墻上的單頻錄像《火星》，為觀眾呈現(xiàn)了極度細(xì)膩又極度廣袤的紅沙陸地。微距鏡頭下驚人質(zhì)感的紅沙顆粒與航拍鏡頭下毫無人類活動痕跡的曠野沙丘，用超越個體體驗的視角描畫出一個神秘的類星球地表。短片中不停翻滾推進(jìn)的紅沙巨浪仿佛宇宙的存在般無窮無盡。以“沃德蘭”這個在中文字面上看起來毫無意義又充滿幻想的詞語命名的展覽，從身體在現(xiàn)實中的真切存在開始，最終將觀眾拋擲在回響著宇宙音的荒漠之中。

In the dark space next to the main hall, a video is projected onto an entire wall. Mars presents the audience with an expanse of fine red sand.A macro lens shows the astonishing texture of red sand particles while aerial shots display sand dunes that show no trace of human activity. This perspective transcends individual experience by depicting the mysterious surface of a celestial body. The huge waves of red sand rolls endlessly like the infinite expanding of the universe. While the exhibition’s Chinese title – a transliteration of the English word “Wanderland” – seems devoid of meaning, it provides a fertile ground for the imagination to roam free. It takes the body’s corporeal existence as the starting point and casts the audience into the midst of a desert which echoes the sound of the universe.

展覽現(xiàn)場

展覽現(xiàn)場

馬秋莎 化身 三頻錄像 4’00” 2015年 Ma Qiusha, Avatar, 3-channel video, 4’00”, edition of 5, 2015

馬秋莎出生于1982年，2005年畢業(yè)于中央美術(shù)學(xué)院，2008年畢業(yè)于美國阿爾弗雷德大學(xué)并獲藝術(shù)碩士學(xué)位，現(xiàn)生活和工作于北京。她的作品曾于英國泰特現(xiàn)代美術(shù)館、荷蘭格羅寧根美術(shù)館、土耳其Borusan Contemporary、德國杜塞爾多夫美術(shù)館、德國卡爾斯魯爾藝術(shù)與媒體中心、美國休斯頓當(dāng)代美術(shù)館、坦帕藝術(shù)博物館、圣彼得斯堡美術(shù)館、橘郡美術(shù)館、俾爾根國際藝術(shù)基金會、挪威斯塔萬格美術(shù)館、波特蘭當(dāng)代藝術(shù)學(xué)院、英國華人藝術(shù)中心、北京尤倫斯當(dāng)代藝術(shù)中心、上海民生現(xiàn)代美術(shù)館、OCT當(dāng)代藝術(shù)中心上海館、中國美術(shù)館和中央美術(shù)學(xué)院美術(shù)館等多處展出。她近期參加的展覽包括莫斯科國際青年藝術(shù)家雙年展（2015），柏林戴姆勒收藏展（2015），及美國衛(wèi)斯理大學(xué)美術(shù)館群展“WeChat”（2016）等。馬秋莎曾獲“皮埃爾·于貝爾獎”提名（2014）及“第七屆AAC藝術(shù)中國-年度青年藝術(shù)家”（2013）提名。

Ma Qiusha was born in 1982. She received her BA in Digital Media Art from China Central Academy of Fine Arts in 2005 and MFA in Electronic Integrated Arts from Alfred University in U.S. in 2008. She currently lives and works in Beijing. As one of the most dynamic figures of the emerging generation in China’s contemporary art community, Ma Qiusha’s art has been widely exhibited across the international art scene. Her works have been shown at Tate Modern, UK; Groninger Museum, the Netherlands; Kunsthalle Düsseldorf, Germany; ZKM Center for Art and Media Karsruhe, Germany; Borusan Contemporary, Turkey; Contemporary Arts Museum Houston, U.S.; International Contemporary Art Foundation, Bergen; the Chinese Arts Centre, UK; Stavanger Art Museum, Norway; Ullens Center for Contemporary Art, Beijing; Minsheng Art Museum, Shanghai; OCAT, Shanghai; National Art Museum of China; and Art Museum of Central Academy of Fine Arts, Beijing, etc. Her recent exhibitions include “Moscow International Biennale for Young Art” at Museum of Moscow; group show at Daimler Art Collection and Wesleyan University, etc. She was nominated for the Pierre Huber prize (2014) and “Young Artist of the Year” by Award of Art China (AAC) in 2013.