QU Yan 渠岩

权力空间、信仰空间、生命空间

《权力空间》一组拍摄的是山西乡下的乡村办公室,由于经费紧张、青壮劳力进城和乡村行政控制力的 架空,这些空间早已不复往日的辉煌,有些甚至不得不挪到村长家里。在这里,奖状、标语、旗帜…… 象征着权力的图腾并不俭省,在那些家庭村长办公室,这甚至成为空间身份的见证物和空间尊严的象征;另一组拍摄的是大城市中政府机构官员和企业老板们的办公室,毫无疑问,这正是中国“权力空间”的另一极,是乡村权力空间的乌托邦。

One of the Power Space is taken in some rural offices in avillageofShanxi, because of financial constraints, young men moving into the city and the less administrative control within the village, the space is no longer the way back to the glorious days. Some offices even had to transfer to the village head’s house. Here, certificates, posters, flags, etc., the symbol of the power is not parsimonious. In the family village office, these are even for the witness as a symbol of dignity and property; the other one of Power Space is taken in the government officials’ and business bosses’ offices within the big cities. There is no doubt that this is another end ofChina’s “space power”, which is a utopia of the power of space in rural areas.

在《信仰空间》系列作品中,渠岩关注的是边远地区乡村的“地下”教堂。就像《权力空间》中的村长 办公室往往与民居无异,甚至就在村长家里一样;《信仰空间》中的乡村教堂也往往是破败的村舍,层 叠的条凳(及上面的坐垫)和室内的装饰(十字架、耶稣像和条幅),是宗教的神圣性的仅有表征。

In the series of Religion Space, Qu Yan pays her attention to “underground” church in remote villages. Just as village administrative  offices are in the village head’s residential houses in the “Space Power”, churches in villages are also within the dilapidated cottages in the “Religion Space”. The stacked bench (cushion above) and interior decorations (the cross, Jesus and the scroll) are the only religious sacred representation.

《生命空间》,虽然是一个以空间为媒介呈现人的生存状态与人的生存的社会条件的作品,但却同时挑战了艺术关注社会、观察社会的可能性。在《生命空间》这个系列中,他通过人的在场来突现权力的缺席与不作为。与此同时,他所精确描述的空间,却以其充足、充分的细节表现反而衬托出人的无力感。

Though, via space as the media, the “Life Space” is to present the state of human existence and survival and the social conditions of people’s life, it also challenges the possibility of the art to observe the community. In the series work of “life space”, the absence of power and its inability shows by the presence of people. At the same time, people’s feeling of powerlessness is silhouetted against his precise description of space, especially the fine details.

•      渠岩,当代艺术家。1985年起投身于中国现代美术新思潮运动,倡导独立自主的艺术精神,并参加了89年在中国美术馆举办的《中国现代艺术大展》。1992年起赴欧洲学习和工作,任捷克布拉格美术学院教授,讲授东方艺术。1997年回国,定居北京生活与创作。新千年以来,他参加了一系列的艺术活动和国内外重要的当代艺术展览。

Advertisements

About Ling

Open Smile
This entry was posted in 影像 and tagged , , . Bookmark the permalink.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s