用不用——冯峰和卢麃麃作品展

用不用——冯峰和卢麃麃作品展
开幕時間:2009年12月12日下午四点
地 点:广州市农林下路五号亿达大厦G层扉艺廊( 一号线东山口站C出口)
展 期:2009年12月12日—2010年1月31日(免费开放)
the Inauguraton of the Useful or Useless— Exhibition of Works by Feng Feng and Lu Biaobiao
Time: 16:00hr, Dec. 12th, 2009
Address: At Fei Gallery, G Floor, Estate Plaza, No.5, Nong Lin Xia Road, Guangzhou (Exit C of Dongshankou Metro Station, Line One) (Free Admission)
Duration:Dec. 12th, 2009 - Jan. 31th, 2010

“用不用”,不是一个问题。它属于冯峰和卢麃麃作品展览的题目。我们可以根据自己的想象或者习惯,通过句读,读成几种不同的可能。A法:用?不用!B法:用不?用!C法:用不用?这像是钱币的两面,带出了他们作品出发点的设定以及无法用非此即彼的答案能够解决的潜在的结局。按照惯常的术语,人们喜欢用“跨界”来形容本身具有能量因而不易界定的艺术家,事实上,设计与艺术也就是创造生活的两面。本质上的艺术家、设计家都是在自我收缩、放纵间获得一种与生命相关的方式,用以填充自身、制造世界。至于用不用,不是一个问题。
——樊 林
“Useful or Useless” (or “Use Not Use” which is a literal translation from its Chinese title) is is not a question. It’s about the theme of the exhibition of works by Feng Feng and Lu Biaobiao. By imagination or habit, it can be interpreted in several ways: A) Use? Not use! B) Use or not? Use! C) Use or not use? It’s just like the two sides of a coin, which touches on the origin of their works and the potential ultimacy that can not be resolved with any yes-or-no answers. In such case it is usually called “crossover”, which is used to describe energetic artists that are difficult to classify. Actually, design and art are the two sides of creative life. Artists and designers are, in essence, those who managed to find a way related to life by striking a balance between self-restraint and self-indulgence in their endeavor to fulfill themselves and create the world. It doesn’t matter whether use or not use.
——Fan Lin


前言:


认识冯峰是因为刘庆元。筹备庆元的个展期间,他带我认识了许多和他一起玩的玩家,比方说玩声音的、玩文字的、玩泥巴的等等。“只有一个算是玩‘当代艺术’的,就是冯峰”。于是约出来吃饭。冯峰一家三口与众不同的衣着把话题很自然地引到太太身上。曾任跑跑店总设计的麃麃是“玩针线布料的”。
一顿饭下来才知道冯峰其实什么都玩,学国画、教设计,用各种物料做东西(包括人骨),当然,还有写小说……“就是玩想法吧?”他们算是默许了我这个门外人的粗陋解说。
正因为冯峰的无法定义,特别符合“扉”所诠释的“无限可能”,我力邀他来“扉”做个展。期间他去北京做《盛宴》个展,出了一本回顾集,觉得再做个展有点太严肃。适逢麃麃暑假回潮州做了一批瓷,惊为天人,不如就改为“瞧一家子”吧。
这个事情前后谋划了近两年,快要开展了,东西也做得差不多了,才发愁这到底请谁做策展或是写学术文章。找个研究当代艺术的容易,可未必能把玩他游走于纯艺术与应用艺术之间的乐趣;若是找个研究设计的,也可能把展览所呈现的思考放到太实用主义的层面。
真是山重水复疑无路,柳暗花明又一村。正好最近半年在筹备与香港艺穗会(Fringe Club)及赛马会创意艺术中心(JCCAC)合作的“2010乙城节”(City Festival 2010)-“广东主义:一种地方性的博物志”当代艺术展,冯峰作为其中重要的装置类参展人同策展的冯原、樊林常常见面。某天谈完“广东主义”去吃饭,此时冯峰和麃麃的展览还有一个月就要开了,连个名字都没有。大家就再一次被“扉”这台榨汁机搅拌至深夜,终于确定了这个可自由加注标点的名字“用不用”。
艺术不一定无用,
东西也不一定就拿来用。

叶敏
扉艺廊艺术总监


Preface:

I owe my acquaintance with Feng Feng to Liu Qingyuan. While preparing for Qingyuan’s personal exhibition, he introduced me to many players playing with him, including those playing with sound, words, mud and so forth. “The only one that plays with‘contemporary art’is Feng Feng.” So we made an appointment with him for a dinner. The larruping dress of the three of Feng’s family led the topic to Feng’s wife. Biaobiao had been the Chief Designer of Paopao Shop and she “majored” in playing with needlework and cloth.

After the meal, I found that actually Feng Feng played with almost everything ranging from learning traditional Chinese painting, teaching design, making stuffs with diversified materials (including human bones) to writing novels… “So it’s all about ideas that you play with.” They seemed to acquiesce to the clumsy interpretation made by me, a laywoman.

Feng’s indefinable style is in particular accordance with Fei’s interpretation of “Infinite Possibilities”, therefore I invited him to held a private exhibition in “Fei” Gallery. Then he went to Beijing to organize a private exhibition , and published a retrospective collection. He felt that another private exhibition would be too serious. It happened that Biaobiao returned to Chaozhou and created a series of porcelain works there during the summer, which turned out to be fantastic. So I decided to change the theme of the exhibition to “Look at this family”.

The planning of this exhibition lasts for nearly two years. When all the preparatory work seemed to be done and the exhibition was about to debut, I began to worry whom we should invite as curator or writer for academic articles. It is easy to find someone who studies contemporary art, but he/she may not be able to appreciate Feng’s joy deprived from “commuting” between pure art and applied art; on the other hand, if we turn to someone engaged in design, he/she may misplace the thinking presented by the exhibition at a merely practical level.

Every cloud has a silver lining. During the preparation for “Cantonism: A Regional Encyclopedia” of City Festival 2010 with joint effort of Hong Kong Fringe Club and JCCAC in the recent half year, Feng Feng, as an important participant of installation exhibition, met with curator Feng Yuan and Fan Lin regularly. One day after talking about “Cantonism”, we went out for dinner. The opening of the exhibition was only one month away then, while we still hadn’t figured out the title. Once again our brains were vexed by the juice extractor of “Fei” till late into the night before we finally hit upon “Useful or Useless”, which can be punctuated freely.

Art is not necessarily useless.

Appliance is not always useful either.

Michelle Yip
Art Director of Fei Gallery


前言:


冯峰和卢麃麃,两人分属艺术家和设计师,彼此以艺术家工作室的合作方式创作实验性的生活用品。
在当代艺术领域,冯峰属于较早打破专业的限制,在不同学科和艺术形式之间自由游走的艺术家之一。其创作于20世纪90年代的一系列作品具有强烈的视觉张力,倾注着个人身份和身体体验性质的写实性描述。从事当代艺术、设计及写作等多个领域的创作,冯峰在跨领域不断转换个人身份的同时,通过对各种媒材的不断熟悉、挑战和观念实验,接受并反馈着各种新的价值判断。在参与中国当代艺术创作活动的过程中,他时常以警示的方式注明身份,保持着一种深刻的洞察力和批判力度。近期的作品,在材料的选择上偏向于视觉趣味上的考虑,进一步加强了与公众对于观念艺术的阅读障碍的沟通。
卢麃麃是一位直接串连起艺术、设计、生活三者的实践者,从事时装、首饰、陶瓷、家具等多领域的设计工作,无疑有利于她促使艺术的产品化与设计的艺术化的多方位的可能性,以明晰可辨的手工劳作方式实现艺术与生活的平等交流,尝试以非工业化的,非大众市场化的具有艺术品化倾向的设计方式,对于艺术提出各种观念的质问和自我辩答。
对于冯峰和卢麃麃而言,设计与艺术本身为何并不重要,它们之间也不存在本质上的差异,不过是探讨创造方式的一种。在它们中间,有一片不隶属于任何领域的自由生长地带,允许个人快乐而自足地思考、实践。俩人目前的工作和生活,不经意间将生活中一切视觉条件剥离去芜地转化为表达思想观念的语言。对设计和艺术关系的思考和反哺,既是他们作为艺术学院教师身份的坐言起行,又传递出一种处之若素的生活态度。
一直致力于推动国内先锋设计和关注当代艺术的华•美术馆,很乐意看到冯峰和卢麃麃近年来工作成果的集中展示并现场再创作,展品中那种通过特殊材质显现的交互再创造体验,也符合我们对于设计与艺术在当下社会有机融合的美好期待。

倪静
华•美术馆 馆长

Preface:

Feng Feng and Lu Biaobiao are artist and designer respectively. They cooperate in the way of artist studio and create experimental daily necessities.

In the field of contemporary art, Feng Feng belongs to the early group who broke the limitation of majors and wandered between different disciplines and art forms. The series he created in the 1990’s are of strong visual tension, which was concentrated with realistic description about private identity and somatic experiences. Engaged in several fields like contemporary art, design and writing, Feng Feng attempts to switch personal identity among different fields and meanwhile accept and feedback all kinds of new value judgment through continuous familiarization with, challenging and conceptual experiments of all kinds of mediums. During his participation in Chinese contemporary arts creation, he usually marks his identity in a cautioning way and keeps profound insight and critical strength. His recent works are inclined to the consideration of visual fun, which further enhance the communication between the public with comprehension difficulty and Conceptual Art.

Lu Biaobiao is a practitioner that links art, design and life directly. Her engagement in the design of fashion, jewelry, porcelain, furniture and other domains will undoubtedly contributes to her exploration of multi-aspect possibilities of productification of art and artisticalization of design, and her pursuit of equal communication between art and life by way of plain craftwork. She attempts to make all kinds of conceptual queries about art and at the same time reply to these queries by herself via an unindustrialized, un-mass-marketized and artistically inclined way of design.

To Feng Feng and Lu Biaobiao, it doesn’t matter what is design or art, and there is no radical differences between them. Each of them is one of the many approaches to create. Between art and design, there is a wild area for free development and subject to neither domain, where individuals are able to think and practise happily and contentedly. Their current work and life have converted all the visual conditions into languages expressing thoughts and concepts, eliminating all impurities. The thinking and regurgitation-feeding of the relationship between design and art not only reflect their identity as teachers in art academy, but also convey an attitude to bear hardship with equanimity in everyday life.

The OCT Art & Design Gallery strives to promote the vanguard design in China and concerns itself with contemporary art. It is more than happy to witness a collected exhibit of the recent achievements of Feng Feng and Lu Biaobiao as well as their recreation on the spot. The experience of mutual recreation through special materials in the exhibited works is in accordance with our splendid expectation of organic synergy of design and art in the current society.

Lynne Ni
Curator of The OCT Art & Design Gallery

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