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REVIEW - 03 JUL 2018

Chen Tong & Tian Hui: What Might it Mean to ‘Think Like a Mall’?

A double solo show in a luxury Shenzhen shopping mall poses questions about the spectacle-driven nature of the space it occupies

BY MING LIN

The O’Plaza mall at OCT Harbour is one of Shenzhen’s many luxury shopping destinations. Intentionally derailing attempts to traverse it in a straight shot, its strategically placed escalators, mirrored surfaces and false exits lead visitors to crisscross its floors and offerings. Along this glittering axis are the 20 carefully placed vitrines comprising Boxes Art Space. 

Founded in 2013 by the Guangzhou Academy of Fine Arts and an unnamed commercial partner, Boxes Art Space rests on the assertion that ‘the art exhibition and economic consumption can exist together.’ The gallery’s curator, Fan Bo, notes that our habits and tastes are subconsciously formed through consumption; one aim of the project is thus to parse the patented narratives of luxury and question their motives. This gallery model has been pursued by others, most notably Adrian Cheng, who recently opened the fourth of his K11 Art Malls in Guangzhou. But what Boxes Art Space seems to offer – which other mall galleries have lacked – is a reflexive and critical lens on the mall itself, rather than simply seeing it as a glitzy analogue to the so-called white cube. Chen Tong and Tian Hui’s exhibition, ‘Overall Situation’, overtly gestures at the broader economic history underwriting this commercial context, alluding, respectively, to the opening up of the Pearl River Delta region and the rise of financialization.

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Chen Tong & Tian Hui, installation view, 2018, Boxes Art Space, O’Plaza Mall, Shenzen. Courtesy and photograph: Boxes Art Space, Shenzen

Chen Tong & Tian Hui, installation view, 2018, Boxes Art Space, O’Plaza Mall, Shenzen. Courtesy and photograph: Boxes Art Space, Shenzen

Boxes Art Space’s open plan harnesses the meandering layout of O’Plaza. At the main entrance, the first ‘box’ makes for a bold introduction. An empty vitrine bearing a quote from Karl Marx is part of New York-based artist Tian Hui’s series ‘Psychological Counselling Proposal for the Capitalist Sweet Life’. Taking as its starting point the 2007–08 worldwide financial crisis, it comprises several empty vitrines inscribed with quotes, often gathering dust within them, alongside others showcasing drawings of politicians, philosophers, economists and revolutionary theorists – the authors of our current financial situation. The empty boxes seem as much a part of Tian’s message as those in which portraits are placed at odds with the conventions of display (hung on the ceiling or laying on the floor). Emptiness is presented as resistance to the commodification of space, while the child-like quality of Tian’s drawings alludes to the episodic nature of economy, in which our current moment will soon be historicized.

Shown alongside Tian’s work is that of veteran Guangzhou artist and writer Chen Tong, whose various activities include running Libreria Borges and the video-art archive Video Bureau. At Boxes Art Space, Chen also proves himself to be a screenwriter. Based on the first chapter of his eponymous novel, the series ‘Oi Kwan Hotel’ takes the form of a spy thriller, with each box containing the setting for a subsequent scene. The story centres around the Canton Fair, the oldest and largest trade fair in China; it is symbolic for its role in the establishment of Deng Xiaoping’s special economic zones, through which China first opened its doors to foreign investment. The Oi Kwan Hotel, an art deco building that was once the tallest in southern China, has hosted the opening and closing receptions of the fair since its inception in 1957.

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Chen Tong & Tian Hui, installation view, 2018, Boxes Art Space, O’Plaza Mall, Shenzen. Courtesy and photograph: Boxes Art Space, Shenzen

The two series culminate in the main gallery on the rooftop of the mall. Chen’s storyboard is depicted through a series of ink paintings, while Tian’s sketches are further swathed in quotations. With their thoughtfully developed narratives, both works demonstrate a commitment to long-term research; their situation within the mall challenges the space’s typically fragmentary, spectacle-driven configuration. At the same time, the show inevitably draws attention to commerce-deficit spaces and serves effectively to occupy the last possible sites of indeterminacy that a mall can provide. In this way, it runs the risk of merely adding cultural capital where capital is already rife. But perhaps these various commercial ecologies, when considered side by side, allow the exhibition to pose questions about our broader social environment. Might they ask, in the words of environmental philosopher Steven Vogel, what it might mean to ‘think like a mall’?

Chen Tong & Tian Hui runs at Boxes Art Space, O'Plaza Mall, Shenzen, until 10 August.

Main image: Chen Tong & Tian Hui, installation view, 2018, Boxes Art Space, O’Plaza Mall, Shenzen. Courtesy and photograph: Boxes Art Space, Shenzen

Files coming soon.

  

[Yachang Zhuangao] Tian Hui, who has stepped out of the artistic ivory tower: The problem facing art today is the about meaning of being of life. 

On April 8, 2018 "Great Environment: Chen Tong and Tian Hui double Solo Exhibition" opened in Shenzhen OCAT Art Space.

The double solo exhibitions, two artists, via their art works, all point to the socio-economic environment in which they are living. Art and politics,

The bond between the economies is practiced here as paintings, texts, videos and installations that can be viewed, read thought

As a result, the discussion about the status quo, anxiety, crisis, etc.

In 1990, Tian Hui studied abroad in graduate school of the Brooklyn College at City University of New York. For the first time in 28 years, he have hold art show in China.

Although he has lived abroad for a long time, but looking through the history of Tian Hui, we were not surprised to find that since the 1980s

Since then, the artist who originated from this standard academy did not “stay out” in Chinese art activities: 1985

Graduated from Oil Painting Department of Guangzhou Academy of Fine Arts, and taught at the Oil Painting Department of Hubei Academy of Fine Arts in the same year; 1985 and Hubei Fine Arts

The young teachers of the institute established the "Tribal Tribal Art Society" and participated in some important exhibitions of "85 Art Trends" and

Activities; works were exhibited at the China Art Museum in 1987.

In other countries, Tian Hui did not “slow out” and participated in many academic exhibitions in New York, such as

The annual exhibition of the forum, "Tian Huitan with Painting Exhibition", "Asia Pacific Artists Exhibition" and so on. Near abroad

Thirty years of life experience have become another source of creation for Tian Hui. The subprime crisis and capital pursuit in the United States

Benefits are maximized and workers are unemployed. Various social events and scenarios trigger the thinking that Tian Hui has never stopped.

In this “big environment: Chen Xi and Tian Hui’s solo exhibition”, Tian Hui was known as a thinker and politician through sketches.

Portraits of philosophers, economists, revolutionary theoreticians, social activists, etc. Collecting and transcribing their relevance

Statement, "The Capitalist Sweet Life Psychological Counseling Program" series is his actual life in the United States for nearly three decades

Concentration of observations and reflections, as well as constant quest for self-identity—the artist in a large environment.

What’s different is that he’s talking to Hetian and you even feel at some point that he’s not only an artist, he’s

Thinking, his questioning, and some emotions are sorely afflicted. They seem to carry some kind of philosophical and humane relations.

Warm temperature...

Yachang Art Network: In the past 30 years abroad, what kind of gains did you feel about art? If you let yourself

How will you divide the artistic stage? Is there any obvious turning point or change point in the middle?

Tian Wei: Before I went abroad, I was obsessed with the art of medieval Europe and the early Renaissance, and I painted a number of them.

Style works. While studying at Brooklyn College in New York, an Italian-born professor taught me systematically.

Tantra techniques. When I got started, I was fascinated by its mellow color effect. I used this technique to draw a batch of ribbons

There are works of oriental philosophical significance and a solo exhibition was held to resolve the homesickness. These works have been painted by painters

And critics alike. I thought I would walk on this road all the time.

Around the year 2000 or so, two things changed my thinking. One was the economic globalization that began in the late 1990s.

Another thing is the 2008 financial crisis. These two things took me away from the oriental cultural complex of “Heaven and Man”.

Come out, and at the same time, I rushed out of my artistic pursuit from the ivory tower and started to pay attention to the capitalism I was in.

Problems in all aspects of society. It is natural for the artist to move from early Renaissance to contemporary art because

The artistic methods are not suitable for expressing today's social problems. I think the problem facing art today is about life.

The significance of existence is not just about aesthetics.

Yachang Art Network: Look at your works displayed in the two solo exhibitions. The text is an important part and I feel that you are

Outside of the art, "Voiceover" seems to want to express more. But do you worry that such works exceed the art?

Category? In fact, how do you define the scope of art?

Tian Hui: As you can see, in my batch of works, the text is an important part. The most important part is

The presentation of pure text on the glass window is the work that I completed in the final stage. For me, drawing is not important,

They are just one way for me to expand my thinking activities. I can only hold a pencil or charcoal

It is my special way to start thinking. My main concern is text and ideas.

I am not worried that such works are beyond the scope of art. On the contrary, I am afraid that they are too artistic. If someone says,

You have done something that is not like art. I will be very happy. I do not have the ability to define the scope of art. and,

Modern art, contemporary art or art after art are completely different. Hans Bertin's

The History of Art After Modernism and Arthur Tanto's After the End of Art discuss the end of art history

The definition of art after the knot. Only after confirming the previous question, can the discussion begin.

Yachang Art Network: I have read some of the ironic, reflective and profound meaning in your works.

It's a great deal of thinking about philosophical and economic backgrounds, so it's curious how your knowledge system is structured

Kind of? What kind of background can give birth to such works?

Tian Hui: Yes, my work seeks to express my values ​​in modern society and the American capitalist economy.

The questioning and criticism of the structure. Take the 2008 US financial crisis as an example, the world economy has lost in that crisis

Up to nearly 13 trillion US dollars. The United States lost 2 trillion U.S. dollars in this crisis, which is equivalent to the 2012 U.S.

11% of GDP. Since 1929, the United States has experienced many financial crises.

After careful examination, I discovered that the crisis is not as simple as the natural cycle of economic development. nice

Federal Reserve-designed financial derivatives, stock market bubble in technology concepts, real estate subprime mortgage bubble, etc.

The economy brought great harm. They knew it beforehand and called it a "deep water bomb." After the crisis broke out, U.S.

Secretary of State Henry Paulson proposed a $700 billion bad debt plan for the United States

Department’s unrestricted $700 billion use rights, which violates the United States’s legislative, administrative, and judicial

The principle of separation of powers.

During the 28 years I lived in the United States, I really experienced these changes and witnessed the helplessness of the middle class.

Anxious and struggling. Confidence from the heart entangled me from time to time. Why does one never experience foreign invasion, also

There is no political turbulence, a country that has created extreme prosperity, and continuous technological innovation leads the world, the economy

But step by step into the recession? Why is the power of finance so great that the state is unable to supervise? Neoliberalism is

What role does capital play in the pursuit of unlimited profits? Capitalism and the core values ​​of Western civilization are a

What is the relationship? Is it an inevitable result of Christian civilization? It is in keeping with the principles of respect for independence, freedom, and fairness.

?

These puzzles led my thinking to the middle of the 19th century. Marx's phenomenon of the cyclical economic crisis of capitalism

Research and conclusions. His analysis of the crisis of overproduction deepens into the roots of capitalist economic relations. root

According to Marx's analysis, the crisis contained in the field of market exchange is caused by the production of goods under the simple commodity economy.

The contradiction between social labor and private labor is determined by the production society under the capitalist commodity economy.

The contradiction between capitalization and the private ownership of capitalist capital is determined, and the economic crisis is inevitable.

Since the outbreak of the first economic crisis in the world in Britain in 1825, the economy has alternated between prosperity and depression.

This has led to various theories that explain the causes of the economic crisis. Keynesian economic crisis in the context of the Great Depression

The theoretical macroeconomic control policies of Western countries affected Roosevelt's New Deal and Obama’s economic policies. To

The Austrian school represented by Karl Menger, Friedrich Wiesel, and Friedrich Hayek,

And the neo-liberalism that emerged from this influence has introduced Western mainstream economics into a dynamic economic outlook.

It gradually became ideological and dominated the process and nature of globalization in the post-Cold War era. Britain's Thatcherism,

Reagan’s economics in the United States, and the subsequent “financial innovation” that Wall Street is not regulated by the government, can all be seen as

It is the product of neoliberalism. Western society is in the midst of the influence and results of these theories. In fact, when I think

When we examined these questions, another voice reminded me that with my ignorance and ability, it is impossible to understand these principles.

On the issue to make a deep understanding and research. I should return to an artist’s point of view

Suspicion and reflection are presented in an appropriate form. Do not be correct, just for sincerity. This exhibition is an attempt.

Yachang Art Network: At the opening ceremony, you heard that your starting point for introducing your own creation was to see laborers lose their labor.

Right, I personally feel that this is more of a humanistic scholar's general thinking, so you think that contemporary artists are in society,

In addition to creating, in addition to conveying aesthetics, what kind of responsibilities should it have? Whether humane care should be

What more is there to do?

Tian Hui: The economic globalization proposed by T. Levy in 1985 and fully implemented by the Clinton administration is the pursuit of capital.

The realization of profit maximization. One of the results it brings is the hollowing out of the capitalist countries' industries, that is, a large number of industrial laborers.

The unemployed. I have been to many cities in Upstate and Pennsylvania in New York and I have seen workers who used to work on steel, textiles, coal, etc.

The booming landscape of the prosperous cities is shocking now. I used to have a personal design in New York

The company (without employees, working for itself) is also a part of the capitalist production chain.

I deeply felt that in the capitalist production process, people were enslaved by labor work and they lost their “subject” (I).

On the surface, I and the company I work with are equal and free. Essentially because of the brutal competition in the market,

As a laborer, I have always been chosen and controlled. Moreover, there is no guarantee for this relationship.

Because of the renewal of technology and changes in one's own physical strength, it may be eliminated at any moment and thus lose the power of labor.

For me, the loss of labor power will be permanent and irreversible.

In 2000, I voluntarily withdrew from the game. However, exit will inevitably face tremendous pressure for survival. It is this way

The experience led me to reflect on what the laborers lost in the process of capital’s unlimited pursuit of profit. I read

To the economic globalization, first of all, the workers in developed capitalist countries have lost their right to labor. Marx is talking

When the labor is alienated, he said: "(The alienated laborer) is not affirming himself in his own work, not feeling

Happiness, but unfortunately. Instead of exercising their physical strength and intelligence freely, they are making their own body compromised.

Grinding, mentally devastated." However, today in the context of economic globalization, laborers even have "labor

Alienation is not eligible.

The accompanying artificial intelligence will fully replace the labor force from the bottom up to the high end, and the laborers’ right to lose labor will

It is global. What was the person as a laborer at that time? I came up with a word: " Extra people” did you noticed, after I used a lot of text, the last part was the ellipsis? This is

I want to tell the audience "...". When we face this situation, besides speechless, it may still be speechless!

Artron Art Network: What is your chance for you to come to Shenzhen and Miss Chen Hao to hold a double exhibition? Why did you choose

Shenzhen city? What is your impression of Shenzhen?

Tian Hui: This time, the teachers from Shenzhen and Chen Yu organized two exhibitions thanks to the artistic director of the box space, Mr. Zhou Li and Liu.

Can teacher. I seldom made appearances at the domestic painting studio. They generously provided me with this rare opportunity.

Often moved. I would like to thank the curator Wang Jing. With a high degree of professionalism, she found me and her very keenly.

The thinking of Teacher Chen Yan is consistent, that is, in the contemporary environment, the living conditions of people and the society

Reflections and questions on the issue. We are able to make subtle dialogues on these issues from different perspectives. I think

This is very interesting. I would like to thank my teacher Chen Xi for their support and help in preparing and decorating the exhibition.

I really like the city of Shenzhen. Clean and tidy and modern. This is a young and vibrant city.

Late at night, I saw many young people rushing through the streets who may have just returned home from work. In people

What I see on my face is the expression of freedom, self-confidence and satisfaction. This expression is not easy to see abroad.

Yachang Art Network: Afterwards, will your creation continue along this current style? Will there be more changes

And breakthrough?

Tian Hui: I do not know. There is no long-term plan for me to do things. At present, I will continue to do the right to lose my job.

Afterwards, the issue of what people have in terms of their significance is far from enough. I will continue to work hard on it.

【雅昌专稿】走出艺术象牙塔的田挥:当今艺术面临的问题是关于生命存在的意义

2018-04-23 23:06:41 来源: 雅昌艺术网专稿

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“大环境”陈侗、田挥双个展2018-04-08~2018-08-10

摘要:日前,“大环境:陈侗、田挥双个展”在深圳OCAT欢乐海岸展区·盒子空间开幕。此次双个展,两位艺术家的新近创作皆指向身临其中的社会经济环境。艺术与政治、经济之间的裹挟在这里被实践为绘画、文本、视频及装置,可以被观看、阅读、想象从而引起关于现状、不安、危机等的讨论。…

  日前,“大环境:陈侗、田挥双个展”在深圳OCAT欢乐海岸展区·盒子空间开幕。此次双个展,两位艺术家的新近创作皆指向身临其中的社会经济环境。艺术与政治、经济之间的裹挟在这里被实践为绘画、文本、视频及装置,可以被观看、阅读、想象从而引起关于现状、不安、危机等的讨论。

                   

“大环境:陈侗、田挥双个展”开幕式

  对于华南乃至全国的艺术圈而言,陈侗是一位活跃的、大家耳熟能详的艺术家、收藏家,但此次与他“联手”双个展的田挥,却鲜少出现在中国观众的视野中。自1990年即前往美国纽约市立大学布鲁克林学院艺术系攻读研究生课程的田挥,此次是阔别二十八年之后首次在国内办展。

 

艺术家田挥在这次展览现场

  虽然长期生活于国外,但翻看田挥的履历,我们不无吃惊地发现,自上世纪80年代以来,这位标准学院派出身的艺术家并没有在中国艺术活动中“置身事外”:1985年毕业于广州美术学院油画系,同年在湖北美术学院油画系任教;1985年与湖北美术学院年轻教师们成立“部落部落画会”并参加了“85美术新潮”的一些重要展览和活动;1987年作品在中国美术馆展出。

 

1989年油画展合影

  而在国外,田挥也并不曾“消寂”,在纽约多次参加学术性的展览,如《太艺术研讨会年度展》, 《田挥坦配拉绘画展》,《亚州太平洋艺术家联展》等。在国外近三十年的生活经历,成为了田挥另一种创作的源泉,美国的次贷危机、资本追求利益最大化、劳动者失业,种种社会事件与场景都触发了田挥未曾停止的思考。

 

心归依净 1993 坦陪拉 60x90 cm

  此次“大环境:陈侗、田挥双个展”中,田挥通过素描神似被称为思想家、政治家、哲学家、经济学家、革命理论家和社会活动家等人的肖像,搜集、抄写他们的相关语句,“资本主义甜蜜生活心理辅导方案”系列是他对身处美国近三十年现实生活观察与思考的浓缩,及对自我身份──大环境下的艺术家──的不断追问。

 

此次展出的田挥观念作品

  与众不同的是,和田挥对话,你甚至在某些时刻恍然觉得他不仅是一位艺术家,他的思考、他的追问,有些情绪强烈的痛心疾首,似乎带着某种哲学的、具有人文关怀的温度……

雅昌艺术网:在国外的近三十年,您觉得在艺术上有什么样的收获?如果让您自己划分艺术阶段您会如何划分?这中间是否存在一些明显的转折点或变化点?

田挥:出国之前,我很迷恋欧洲中世纪和早期文艺复兴的艺术,并且画了一批那样风格的作品。在纽约布鲁克林学院读书期间,一位意大利裔教授系统地向我传授了坦配拉技法。我一上手,就被它古雅明丽色彩效果迷住了。我借此技法画了一批带有东方哲学意味的作品,并举办了个展,借以排解思乡之情。这些作品受到了画家及批评家的一致好评。本以为我会在这条路上一直走下去。

  

大小无异 1993 坦陪拉 55x65cm

  大约在2000年前后,两件事改变了我的想法,一是90年代后期开始的经济全球化,另一件事是2008年金融危机。这两件事把我从“天人合一”的东方文化情结里轰了出来,同时也把我的艺术追求从象牙塔里轰了出来,开始关注我所身处的资本主义社会方方面面的问题。艺术上很自然地从早期文艺复兴转向了当代艺术,因为以往的艺术方法不适合表达当今的社会问题。我觉得,当今艺术面临的问题是关于生命存在的意义,不是仅仅关于审美。

 

躺着的男人-2017-布面油画-160x200cm

雅昌艺术网:看您这次在双个展上展出的作品,文本是重要的组成部分,感觉您在艺术之外的“画外音”似乎想表达得更多。但您是否会担心这样的作品超出了艺术的范畴?其实,您会如何定义艺术的范畴?

田挥:就像您看到的那样,在我这批作品里,文本是重要的部分。最重要的部分是玻璃橱窗上纯文字的呈现,它们是我最后阶段完成的作品。对我来说,素描不重要,它们只是我展开思维活动的一种途径。我只有在握着铅笔或者炭棒信手涂抹的状态下才能展开思维,这是我的特殊方式。我最关心的是文本和观念。

 

资本主义甜蜜生活心理辅导方案-华尔街-2018-纸面-铅笔-墨-50x90cm

  我并不担心这样的作品超出了艺术的范畴, 相反,担心它们太艺术了。如果有人说,你总算做了点不像艺术的东西,我会很高兴。我没有能力定义艺术的范畴。而且,现代艺术,当代艺术还是艺术之后的艺术,它们是完全不同的。汉斯·贝尔廷的《现代主义之后的艺术史》和亚瑟·丹托的《艺术终结之后》都是讨论艺术史的终结之后艺术的定义。只有确认了前题,才能展开讨论。

 

资本主义的甜蜜生活方案 -华尔街 2018 纸面 铅笔 46X61CM

雅昌艺术网:我在您的作品中读到了一些关于讽刺的、反思的深刻意味,这背后似乎涉及到哲学、经济背景的更宏大的思考,所以很好奇您的知识体系的构成是怎么样的?是什么样的背景可以孕育出这样的作品来?

田挥:是的,我的作品力图表达我对现代社会的价值观以及美国式的资本主义经济结构的质疑和批判。以2008年美国金融危机为例吧,世界经济已在那场危机中损失高达近13万亿美元。而美国在这场危机中的损失为2万亿美元,相当于2012年美国国内生产总值的11%。从1929年开始,美国经历了多次金融危机。

 

资本主义甜蜜生活心理辅导方案-理性的臆语-2018-纸面-炭笔-铅笔-墨-92x122cm

  仔细考查一下,我发现危机并不是经济发展过程中自然周期起落变化那么简单。美联储设计的金融衍生品,科技概念的股市泡沫,房地产次级贷款泡沫等将会给全球经济带来具大伤害,他们事先是知道的,称之为"深水炸弹"。危机爆发后,美国财政部部长亨利·保尔森提出了一项7000亿美元的购买坏账计划, 该计划给美国财政部不受限制的7000亿美元的使用权利,这一行为违背了美国立法、行政、司法的三权分立原则。

 

资本主义甜蜜生活心理辅导方案-通向奴役之路2018

  我生活在美国的28年期间,实实在在地经历了这些变化,目睹了中产阶级的无奈,焦虑和挣扎。来自于内心的疑惑时时纠缠着我。为何一个既没有经历外族入侵,也没有政治动荡,曾经创造了极度繁荣,而且不断的科技创新引领全球的国家,经济却一步步进入衰退? 金融的权力为何如此巨大,以至国家无力监管? 新自由主义在资本无限追逐利润的行为中起到何种作用? 资本主义和西方文明核心价值观是一种什么关系? 它是不是基督教文明的必然产物? 它符合尊重独立,自由,公正的原则吗?

  这些困惑把我的思考引导至19世纪中期,马克思对资本主义周期性经济危机的现象研究和结论。他对生产过剩危机的分析,深入到资本主义经济关系中探寻根源。根据马克思的分析,市场交换领域所蕴含的危机,在简单商品经济下是由生产商品的社会劳动和私人劳动之间的矛盾所决定,在资本主义商品经济下,则是由生产社会化和生产资料资本主义私人占有之间的矛盾所决定,从而经济危机不可避免。

 

资本主义甜蜜生活心理辅导方案-我在哪里-2018纸面-炭笔92x122cm

  自1825年英国爆发世界上第一次经济危机以来,经济便在繁荣与萧条中交替运行,由此而产生了各种解释经济危机成因的理论。在大萧条背景下凯恩斯主义经济危机理论对西方各国的宏观经济调控政策,影响了罗斯福新政和奥巴马的经济政策。以卡尔·门格尔、弗里德里希·维塞尔以及弗里德里希·哈耶克为代表的奥地利学派,以及由此影响而产生的新自由主义,将西方主流经济学引入了一种动态的经济观,并且逐渐意识形态化并主导着后冷战时代全球化的进程与性质。英国的撒切尔主义,美国的里根经济学,以及随后的华尔街不受政府监管的“金融创新”,都可以看作是新自由主义的产物。西方社会正处在这些理论的影响和结果之中。

  其实,当我思考这些问题的时候,另一个声音也在提醒我,以我的无知和能力,不可能对这些理论问题作出深刻的理解和研究。我应该退回到一个艺术家的角度,尽可能把这些置疑和反思用一种恰当的形式展示出来。不求正确,只求真诚。这次展览是一种尝试。

 

资本主义甜蜜生活心理辅导方案-转基因食品

雅昌艺术网:在开幕式上听到您介绍自己创作的出发点是看到劳动者失去了劳动的权利,我个人感觉这更是一位人文学者一般的思考,所以您认为当下艺术家在社会,除了创作,除了传达审美以外,还应该有什么样的责任?对于人文关怀方面是否应该有更大的作为?

田挥:由T·莱维于1985年提出并由柯林顿政府全面推行的经济全球化,是资本追求利润最大化的体现。它带来的一个结果是资本主义国家产业空心化,即大量产业劳动者失业。我去过纽约上州和宾州的许多城市,看到曾经因钢铁,纺织,煤炭等工业而繁荣的城市现在呈现的萧条景象,令人触目惊心。我曾经在纽约有一个个人设计公司(没有员工,自己替自己打工),也是资本主义生产链中的一环。

 

病 2017木板油画 76X102CM

  我深刻感受到在资本主义生产环节中,人被劳动工作奴役而丧失了“主体”(我)。表面看上去,我和合作的公司是平等,自由的关系。实质上因为市场残酷的竞争,我作为劳动者,一直处于被选择,被支配的位置。而且,这种关系没有任何保障,因为技术的更新和自身体力的变化,时刻可能被淘汰出局,从而失去劳动的权力。对我而言,劳动权力的丧失将是永久的,不可逆的。

 

自性 2017-木板油画-76x76-cm

2000年,我主动退出这场游戏。然而,退出就必然面临生存的巨大压力。正是这样的经历,引导我开始反思资本无限地追求利润的过程中,劳动者失去了什么。我看到经济全球化首先带来发达的资本主义国家劳动者丧失了劳动的权利。马克思在谈到劳动力异化时说:“(被异化的劳动者)在自己的劳动中不是肯定自己,不是感到幸福,而是感到不幸。不是自由地发挥自己的体力和智力,而是使自己的肉体受折磨,精神受摧残”。然而,今天在经济全球化的情形之下,劳动者甚至连“劳动力异化”的资格都不具备了。

  随之而来的人工智能将全面取代从底端到高端的劳动力,劳动者丧失劳动的权利将是全球性的。到那个时候,作为劳动者的人是什么呢?我想出一个词:“多余的生物体”。不知道您注意到没有,我用了大量文本之后,最后部分却是省略号。这是我想告诉观众的话:"......"。 当我们面对这种情况,除了无语,可能还是无语!

 

内省 2017木板油画 62x75cm

雅昌艺术网:这次您来深圳和陈侗老师举办双个展是一个怎样的契机?为何会选择深圳这座城市?您对深圳的印象如何?

田挥:这次来深圳和陈侗老师举办双个展要感谢盒子空间的艺术总监周力老师和刘可老师。我很少在国内画坛露面,他们慷慨地为我提供了这次难得的机会,令我非常感动。我要感谢策展人王景老师。她以高度的专业素养,非常敏锐地发现了我和陈侗老师的思考具有一致性,即在当代社会的大环境下,人的生存状态以及对社会问题的反思与质疑。我们从不同的侧面对这些问题有可能作出微妙的对话,我觉得这非常有意思。我这里要感谢陈侗老师在筹备和布置展览中给予我的支持和帮助。

 

批评家栗宪庭和田挥在展览现场

  我非常喜欢深圳这个城市。干净整洁而又现代化。这是一个年轻而充满活力的城市,在深夜,我看到街上许多匆匆走过的年轻人,他们可能刚从公司下班回家。在人们的脸上我看到的是自在,自信和满足的表情。这种表情我在国外不容易见到。

 

展览现场

雅昌艺术网:以后您的创作会一直沿着目前这种风格走下去吗?会否有更多的改变

和突破?

田挥:我不知道。我做事情没有长远的规划,目前我会继续做关于丧失劳动的权利之后,人的存在有什么意义这个议题,这远远没有做够,我会继续努力。

(责任编辑:梁侨)

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