Chen Qiulin Ma Qiusha 陈秋林 马秋莎 Chen Yin-Ju Tse Su-Mei 陈滢如 谢素梅 Hao Jingban Yao Qingmei 郝敬班 姚清妹 Hu Xiaoyuan Yin Xiuzhen 胡晓媛 尹秀珍 Lai Chiu-Han 黎肖娴 Not不早不晚 Early Not Late 2016.08.04 - 2016.09.15 Press Release Pace Beijing is pleased to present Not Early Not Late at of both works. Whether walking or waiting, simple actions 佩斯北京荣幸地宣布暑期档展览“不早不晚”将于 2016 年 8 月 艺术家本人身着军官大衣，义愤填膺地批判着一台代表着资本 4pm on August 4, 2016. This is an exhibition of work by are cycled to create infinite repetition. The artists’ true 4 日下午 4 时向公众开幕。这是继 2014 年影像群展“这个夏天 主义的自动贩售机。这种恰到好处的幽默和荒诞感不仅并未冲 nine artists and focusing on video art once again after We intentions are hided beneath the removal of narrative on 我们爱影像”之后，佩斯北京对于录像艺术的再度呈现。 淡作品的批判性，相反的，它确保了思考这一行为所应保持的 Love Video this Summer in 2014. the surface. The significance of the act itself is opened up 适当距离感。姚清妹的“角色扮演”借用的是社会共享的文化 for the viewer to see, while individual viewers according to The exhibition features nine video works and screens, their own background and experience fill in the “story”. 此次参展的九部作品以屏幕为界，将展览分割出内部与外部的 语境，而黎肖娴的作品则直接挪用了语境中具有典型性的大众 creating into inner and outer space-time, have partitioned 两个时空。单个录像作品自身已构建出完整而独立的内部世界， 影视作品。在她的作品《戏门》中，艺术家单独将“门”这个 the whole site. Each single video itself has already Yao Qingmei directs and stars in works that bring clarity 但与此同时，它在屏幕这一输出设备上的每一次播放又将与当 在影视作品中通常起到场景、情节转换功能的典型道具提取出 established an integrated and independent internal world and completeness to this fragmented choreography. 下的时空、观看者、及其它作品间形成互文关系。而同样带有 来，影像片段原本的叙事功能被人为破坏，彻底成为了单纯的 while output devices, the screens, will form a intertextual By playing typical roles in the social power system, Yao relation with current spaces and spectators when every Qingmei brings her unique brand of humor to bear on a 时间属性的展览标题“不早不晚”则可被视为对所有即将产生 视觉性材料。同样是对经典电影片段的直接挪用，郝敬班在作 time it is playing. Besides, the time-attributes exhibition title biting examination of it. In The Trial, the artist dons a military 的全新意义的鼓励。 品《我不会跳舞》中则使用这些有着典型时代背景特征的经典 Not Early Not Late can be regarded as an incentive to all officer’s cloak and fiercely condemns a vending machine as 影像素材与现实纪录影像相对照，通过个人平实的口述史与社 refreshing meaning, which is about to happen. a representative of capitalism. The perfectly tuned humor 此次参展的作品展现出录像艺术在创作语言与思维脉络上的丰 会建构的虚构风貌之间的互文关系使这部呈现时代变迁的作品 and absurdity does nothing to dilute the critical nature of The exhibition will present the amplitude of video art the artwork. To the contrary, it ensures the appropriate 富度。在陈滢如的作品《财 • 缝》中，关于生活的叙事被简化为 更加丰富而立体。 on language creating and thinking processing. In Chen distance for proper consideration. Yao Qingmei’s role- 一通越洋电话，母女间的日常沟通依靠信用卡账单明细为中介， Yin-Ju’s Transaction, a narrative of life is simplified playing is established atop fixed impressions shared 二者物理及精神上的双重距离感在琐碎的信息中得以呈现，而 而胡晓媛的作品《你来得太早，你来得太迟》则以电影化的镜 into an intercontinental telephone call, the day-to-day by mass society. This shared context is often faithfully 被有意克制住的情感线索也在细致记录母亲劳作过程的画面中 头手法去构建了一幕超现实的场景，通过将人造物与自然之物 communications between mother and daughter distilled reproduced in mass video works. Linda Chiu-Han Lai 暴露无遗。作品是极度个人化的，同时也在一定程度上映射出 的强行嫁接去审视人为介入的自然与原始的自然、进化与退化 into the medium of credit card bills. The physical and directly appropriates these “found footage”. In Door Game, psychological distance between the two is presented she extracts the “door,” a typical scenic element commonly 社会生存者的共同境遇。陈秋林的《城市管理者》及谢素梅的《沙 间已变得暧昧难解的关系。平静优美的镜头手法因内容本身的 through trivial information. It is as if the emotional thread used to effect a shift in setting or plot, with video fragments 漠清扫者》则将关注投向了城市基础服务者的群体处境。二者 异象感而显得违和。题目“你来得太早，你来得太迟”暗示了 that binds them has been intentionally concealed, yet it is that intentionally break this narrative function. Also directly 不约而同地选择以影像手法去“干扰”现实中愈发紧张的对立 世界的两难处境：任何人为的建设抑或破坏、关注抑或无视均 fully revealed in this painstaking account of the mother’s appropriating scenes from classic films, Hao Jingban’s I 关系。前者以刻意而戏剧化的镜头语言拍摄城管、保安等职业 非正解。回到群展标题“不早不晚”，似乎亦可被视为是对此 dedication. The artist’s private story also reflects, to a Can’t Dance contrasts scenes from classic period films with certain extent, the shared circumstances of those who interview accounts and documentary film to give depth to 的众生相，从形式上冲淡快速城市化进程造成的阶层群体身份 种境遇的一次回应。 survive in our society. Chen Qiulin’s City Manager and Tse the changes of the times. 隔阂。而后者的影像手法则更为荒诞，直接将清洁工的工作场 Su-Mei’s The Desert Sweeper focus on the conditions of 景从街道移植到沙漠景观之中，将劳作行为与其目的性彻底分 those who provide cities with their most basic services. Hu Xiaoyuan’s You came too early, you came too late 离，而劳动行为本身的枯燥重复性因此被放大，强迫观看者去 These two artists have followed separate paths to forcibly weds man-made objects to natural objects in “intervention” in the increasingly tense dichotomies in an examination of the tangled, ambiguous relationships 关注底层群体中的个体境遇。 reality through the medium of video. Chen paints a portrait between primal nature and nature as altered by of the ranks of the urban management teams and private humanity, evolution and devolution. The peaceful, elegant 同样是对简单行为的无限重复，马秋莎的作品《溜》和尹秀珍 security guards in decisive, dramatized footage, soften cinematography is offset by the visionary nature of the 的作品《沉默》相较于谢素梅显得更为暧昧而含混。“腿部” the divisions of class identity that have emerged under content. The title You came too early, you came too late rapid urbanization in form. Tse’s video is more absurd, alludes to a dilemma of the world today: any artificial 均在二人的此次作品中占据了画面的主体。无论行走或是等待， transplanting the worksite of an urban street sweeper to construction or damage, attention or ignore, are all against 简单的行为通过循环播放得以无限进行下去。表面的去叙事性 a desert scene, and thus completely separating the act of the truth. The title of the group exhibition, Not Early Not 背后，作者的真实意图被掩藏起来，行为本身的意义被开放给 labor from its purpose. This magnifies the menial nature of Late, is a response to this predicament. It encapsulates the 观看者，而“故事”则通过个体各自拥有的经验背景共同补全。 the labor, forcing the viewer to focus on the plight of the entirety of the awkward straits faced by social individuals individuals of the social groups. and groups, presenting the true state of things in an open manner, and inviting viewers to draw their own conclusions. 这种戏剧片段的编排手法在姚清妹有着明显舞台剧特质的作品 Both approaching the infinite repetition of simple acts, Ma 中变得完整而清晰。通过扮演社会权力系统中的典型角色，姚 Qiusha’s Take a Walk and Yin Xiuzhen’s Silent emerge in a 清妹以其特有的幽默感对系统进行犀利的审视。在《审判》中， more nihilistic fashion. Women’s legs are the main subjects 黎肖娴是一位生活在香港的教育家、艺术家、策展人和 艺术史家，主要领域为实验录像艺术、交互媒体和文化 历史研究，是纽约大学电影系研究博士、香港城市大学 创意媒体学院副教授。她是新媒体艺术活动“文字机器 创作集”的发起人和艺术负责人。黎肖娴的作品主要基 于她实验史学的研究，致力于试验不同类型的录像和装 置艺术。她的作品在香港和世界其他城市广泛展出，包 括上海、托伦、巴黎、巴塞罗那、吉隆坡、伦敦、台北、 首尔、纽约和蒙特利尔，并数次在奥伯豪森国际短片电 影节上展出。 Lai Chiu-Han is a Hong Kong-based academic, artist, curator and art historian working at the intersections of experimental video art, interactive media and cultural history. Lai got her PhD in Cinema Studies from New York University, and now she is the Associate Professor at the School of Creative Media at the City University of Hong Kong. She is the founder and artistic director of “Writing Machine Collective.” Lai's artworks are primarily experiments of various forms of video and installation, based on her research on experimental historiography. Her works have been exhibited widely in Hong Kong and worldwide in cities including Shanghai, Torun, Paris, Barcelona, Kuala Lumpur, London, Taipei, Soeul, New York City and Montreal, and several times in International Competition at the International Short Film Festival Oberhausen. 黎肖娴，戏门 , 2005 单频录像 , 26’ Lai Chiu-Han, Door Game, 2005 Single channel video, 26’ Ma Qiusha, born in 1982 in Beijing, received a BA 马秋莎，1982 年生于北京，2005 年毕业于中央美术学 in Digital Media Art from China Central Academy 院数码媒体工作室，2008 年毕业于美国阿尔弗雷德大学 of Fine Arts in 2005 and an MFA in Electronic 电子综合艺术专业，现生活于北京。其创作包括摄影、 Integrated Arts from Alfred University in the US 影像、装置、身体、表演、绘画等多种媒介。在她的作 in 2008. She currently lives and works in Beijing. As one of the most dynamic figures of the 品中，急速发展的经济所造成的中国当代文化的种种错 emerging generation of Chinese contemporary 位感、全球化给中国社会带来的集体性变迁似乎都不再 art, Ma’s work covers a wide range of medium 尖锐直接地体现；她的创作更加私密化，更趋向于个体 including photography, video, installation, body art, 意见的表达。她用充满细节的敏感来呈现一位年轻女性 performing art, painting etc. She usually explores the subtle and complex relationships between people 生活体验的各个截面。她的作品曾在中国美术馆、民生 from a delicate feminine perspective, in order to 现代美术馆、尤伦斯当代艺术中心、德国艺术与媒体中 reflect a collective sense of anxiety and uncertainty 心、休斯顿当代美术馆、俾尔根国际艺术基金会、泰特 in the contemporary Chinese society. Her works 现代美术馆和波特兰当代艺术学院等多所机构中展出。 have been widely shown in China and abroad, such as Tate Modern, the Contemporary Arts Museum in Houston, the Ullens Center for Contemporary Art in Beijing, the OCAT in Shanghai etc. 马秋莎，溜 ，2016 双频录像 , 循环播放 Ma Qiusha, Take a Walk, 2016 2-channel video, Loop 陈滢如，生于 1977 年，毕业于旧金山艺术学院行为与录像艺 术研究所，目前居住、工作于台湾。陈滢如的主要创作媒介为 录像，其作品亦包含复合媒材、绘画、摄影、版画、行为艺术 等。她的创作着眼于社会中的权力结构，如民族主义、种族歧 视、集体（无）意识等议题。近年来她逐渐把创作观念与太空 科学及神秘学结合，将宇宙和人类处境作关连想像、思考。陈 滢如曾参加多项国内外重要展览和电影节，包括利物浦双年展 （2016）、柏林影展（2016）、第 20 届悉尼双年展（2016）、 “社会工厂”上海双年展（2014）、台北双年展（2012）、 鹿特丹国际影展（2011）、EMAF—欧洲媒体艺术节（2011） 等。2010-2011 年，陈滢如获选为荷兰皇家艺术学院的驻留 艺术家。 Chen Yin-Ju, born in 1977, studied video and performance art at the San Francisco Art Institute, and currently lives and works in Taipei. Her primary medium is video, but she also works with photography, installation and drawing. In the past few years she has been focusing on the function of power in human society, nationalism, racism, totalitarianism, and collective (un)consciousness. Her recent projects also engage in the relations between cosmos and human behavior.