黄淞浩|Huang Songhao

黄淞浩

1990 出生于河南省郑州市

2000 生活于上海市

2009 毕业于中国美术学院附中

2013 毕业于中国美术学院跨媒体艺术学院

现生活工作于上海

个展:

2012 [其实不然]共同体艺术空间 杭州

主要群展:

2015

[副馆⻓] 西安美术馆 西安

[五环比六环多一环]单向空间 北京

[Big双年展] Big艺术空间 上海

[重庆/悉尼] GAFFA画廊 悉尼

2014

[从混沌开始]清影艺术空间 杭州

[Red Line——第八届Organhaus国际艺术家工作坊]器空间重庆

[合做]蛋生空间 大连

[展览的噩梦(上)] 激烈空间 上海

[笔记坐标] 清影当代艺术空间 杭州

[紧张的经验]激烈空间 上海

2013

[被偷走的能量] 上海

[摄问——2013首届元典当代影像节]元典美术馆 北京

[一切新形势的关系等不到固定下来就陈旧了]上午艺术空间  上海

[直觉苏醒]2013第十三届平遥国际摄影节 ⼭西平遥

[中山公园计划]第九届上海双年展特别项目 上海当代艺术博物馆,上海

 

2012

[转塘拆迁区驻地创作计划] 1、2、3期 杭州

[今天下午着火] 共同体艺术空间 杭州

[夜读@伦敦]Golden SquareGallery 伦敦

2011

[形而主义者的犯规]吾辈画廊 杭州

[夜读@杭州]共同体艺术空间 杭州

2010

[出曲阳]中国美术学院跨媒体艺术学院展厅 杭州

2009

[小众革命]上海青年艺术家联展 1933老厂房 上海

[美院附中八⼗周年展]中国美术学院象⼭校区展览馆 杭州

合作部分:

2011

[理想国I——你还记得苏联吗?]上海艺术博览会开幕演出上海展览中心

上海

[理想国II——华西村] [五谷杂粮]实验艺术教学大会开幕演出

中国美术学院南山校区 杭州

 

HUANG SONG HAO

BIOGRAPHY:

1990 Born,Zhengzhou,Henan province,China

2000 Moved,Shanghai

2009 Graduated,the high school of ChinaAcademy of Arts

2013 Graduated,the SIMA of China Academyof Arts

Living and Working in Shanghai

SOLO EXHIBITIONS:

2012

[BUT]Commune Art Space Hangzhou

GROUP EXHIBITIONS:

2015

[DeputyDirector] Xi’an Art Museum Xi’an

[Between the 5th & 6th Ring Road inBeijing] OWSpace Beijing

[Big Biennial] BigSpace Shanghai

[Chongqing/Sydney] GaffaGallery  Sydney

2014

[Beginfrom Chaos] Inna Art Space  Hangzhou

[Red Line—the 20148th International Artist Workshop] Organhaus  Chongqing

[Co-Making] DanshengSpace Dalian

[Nightmare of Exhibition] Radical Space  Shanghai

[Notes/Coordinates] InnaContemporary Art Space  Hangzhou

[Experience of Nervousness] Radical Space  Shanghai

2013

[TheStolen Energy]Shanghai

[Questioning by Photo—the 2013 1st Yuandian Contemporary Photographic Festival]  Beijing

[All New-formed Ones Become Obsolete BeforeThey Can Ossify] AM Art Space  Shanghai

[The Awakening of Intuition] the 2013 13th PIP  Shanxi

[Zhongshan Park Project]  the 2012 9th Shanghai Biennale  Power Station of Art   Shanghai

2012

[ResidentProject in the Demolition Area Of Zhuantang]  I 、II、III    Hangzhou

[The Fire,This Afternoon] Commune Art Space  Hangzhou

[Read at Night@London] Golden Square Gallery  London

2011

[Formalists’Foul] We Gallery Hangzhou

[Read at Night@Hangzhou] Commune Art Space Hangzhou

2010

[Outof Quyang]  Room 408 of the SIMA   Hangzhou

2009

[MinorityRevolution]Shanghai 1933,Shanghai

[Exhibition of the 80th Anniversary of theHigh School of China Academy of Arts]   Hangzhou

TEAM WORK:

2011

[TheRepublic I—Do You Remember the Soviet Union?]the Opening Show of Shanghai Art

Fair 2011  Shanghai ExhibitionCenter  Shanghai

[TheRepublic II—Huaxi Village] theOpening Show of [Wuguzaliang]ChinaAcademy ofArts  Hangzhou

 

 

自述一次,朋友问起:“最近一年内,你觉得看过的最好的录像作品是哪个?”于是,我就用各种可以考量艺术价值的标杆开始在心中测试,但到头来只能打马虎地说,“这个标准很多啊。”我顺着说下去,“这个问题不好。如果不说一定是作品的话,倒是真有两个录像让我触动。”

这两部录像, 一个是ISIS火烧人质的视频,一个是四川水牛上街撞人的视频。

第一次看到ISIS录像的时候,我对ISIS并不大了解,仅仅“恐怖分子”这个名词也并不能给我造成任何具体的感受。刚开始看片时,我觉得它就像是好莱坞大片的片花:运用了各种摇臂升格、虚焦特写等拍摄方式,再加上伴随着摇滚乐的快速剪辑。以往的观影经验在潜意识里告诉我:这只不过是拍出来的,模拟现实罢了。但事实上在看完这部片子剩下的几分钟里,我的心情快速崩溃,因为,那个人真的活活的被烧死了,在我们观看的时候,他是真死了的。

而“发疯水牛上街撞人”是个社会新闻,视频画面是警车的行车记录仪所拍摄的。就这样的一个主观镜头:一头不断地冲撞着水牛。“拐了拐了”、“撞撞撞”竟然不由的从我口中冒出:它太像是我们去电子游戏厅玩赛车时的感受了,在这个“影像”的情境中,我忘记了它作为新闻资料的真实,却被另一股力量吸走。

在刚看完这两个影片的时候,我都有过沉默。一方面,他们都特别的现实主义,而我却无法简单的用道德来给它们一个价值判断。另一方面,它们在利用了我们的现实经验之后,却又中途利用影像本身,篡改了我们的经验。前者从虚假到真实,后者从真实到虚假,这种观看的“刺点”,让我有点不安。

当然,我并不是想证明这两段录像就是艺术,它们更像是“技术”发展到一定程度的擦枪走火,并且在互联网世界火了一把。它们让我感受到我们对于艺术判断的窘境,我们并不需要在自以为是的标准中去定义孰好孰坏,艺术价值判断的标杆也永远立不起来,亦如用忠于抽象和普世概念的角度来理解现实,总是被动的一样。而艺术家不就是需要在使用工具时不断擦枪走火吗?来为自己和这个被规训的世界排排毒-通过各种媒介,制造了一堆现实的碎片和叙事,同时,也产生了那些溢出现实感受的部分,而后面这部分,就是艺术试着不断去触碰和揭示的“真理”。

关于朱小福

见到朱小福的时候,他身穿一身黄袍,站在西安鼓楼下沉广场扶手旁的长凳上,向广场上的人们挥手、飞吻。有人拍他,亦有人与他合影,他不收钱,乐此不疲。他称自己是朱元璋的后人,给自己取名“主远章”。此外,他还入了伊斯兰教,经名叫阿布苏夫扬。

这次展览的录像,是我跟他的第一次合作。我尝试用纪录片的方式去构建,这个被各种外部力量塑造,近乎荒诞的角色。他的口述史和城市游记被重叠在一条叙事线索中,讲述着他的主体认知如何形成。我希望在他的日常生活中去剥掉被我们认为是景观的外衣,看到藏于他身上的原始欲望和生存逻辑,而不是去消费和猎奇这个伙伴。

IMG_3793

黄淞浩影像作品截帧-朱小幅

关于一次请假的游戏

而另一个录像,更接近于我对现实生活的感受。在一个周一,我组织了初中男生在恒隆广场的消防层进行一场简单粗暴的游戏——抓人。他们必须找借口请假,才能参与其中,而临时逃逸现实的工作制度。那会,我们都是刚毕业,虽然选择着不同的职业,但总有那些更强大的力量,规训着我们,偷走我们的能量。

 

 

 

Personal Statement

Once a friend asked me, “What was the best piece of video art you’ve seen this year?”

And then, I started to evaluate all the work I saw within the year with all kinds of different standards, but at the end I could only say that, “there are many different standards.” I followed up with, “This is not a good question. But if we are not talking about art work, then there were indeed two videos that deeply touched me.”

The two video, one being the one in which ISIS burnt a victim live, and the other being the one of a Buffalo in Sichuan bumping into people on the streets.

When I first watched the ISIS video I was unfamiliar with the organization. The term “terrorists” did not ring any special bell in me. When I saw the video, I thought it was a trailer for a Hollywood movie. There were all kinds of photographic tricks in it, such as a rising crane and in-and-out-of-focus shots. Then there was also fast editing with rock music as background. The subconscious experience as a seasoned cinematic viewer made me believe that this was just a filmed, virtual reality. Of course, the next few minutes made my heart drop, because that person was really burnt to death. As of the moment I watched the clip he was really, indeed very much dead.

And the “crazy buffalo bumping people on the streets” was a news clip. The video was taken by a police car camera. It was such a subjective shot that only one thing was happening, a buffalo continuously bumping into things. “Wrong direction!” “Go! Go! Go!” were things that popped into my mind and the reason was simple – this was too much like the experience of playing car racing video games in the arcades. In the “filmic” context, I forgot about its truthfulness as a news clip, but was absorbed into an entirely different wave of force.

I was speechless after watching both video clips. On one hand, they were extraordinarily realistic. But I could not simply judge their values based on morality. On the other hand, they applied our real life experience, but in the midst of it, also usurped said experience by utilizing video as a medium. The former clip transformed from fictional to real in my head, and the later from real to fictional. The “tipping points” in the process of viewing made me queasy.

Of course, I’m not arguing that these two video clips are art. They are more like an accidental misfire when “technology” developed onto a new level. They became a hot buzz on the Internet, and it made me feel embarrassed when I think about artistic value. We can no longer set up an aesthetic standard, and there will never be a standard in terms of artistic values, nor would it be necessary, just as it always puts someone at a disadvantage if he understands reality on an abstract or mundane level. And isn’t it an artist’s job to misfire while needed? To do a cleansing of oneself and the world, to create a pile of fragments and narratives of reality through mediation, and to also create some other part of it that overflows reality. The later part, is the “truth” an artist tries to touch and reveal.

About Zhu Xiaofu

 

When I met Zhu Xiaofu he was in a yellow robe, sitting on a bench near the drum tower plaza in Xi’an, waving at the crowd on the square, blowing kisses. Some people wanted to take a picture with him, and he never charged anyone. He was happy doing it. He claimed he was a descendant of Zhu Yuanzhang, and named himself accordingly. Apart from that, he joined the Islam, bearing an Islamic name of Absuf Yang.

This video in the exhibition was the first collaboration between us. I tried to portrait this almost absurd character constructed by outside forces. His oral narrative and travelogues are layered on top of each other. He talked about how his subjective self-awareness was formed. I wanted him to take off his coat of “spectacle” in an everyday sense and reveal his survival instinct and functional logic. I had to avoid consuming and treated him as a novelty.

IMG_3793

黄淞浩影像作品截帧-朱小幅

The Game about Asking for Leave from Work.

 

The next video is closer to my real life experience. On a Monday, I organized some of my junior high school friends to play a simple game near the Plaza 666, the game of “catching each other.” They had to invent reasons to ask for leave from work to participate, to escape from the labor system of reality. At that time, we all just graduated, and chose different career paths. There were always bigger forces that guided all of us, that stole our own energy.