策展人项目｜失败之书Traces of Abandonment
M'room
▲海报 Poster
设计Design：刘博清Liu Boqing
失败之书
Traces of Abandonment
策展人：海杰
Curator：Hai Jie
艺术家：卜云军、杨欣嘉、姚清妹、张巍、张晓、宗宁
Artists：Bu Yunjun ,Yang Xinjia,Yao Qingmei,Zhang Wei,Zhang Xiao,Zong Ning
开幕：2018.6.23下午3:00
Opening:2018.6.23. 15:00
邮箱：minostudio@163.com
Mail : minostudio@163.com
微信：Foxsoda（预约观展）
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日常情况下，我们谈论的作品，是被艺术生态系统认证过的，具有标签的，携带权力欲望的成品。它们也是艺术家创作序列里的有产者，因为，它们已经果断切割了自身与过往无数次失败、调试和改写的艰难历史的关系，并且尽可能地走向经典化的空间，以获得更多加冕。从此，艺术家终其一生都在致力于成功的书写，成功的书写，由于是艺术神话的炼金术，而被一次又一次赞颂。
另一种景观是，那些临时性的作品状态被遮蔽，失败者遭遇的命运必然是无产者的命运，因此，失败者的图像，也是无产者的图像，阶级属性在艺术家的创作中已然被确立，艺术家在自己的创作中明确了有产者和无产者的界限。失败的书写还未获得被消费的资格，因而它是沉默的。失败者是没有历史的，它代表着兴趣的断裂、语言的调整、欲望的终结，但“唯有不抱希望爱着他的那个人才了解他”（本雅明）。这恰恰说明了“不抱希望”的正是那些失败的书写，这些作者的弃子。
In daily circumstances,what we're talking about is an art ecosystem certified, tagged, driven by a desire for power. They are also proletarians in the artist's creation series, because they have decisively cut their relationship with the difficult history of countless failures, debugging, and rewriting in the past, and as far as possible have gone to the classical space to win more crowns. Since then, the artist has devoted his whole life to successful writing, and has been praised again and again for his alchemy of artistic mythology.
Another kind of landscape is that the temporary state of the work is obscured, and the fate of the loser is bound to be the fate of the proletarian. Therefore, the image of the loser, the image of the proletarian, the class attribute has been established in the artist's creation.
▲《独步者的黄昏》 杨欣嘉
▲《“林威登女士在蒙田大道”》 姚清妹
▲《废片》 张巍
▲《家族》 张晓
文献身份，是给失败者或落选者的另一个安慰性的身份，这一身份，只有主体作品有勇气回望历史时，才被提请出来，这是主体作品里虚假的怀乡病，他们妄图因为自身而给落选者们以加持。
本质上，作品里的失败者是被排除在历史之外，或者作为历史的暗部，被封存或挤压，甚至被时间稀释，直至消失，成为幽灵。因此，失败的书写应当被唤醒，我们从中可以看到命名一件作品的清晰来路，以及作品的史前史。
这一再揭开了成功作品（在体面的开幕酒会上被反复观摩和估价的）之外的那部分，它们没抵达创作程序里的最后出口，而是疲惫，拒绝强迫执行，对于赋权的无视，是徘徊的大多数。
The document identity is another comforting identity for the loser or the loser.This identity is drawn up only when the subject works have the courage to lookback at history. This is a false homecoming disease in the main works. Theytried to bless the losers because of themselves.
Inessence, the losers in the works are excluded from history, or as the dark partof history, sealed or squeezed, even diluted by time, until disappeared, becomea ghost. Therefore, the failed writing should be awakened, from which we cansee the clear origin of naming a work, and the prehistoric history of the work.
This again and again uncovers the part of a successful work (repeatedly observed andevaluated at a decent opening party), which does not reach the final exit of the creative process, but is tired, refuses to enforce, and ignoresempowerment. Is the wandering majority.
▲《面壁》系列 宗宁
所以，本次展览试图展示这些失败的图像，让沉默者发声。杨欣嘉在《独步者的黄昏》里，无限期搁置了萨达姆奔赴刑场之路的图像游戏行动；张巍在黑白名人肖像的制作过程中，尝试过给这些肖像的上色企图，但未能最终成型；宗宁甚至把拍摄的作品扼杀在底片之上，没给予冲洗的机会，它们始终未成为正像，也准确地体现了被迫沉默的命运；而姚清妹在自己租住的房屋里讲述和演练了一场“林威登女士在蒙田大道”的行为方案，在这个行为里，林威登，一个中国新贵，在路易威登专卖店里突然爆发了恋物癖症的精神崩溃。这件作品同时也提出了这样一个问题：行为是否需要排练？而这种排练同时作为行为之前的行为，表演之前的表演，同时也构成了行为之前的文献。那么行为是否真的发生？行为的真实发生是否有必要？而卜云军和张晓都是基于对作品的不满意和纠结，最终将作品闲置。
海杰 2018-06
So this exhibition tries to show these failed images. In "the Twilight of the Walking alone," Yang Xinjia indefinitely shelved Saddam's image game onhis way to the execution field; Zhang Wei tried to paint these portraits in the process of making black and white portraits, but they failed to take shape.Zongning even strangled the film on the film, did not give the opportunity todevelop, they never become positive, but also accurately reflect the fate of forced silence; And Yao Qing-mei told and rehearsed a behavior plan of "Ms. Lin weideng on Montaigne Avenue" in her rented house. In this behavior, Lin weideng, a Chinese upstart, There was a sudden breakdown of fetishism in the Louis Vuitton store. The work also raises the question: does the act requirerehearsals? This rehearsals are both acts before behavior, performances before performance, and also constitute pre-action literature. So, did the act really happen? Is it necessary for the act to happen? But both Bu Yunjun and Zhang Xiao are based on the dissatisfaction and entanglement of the works, andfinally idle the works.
Hai jie June,2018
海杰，从事独立策展和影像批评。
2011、2013 TOP20-中国当代摄影新锐展推荐委员会委员；平遥国际摄影大展艺术委员会委员，资助奖评委；西双版纳国际影像展学术主持；第七届AAC艺术中国年度影响力评选摄影组初评评委；2013第三届成都纵目摄影双年展学术主持；2013首届北京国际摄影双年展爆名展策展人；2014济南国际摄影双年展实验展策展人；2015集美x阿尔勒国际摄影季策展人；2016集美x阿尔勒国际摄影季发现奖提名人； 2017年连州国际摄影年展策展人；第六届侯登科纪实摄影奖终评评委；第六届金拴马桩奖大学生影像艺术界终评评委；2017 成都A4美术馆国际摄影论坛“回声”主讲嘉宾；2018南京艺术学院美术馆首届AMNUA摄影展主策展人；2018深圳圈子青年艺术奖推荐委员。
先后在中国美术学院、天津美术学院、厦门大学、北京工业大学、福州大学厦门工艺美院、歌德学院、北京电影学院青岛分校等多所高校和机构做近30场学术讲座。
学术方向：中国当代摄影个案研究、中国当代摄影口述史、中国当代摄影语言流变与社会思潮。
出版：《照镜子的人：16位中国当代摄影艺术家访谈录》（2012年8月中国青年出版社出版）、《表态：与十四位中国当代摄影艺术家对话》（2013年6月中国民族摄影艺术出版社出版）、《屏幕生存：2000年以来的中国当代摄影切面》（2016年6月中国民族摄影艺术出版社出版）等书。
主持微信公众平台“海杰视界观”。
Hai Jie, an independent curator and critic, once acted as the member of the Recommendation Committee of 2011’ and 2013’ Top 20--Chinese Cutting-edge Contemporary Photography Exhibition; the member of the Art Committee and the judge of the Award for Financially Aided Works by Young Artists of the Pingyao International Photography Festival; the academic moderator of 2012’, 2014’ and 2016’ International Film Exhibition; the judge for the first round election of the photography group on the 7th Award of Art China; the academic moderator of the 3rd Chengdu Zongmu Photography Biennale in 2013; the curator of the Debut Exhibition of the 1st Beijing Photo Biennale in 2013; the curator of the Experiment Exhibition of the 2014’ Jinan International Photography Biennale; the curator of the 2015’ Jimei x Arles International Photo Festival; the nominator of the Discovery Prize of the 2016’ Jimei x Arles International Photo Festival; the curator of the LianZhou photo Festival in 2017; and the judge of the 6th Hou Dengke Documentary Photograph Award.
Hai Jie has lectured at nearly 30 venues in China Academy of Art, Tianjin Academy of Fine Arts, Xiamen University, Beijing University of Technology, Xiamen Academy of Arts and Design of Fuzhou University, Goethe-Institut, Qingdao Campus of Beijing Film Academy, as well as other universities, colleges and institutions. Academically, he focuses on case study on contemporary Chinese photography, oral history of contemporary Chinese photography, changes in the language of contemporary Chinese photography and social ethos. Recently, he is writing the “Talking About Pictures” series, which targets at typical hot images, starts from specific event, and discusses the complex states and relationships between image and power, ideology, culture, politics, media and theory.
Hai Jie has published the One Looking into the Mirror: Interviews with 16 Contemporary Chinese Photographers (By China Youth Publishing House in August 2012), Attitude Declaration: Interviews with 14 Contemporary Chinese Photographers (By Chinese National Fine Arts Publishing House in June 2013), Living on Screen: Profile of Contemporary Chinese Photography Since 2000 (By Chinese National Fine Arts Publishing House in June 2016).
Hai Jie’s WeChat account: “Hai Jie Vision”
扫码观看直播
这是一个特别的“M的房间”艺术项目，邀请到策展人海杰就摄影创作产生的一次讨论。我们将在开幕当天进行直播，策展人呈现的策展主题与到场艺术家一同进行对话。请大家关注我在一直播平台的帐号“M演播室”，即时收看。
This is a special " M studio " art project , invited to Curator Hai Jie for a discussion on photography creation . We will broadcast live on the opening day and dialogue with the artists . Please pay attention to my account number " Mstudio " on "Yi" live platform .
米诺Mino