bird and flwoer

[“Bird and Flower Painting for the Proletariat,” Paintings and Installation, TOP Studios, 2010]

bird and flower 2

[“Bird and Flower Painting for the Proletariat,” Paintings and Installation, TOP Studios, 2010]

Accompanying his exhibition in 2012, artist Shi Qing published a few statements regarding his thoughts on his “Bird and Flower Painting for the Proletariat.” The following has been translated from Shi Qing’s blog.

A
这些都是剩余物,是做其他的中途产生的动机,是来自其他“任务”的废料,不是衍生品,和原来的作品概念联系割断了;一条岔路,主干之外的更大更粗的枝条;
Everything here is surplus, produced in the process of making other things, from other “undertakings”, these are not derivative materials,  the conceptual relationship with the original artwork is severed. A fork in the road, where the branches are larger, thicker than the trunk.

B
生产关系的异化,当代艺术的规模生产是与资本主义合谋的:观念一制作一阐释的创作链条是一种生产体制,作品不过是最后终端产品;我们要批判的不是可以交易的生产物质,而是学术体制化的艺术生产关系,剩余品策略也是想绕开这个陷阱;
Once alienated from relations of production (Produktionsverhältnisse), the production scale of contemporary art is a capitalist conspiracy: the creation chain linking concept to production and finally to interpretation is a type of manufacturing system, and art works are but a final product; we shouldn’t criticize the production of materials that can be traded, but art’s relations of production in institutionalized academia. The strategy of using surplus materials is intended to avoid this trap.

C
应当反对艺术家体系化的,这是自我体制化的开始,概念已经成为这种体制化的最重要工具了;它扮演了精英政治的媒体,其实和大众媒体没什么本质区别,平行而已;当代艺术创作最后成为这样的政治关系:你被你的创作消化了,成为一种新的制度来统治你;
One should oppose the institutionalization of artists, which is the beginning of self-institutionalization, concepts have already become the most important tool in this kind of self-institutionalization. It acts as the elite political media, while in fact, is no different from the mass media, these two are parallel. Contemporary art production finally devolves into this type of political relationship: you are consumed by your own creation, which has become a kind of new system that controls you.

D
形式来自现代主义美学临摹,手工模仿机械,思想模仿几何,这没有比模仿极简抽象来的更适合的了,光滑的抽象感总要被劳动的痕迹困扰,我把它叫做“破绽强迫症”;
The form copies modernist aesthetics, and is a hand-made imitation of machine processes, ideas that imitate geometry. Nothing is more suitable for imitating minimalism because a smooth abstract surface will always be plagued by the traces of labor, I call this “breaking with obsessive-compulsive disorder.”

E
无产阶级在中国怎么界定?以前的说法暂时不理,这里专指在政治形态中两手空空的人,左右都是为暂时的体制和美学服务的人,不服气却没有方法的人;
How do we identify the proletariat in China? Temporarily ignoring previous claims on the term, here it refers specifically to empty-handed people within the political system. Everywhere there are people in the service of temporary organizations and temporary aesthetics, they are unsatisfied, but have no other method.

F
花鸟山水,挂一漏万的讲是士大夫阶层的“剩余情感“,颐养性情也好,托物言志也罢,摆明是主体意识下的配菜,但无产阶级?可是当艺术来学的,是战战兢兢来学的,就像兴趣小组、老年大学里的那种情况。
Bird and Flower paintings, perfunctorily speaking, are the “superfluous emotions” of the literati class. Whether they are relishing their moods, or expressing their aspirations, it is clear that these ruminations are mere side dishes to a principal ideology, but as for the proletariat? However, learning art is a cautious undertaking, like a small interest group, or university for the elderly.

(上述说法排序不分前后; The above statements are in no particular order of importance)

石青 Shi Qing (b. 1969) [CV here, photos of his studio here]

Posted in art, exhibitions
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尉 Says:

http://www.xiami.com/song/1770816617
你离开,人们开始想念你,其实在更早的时候就开始了这种想念,每次听这歌的时候,总能想起你,可能是你们在样貌上有些神似。祝你安静:>

23 July 2012 at 9:56 PM |
sinopop Says:

好听。非常静宁,舒服。应该多离开,就有这么多好人想着我,唉!

24 July 2012 at 8:52 AM |

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