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[Shangyuan Site] Qin Jiaojiao Solo Exhibition

[2019-9-19 5:56:03]

秦姣姣作品评述|朱思睿|Irina|李云|Susana|车邻

Commentaries on Qin Jiaojiao’s Works

前言 Preface

“体向·关系”这一系列作品是“体向”系列作品的延续,整体风格一脉相承,作品所呈现的是我关于艺术诸多方面的思考,包括:为什么这样画;怎么画;探索的价值;坚持的意义。我的关注点是人的内在世界,以身体元素组构画面,以求挖掘人真实的内在景观。 

减法,是我在绘画语言方面一直运用的手段,就像在拆一个房子,到最后只剩下几根不能再舍去的脊梁,然后以我简练的眼光重新去测量和架构,或许它们看起来只能够容纳躲雨和休憩的小鸟,但它可能是一个瓜棚,环绕它周围的大片的庄稼和天空才是我想要的内容。 

这批作品运用了黑白灰调,当没有了丰富的其他色彩,画面的空间转换关系就显现出来了,一根线尖锐地把画面分割开来,两个陌路相逢的人开始在相邻的舞台表演,他们有时候互相介入对方的领地,有时候并不介入,彬彬有礼,或近或远,大多时候双方的关系是失衡的,因为碰到两个相同的人并用相同的方式互动是很小的几率。我喜欢在画面里铺开时间线,色调的变化、线的节奏的急促和缓慢以及形状的变化都暗合了时间。 

没有了镜子,我们用眼睛看到的自己只能是躯干和肢体,确切说,是肉,它们每天被我们所支配,我们也体验着它的沉重感,它既不能逃离我们,也没法脱离骨干的控制,所以,我喜欢解放它们。画布就是我们观察自己身体的所及之处,肉体在这不足一平方米的视力范围内开始躲藏、扭曲变形、相互交叠、拼接断裂、翻转蔓延......观摩自己的游戏结束了。现在,画面上两个身体在互动,更为复杂,就如同人与人相处的现象,如果不在密切接触中阴阳交替,就会在时间里四季轮换,这就构成了人的社会性。 

“体向·关系”这一阶段作品的创作基础和方向不太合拍,因为之前更多的以形式上的探索和实验为主,而这一阶段就追随着现实的脚步玩了一圈游戏,在一个不断呐喊创新的时代,我认为坚守的过程中必然有某种悄然生长的气息引领着我进入下一个密道。

——秦姣姣


This series of works titled "Body Orientation & Relationship" is a succession series of "Body Orientation", and the overall style is consistent in each. These art pieces represent my thinking relating to various aspects of art, including my motives to draw this way, method of drawing, the value of exploration and the meaning of persistence. My focus is on the inner world of people, and the body elements constitute the image, in order to directly explore the real inner landscape of people. 

Subtraction is a method that I always use in my painting language, just like demolishing a house, at the end only a few elements stick to the backbone, and then I use my vision to re-measure and re-structure in a concise way. Maybe all that is left in this world is a small house able to provide shelter for the birds to rest. This place could be surrounded by the watermelons field, the vast field of crops and sky and that is precisely what I am interested in. 

The art works of this series use black and white and gray tones. When there is no rich color, the spatial relationship of the picture is emphasized. A sharp line cuts the frames apart, like two strangers starting to perform together on a stage. Sometimes they step into each other’s territory, sometimes not, politely touching upon each other’s space, near or far. Most of the time the relationship is out of balance because there is a little chance of meeting the same people and interacting in the same way again. I like to stretch out the time in the painting. The change of color, the speed and the tempo of the line and the change of shape all hide the time. 

Without mirrors, we can only see ourselves with our eyes as bodies and limbs, or rather as flesh. These elements of our bodies at our mercy every day, and we experience their heaviness, and they can’t escape us, they can’t escape the bones, so I like to liberate them. The canvas is the place where we observe our bodies, beginning to hide, distorting, overlapping, splicing and breaking, overturning and spreading within the visual range of less than one square meter.The self-observation is over. Now, the two bodies are interacting in the image, which is more complex, like the phenomenon of people getting along with each other. If they do not alternate in close contact, they alternate in the seasons, and this constitutes human society. 

The creation basis and direction of "Body Orientation & Relationship" series of art works are  little out of touch with each other, because the previous works were mainly explorations and experiments, and this stage plays maverick with the reality. In an era of constant innovation, I think that there must be some quietly growing breath leading me to the next secret path.

——Jiaojiao Qin

译者:莫籽 Irina


开幕式现场 Photos from the Opening


























现场视频 Vidoes


秦姣姣体向关系展览现场


秦姣姣体向关系访谈1吴益文


秦姣姣体向关系访谈2吴益文


隐秘的哲学空间 

朱思睿


让我品评秦姣姣的这些画,我有三分惧怯。原因是她能画能写,在绘画上她从具象到抽象完成了一次金蝉脱壳的蜕变,这是许多当代艺术家梦寐以求却一无所获的追求,她完成了,而且可以判断是成功的转变。在写作上,她是位独特的诗人,也写过长篇小说,有极高的文学素养和天份,虽然我也被别人称为诗人,但她的诗七成以上在我眼中是奇崛艰涩的,天马行空的跳跃与信手拈来的意象运用自如,许多医学、物理学、植物学、化学等非文艺的词汇总能被她妥贴地植入抒情的语境,那些闪光的节点串联起独特的心灵体验,让你在陌生的语言迷宫里绞尽脑汁地猜测她隐秘的动机,迷底被她亮出,你才能恍然彻悟于她行云流水的自然,要骂自己愚钝。她的画与她的诗在我看来是珠连璧合的对位,缺少鉴赏经验的人初次面对她作品时,可能也是一头雾水。并非她想戏弄观众,故作玄机,她其实仍是在真诚地表达,只是不想浅薄和直白,艺术的智性、深邃与含蓄特质在她这儿是最诚意的样板,我总觉得,要进入她的艺术内核,必须诗画一起看,二者是一种互助共生的关系。如此才情灵性的一个人,对艺术自有其高贵的标准,她其实也能写评论,而且文笔是诗化的语言,并不枯燥且思想脉络清晰,看她对自已创作理念的阐述,足具深度。许多艺术家之所以平庸并半途阵亡,最大的问题是没有自己的方法论,但姣姣有,而且自信坚定,这正是我写她心怀惧怯的原因。之所以我仍有七分胆气评析,信心源于初见这些作品时,我感受中有契合她初衷的一部分,我们的讨论有共鸣。 

中国的现当代艺术实践在上世纪90年代之前,一直没摆脱西方的语言形式躯壳,脱化的探索途径之一是改造和重建传统的艺术语言形式,包括文人画语言、民间艺术和传统文化的符号形式,这种改造和使用的观念与基本方法很难以纯粹的个人方式一步到位,而是一种实验性的转借、拓展和递变,有一个不断融合与选择的艰难过程。作为80后的素姣姣也不例外,她的反思始于2006年。在那段时期她经历了否定,挣脱,选择,重建的探索,肉身成为画中的主角,具像绘画的法则与经验成了被弃于画外的束缚。她选择用镜面般平涂的方式来消弥才气、诗意、情绪、浪漫及表面化的力量和可爱,使作品走向极简和抽象。 

她的画有极简主义绘画的表像特征,去物质化,降低情感表现,一样有几何形,有精确的轮廓,有纯净、简洁、均匀、平整光滑的画面效果,有开放的意象空间,需要观者自主参与对作品的建构,但这种外在特征中国的纹饰彩绘及漆艺图案、剪纸也有。她画上黑白灰互渗的布局在分割中给人运动流转的感受,类似于传统文化符号太极八卦图案负阴包阳的构造,形的咬合穿插像中式建筑的榫卯结构一样精致牢固。这仍只是外在特征,离开了画中的思想内涵,它们只是徒具形式美趣味的构成关系或图案。即使像德•库宁一样受极简艺术影响,在晚年将抽象表现主义人体画成光洁的分割线条铺展开,也只是人体风景的抽象式表现,仍是一个感知的画面,尽管被阐述出了表现生命循环的意义,但空间仍是物理意义上的空间,那并不是秦姣姣费尽心思的初衷,离她心中隐秘的哲学思考仍相距甚远,她的野心被一种奇异观察与思考驱使着,必须去掉别人的经验,靠近原点,她说“作为画者,应把心沉进结果之外的地方”。“我要展示的东西,就是流动的肉体,以及各式各样的通道”。通往自由,无限。“我想塑造的画面是个私密的画面,是每个人每天放松的状态”。她以诗人的灵性感受到所见与自身从属关系的脆弱,感受到人自我对自身认识的局限性,而那些未知的“空”的部分成为一种有机可乘的自由缝隙,成为人在各种姿式及运动状态中可供游戏的一个温暖而安全的空间。这一切不是所见,而是感知,身体成了感知存在的工具,自我成了身体的倾听者,绘画成了从自身寻找出路的行为过程,一种通道就此打开,这是身体的通道,也是灵魂的出口,更是绘画的通道。这种奇怪的念头如此诡异,它完全颠覆了我们的三维空间意识,仿佛人不是用眼观察并审视自身,而是灵魂出窍并萦绕在自己身体周围,另一个自己的分身以一个旁观者的身份顾盼自我,一切在出离中旁观并清晰起来。这种体验有点像庄周梦蝶,在真与幻,虚与实中追问。庄周典故的哲学命题是作为认识主体的人究竟能不能正确地区分真实和虚幻,这是一个人如何认识真相的问题,在庄周看来这一切都是现象,而极简主义也把客观实在化约至现象与观念意图的层次,这听上去多少有些消极。但在秦姣姣这儿,她对身体存在的理解是积极的,是对自由的追问,是有迹可寻并能通过意识支配,让沉重的肉身抵达一个无限自由的空间的。有别于庄周的地方是,她的身体意识并不局限于自我,而是伸展到一种身体关系中,一种男与女的情感纠结里,不是通过表情及行为动作去作叙事性的表现,而是通过最具性别特征的形的节点在融合与绞着中提示,按她的说法是“生命的互相制衡和受制的较量实况”。这是一个哲学性的奇异假设和大胆想象,她把三维的空间认知习惯提升到四维,提升到时间与运动状态,提升到心理空间的层面,为空间的隐喻推开了障碍,为肉身获取了自由,也为绘画获取了澄明的空间自由。于是技术上可以如李公麟画李广退敌,箭羽未出,敌已倒,这是空间暗示;如顾闳中画韩熙载,同样的对象可以在同一空间中复数呈现,这是空间位移;如未来派画下楼梯的裸女,一个形象在空间中的不断叠加可以表现出视觉后像,这是空间重合。 

面对她的绘画,我说过:传统绘画对自然空间与画面空间的理解和建立都是概念的,实相的,你这个超越了,有禅定和现代设计理念,也有阴阳共生的中国哲学思考。节点是主要的,也是最复杂的,而你能简到精巧,这叫从有招到无招。你像个精于黄帝内经的医师,识气通经懂脉,在无形处把着经络写诗,画画。你建立的是一个闭合与自足的空间,别人进不了,像个阻隔外部世界的你的密室,强行将观众带进来,不想出去,驻留于你的稳固框架内。这就是我面对画面的强烈感受,它们象沉默的墙或装甲车推到我面前,是冷,酷,硬的,但藏着柔软的温暖和空隙,从光与孤的交接处。我这样说并不过誉,她的画确实给我纯净、静谧、深沉、安宁、高雅、无欲的审美体验,有化实为虚的禅的觉悟。即使有锋利和尖锐的几何形的切割,但并不是对肢体作血腥暴力的肢解,而是在与温柔的孤形叠压穿插中互渗化合,如折纸般形成振荡的褶孑,在结合部的缝隙中透出背后的空间,尽管这种空间局部看也是平面和冰冷的,但她巧妙的黑白灰分布给你以无穷的错觉,吸引你去想象背后存在的秘密,这是肉体被赋予液态特质后形成的流动意象。 

她自述在作画中有种强烈的感受,“好象自己无形了,消融进至纯至美的大象里”。一切服从命之所赐,“每幅画是天地万物之间的一场合作,我只是配合而非主导”。这是一种彻悟的心境,已不纯属“观看”的视域,对天地万物的感知是一个全身性的活功,是眼、耳、鼻、舌、身的参与,对应的是色、声、香、味、触的佛家五境,但五境皆为虚幻,仍有一境“法境”,只有破除虚幻,达到忘我,才能步入“法境”,如宗白华所说“艺术要刊落一切表皮,呈现物的晶莹真境”。从禅学与艺境角度审视她的作品,她的这种探索是可信的,她走的是一条挣脱西式语境经验的路子。正如她所说不寻求定位,只试图对位。这是种自觉自信的立场。结果如何?她其实也不在乎,她已给出回答:“人生的最高点不是结局——死亡,而是人生历程中的某个节点”。“创造或重温一个高点,都是生命值得骄傲与幸福的事”。 

行文至此,我总算明白了,她为啥要将前两次画展取名为“体向”,而不是“体相”。“向”在此不仅是个方位词,还是动词,而“相”只是个名词。


2019.9.8


朱思睿,艺术家,诗人,教师,多次举办画展,出版有《划破膨胀欲望的刀锋——江海评传》《非遗画艺》,艺术作品、艺术评论、诗歌分别刊登于《美苑》《江苏画刊》《美术大观》《当当代代》等刊物。


回顾秦姣姣个展/Review of the exhibition of Qin Jiao Jiao

Irina Ideas 伊琳娜


Body’s orientation is a topic that goes deep into the plane of existential sense of self, something so universal and yet just like Karma not immediately obvious because often times in life the relationship between things seem coincidental until they are so obvious and powerful that only an art form can express. Qin Jiao Jiao’s art explores the furthest corners of our minds, a line that divides between now and then, you and me, dark and light, a special type of dualism that is dancing in the rhythm of cause and effect, portraying the encounter, connections and disconnections, in this wonderful phenomenon we call reality. There is an ancient wisdom that suggests: "do not seek understanding of things but relations between things and you will understand the world". Upon entering the world of Qin Jiao Jiao, the first physical association one has is of the corners, the edges of our habitats, the rooms in the houses, the corners of the walls, but also it is the reflection of the most inner habitat we have and that is our mind. Sometimes what we see and build around us, to accommodate our bodies reflects the internal world of thoughts, the habitat of our mind, with unlimited possibilities and iterations, just like a perpetuum mobile it never stops, this mechanism of our awareness, it is on the quest of a greater understanding of things. 

Sometimes we like to call it a process of acquiring a higher consciousness as a sentient beings on a mission of building higher integrity and becoming a genuine human, one of the most important tasks. Jiao Jiao’s thinking process is touching upon these topics very strongly, with the focus giving priority to the form over color, she brings out the structural elements, emphasizing on the interaction and connections between the things rather than looking at things as they are in themselves. A very good analogy that comes to mind is a helix of a human genome, because when we look at the development of understanding in the field of genetics and how only the genes of integrity get the green light to go ahead towards the next generation, we understand the depth and importance of the ability to distinguish between the white and black. In Jiao Jiao’s art the line that divides the two worlds, seems to be a compass, in a way a green light, an orientation and a road towards this invisible integrity so deeply present but yet elusively mysterious. 

One can’t help but think of Karma and the subtle laws prevailing all the existence, just like the laws of physics make the planets turn in a certain way as a result of relationship with the larger objects, so are our actions as humans always in interlocked relationship of everything we do. Qin Jiao Jaio is pushing the boundaries and exploring the world of action and reaction, this very balance. Sometimes the gravity is so strong on one side of the painting that the other is barely able to keep the balance, but it does, it has the ambition to keep afloat. At other times the balance between the sides is so strongly self reflective that the outside reality, the gravity of larger objects has no power. There are only two sides locked in the eternal embrace of cause and effect, karmic laws of entangling and disentangling and it is a delightful experience to look at the intricate game of life unraveling on the canvas with such a strong line of thought. The spectrum of the topics in the paintings range from the highly strong, destiny like questions relating to the relationship with people to the most subtle and almost invisible relation we have with things and environment, birds, casual objects of our every day life, all of which have the most significant role in the universe no matter how small or how big. 

Archimedes said: "Give me a lever and a place to stand and I will move the world", analogous to this Qin Jiao Jiao’s collection is in that lever and the karmic compass is exactly in the line of the paintings, dividing the world and the dualistic nature of reality becomes so obvious that one can’t help but wonder about the way things are in a much deeper sense entering the level of what is it that goes behind what we see, what immediately captures our attention and what is behind it truly. There is a process of unraveling in order to get to the core and a truth, often times appearing black, white and gray.

  

“体向”是一个深入存在自我意识层面的话题,就像业力这样普遍性的事物并不是很明显,因为在生活中,事物之间的联系常常是巧合,直到它们如此明显和强大,这必须用艺术形式才能表达出来。秦姣姣的艺术探索了我们心灵的最深处,一条线划分你我,黑暗与光明,这是一种特殊的二元论,它在因果的节奏中舞蹈,描绘相遇、联系和分离,在这个奇妙的现象中,我们称之为“现实”,有一个古老的寓言:“不要寻求对事物的理解,但事物之间的关系,会让人了解一切”。走进秦姣姣的世界,第一个物理层面的联想就是角落,日常生活区的边缘地带,房子里面的密室,围墙的暗角,这些各式各样的不起眼的角落同时也存在于我们自身,我们的身体也是深不可测和有趣的,它有无限的可能性,迭代的同时又像一个永不停止的永动机,这种机制的形成和运转是为了寻求对事物最大的理解。 

有时我们喜欢称它为一个获得更高意识的过程。芸芸众生,每个人的使命都是建立更高的自我完整性,并随之成为一个真正意义上的人,这对于每个人来说是最重要的。姣姣的思维过程非常强烈地触及到这些话题,注重形式胜于色彩,她提取了结构元素,强调事物之间的互相作用和联系,而不是看事物的本来面目。我联想到了一个有趣的学说,就是人类基因组的螺旋结构,在遗传学的发展领域,对于基因的研究和实验的成果已经越来越具体和完善,并很快又会更替到新一代学说。而在姣姣的绘画世界里,这如同在探求黑和白的深度和价值,把两个世界分开的那条线,就像一个指南针,在某种程度上,它又是一个绿灯,一个方向,一条通向无形的完整的道路。 

我不禁感受到了业力和微妙的规律的存在,就像物理定律使行星运转一样,所以我们作为人类的行为总是被生存的规律所牵引。秦姣姣是在不断地突破边界,探索世界的行动和反应,同时,这也是一种寻求力的平衡的过程。有时候,某一幅画的一边引力太大,以至于另一边几乎无法保持平衡,另一边就会试图对抗引力,它确实做到了,它们互有制衡和抗衡的野心和本领。其他时候,两边的对抗过程如此强烈地反射它们的自我,以至于真实的富有重量的外在失去了应有的重力。它们被锁在因果永恒的亲近关系中。在业力的缠绕和解脱的轮回转化过程中,生命就鲜活而复杂地在了画布上来回游戏,我想这对于观者来说是一场愉悦的视觉体验。主题在这样的绘画中抢占了非常重要的位置,命运的相关话题,人与人的微妙关系,以及看起来无关的生存环境和事物,这些都是互相关联并互相影响,一切事物无论大小,都在宇宙中努力成为重要的角色并上演短暂的人生戏剧。 

阿基米德说:“给我一个杠杆,一个基点,我就能撬动一个世界”,这就像秦姣姣在拿着杠杆和业力罗盘,把世界和现实的二元特性清晰地摆在了台面上,从而使人思考我们所看的和背后的深层意义是什么,这是一个不断解开的过程,在她的绘画里,在黑白灰的调性中流转,我们也似乎慢慢地在接近核心和领悟真相。


伊琳娜,黑山共和国人,多学科艺术家,古典钢琴家和未来学家,她获得许多国家和国际比赛的文凭和奖项,并多次举办个人音乐会和发行唱片,2019年她在上苑艺术馆举办了个人绘画雕塑展。


李云评论

秦姣姣的每一幅作品仿佛都是象形文字浪漫优雅的嬗变。她用这种东方特有的沉浸式语言,在《体向-关系》系列中追忆默想和记录人与人之间的各种交集。用自如敏感而带有体温的线条,去把握天平两边灵魂的质感和重量,以女性直觉为支点,去关爱,释怀,融合。

    她用最简洁的黑白,及丰富的灰度关系,对人与人之间那些的超乎语言的未知维度进行探讨,背景和主体二元之间的自由变换,寻找着彼此空间的交界和延伸。那些线条如她隽永的生活旋律,赋予艺术又被艺术滋养,不断提炼和升华。


李云,自由艺术家,音乐人。曾组建“街边玫瑰”乐队,执导制作电影《呼吸》《悸动》,拍摄并制作纪录片《云林幽深处》《九州》,举办个人原创音乐会《长江的儿子》《出家-回家》等。


The Way You Move, The Space You Make/你悄然而动,空间浮现

Susana Wessling/苏珊娜·韦斯林


“They are all people” she says while pointing at the paintings in front of us. “This is my friend, this is another friend, this is that artist in residency with us, this is you, this is me.” At first I must say I was a little bit puzzled. Looking at the paintings you see this spacial constructions of seemingly abstract volumes that revolve around each other. She points at details and shapes in the compositions and speaks of what they portray: a body shape, a gesture, a movement. And then, all of a sudden, I see it, I feel that I can start to understand the language she created in the works in front of my eyes. Now I see the people inside the frames. Even in the case of people whom I will never know and whose gestures I cannot understand, I can see that they are there.

JiaoJiao’s paintings go beyond taking someone’s face or body as a representation of who they are. She takes complex and mundane aspects and creates compositions that reflect the uniqueness of each subject in more aspects than just the way they look. It is frozen movement kept in a series of volumes and tensions. They have strong spacial dimension that in turn reflects how each person, in the simplest of ways, occupies space in their life. And your eyes will follow the shapes around just as if you were walking through a house to understand the person who lives there.

She creates these intricate environments where eyes are driven through a game of perfectly drawn lines and contrasts. All paintings are black and white and that really is all you need. Because in the simplicity of colours and forms, the complex depictions of each individual stand out. Each person has their own movement. Each person occupies space in their own way.

And in each composition there is a limit, a border between spaces, inside and outside, light and dark, you and me. A border that separates the forces on the canvas and that can be crossed but not erased. And while we tend to think of limits and separations as bad things, here they are poetically beautiful. In here nothing is an isolated being, but everything has its unique space. As unique as a fingerprint.


“这些都是人”她指着她的画对我们说,“这是我的朋友,这是另一个朋友,这是我们这里的艺术家,这是我。”一开始我得说我有点困惑,看着这些画,你会看到有些抽象的空间结构,它们围绕着彼此旋转,她指着作品中的细节和形状,讲述它们所描绘的东西:一个体型,一个手势,一个动作。然而,我突然明白了,我觉得我开始可以理解他们的手势,我也能看出他们的存在。
姣姣的画超出了把一个人的脸或身体作为他们是谁的表现。她从复杂和世俗的角度出发,创作出反映每个主题独特性的作品,而不仅仅是他们的外观。它被冻结的运动保持在一系列的体感和张力中。它们具有强大的空间维度,反过来又反映出每个人如何以最简单的方式在生活中占据空间。你的眼睛会跟随周围的形状,就像你穿过一所房子去了解住在那里的人一样。

她创造了这些复杂的环境,在这些环境中,眼睛通过完美的线条和对比来驱动。所有的画都是黑白的,这就是她真正所需要的。因为简单的的颜色和形式,每个形象的复杂性可以脱颖而出,每个人的动态都是丰富和独特的,并以自己的方式占据空间。

而在每一幅画中,都有一个限度和一个空间的边界,内部和外部,光明和黑暗,你和我。一种分割画布上的力的边界,可以跨越但不能擦除。虽然我们倾向于认为限制和分离是不好的事情,但在这里它们是诗意的美丽。在这里,没有什么是孤立的存在,但一切都有它独特的空间。就像指纹一样独特而唯一。


苏珊娜·韦斯林,半葡萄牙半德国人,90后女艺术家,2019年于上苑艺术馆举办展览《拴上绳的流浪狗》。


语言欲穷之时的艺术转变——致秦姣姣个展

我之前一直不明白姣姣这次展出的这批作品只运用黑白灰调,等读了秦姣姣给我的关于她创作历程的小文才渐渐有所回味。她是一个有很强烈自觉意识的艺术家。从她的一开始到现在,一直都在试验和试图创作出属于自己的语言和作品,用她的话说就是不去遵循服从的机制,每个人的创作必须符合自己的生命特征。她的这种观念和艺术实践在某些大家眼里可能有些“自大”吧,不过我觉得这是一种幸运。在一个只讲整齐和统一美的环境里,艺术家应该把自己的个体艺术性呈现出来!

呈现就需要语言。一种必须是自由的,个人化的,探索性的语言。这是每个真正艺术家必须具备的。而姣姣在这方面的努力就是用画布把人的肉体(或者说是皮囊)做一种自由解放,无论画面中的肉体是躲藏、扭曲、交叠、拼接、翻转,都是一种艺术过程。她的画布就是一面镜子,通过简单的线条我们能在这里看到社会和人性甚至阴阳矛盾。那些肉体在移动,就像秦姣姣那颗移动的心。但这颗心有可能被困在一个小圈子打转。

此时这个人的创作就到了一个免不了语言穷尽的境地,诗歌如此,我想艺术亦如此吧。我是对诗歌文本一直在欲穷其精奥,然而常常被困于其中,致使自己的生活都受到影响。而自己身边的一些搞艺术的朋友和我一样,我们往往都钻到诗与艺之中,“乐在其中,苦在其中”,少了对生活的本真的体验和感悟。“穷”成了大家一致的状态。我不知道秦姣姣在这方面是否有困惑,但从和她的接触,我明显能觉得秦姣姣在这方面要比我更开阔。

姣姣也曾说过未知的一切依然对艺术有着致命的诱惑。这种诱惑会促使我们去探索去思考去突破自己的局限。这种诱惑不会让我们穷尽的,只是有些时候限于语言的繁复,到最后无从下手了,穷尽了。我想这可能是每个艺术家和诗人要面临的问题。此时,应该让生活经验和感悟参与,并成为对艺术创作的主导。

如何突破,可能是每个人都在思考和解决的问题。对于外向性格的人,这要相对容易一些。我喜欢姣姣的为人大方热情,不怕陌生,从不伪装自己,于是乎一种转变在悄悄进行,这里有艺术和生活的混合吧。我想她的这次展就是这层转变关系的一次试验。

只要有天空有鸟儿有瓜棚有庄稼就能有我们想要的内容,至于如何把内容以我们自己的方式表现出来这就是看个人的喜好和戏法了。把各种元素进行重构,然后把我们自己的肉体或者思想纳入其中,于是作品生成了。 


车邻,青年诗人,出版有诗合集《在彼此身上创造悬崖》,翻译有《拉塞尔·埃德森散文诗选》等。


作品 Selected Works


《体向系列之关系10》,布面丙烯,40x40cm,2019


《体向系列之关系14》,布面丙烯,40x40cm,2019


《体向系列之关系15》,布面丙烯,40x40cm,2019


《体向系列之关系17》,布面丙烯,40x40cm,2019


《体向系列之关系20》,布面丙烯,40x40cm,2019


《体向系列之关系22》,布面丙烯,40x40cm,2019


《体向系列之关系26》,布面丙烯,40x40cm,2019


《体向系列之关系27》,布面丙烯,40x40cm,2019


《体向系列之关系30》,布面丙烯,40x40cm,2019


《体向系列之关系31》,布面丙烯,40x40cm,2019


《体向系列之关系32》,布面丙烯,40x40cm,2019


《体向系列之关系116》,布面丙烯,40x40cm,2019


《体向系列之关系126》,布面丙烯,40x40cm,2019


《体向系列之关系129》,布面丙烯,40x40cm,2019



秦姣姣照片.jpg

秦姣姣


个人网站:http://qinjiaojiao.com/


80后,2007-2010年生活于798艺术区和宋庄,2019年入选为上苑艺术馆驻留艺术家。

展览:


2019

“体向·关系”——秦姣姣绘画作品展,北京

2015

“Blooming Rose”——女性主题线上展,网络
2014

“体向”——第二回展,广州

“体向”——秦姣姣绘画作品展,北京

2014阿联酋迪拜中国名家艺术展,迪拜

微景致:上苑艺术家作品邀请展,北京

哇噻儿艺术展063——秦姣姣作品展,网络

2008

99 个帐篷,99 个梦想——艺术北京 左右艺术区外围展,北京

2008深呼吸 - 中国当代油画联展,北京 
“娇素线”三人作品展,北京

2007

“黄阿线,胡绮素,秦姣姣”三人作品展,北京

中国艺术节青年展,德国

环铁庙会,北京 

99 个帐篷,99 个梦想——艺术北京 左右艺术区外围展,北京 
“汝梦令”——秦姣姣油画创作展,黑龙江

2006

秦姣姣个人油画展,黑龙江


Qin Jiaojiao

Personal Website: http://qinjiaojiao.com/


Born in 80s, lived in 798 Art Dist and Roundness Art Community from 2017 to 2010. Resident artist of Shangyuan Art Museum in 2019


Exhibition
2019

"Body Orientation & relationship"——The solo exhibition by Qin Jiaojiao,Beijing

2015

"Blooming Rose"——Woman-themed online exhibition,online

2014

"The direction of the body" ——Second exhibition by Qin Jiaojiao,Guangzhou

Artistic conception——Chinese 2014 Dubai Art Exhibition,Dubai 
"The direction of the body"——The solo exhibition by Qin Jiaojiao,Beijing
Breeze/Landscape: Invitation & Exhibition of Shangyuan Artists,online
2008

99tents, 99dreams——About artistic Beijing the artistic area periphery untolds,Beijing

Deep Breath--Chinese Modern Oil Painting Exhibitions,Beijing
2007

"The dream of greatness" the oil painting art show by Qinjiaojiao,Heilongjiang
The China art festival youth unfolds,Germany
 Link iron temple fair,Beijing
99tents, 99dreams——About artistic Beijing the artistic area periphery untolds, Beijing
2006

"The oil painting exhibition by Qinjiaojiao", Heilongjiang


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