转载 | 所见非所得：一个关于杨锋艺术与教育基金会的展览
Repost: Everything You Need to Know about the FY Foundation: An Exhibition

转载 | 所见非所得：一个关于杨锋艺术与教育基金会的展览 
来源：ArtAsiaPacific

作者 | 朱春杭   翻译 | 曹盈    校对 | 龙云

 所见非所得：一个关于杨锋艺术与教育基金会的展览开幕现场

 深广艺术行

 策展人凯伦·史密斯(Karen Smith)体验作品《某日于杨锋艺术基金会》

 参观者欣赏李杰的作品《会议室》，乳胶漆，玻璃，纸本打印，2017

 翠西·艾敏的霓虹灯装置《我哭了，因为我爱你》，霓虹灯，2016

 观众在何采柔的作品《Un－Covered》上写字，

 CEO办公室内傅丹的作品，《无题》，照片

“杨锋艺术与教育基金会（杨锋基金会）成立于2015年。基金会一直致力于先锋和观念性国际当代艺术的教育和研究… …”

当你走进位于深圳的 “有空间”，拿起墙上的电话，就会听到何采柔的视频装置作品《某日于杨锋基金会》。同时相邻的屏幕上播放着一个女人的画面，她正在介绍背后举办这个展览的机构。这种表现形式当然是非常有效。

杨锋基金会年初的第一个项目是以基金会的收藏为中心。这一次，基金会邀请了生活在上海的独立策展人比利安娜·思瑞克(Biljana Ciric)来负责该项目。思瑞克是中国当代艺术界非常活跃的国际人物。她是2013年首届Hugo Boss亚洲艺术大奖的评委之一，并策划了“遇见蓬皮杜”。这个展览是2016年在世界知名的巴黎蓬皮杜艺术中心举办的“博物馆开/关”的一部分，探讨的主题是在当今的艺术体系中保持独立的可能性。由于比利安娜·思瑞克专注学术研究，她的策展方式并不是简单地从收藏中选出作品进行展览，而是将其作为一个机会“通过（作品与不同艺术家和观众的）邂逅来对藏品进行‘重塑’”，从而“激发对收藏本质和内容的新解读和新思考”。

参展艺术家的名单非常瞩目，包括何采柔，李杰，李燎，傅丹，郭熙和张健伶，利亚姆·吉利克，翠西·艾敏和杨心广，还邀请前三位艺术家（何采柔，李杰和李燎）作为展览的“主人”。事实上，在现实操作的情况下，这三位艺术家在筹办展览的时候扮演了助理策展人的角色。

这种安排得到了很好的回报。他们将办公室变成一个整体，艺术作品与工作环境无缝融合。在这里，作品既是装饰，又是艺术品。比如翠西·艾敏的霓虹灯装置《我哭了，因为我爱你（2016年）》和李杰的《会议室（2017年）》，这两个作品都被布置在玻璃上，用来隔分办公区域。除了介绍性的录像作品，何采柔还有另一件作品“Un－Covered（2017）”。这是一个放满展览画册的书架，所有的封面都用白纸包装了起来。访客在阅读书籍的同时，可以在白色封面上写画。在办公室的其中一面墙上，杨心广重新创作了绘画作品《抽象（2017）》。这个作品的概念是基于“抽象”这个词的中文翻译，或是“抽象”。“抽”即“抽打”，所以（抽打的工具）鞭子是艺术家用来创造形象的，也就是“像”字。在这个办公室语境中，杨心广的讽刺意味非常好玩。首先，它给观众强调了老板的角色，老板会决定大家的工作量，并可能“鞭策”员工的行动。其次，作为呈现在墙上的一个富有短暂性的作品，它又完美吻合策展意图：物质环境如何挑战艺术品的本质，在企业环境中，这件作品是否仅仅为装饰？

作为展览中隐藏的亮点，李燎《多余的人》是一个场地定制的表演作品。艺术家与基金会人事部门一起刊登招聘广告，为在展览期间聘请额外的人员。工作内容很简单：准时到办公室，除了融入，什么都不做。结果，第一个获得试用机会的申请人因为“无法应付无聊”， 工作了一天后就辞职；第二个面试的人因为得到了另一家公司的工作机会又离开了。就像过去的作品，李燎娱乐并挑战观众。他引导我们去质疑一些根深蒂固的企业认知。这确实是一个聪明的举动。

 

“Frank F. Yang Art and Education Foundation (FYF) was established in 2015. The foundation is devoted to the education and research of avant-garde and conceptual art across the world . . .”

If you walk into the You Space in Shenzhen and pick up the handset on the wall, you will experience Joyce Ho’s video installation titled A Day at FY Foundation (2017), with an adjacent screen showing a woman introducing the organization behind the show. It’s certainly effective.

FYF’s first project in the beginning of each year is now centered around its collection. This time around, FYF has tapped Biljana Ciric, an independent curator based in Shanghai, to helm the project. Ciric is a very active international figure in the Chinese contemporary art world. She was on the panel of the first Hugo Boss Art Asia Award in 2013, and curated the exhibition “Encounters with Pompidou,” which was part of the “Museum On/Off” exhibition mounted under the theme of whether it is possible to remain independent within today’s art system, held in the world renowned Centre Pompidou in Paris in 2016. As she focuses mainly on academic research, her curatorial approach is not simply choosing the works from the collection for display, but rather to use it as an opportunity to “reframe the collection through its inherent opportunities for unexpected encounter[s],” and provide “new readings and understandings of what the collection consists of and is about.”

The exhibition not only features a strong roster of international artists, including Joyce Ho, Lee Kit, Li Liao, Danh Vō, Guo Xi and Zhang Jianling, Liam Gillick, Tracey Emin and Yang Xinguang, but also identifies the first three (Ho, Lee and Li) as hosts. In fact, for all practical purposes, these three artists played the roles of associate curators when mounting the show.

The arrangement paid off excellently. They transformed an office into an integrated environment, in which the artworks merged seamlessly with the working environment, where they appear as both decorative objects and art on display. Two of the examples would be Tracey Emin’s neon light installation I Cried Because I Love You (2016) and Lee Kit’s Conference Room (2017), which were both placed on glass dividers that separate office areas. Beside Ho’s introductory video, she has another piece titled Un-Covered (2017), which is a bookshelf of exhibition catalogues with all the covers shrouded by white paper. Visitors are invited to draw on the paper while reading the books. On one of the office walls, Yang Xinguang has recreated his “painting” Abstract (2017). The concept of this work is based on a play on the Chinese translation of the word “abstract,” or chouxiang: chou means whip, hence the tool Yang used to create the image, which is xiang in Chinese. Yang’s sarcastic take is especially playful in this office setting. Firstly, it reminds the viewer of the boss, who oversees the office’s workload and might “whip” employees into action. Secondly, as an ephemeral work found on a wall, it fits perfectly with the curatorial intention of how physical environments can challenge the nature of an artwork: In a corporate setting, has this piece of art been rendered as mere decoration?

A hidden gem in the exhibition was Li Liao’s Extra Person (2016/17), a site-specific, performative work. Li had put out recruitment ads with the human resources department of the FYF to hire an extra person for the duration of the exhibition. The job was very simple: be in the office on time and do nothing except fit in. As it turned out, the first applicant who got the internship quit after only one day because he “couldn’t cope with the boredom,” and the second one quit because he received a job offer from another company. Li amused and challenged us, just as he has done in past works. He led us to question the corporative recognition that is deeply integrated in us. Indeed, it was a smart move.

Article link: http://artasiapacific.com/Magazine/WebExclusives/EverythingYouNeedtoKnowAboutTheFYFoundationAnExhibition