《安全的焦虑》王恺&马赛克装置作品展在上苑艺术馆

　　Wangkai&Christopher pelley "security anxieties" device art exhibitionin shangyuan art museum

　　主 题：意外与焦虑

　　Title：Accident and Anxiety

　　艺术家：王恺（中国）、马赛克（美国）

　　Artist：Wangkai（China）, Christopher Pelley (US)

　　策展人： 程小蓓

　　Curator：Xiaobei Cheng（China）

　　时间：8月4日～

　　Date: August 4～

　　展览地点：北京怀柔桥梓-上苑艺术馆

　　Venue: Beijing Huairou Qiaozi- Shangyuan Art Museum

　　主办单位：上苑艺术馆

　　Organizer：Shangyuan Art Museum

　　一个想突破现有艺术模式的中国青年艺术家王恺与一个有中国雷锋情节的美国艺术家马赛克，有意无意地将自己的作品组合在了上苑艺术馆里，介于图书馆与餐厅的挑空层中。它们自然形成了一种有讽刺意味的组合。

　　Wang Kai, a young Chinese artist who wantsto break the barrier of current artistic method, and Christopher Pelly, anAmerican artist who has a soft spot for Lei Feng, accidentally combined theirworks together here in Shangyuan, between the space in library and cafeteria. Theirworks formed a naturally ironic pair.

　　王恺原本的作品设计是根据鸟巢文化中心提出来的环保题材，以装置形式准备的作品《常态》。他将口罩作为一种有象征性的材料，想用到鸟巢的大建筑上。当空气污染已成常态，王恺有给我们的建筑、我们的城市戴上口罩的冲动……，王恺从这些社会生态中提取艺术创作元素，最后用了500个口罩，完成一件命名《胎息》的视觉装置作品。

　　Wang’s work was originally made for Bird’sNest Art Center, with the theme of environmentalism. It is an installation named Normality. He uses masks as a symbolizing element to cover the Bird’s Nest.When air pollution becomes normal in our daily life, Wang Kai has the urge tocover our buildings and cities with masks. He extracted these creative characters from today’s social life and created this piece of installation named it Fetal Breath with 500 masks.

　　王恺在移动互联网平台上展示他的作品方案时，我建议他将之实施在上苑艺术馆里。最后呈现出来与最初的方案有着非常大的不同，这就是艺术创作中的意外。更为意外的是王恺从社会意义中的空气污染一般性批判中提升起来，在装置作品的中间部位，他加进了一个枕头——这个给人安全感和梦源的睡眠物品，有五百个口罩将枕头团团抱住。它一下子就触动了我——这是一个多么细腻和有爱心的男人！哦，枕头！让多少人依恋的枕头。

　　When Wang was showing his ideas on the internet,I suggested hi that he should make it true in Shangyuan. The final form is verydifferent from his original design, but this is what happens during the processof creation. What makes me even more surprised is that Wang Kai has sublimated the theme of his work from a simple criticism of air pollution, he added apillow in the middle of 500 masks: an object which represents sense of safetyand root of dream. It touched me immediately: what a sweet and caring man ishe! Oh pillow! The thing that many of us are reluctant to leave.

　　但是，看着王恺这件《胎息》作品，安置在马赛克（ChristopherPelley）用袜子做的《雷锋》之下，这里的《雷锋》不是指一个完美的人，而是一个政治符号；一个用来约束中国人民自由思想的虚假的象征人物。想到这里有一种流泪的冲动情绪涌了出来。想像着这两位来自不同国家与不同文化背景的理想主义者，他们紧锁着眉头问：什么样的保护才能让我们的爱，我们的梦，甚至我们的生命得以安全……？他们如何面对渐渐堕落的世界？如何抵御权贵的践踏？如何在物欲横流的现实中保有一方净土？……这成了我们长久的焦虑。

　　However, this Fetal Breath under Christopher’s Lei Feng made from stocks. Lei Feng here represents an imperfectman, but a political symbol and a representation of the figure that suppressesthe freedom of Chinese people. When thinking about this, I couldn’t hold mytears. Two idealists from different countries with different culturalbackground, they ask the questions: How can we protect our love and our dreams?How to protect our life and safety? How can we face the degenerating world? Howcan we resist the trample of the rice and powerful? How can we preserve autopia in this materialistic world? These are our long-lasting anxiety.

　　美国艺术家马赛克的真名是克里斯托夫（ChristopherPelley），由于他大多的作品都是用马赛克拼贴成像方式，所以中国艺术家都叫他马赛克，而他非常乐意这个中国人都懂并易记的名。他在去年来北京-上苑艺术馆之前，用了很多时间了解中国，他找到了一个象征性中国人-雷锋，用他来做作品原型，以袜子为材料。我帮他在网上订购了黑、灰、白三色600双袜子，他用了三个月来完成它。目前呈现在王恺的《胎息》之上，这种有意无意的安排，揭开了我们焦虑的潘多拉魔盒。

　　Christopher has a Chinese name, MaSaiKe, whichmeans mosaic. It was given to him by his fellow artists because his works aremainly made by mosaic method. He likes this name for its simplicity and becauseit is easy to remember. Before he came to Shangyuan last year, he spent a lotof time to know China. He picked a very symbolic Chinese, Lei Feng, as the archetype.I helped him ordering stocks online, with black, grey and white color, totally 600 pairs. He spent 3 month to finish this project. Now it is presented on WangKai’s Fetal Birth. This unintended arrangement, coincidentally opened thesource of our anxiety.

　　By Cheng Xiaobei 程小蓓

　　（编辑：杨晶）