展览时间：2013年3月16日—2013年4月21日
Duration: March 16th, 2013— April 21th, 2013
开幕时间：2013年3月16日下午4时—6时
Opening:  March 16th, 2013  16:00 — 18：00
艺术家：  詹翀
Artist:   Zhan Chong

展览介绍：

       杨画廊将于2013年3月16日举办艺术家詹翀个展《恋物癖》开幕，本次将展出艺术家2012至2013年所创作的作品。詹翀，80年代生人，通过和“人造物”的相处和想象来完成与这个世界的衔接，从而获取一种安全感。我们制作物，我们同时又是被谁所制造？它们的存在最终影响了制造者本身。这种依恋与被依恋关系中，物被精神化。作品《右边下垂》，《无害的释放》将人的冲突和相关物件相匹配，完成一段个人化的描述。《恋物癖》持续到4月21日。

为什么绘制日常的人造物和对于它们的行动
Why did I Paint Daily Artificial Articles and the Handlings with Them?

        这次展览的这些作品完成于2012年-2013年，动机起端于2011年的画的2张小画和独处的时间，我当时一直在画“人造物”，想通过概念上的假想人造物来表明人造物在构成我们的自身。这些人造物可以无关历史和意识形态只是作为可能产生的产品存在。它们的存在最终控制制造者本身。
        All the works exhibited were finished during 2012 and 2013, with the inspirations from 2 paintings finished in 2011 and the time being alone. At that time, I have kept working on “man-made articles,” expecting to illustrate that the artificial stuffs are forming ourselves with the conceptually imagined articles. They exist as products with the possibility to be produced, irrelevant of history and ideology. But, their existence will finally control the producers.

        我画的“人造鼻子”让我意识到，实际上概念化的人造物可以非常具体化，也就是每个具体的日常物件本身都是一个大的概念化的“人造物”的触角，都是一个情感上的“人造鼻子”。它们本身都让人的生活延展，限制和依赖，具有自身的内在逻辑，并且在我们经验认识上具有很强的共识。这可以作为一个阶段我思考问题的视角和方法的载体。
        My “artificial nose” enlightened me, that the conceptualized man-made articles can actually be extremely specific, i.e. each daily article itself is an antenna of a huge conceptualized “artificial article” and an emotionally “artificial nose.” They themselves extend, limit and depend on human life. They have their own internal logic and commonness agreed by our experience and cognitions. This can be a carrier f my perspective and method adopted in contemplations once in a time.

        事物的本身所涵盖的所有意义都是来自于使用者，观察者。因为我们习惯去定义，想象一些事物，创造这个行动的意义被刻意放大，而我们更可能一直被现有事物所控制，影响。现有事物的本身所含有的所有逻辑才是人想象的边界，漫无边际的想象是无效的。所以人选择思索的载体，更重要的是因为动机而对这个载体本身所具有的自身逻辑的解读，最终获得的想象。选择一个杯子，对其本身的功能，及衍生出的个人经验上的功能挪用或误读等。这种想象获得的满足和精神上的安全感是事物反作用人的一个方面。
        All the meanings an article has are defined by user and observer. We get used to define and imagine things, so the significance of creation as a behavior is deliberately exaggerated, while we are more likely to be controlled and influenced by existing articles. The logics of existing articles should be the boundary of human imagination and boundless imagination can often be invalid. Therefore, people select certain carrier of contemplation more likely because of his/her interpretation to the logics of the chosen carrier corresponding to his/her motive, and the consequent imagination from it. E.g. we choose a glass because of its function, as well as the transferred or misinterpreted function came from personal experience. The content and psychological sense of safety obtained from articles, thus constitute an aspect of object reacting on man.

        我对物品选择，介入，然后场景化拍摄，用绘画记录。将我的对外行为方式或者惯常对于一些事件的描述引到物体上来。类似恋物癖，将人的性欲和相关物件相匹配。我通常想象这是些分镜头，在一个单一画面中透露尽量准确的信息和意味。
        I selected, intervened in, photographed in scenes and recorded articles with painting, through which I introduced my behavioral pattern or usual description of matters to the objects. Just like fetishism, I related human sexual desire to artifacts. I often imagine them as a series of shooting scripts and try to deliver the most possibly correct information and meaning in a single frame.

        由此得到观察事物的方法，思考事物的视角，组合事物的手段，真实的描摹和臆想之间的模糊关系。我希望它们本身是真实存在，但离现实又有一点点的距离可以去怀疑他们的真实性。
这些行为和选择绘画记录本身又是一种人造物对人所产生影响的直接体现。
        In this way, I harvested method of observation, perspective of thinking, means of arranging things, fuzzy relationship between true imitation and imagination. I hope they are truly existing, but maintaining somewhat a small distance leading to our suspect about their authenticity. Such behaviors and recording them with painting constitute another direct reflection of artifacts’ impact on man.

        关注软土很大程度是因为它是我在工作之余思考时的手边的物件，我会随手去捏制一些物品或者只是单纯的拉扯破坏，我进行记录和放大。我觉得这种安全感来自我童年独处的时候经常与橡皮泥为伴，橡皮泥是简单和低廉的用以去创造的事物，它是捏造一个事物的基本原料，对它的行为或许是高度精神化的。
        I favor soft soil largely because it is usually something beside me when I fall into thinking after work, and I tend to make something with it or purely knead or twist it, so I recorded and extended the whole thing. I think the sense of safety when playing with it came from my childhood experience of playing with plasticine alone. Plasticine is a simple, cheap but fundamental material which can be used to create or knead something. Maybe my behavior relating to it is probably highly spiritualized.

        《右边下垂》来自于我读到的关于研究男性睾丸的不对称的文章，我把这个事实用橡皮泥再现出来悬挂在墙上，这让我觉得一种真正视觉上的不对称感和拉扯感。蓝色的兔子则是纯粹的我的想象，一个非常当下的臆想，制作打发了我一整个下午，绘制又占用了我一周。
        Sagging Right was inspired by an article studying on the asymmetry of male testicular, so I reappeared the fact with plasticine and hung it on the wall, visualizing a kind of visual asymmetry and sense of being pulled. The blue rabbit was completely from my imagination, the immediate imagination. Making it cost me a whole afternoon and painting cost another whole week.

        《无害的释放》系列3张是体现与性有关的冲动，行为的暗喻。有自我满足，破坏和行为的产物。
        Harmless Relief III was to depict sex-related impulse and metaphor of behavior. It is the product of self-content, damage and behavior.

        绘画中时常出现的皮手套是将它们作为一个消除身份的物件来做，消除行动者强调行为本身。
        Leather gloves frequently occurred in the painting is something with weakened or fuzzified identity, and the doer emphasizes behavior itself.

        气球或者气囊都是一个空和实的想象，空气本身也是一种物体，气球和气囊同时是中空物也是装载物，也是具有小小爆破可能性的物体。吹起一个气球是一种储存气体的行为，割开一个充气的气球就成了一个小暴力释放的行动。
        Balloon or air bag is all about the imagination towards empty or full. Air, in itself, is a kind of substance, so balloon and air bag are both hollow and full carrier, and maybe a small explosible object. Blowing a balloon up is a behavior about gas storing, and cutting an inflated balloon open is a behavior about small release.

        他们的空使它们能够漂浮或具有保护其他物件的相互碰撞的功能，大部分物件中具有多重属性是事物反作用于人的基本成因。
        Their emptiness enables their function of floating or protecting them in collision with other matters. The multiple features of most objects lead to the basic cause of object’s reacting on man.
　
        《天生一对》鞋子和瓦楞箱是我将事物之间的联系归类为一种破坏，通过观察他们的视角变化带来的心理感受，这种对介入的描绘类似我做记录本身这一个行为。
        With the shoe and the carbon box in Intrinsic Integrity, I classified the relationship between articles as a kind of destruction. Through the different mental experience with changed perspective in observation, I fulfilled the intervening depiction similar to the recording behavior.

        《制造癖》系列是一个一直延续的系列，用以发现一些我有触动的材料，和我对组合的想象，它可能会引导我去以另外的方式去寻找绘画的题材，更有开放性。
        Manufacturing Addiction Series are always being extended and prolonged in order to discover some materials which touched me and my imagination of arrangement. It may guide me to seek for subject matters of painting in another way and be opener.

        很多物件会贯穿在不同的场景中。他们最终都是一种我独处时所能够获取进行必要劳动宣泄获得安全感的依赖对象。
        Many objects ran across different scenes, and they are eventually the objects depending on which I work, unbosom myself or gain the sense of safety when staying alone.

        独处让我觉得人很难去证明自己真实存在的必然，人能获得的一点点确信很大程度上来自于对于周遭的控制和体验，以及可能的制造，因为从中获得的感受是真实的，作用一个物同样也会反作用于自身。
        Staying alone makes me feel difficult to demonstrate the inevitable truth of my existence. People may feel such a certainty from his/her own control or experience over the surrounding environment, or possibly creation, because he/she can truly feel the experience, acting on something and being reacted by it.

“释放”“平衡”
“Release” “Balance”

为什么画这些东西

        这次展览的这些作品完成于2012年-2013年，动机起始于2011年的画的2张小画和独处的时间，我当时一直在画“人造物”，想通过概念上假想的人造物来表明人造物在构成我们的自身。这些人造物可以无关历史和意识形态只是作为可能产生的产品存在。它们的存在最终深刻影响或控制制造者本身。

        我画的“人造鼻子”让我意识到，实际上概念化的人造物可以非常具体化，也就是每个具体的日常物件本身都是一个大的概念化的“人造物”的触角，都是一个情感上的“人造鼻子”。它们本身都让人的生活延展，限制和依赖，具有自身的内在逻辑，并且在我们经验认识上具有很强的共识。这可以作为一个阶段我思考问题的视角和方法的载体。

        事物的本身所涵盖的所有意义都是来自于使用者，观察者。因为我们习惯去定义，想象一些事物，“创造”这个行动的意义被刻意放大，而我们更可能一直被现有事物所控制，影响。现有事物的本身所含有的所有逻辑才是人想象的边界，漫无边际的想象是无效的。

        所以人选择思索的载体，更重要的是因为动机而对这个载体本身所具有的自身逻辑的解读，最终获得想象。选择一个杯子，对其本身的功能，及衍生出的个人经验上的功能挪用或误读或研究其原初的意义。这种想象获得的满足和精神上的安全感是事物反作用于我的一个方面。

        就像当初学画时候的静物练习，我对物品选择，组合，场景化拍摄，用绘画记录。将我的对外行为方式或者惯常对于一些事件的描述引到物体上来。类似恋物癖，将人的性欲和相关物件相匹配。我通常想象这是些分镜头，在一个单一画面中透露尽量准确的信息和意味。

        很多物件会贯穿在不同的场景中，他们都是在我独处时所能进行必要劳动，宣泄，获得安全感，所依赖的对象。