是真的吗—吴啸海个展（2011年6月18日）

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开幕时间：2011年6月18日 16:00
展览时间：2011年6月18日 — 7月17日
展览地点：中间美术馆
展览地址：北京市海淀区杏石口路65号
电话.8610-6272 0300
传真. 8610-6285 6651
主办单位：北京西山产业投资有限公司
北京中间艺术投资有限公司
承办单位：中间美术馆
特别支持：艺术中国
北京中间美术馆将于2011年6月18日至7月17日举办“是真的吗——吴啸海个展”。
中央美院学士、硕士、教师——吴啸海顶着正宗的“学院派”头衔，但他的创作却总是游离于学院传统之外。
在其以往的炭笔画创作中，吴啸海早已显现出一种极强的“异世界”建构能力，把他笔下的小孩子自如地安置在房间里的“第五个角落”。这次将在中间美术馆举办的展览充分体现出他掌控空间、掌控视觉体验的能力跨入到了下一个维度。
他将用毛竹和纸在中间美术馆结构独特的环形展厅中修建一条100米长的“隧道”，艺术家本人更愿意借一个宗教术语称其为“道场”——在这个天人沟通的仪式中，躯体做出规定动作，换得灵魂的自由飘升——而这样的自由机会在文明社会、在城市中已经极其罕见、甚至销声匿迹了。
给自己一个自由的机会。关掉成见堆积的大脑，重启闲置已久的感官，进入艺术家设定的“道场”——或者你更愿意称其为“游乐场”，玩一次关于身体感觉的游戏。是的，身体的游戏，与智性无关，教授和文盲在一个起跑线上。你只需要用眼睛看、用耳朵听、用身体感受??可惜你的大脑总会不甘寂寞地跳出来嗡嗡作响，于是——
“是真的吗？”在场子中的你会如是惊呼。
“是真的吗？”走出场子的你会如是思考。
就像漫游仙境的爱丽丝，看过兔子洞里的世界，再看洞外的世界，发现真实与荒谬也不过是一线之隔。
是真的吗？不是真的吗？这样的“历险”会有点儿跌宕，但是绝无“凶险”。借诗人西川的话，吴啸海的作品中有一种“即使在今天中国诗歌中也算罕见的诗意”，它弥漫在场中，细细地渗入你的毛孔，由身体直到心灵。
为了这次创作，吴啸海在江西、湖南的乡间蛰伏了两个月，毛竹、皮纸、染料——材料全部取自当地，6米＊10米的彩纸，制作的师傅也来自当地，专业的竹器师傅。艺术家说这次是用“江湖”材料以及“土办法”做的创作。但这决不是一种权宜之计，能不能找到一种途径让想象的世界在现实的土壤中生长出来，这才是艺术家关心的命题，关于矛盾的命题。
“生长”——而非“构思”——是吴啸海偏好的艺术状态。带着童年湖南乡间傩戏表演的记忆，他第一次走进中间美术馆的展厅，那一刻他的道场还没有任何具体形象，环绕一圈之后，“隧道”的意象逐渐浮现；在毛竹的产地江西天宝乡的历史人文环境中，在和经营传统手艺的老师傅的互动中，在和妇女孩子的玩耍中，作品结构最终成形——不，对艺术家而言，还没有到达“最终”，作品一直会生长。
是真的吗？
是真的，在一段时空中——中间美术馆6.18-7.17。

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Is It Real—— Solo Exhibition by Wu Xiaohai
Opening: June 18th, 2011, 4:00 pm
Exhibition Date: June 18－July 17, 2011
Venue: Inside-Out Art Museum
Add: No.65 Xingshikou Road, Haidian District, Beijing
Tel.8610-6272 0300
Fax. 8610-6285 6651
Sponser:  Inside-Out Art Museum
Wu Xiaohai’s site specific installation will open from June 16 to July 17 at the Inside-out Art Museum, Beijing.
A faculty member at the China Central Academy of Fine Arts, where he was also educated and received both a bachlor’s and a master’s degree, Mr. Wu belongs to, nominally, the orthodox school, yet his work has often journeyed outside of academic classification.
In his previous large scale charcoal drawings, Mr. Wu displayed an exceptional ability in shaping the “other world”, constructing places, what poet Xichuan referred to as a room’s “fifth corner”.
In the museum’s unique loop shaped exhibition space, Mr. Wu will install a 100-meter long bamboo and paper tunnel with varieties of viewing scopes. The artist himself may prefer to borrow a mystical term and call his creation a “force field”—in a ritual of communion between heaven and men, the body moves in a guided manner, in exchange for the free rise of soul—such an opportunity to free oneself has long been vanished in modern lives.
Give up yourself to a chance, turn off your brain, reboot your sensory organs, step into the “force field” that the artist circumscribes—perhaps you prefer to call it a “play ground”, play a game about your body. Yes, a body game, has nothing to do with knowledge and mind; a philosopher would have no advantage over an illiterate. You only need to see with your eyes, to hear with your ears, to sense with your touch, only to find however,
Is it real? Your brain buzzes to intervene.
Is it real? It ponders after you have left.
Like Alice’s adventures in Wonderland, seeing the world after having seen the rabbit hole, one discovers that reality and fantasy is only a thin thread apart.
Is it real? Is it not real? Such an adventure may be full of ups and downs, but absolutely risk-free. In the words of poet Xichuan, Wu Xiaohai’s visual work “possesses a poetic quality that is rarely seen in recent Chinese literary poetry.” It permeates in the “force field”, insinuates from skin to reach the soul.
Mr. Wu secluded himself in the countryside of Jiangxi and Hunan for two months to realize his plan. All of the materials, bamboo, dye and parchment paper were obtained locally. In the neighborhood areas he found women to mount and color many sheets of 6 meter wide, 10 meter long paper, master craftsmen to weave a 100 meter long bamboo tunnel and viewing scopes in different sizes and shapes. Call it a preference for “crude ways” and “primitive materials”, Mr. Wu amuses himself, such are not strategies for the artist, what he cares for is the theme of growth, seeking a method to grow the imagined world from soil of reality, it is a theme about fallacy.
To “grow” instead of to “conceive” is the mental state Mr. Wu prefers in creating his art work. When he first came to visit the space of Inside-out Art Museum in May this year, he had with him childhood memories of “masked dance” from rural areas of Hunan, “force field” had not acquired a shape in his mind; after he had walked the loop-shaped site, the idea of “tunnel” began to form. In the district of Tianbao in Jiangxi Province, home of bamboo forest, in this rich historical and cultural environment, in the collaboration with the masters of traditional craft of bamboo weaving, in the playing with local women and children, the work ultimately configures—no, for the artist the work would never reach the finished form, the work would continue to grow.
Is it real?
It is real, in a certain space and time—Inside-out Art Museum from June 18 to July 17.

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