策劃：劉鼎
開幕時間：2008年4月19日星期六下午4點
展覽時間：2008年4月20日－5月
展覽地點：卓越藝術(shù)，北京市朝陽區(qū)酒仙橋路4號798藝術(shù)D區(qū)
開放時間：周二至周日上午10點至下午6點
開幕時間：2008年4月19日星期六下午4點
展覽時間：2008年4月20日－5月
展覽地點：卓越藝術(shù)，北京市朝陽區(qū)酒仙橋路4號798藝術(shù)D區(qū)
開放時間：周二至周日上午10點至下午6點
隋建國長期以來通過雕塑實踐來對雕塑的觀念和形態(tài)進行思考和拓展，也同時運用錄象、裝置、行為等其他的媒介對社會生活形態(tài)的變遷和塑造社會生活形態(tài)的力量和機制進行反思和討論。卓越的第二個項目“公共化的個人痕跡”是隋建國通過抽離和呈現(xiàn)雕塑創(chuàng)作中翻制和放大泥稿的過程而對個人意志被轉(zhuǎn)化成公共意志的社會現(xiàn)實所展開的研究。
在一般的雕塑創(chuàng)作中，雕塑家通常是先制作一個完整的小稿，再請工人放大到雕塑家要求的尺寸，然后翻制成不同材料的作品。在“公共化的個人痕跡”的項目中，隋建國自己動手制作了三個不同形態(tài)的泥塑小稿，并有意地讓自己的手印布滿這三個泥塑小稿的表面。根據(jù)雕塑翻制和放大的一般程序，隋建國請工人先將他制作的泥塑手稿翻制成硅膠模具，再從硅膠模中翻制出石膏稿；接著在石膏稿上用激光定位儀進行打格定位，把石膏稿上的定位格放大十多倍，并做成定位系統(tǒng)，即所謂“圈套放大”的坐標(biāo)圈。根據(jù)放大所需要的尺寸制作鋼架及木架柵，然后將放大十多倍后的木制圈子套在木架柵上，并根據(jù)此木制圈，將雕塑泥架加在其上，完成放大稿的基本造型。工人根據(jù)放大的坐標(biāo)圈進一步塑造成型，精確地表現(xiàn)藝術(shù)家原手稿的手跡。最終，藝術(shù)家的泥塑手稿被精確放大數(shù)十倍，成為一個巨大的具有紀念碑性質(zhì)的雕塑。
在這個過程中，藝術(shù)家的私人印記或個人在泥塑小稿上的偶然觸點借助一個完整和既定的公共雕塑放大制作程序而成為一種公共雕塑的成品。在被放大了十多倍的雕塑成品上，藝術(shù)家的“個人痕跡”經(jīng)過放大后毫無保留地展示在公眾的面前，成為一種公共性的存在和經(jīng)驗。一個理性的、由規(guī)則和程序掌控的、由他人執(zhí)行的制作方法，以及雕塑成品的紀念碑式的體量賦予了“個人痕跡”超越個人經(jīng)驗而進入公共視野的途徑和基礎(chǔ)。十年前，隋建國通過挪用現(xiàn)成品讓自己的塑造塑跡從雕塑作品上完全消失，把自己的作品變成了一件寄存在社會公共文化解讀背景之上的當(dāng)代藝術(shù)作品。十年后，“公共化的個人痕跡”是藝術(shù)家將自己個人的偶然的塑造痕跡，通過一個公共放大器放大從而獲得了公共性的過程。私人的手跡在被放大后，呈現(xiàn)出某種類似巨人的接觸后留下的痕跡，從個人到巨人、從普通人到巨人、從私密到公共、從真人到超人，成為一個即是個人的又非個人的存在的證據(jù)。在這中間，作為放大器的雕塑放大體系，擔(dān)當(dāng)了重要的角色。
無論是要達到個人目的還是實現(xiàn)任何社會目，都需要將個人意志轉(zhuǎn)化成公共意志。這是一個很古典的問題，在直至今天，我們?nèi)匀辉诤鼙灸艿卦谶\用著這個方法。在社會生活中，從產(chǎn)品的生產(chǎn)過程到生活方式的形成到公共制度的制定到文化的書寫和傳播到道德標(biāo)準(zhǔn)的建立，個體的意志始終通過各種方式和渠道被放大、再現(xiàn)和轉(zhuǎn)化成為公共意志，從而獲得主宰我們的權(quán)力與合法性。
“公共化的個人痕跡”討論的不僅僅是藝術(shù)家思想的主觀性和個人化印記的轉(zhuǎn)化，而是在更廣泛的層面上揭示公共意志的源泉，即個人欲望、意愿、野心、思想和價值觀，即使進入了完全非個人化、由他人掌控和執(zhí)行的、理性的生產(chǎn)、傳播和流通的流程，結(jié)果也只是放大和強化這種個體性的需求和存在。只不過這種存在通過各種再現(xiàn)系統(tǒng)披著普遍性和合法化的外衣更加隱蔽地遍布在我們的四周并支配著我們。這些匿名和隱形的力量對從實體的建筑物、城市的規(guī)劃到無形的社會規(guī)則、道德觀和價值判斷到國家的意識形態(tài)等方面都施加著有力的影響。在這樣的現(xiàn)實中，“歷史萎縮成了（永恒的）現(xiàn)在，一切事物都圍繞著個體私利和個體生活而運轉(zhuǎn)?！?
文字：劉鼎
Sui Jianguo: Revealing Traces
Sui Jianguo: Revealing Traces
By Liu Ding
For many years Sui Jianguo has used his art practice to contemplate and expand upon sculptural concepts and forms. He also employs related media, video, installation and performance to reflect and discuss the changing patterns in our social lives and the forces and mechanisms that shape our social patterns. In JoyArt’s second artist’s project “Revealing Traces” Sui Jianguo unfolds his research through the extracting and presentation of molding and the enlargement process of a small clay model; he also examines the social phenomenon that is the transformation of individual will into the public will.
Generally, in the sculpture creation process, the sculptor first makes a complete small-scale model, workers then enlarge it to the artist’s specified dimensions, and lastly it is molded into an artwork in a different material. In the “Revealed Traces” project, Sui Jianguo personally created small-scale clay models of three different forms, he then intentionally covered their surfaces with his fingerprints. According to the general procedures for modeling and enlargement of these small sculptural models, Sui used workers to first mold his clay models into silica gel molds, then from these molds they were molded into plaster; following this, a laser mapped out the appearance of the plaster model and marked coordinate locations on a grid. This “virtual grid” of the plaster model was then enlarged more than 10 times according to an actual and comprehensive positioning system; these circular coordinates were blown up according to a “circular enlargement” process. An iron frame and wooden supports were constructed according to the requirements dictated by the new dimensions; then wooden rings were built around the wooden supports. Accordingly, the sculpture’s clay frame was built upon these wooden rings, thus completing the basic mold for the enlarged model. The workers then completed the model according to the now enlarged circular coordinates, accurately representing the handprints of the artist’s original model. Ultimately, the artist’s clay sculpture is perfectly enlarged ten times its original size; it becomes an enormous sculpture with monumental quality.
Throughout this process, by virtue of the integrated and established procedures for enlarging and creating a public sculpture, the artist’s private imprint and haphazard impressions on the original clay model are translated into a public sculptural product. This enlarged sculptural product embodies the artist’s “personal imprint” that has undergone a revealing process of magnification that holds nothing back from the public, thus evolving into its public existence and experience. This is a logical manufacturing method controlled by regulations and procedures that are executed by others, and the sculptural product’s monumental weight endows it with a “personal imprint” that exceeds the individual experience and enters the conduits and the very foundation of the public sphere. Ten years ago Sui Jianguo appropriated ready-mades in order to completely eliminate any traces of his personal experience from his sculptures, thus transforming them into contemporary art works whose existence is deciphered within the context of public culture. Ten years later, in “Revealing Traces” the artist sculpts his own haphazard imprint; through this public amplifier he enlarges them, thus achieving a communal process. Once one’s personal fingerprints have been enlarged, it appears as if a giant has left behind an imprint; from individual to a colossus, from average person to god, from personal to public, or from a real person to a superman, these become testimony to the existence of something personal, yet also impersonal. Amidst all this, the system that achieves these sculptures’ magnification assumes a major role.
No matter if they set out to achieve a personal goal or to realize society’s collective vision, they all require the transformation of the individual will into the public will. This is a classical issue, and up until today we are still instinctually using this method. In our society, from the production process, to the formation of life, to the institution of public rules, from the writing and transmission of culture, the establishment of moral standards, and from beginning to the end, individual determination is magnified through various methods and channels, recapitulating and transforming the public will, thus determining our rights and our legitimacy.
“Revealing Traces” is not merely a discussion on the subjectivity of the artist’s ideas or of the transformation of an individual’s imprint; on a broader level it reveals the source of the public will: the personal desires, aspirations, ambitions, ideology and values of the individual. Even though the manufacturing process is executed and manipulated by others, it is rationally produced, and its propagation and circulation is completely impersonal; the result is the enlargement and intensification of the individual’s desires and existence. Draped as a cloak of universality and legitimacy, this kind of existence is concealed everywhere around us, and it governs us through its various resurgent devices. These anonymous and invisible forces impose a powerful influence on society, from architectural entities, urban planning, intangible social rules, moral concepts, value judgments and even to national ideology. In such a reality, “History has withered to become the now, everything revolves around the individual’s personal gain and the individual’s life.”
【編輯：霍春?！?/DIV>
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