The word "model" is a product of the industrial age, which is the reproduction of the material form or thinking form of the essential characteristics of the structure, function, attribute, relationship, process, etc. of the archetypal object, representing systematization, automation and production efficiency. The concept of "hypermodel" in this exhibition is derived from the abstract features and modular creation methods in the works of artists. Their cognition and processing mechanisms of visual images can be regarded as different "models", constructed with differentiated artistic practices significance.
Model' is not only a physical visual representation, but also a thinking paradigm in an abstract sense; it is the intersection of what French philosopher Jacques Rancière called "organizational structure, code of conduct, emotional model and thinking paradigm". Different from the logic of the supremacy of industrial production efficiency, artists use traditional handmade and perceptual visual experience to mark the boundary between art and "artifacts as a model of the world", strengthening the artistic logic and artistic logic of their own works. The way it was generated.
The 'model' they created is a model of human intelligence, a code of abstract thinking, beyond the world framed by technology and thinking systems, beyond the shackles of picture frames and media. It can be regarded as an escape and reflection on the "era of mechanical reproduction", resisting the erosion of industrial civilization and the hegemony of modern technology with potential power.
Curator: Liu Lei
超模型Hyper Model·唐骁作品现场，"风平浪静/Meeresstille"，湖北美术学院美术馆，武汉，2022图片：©️Bitrump，致谢艺术家与美术馆Hyper Model,Tang Xiao's Artwork Site,Meeresstille,HIFA Art Museum,Wuhan,2022Photo：©️Bitrump，Thanks to Artists and Art Gallery
这一次，他更柔软。仿佛站在远洋的甲板上，目光抚摸信号旗。信号旗是可以贴在脸上的，远方空气中的语言。艺术家只表明了一种对现状的期望：风平浪静，波光潋滟。可惜大海从不安分，凶险莫测。为何武汉深处内陆腹地，也仿佛在大海上？祖国的东海、南海，浪拍岛礁的声音，与长江大桥下涡流的声音，夜深人静难分彼此，而龟山就是阳明山，东湖就是日月潭。这艘美术馆船，载着满船的艺术家，他们临时充当船员，透过舷窗窥看，等待信号旗出现。潋滟的和平，渐欲迷人眼。信号旗如万国国旗，其中的一面旗，竟与乌克兰国旗撞脸，此旗的信号是：我希望交流（I wish to communicate）。他们谛听着雾钟的声音，绕过暗礁，小心艺术卷入现实的漩涡。美术馆船的吃水线，也考验着镇舱石——真实之心的分量。随时准备抛锚，放下艺术家身份；而装载的货物——作品，渴望顺利到达彼岸港口。
The civil will of this architecture once tried to rush out from the wall or floor, presenting a three-dimensional geometry, like wooden thorns and scars, and the deep and noble decorative flat paint echoed the Mediterranean or Tang civilization, satisfying a The residual painting desire of abstract painters. In the indifferent white walls and the public space where people walk around, silently spread a skin-friendly message that is eager to get close to you, the message of wood. The difference between civil architecture and marble architecture is that the latter freezes the desire for eternity and tries to reach heaven, while the former looks down on eternity and expects itself to be destroyed by a fire or riot. Therefore, enjoy yourself in a timely manner. Chinese architecture is a dwelling on the land of carpe diem, if you have to say Su Shi and Heidegger together.
Since the artist's actual conception and exhibition place is the space of the contemporary art museum, it is more meaningful to replace most of the marble with reinforced concrete. Reinforced concrete is more ferocious and fleeting, multiplying without order, and the skin-friendly nature of wood turns into a metaphor for how human nature is attached to this barbaric modern jungle, restless and luxurious. Tang Xiao once had some tree trunks in Tan Hualin undergo orthopedic correction surgery, but the steel nails for the splints couldn't bear to be nailed down anyway. Steel, wood and shadow confronted each other like this, a composition hanging on the wall.
This time, he was softer. As if standing on the deck of the ocean, looking at the signal flag. A signal flag can be stuck on the face, and the language in the air is far away. The artist only expresses an expectation of the status quo: calm and sparkling. It's a pity that the sea is never restless and unpredictable. Why does the deep inland hinterland of Wuhan seem to be on the sea? In the East China Sea and South China Sea of the motherland, the sound of waves lapping on islands and reefs, and the sound of eddy currents under the Yangtze River Bridge are indistinguishable from each other in the dead of night, and Guishan is Yangmingshan, and East Lake is Sun Moon Lake. The gallery ship is full of artists, who temporarily act as crew members, peering through the portholes, waiting for the signal flag to appear. The sparkling peace gradually becomes charming. The signal flags are like the national flags of all nations, and one of the flags collided with the Ukrainian flag. The signal of this flag is: I wish to communicate (I wish to communicate). They listened to the sound of the fog clock, bypassed the reef, and carefully avoided the art being involved in the vortex of reality. The waterline of the museum ship also tests the weight of the ballast stone—the heart of truth. Ready to drop anchor at any time and let go of the identity of an artist; while the loaded cargo—works, is eager to reach the port on the other side smoothly.
When the audience enters the museum ship and walks along the deck, they feel a row of signal flags that are slightly as high as people with their bodies. In this part, the visual symbols of international navigation have been appropriated as an abstract style of "wall hangings", where knowledge and sensibility are equally important. Intellectual: Audiences who don’t understand navigation need to understand what each flag indicates individually; emotional: fiber is more skin-friendly than wood, and you can put the flag on your face and feel its warmth with your breath. The signal flag is used as a symbol of communication and mutual assistance between ships on the vast sea, and it can be said to be a real language of a community of shared future. With the addition of decks, portholes, fog clocks and other installation components, the situation of a ship is simulated. This maritime community ship is also a hydrographic ship in the Yangtze River Basin. As the "Map of the Yangtze River Basin" embedded with signal flags comes into view, the museum ship unfolds a second layer of meaning to the audience.
Why is the signal of navigation embedded in the "Map of the Yangtze River Basin"? The hydrology of a place is the basis for the existence and development of all aspects of the national economy such as agriculture, transportation, and industrial production. In the context of globalization, the Yangtze River Basin has long been embedded with the world economy and it is difficult to decouple. Artists have a lot to worry about. The bitterness of this work can be related to his journey of seeking Chinese abstraction after staying in Germany for many years. He insisted on retaining the spatial aspect that embodies the characteristics of Western art, instead of turning to the labor-intensive line (so-called maximalism) that embodies the timeliness and feeling of pen and ink. Criticize the alienation of modern dwelling. It is Tang Xiao's unique regional proposition to incorporate river transportation into the maritime symbol system and use cooperative signals in the vast sea to intervene in the navigation and irrigation of the Yangtze River Basin. In this way, "landscape" should develop into "mountain and sea", instead of repeating the self-sufficient and difficult to accommodate heterogeneous pen and ink realm. In order to strengthen the historical depth of his regional concept, Tang Xiao found a copy of "Historical Records of Hubei Water Transport" compiled by relevant departments in 1983. Fortunately, this book turned out to be a handwritten mimeograph, which contributed to the "readability" of the exhibition. "It adds a lot of color. According to T.S. Eliot in "Tradition and Individual Talent", the conceptual embedding of pennants in inland water transportation must also extend into the history of local water transportation, that is: if there is time to go back and analyze the historical situation of water transportation , we will pay attention to the potential impact of international material trade. Of course, the above-mentioned production including the map of the Yangtze River Basin is only to express an artistic concept.
Now on to the third semantic level of the gallery ship. Those densely packed small signal flags lined up unknowingly are actually a little poem by Goethe. According to the knowledge about signal flags, each signal flag corresponds to a fixed letter. The artist actually used this as a code to replace each German letter in Goethe's octet "The Tranquility of the Sea" with a signal. picture.
There is a translation of this poem by Fan Xiuzhang, a famous German translator and translator of Goethe: "The sea is still unaware, / The sea governs the silence, / The boatman is worried / Looking around is smooth. / The dead silence is palpitating, / There is no wind around! /In the vast expanse of the sky/I can’t feel the sound of waves or shadows.” It’s hard to say the depth of connection between Goethe’s poetry and Tang Xiao’s intentions. The conversion of the poetic text to "abstract painting" is not so much a reference to Goethe's poems as an alternative, but rather a reminder to us that the crisis awareness, globalization and locality, and museum space involved in the work were originally just a kind of poetic thinking. The transitivity of artworks comes from the awareness of artistic language. Therefore, we should not get lost in the theme of the work, that is, the social narrative, but should openly perceive the installation components and situations gathered in the name of thought. These symbols-objects are loaded on the ship of the museum, trying to awaken the experience and imagination of the audience.
"The Calm Sea" contains a kind of retrospective thinking brought by Tang Xiao, an abstract painter, to conceptual art. Conceptual art did not evolve from abstract art, but both share the same origin of art. A lot of what the artist has experienced and thought about in the three years since the epidemic has been hidden in these seemingly distant and irrelevant symbols-objects: the vast sea prompted by signal flags, the sharp reaction of staring ahead, the language under the rules, The willingness to stay rooted in the soil and maintain an open heart, as indicated by the watershed map and water transportation data... These are all images distilled and purified under one emotion.