on paper one 藝術家書

01-26

on paper one

陳彧君、高露迪、簡策 × 程昱崢、韓磊、賀勛、蔣志、雎安奇、鞠婷、林科 × tria、肖武聰、許炯、渣巴、翟倞、紙今

11.25 - 12.10, 1- 5pm @ zapbeijing

有很長一段時間我都在思考，什麼才是真正的「藝術家書」，此間這類展覽也很多，為什麼還要做一個「藝術家書」的展覽呢？，現在慢慢比較明確的是「什麼不是藝術家書」。在Google或者Bing輸入「Artists』 Books」，跳轉出來的圖片都是一些偏向工藝感的書，書和紙張變成了材料，我覺得這類很肯定不能稱之為「藝術家書」，用一本書作為材料去做作品並不會比用一摞A4紙做作品增加更多的「文學情懷」，勉強的一點跟「書」的概念上的鏈接也是作者強加的幻想。再看市面上製作精美，技術考究的藝術家出版物，這類書只是藝術家某個階段作品的呈現和記錄，這裡面包含優秀的設計師和資深編輯的大量工作付出，也是出版社和藝術機構的售賣印刷品和宣傳品，亦不能歸類到「藝術家書」。我認為「藝術家書」是藝術家因為職業特點對書的獨特理解和認識，並實際參與或獨立製作的書；書是重要的載體，中間始終貫穿藝術家的思考和創作理念。藝術家書還是一本書。

我在2017年4月份創立on paper。 on paper有三個分支，＃on paper_另存＃以設計項目為主，此前的設計案例包括蔣志、彭薇、郝量、鞠婷、翟倞、高露迪等藝術家的畫冊，moonstop獨立設計師品牌redesign和小小不言影視傳媒的logo等。這個展覽是第二個分支#on paper_未命名#所做的項目，#on paper_未命名#將以展覽以及其它多元方式推動「藝術家書」這一重要藝術門類深入藝術家和藝術觀眾的生活經驗中去。展覽名稱「on paper one」，既是on paper的第一個展覽，也是書本紙張的第一頁，項目將持續進行，我也希望更多的藝術家創作「藝術家書」參加「on paper two」。＃on paper_lab＃——「紙上一切可能性之探索」，做各種與紙相關的嘗試，內容相對來說更活潑開放，是為第三個分支。

簡策 Ce Jian，2015，K2，PVC列印，線裝 PVC print, traditional thread binding，29.3×20.8cm，7P

渣巴 Zha Ba，旅行 Journey，2003/2017，數碼列印 digital print，18×16cm，1000P

書在翻閱過程中會形成一個臨時扇形空間、或因為書頁阻隔形成一個絕對隔離的連續空間。這次展覽中，除了特別為該展覽創作的作品之外，一部分藝術家此前一直以書為題材進行創作。比如簡策的這本《K2》，書打開時就是一幅可以被分解成很多層次的畫，作者通過透明，穿越了書頁，形成了一個新的閱讀。翻閱的過程中山景跟著變化，同時藝術家的創作還有「變形風景」和「電腦山脈」系列繪畫；渣巴的《旅行》是在莫蘭迪的一張畫里的旅行，莫蘭迪通過擺放瓶子、靜物，減緩了光的速度，得以使時間在一張畫里停留；我的作品《停頓》，原書被裁切成3或5本，裁切後的書成為一本新的書，並不是原書的「局部」，新書擁有自己的邊緣和邏輯。詩歌和小說則因為文本斷裂而發展為一種帶「想像」的閱讀；書籍裝幀專業出身後又成為攝影師的韓磊，多年前便開始製作手工攝影書，這次尋來他早在2006年創作的作品，取掉照片的相冊里，固定照片的心形壓角是一個社會學的描述，相當於一個紀錄片。高露迪的《Friedrich》，將其2011年的一本畫冊的圖版部分挖去，書的體例保留了，「內容」沒有了，但挖出的「虛空」成了新的內容，一種荒蕪感。

紙今 Zhi Jin，停頓Pause，2017，印刷品 paper presswork，海子 Hai Zi: 5.1×14.1×2cm；紅樓夢 A Dreamof Red Mansions: 7.2×14.8×3.3cm；Borremans: 7.1×15×1.2cm

高露迪 Gao Ludi，Friedrich，2017，綜合材料 mixed media，23.5×21.5×5cm

韓磊 Han Lei，襯托物 Foil，2006，相冊現成品 photo album，15.3×20.3×4cm

今年夏天，我給翟倞做畫冊的時候，翻閱了他近五六本厚厚的筆記本，他在正式進行布面之前，會有大量紙上的水彩或其它材質的手稿以及閱讀筆記的準備，很真誠，他甚至在創作的時候應該都不會意識到「我這是在做一件作品」，這是無意識地創作了「藝術家書」。

翟倞 Zhai Liang，筆記 Notes，筆記本 notebook，25×20×2cm

我覺得書本最重要的是「翻閱」，「藝術家書」如若不能翻閱，那隻能是一種視覺上的「概念」，不能產生藝術上的感受。書籍也不能產生任何意義，所以展覽里所有的（除了小部分昂貴的借展收藏品，以及因年代久遠紙張容易破損的）書本，都可以翻閱。出於對作品尊重，請佩戴手套仔細翻閱，在書頁翻轉時間裡體會藝術家書的不同感受，而不是獲取每一頁的印刷信息。不開放翻閱的作品，zap空間的工作人員將集中為大家導覽。

on paper感謝寬雲先生支持的《祖國名山影集——盧施福攝影》和《The Grandeur of The Gorges》。

－－－－－－－

on paper one

chen yujun, gao ludi, ce jian × cheng yuzheng, han lei, he xun, jiang zhi, ju anqi, ju ting, lin ke × tria, xiao wucong, xu jiong, zha ba, zhai liang, zhi jin

11.25 - 12.10, 1- 5pm @ zapbeijing

I have long been considering: what is an artists book? At this moment, seemingly there are many exhibitions similar to the one we are presenting, so why an exhibition of artists』 books now? I gradually come to the idea of "what is not an artists book." Googling "artists book," you will see a large number of books that are very decorative in nature. The book and the pages are all rendered materials. I think, definitely, this is not "artists books." These books are no more 「artistic」 than say works that are made of a pile of A4 papers; and the connection between these products and the concept of book is merely a forced fantasy. There are also a number of beautifully produced, technically advanced artists publications: these are merely presentations and records of artists works. Included in publications as such are brilliant designers and senior editors large amount of output, but the publications themselves are more for promotional and commercial purposes, so we cannot properly call these "artists books" neither. I think an artists book is a certain artist』s unique understanding and acknowledgement of the concept and form of book, and the artist has to be heavily involved in the making of it. Book is an important medium, that gives form to the artist』s philosophy. An artist』s book is a book.

I founded on paper in April 2017. It consists of three parts. ＃onpaper_save as＃deals chiefly with design projects, and has previously worked with artists such as Jiang Zhi, Peng Wei, Hao Liang, Ju Ting, Zhai Liang, Gao Ludi and others, the independent designer brand redesign by moonstop, and logos of mini cine, among many other projects. The exhibition here belongs to the second part, #on paper_untitled#, which is an endeavour to spread the important genre of artists book into the experiences of artists and the audience, via exhibitions and other forms. The title of the exhibition, on paper one, speaks about the fact that it is the first exhibition, and also about the first page of a book. As it goes, I hope more artists could be involved in the future on paper two. The last part is ＃on paper_lab＃. I call it "an exploration of all possibilities on paper." We carry out experiments on and of paper, in a lively, open fashion.

Reading a book, a reader creates a temporary fan-shaped space, or a continuum that is marked somehow strangely by absolute separation created by the numerous pages. In this exhibition, there are both commissioned works and existing works evolved around the theme of the book. Ce Jians K2, for instance, is a book that can become a picture of many layers. The artist uses transparency to create a new kind of reading - the landscape changes as one reads. Zha Bas Journey is effectively a trip in a Morandi』s painting, in which the speed of light is slowed and time stands still. My work Pause is cut into three or five books; the newly created books are not parts of the original one, but control their own frames and logics. Han Lei was previously trained in book design and binding, and he now practises in photography and has been making handmade photobooks for years. We have included in the exhibition one of his works made in 2006, which is an used but empty album, explored in a sociological, documentary way. Gao Ludi』s Friedrich is a reduction of one of the artists catalogues published in 2011. The book is still the same; just that all the images are gone. The newly created void becomes the new content that is effectively a ruin.

When I was working on Zhai Liang』s catalogue this Summer, I went through his five or six very thick notebooks. Before creating a painting on canvas, hed make a large number of studies and writings on paper. It seems to me to be a very sincere act, so much so that maybe he himself is unaware of its significance. This is an unconscious making of an artists book.

藝術的準備之一 Preparation for Art I，2014-，速寫簿 sketchbook，20.8×14×3.3cm

雎安奇 Ju Anqi，郵包 Post Parcel，1999，劇本手稿、劇照、信紙 script, c-print, letter，劇照 stage photo: 8.6×12.6cm×5；劇本 script: 25.6×18.2cm，22p

I think the most important thing about books is the act of reading, flipping through. A book is not a book if it is only a visual concept, something that cannot be physically and tangibly experienced. In the exhibition, you can flip through all the books, besides a small amount of fragile and aged publications. Out of respect for the books, please put on some gloves. We encourage you to experience it, to treat these as different experiences instead of various pieces of information. Staff from zap space will introduce to you the pieces that are not available for touching.

Many thanks from on paper to Mr. Kuan Yun for his loaning of the 《National Famous Mountains - Photography of Lu Shifu》and 《The Grandeur of The Gorges》

主辦 Organizer: on paper

展覽地點 Venue: zapbeijing (Opening: Thu. - Sun. / 13:00 - 17:00)

798藝術區01商務樓南樓316（798藝術區2號門前行100米，工美樓路口左轉15米，再左轉15米，紅色拱門，上3樓）

Room 316, 01 Business Building, 798 Art District (100 meters in from the 2nd Gate of 798 Art District, turn left at the Gongmei Building crossroad, 15 meters forward, turn left, 15 meters forward, on the 3rd through the red arch)

＃ on paper ＃

左頁右頁，或正、背

＃ on paper_另存＃

幫助藝術家建立一個新的形象，「另存」正式的價值是「另存為」成為的那部分。雖是原料的無損拷貝，卻建立與世界新的溝通的可能，更為兼容的格式。

＃ on paper_未命名＃

一切爭辯都是言詞之辨。未經描述為「山」「水」的之先，我們能領略更多的一切，雖然不能說出。

＃ on paper_lab ＃

紙上可能性之探索。

聯繫：on_paper@outlook.com

新浪微博：on_paper

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