《绘画即消息》第一季第二集
S1: E2 The Painting is The Message
"Ziyang & Charmian"
Duration
时间
2021. 05. 07 - 2021. 05. 15
Venue
场馆
No. 0 Hall， Art Museum of Nanjing University of the Arts
南京艺术学院美术馆 零展厅
Artist 艺术家/
Sima Yuan 司马源
Produced by Yamin Wang and Jiang Hanfei
制作/王亚敏 蒋涵菲
Team 团队
Jiang Hanfei 蒋涵菲
Wang Ziyang 王紫阳
Charmian Niu 牛畅
Di Zhengjie 狄政杰
Yamin Wang 王亚敏
本项目中，司马源延续了她一贯的创作方式，在物质实践层面并不去“做什么”，但却形塑了观念本身。2019年至2021年间，司马源在一家艺术留学机构兼职的同时，以两名学生——Ziyang（男，19岁）和Charmian（女，17岁）的观念作为材料进行创作。她用“辅导摄影作品集”的方式完成了一种形塑艺术创作趣味和品位的实验行为，并接受任何可能的结果以及探讨从任何立场提出的问题。
司马源利用每周给学生上课的机会，以各种方式形塑学生的审美观和创作思维，并将他们被“塑造前”和“塑造后”的结果以展览的形式呈现出来。每一件作品都是在漫长的教学过程中产生的交流、对话 、争论和妥协的结果。司马源探讨了她和学生们在这一过程中产生的关系。作为老师，她形塑了学生们的创作观念，但是他们被形塑的结果以及他们对此结果的认可与否才是问题的实质——在这个意义上，无论老师还是学生都只是处于艺术审美权力生态链上的不同位置而已。更高层面的艺术趣味和品位的区隔，以及治理与被治理关系，通过这样一种实验性的行动被提出来。
如果说，两位学生的创作观念曾是被限定在“创作者——作品观念——受众”这个链条内部被理解的，那么司马源的实验则是站到了这个链条之外的位置，对其本身施加影响、改造和质疑。一方面，她根据当代艺术审美趣味这个“大他者”给学生们提出指导，另一方面，学生们其实也在追逐这个“大他者”的认可。所以在整个“塑造”与“被塑造”的过程中，双方并非是对立的，而是某种愿望和手段的结合。
塑造者与被塑造者的想法如何在同一件作品中显现出来？两者之间最终达到的结果，是一个什么样比例的中间值？司马源通过本展览呈现了上述议题。
In this project, Sima Yuan continued her previous creative methods. She does not deliberately "make things" in material practice, but shapes the concept itself. From 2019 to 2021, while working part-time in an overseas affairs service agency, Sima Yuan used the cognition of the two students，Ziyang (male, 19- year-old) and Charmian (female, 17-year-old)， as material to create. She has completed an experimental act of shaping the interest and taste of artistic creation by means of "counseling photography portfolio". And she accepts any possible results, as well as discusses questions raised from any standpoint.
Every week when Sima Yuan teaches her students, she reshapes the aesthetic standard and mode of thinking of them in various ways and presents their "before and after" works in the form of exhibition. Each work is the result of communication, dialogue, controversy and compromise during the long teaching process. Sima Yuan discussed the relationship between her and the students during this process. As a teacher, she shaped the ideas of the students, but the results of the shaping and their recognition of the results are the essences of the issue. In this sense, both teacher and students are just in different positions in the ecological chain of artistic aesthetic power. The distinction between artistic taste at a higher level, as well as the governance-governed relationship, is proposed through such an experimental action.
If the views on the art of the two students were once understood within the chain of "Creator-Art concept-Audience", then Sima Yuan's experiment stood outside this chain and exerted influence on it, as well as transforming and questioning itself. On one hand, she provided guidance to the students based on "the Big Other", the aesthetic taste of contemporary art. On the other hand, the students were actually chasing the recognition of "the Big Other". Therefore, in the entire process of "shaping" and "being shaped", the two sides are not opposed to each other but in a combination of certain desires and means.
How do the ideas of the shaper and the shaped appear in the same work? What is the intermediate value of the final result between the two? Sima Yuan presents the issues above through this exhibition.
司马源 Sima Yuan
司马源，生于北京。先后毕业于南京大学和伦敦艺术大学（LCC学院)。获理学学士（B.S.）、艺术学硕士（M.A.）。作为一名具有科学和艺术双重背景的艺术家，司马源的作品在逻辑之下兼具感受力。她通过日常生活的个体经验，反应时代环境赋予个体的角色意义。对她来说，消费时代和网络时代是激发艺术创作和想象的来源，借此唤醒观众对当下人类真实处境的思考。
部分个展：获取，望远镜艺术家工作室，北京，（2019）；觉知，尚8美术馆，北京，（2018）；第二性，第十届连州国际摄影年展，连州，（2014）；另一个欧洲，中央圣马丁艺术与设计学院，伦敦，英国，（2010）等。作品曾在英国FORMAT国际摄影节、济南国际摄影双年展、挪威卡布索美术馆(Kabuso Art Museum)、泰达当代艺术博物馆、中华世纪坛、天津美术馆、元典美术馆、501-序空间、無同空间等机构展出。
Sima Yuan, born in Beijing. B.S. from Nanjing University. M.A. from London College of Communication, University of the Arts London. As a professional scientific background artist, Sima Yuan's works have artistic sensibility under the logic of science. Her work reflects the meaning of the role of the environment in this era through the individual experience in daily life. For her, the age of consumption and the Internet age are the sources of artistic creation and imagination, thereby awakening audiences to think about the real situation of human beings.
Main solo exhibitions: Acquisition, TELESCOPE, Beijing, (2019); Awareness, Shang 8 International Art Center, Onyx Gallery, Beijing (2018); The Second Sex, the 10th Lianzhou International Photography Festival, Lianzhou, (2014); Another Europe, Central Saint Martins College of Art and Design, London, UK, (2010), etc. Her works have been known in FORMAT International Photography Festival ( UK ), AMNUA, Jinan International Photography Biennale, KABUSO Art Museum (Norway), Ingallery, CITIC Bank, The China Millennium Monument, Tianjin Art Museum, Rong Yi Art Museum, Yuan Art Museum, 501-XU SPACE, Wooton Gallery, etc.