巫高计划
Wugao project
艺术家：孔德林 & 托恩·泽弗
Artists: Kong Delin & Ton Zwerver
特别感谢：安安、鬼叔中、黄仕红、雷明梁、邱主任、王乐生、巫书记、杨韬、杨剑雄、张健、张海粮Special Thanks：An An、Gui Shuzhong、Huang Shihong、Lei Mingliang、Secretary Mr. Qiu、Wang Lesheng、Secretary Mr. Wu、Yang Tao、Yang Jianxiong、Zhang Jian、Zhang Hailiang
巫高计划源于孔德林的关于自身的一些困惑，生于宁化的他在今年的清明期间，将轴和艺术家Ton Zwerver一起带到了位于福建西部宁化县的巫高，在这个接天连地的荒村里遭遇深山的时间。不同的语言阻断了两位艺术家的直接交流，因此巫高计划实则是一次在失语状态下于闽西乡村——一个被我们忽视之处的旅程，两者借由作品无声对话，它甚至没有观众。而山野有声，植被和青苔将掩盖所有的痕迹。
Wugao project came from confusions from Kong Delin, who was born in Ninghua. This Tomb-Sweeping day, he brought Axis Art Project and Ton Zwerver together to a mountain village, Wugao, which is 13 miles away from Ninghua. They explored the remote mountains as outsiders during the three days.Two artists can not communicate directly because of the language barrier. So the project is more like a speechless journey in the southwest village where is normally ignored. Dialogue actually happened between their art works, quietly, even without the audience. But the wind talks in the mountains, the green and lichen will cover all vestige.
巫高是一个近乎无人的村落，一行人此时的进入，就像被带入母体的子宫里，消失于一片郁郁生林。
孔德林将自己和城市都比作大病一场的身体，而乡村就是那个病症根源，这种产生于意识中的隐痛让他不断需要回到故乡，亟望得到修复。他在寿木上种植青苔，他在废弃的房屋上画画，“修”与“补”无法真正解决乡村的“问题”，却期予以回应。 Ton以一个局外人的视角，通过“瞬间的雕塑”将那些已经丧失掉使用功能的物件重新组合成他对乡村的想象。同时，他又像是一个游荡者，与存在于记忆中的面具一起实现一场与巫高的相遇。不同的语言阻断了两位艺术家的直接交流，因此巫高计划实则是一次在失语状态下于闽西乡村——一个被我们忽视之处的旅程，两者借由作品无声对话，它甚至没有观众。
而山野有声，植被和青苔将掩盖所有的痕迹。
Wugao is a deserted village. We walked into the very original land and then disappeared in the forest.
Kong Delin regards himself and the urban cityas an ill body caused by the village. All the pains in consciousness push him to go back to hometown again and again for curing. He planned lichen on the coffin woods and painted on the abandoned house. All these efforts can not solve the root problem of the village, but a response. Ton Zwerver, from the perspective of an outsider, reassembled functionless objects into the imagination of village by‘sculpture for the moment’. He is also astraggler meeting Wugao together with the masks in his memory.Two artists can not communicate directly because of the language barrier. So the project is more like a speechless journey in the southwest village where is normally ignored. Dialogue actually happened between their art works, quietly, even without the audience.
But the wind talks in the mountains, the green and lichen will cover all vestige.
艺术家自述&作品
Artist Self-Statement & Work
"巫高"这样的实景也只有算了最好！围绕＂修＂或＂破＂将错就错的办法，来揣测它的不详、增加更真实的危险和隐隐的不安感，必须更彻底、更混乱的折叠、行动，才能更清晰的将其发散、支解开来。我很珍惜这次我们失语状态下的发生，我们语言上的障碍是天意，恰好更直接的指向那接天连地的深山荒村。我们可以在那荒芜的山腹里默默地做事情，我们彼此成为作品的一部分。想起来都很有趣！——孔德林
这次研究主要是尝试实现“瞬间的雕塑”。在中国，我是个来自欧洲、对传统文化知之甚少的“局外人”。巫高是一个废弃的村子，很多屋子都空着，仅有五户人家还居住在那里。当我们游走其中，有许多关键词瞬间涌入我的脑海：传统、无常、依附、变化、拒绝、前进、分离，这里的记忆、灵魂，岁月变迁，唯其不变。我试图把这些与这里留下的灵魂相连。——托恩·泽弗
I can not do any more with Wugao. The village should be folded or fragmented thoughtfully, chaotically and diavergingly to surmise its feeling of real misfortune by the right mistake, repairing or breaking.I also treasure the way of aphasia happened between us. The language barrier seems to be the providence, which refers to the remote mountains and village directly. We can do something in silence and even become parts of each other's work. All these should be interesting. ——Kong Delin
This research focussed on the making of new “sculptures for the moment”. I was confronted with the fact that I am an outsider in China, coming from Europe, with not much knowledge of their specific traditions and history.As we looked around a lot of houses were empty and there were only five families still living there. Many key themes came into my mind, such as: Tradition, transience, attaching, changing, rejecting, advancing, detaching, the memories, the spirit of the place, the changing time, longing for whatever it was. I tried to make a connection with the spirit of what was left over. ——Ton Zwerver
孔德林，《巫高计划·画符和日记》，巫高废弃建筑墙面，墨 ，尺寸可变，2017
Kong Delin，Wugao Project · Writing Spell and Diary，Abandoned Walls; ink ，Variable，2017
托恩·泽弗，《瞬间的雕塑06072017》 ，摄影，60*40cm、40*60cm， 2017
Ton Zwerver， Sculpture for The Moment 06072017， Photograph，60*40cm、40*60cm， 2017
一个由宁化特产手工玉扣纸搭建的通道，通道顶部灵感来源于巫高村的房屋
A passage made of handmade Yukou papers from Ning Hua，The top of passage inspirated from some houses in Wu Gao village
滚动中的雪球八 Rolling Snowball 8
由厦门中国欧洲艺术中心策划并组织、与三影堂厦门摄影艺术中心联合主办的第八届“滚动中的雪球”中荷当代艺术联展。第八届“滚动中的雪球”以《归》为题，探讨“家”和“回归”这两个概念在物质和精神层面的存在形式及美学意义，探究“别处”的别样美学。
CEAC has curated and organized the 8th edition of "Rolling Snowball", co-hosted by Three Shadows Xiamen Photography Art Centre. Titled "Homecoming", the 8th edition of "Rolling Snowball" discusses the form of existence and aesthetic significance of the concepts of home and returning home, exploring the aesthetics of "elsewhere".
厦门中国欧洲艺术中心 CEAC
中国欧洲艺术中心于1999年与厦门大学艺术学院共同创建，由荷兰籍伊尼卡·顾蒙逊女士和厦大艺术学院秦俭教授联合发起，为非营利艺术机构。其核心的国际艺术家驻馆项目是中国大陆开始最早及运营时间最长的驻馆项目之一，接待来自世界各地各个创意领域的视觉艺术家、设计师、策展人、作曲家和作家等等。
The Chinese European Art Center (CEAC) was co-founded by Mrs. Ineke Gudmundsson from the Netherlands and Professor Qin Jian from Xiamen Univeristy Art College in 1999. A non-profit multi-disciplinary art center, CEAC hosts one of the first and longest running Artist-in-Residence programs in China open to visual artists, architects, designers, curators, composers and writers from around the world.
三影堂厦门摄影艺术中心 Three Shadows Xiamen Photography Art Centre
三影堂摄影艺术中心是国内首家以摄影作为主要内容的民间专业当代艺术中心。由中国当代摄影艺术家荣荣和他的妻子、日本著名摄影艺术家映里共同创办。自2007年6月成立以来，三影堂致力于成为最高水准的摄影展示、推广、国际交流与挖掘中国当代摄影艺术的平台。
In June 2007 two leading photographers – RongRong, from China and inri, from Japan – founded the Three Shadows Photography Art Centre. The Centre is the first contemporary art space dedicated exclusively to photography and video art in China.Three Shadows aims to become the most professional and comprehensive platform for the promotion of photography and video art in the country.
︎︎︎