WS Gallery欣然呈现《我忘记了那个问句I've Forgotten The Question》，展览由香格纳画廊支持并联合举办。展览集中呈现了施勇近十年内围绕文字语法与物的切割重组作为创作方法的系列作品，包括《让所有的可能都在内部以美好的形式解决》、《规则之下》等，以及新创作的装置《幸福250-A》。展览特别呈现了一件艺术家于世纪之初的创作《你可以飞得更高》，作为那个遥远语境下的幻觉现实，与其它近十年来创作的作品形成了有意味的上下文关系，引导观众进入施勇与现实环境紧密关联的自由且充满抵抗性的观念艺术创作之中。

WS Gallery is pleased to join hands with ShanghART Gallery to present the exhibition I've Forgotten The Question opening on APR 19, 2023.The exhibition focuses on a series of works by Shi Yong, who used textual grammar, the cutting and reorganizing of objects as a creative method in the last decade. Examples include Let All Potential be Internally Resolved using Beautiful Form and Under the Rule-H, as well as a new installation, Xingfu 250-A. In particular, the exhibition presents You Can Fly Higher, a work created at the beginning of the century and a hallucinatory reality in that distant context. It has formed a meaningful contextual relationship with other works created in the last decade. It also guides the viewer into the artist's conceptual art creation full of free and resistant spirit, and is closely related to the real environment.

我忘记了那个问句

2023

树脂，铝板，石墨粉

110(H)*130*11cm

幸福 250-A

2023

摩托车物件，钢

135(H)*640*420cm

你可以飞得更高

2002

影像，药盒，钢，霓虹灯，充气床

让所有的可能都在内部以美好的形式解决 No.19

2015

镜面不锈钢，欧松板，铝，油漆

120(H)*90*18cm | Crate 140*110*30cm

展览标题取自同名作品《我忘记了那个问句》，这句话节选自乔治·巴塔耶的著作《不可能性》。原文“我忘记了那个句子：伴随它的是一种明显的变化，好像切断联系的顿悟。”施勇将其中的“句子”改写为“问句”，为观者留下想象空间的同时，也直接指向了艺术家“干预”式的创作方式：对包括文字在内的现实生活进行语法重构。施勇像个游戏者，他以另类的角度观察生活中的日常物，以切割、重组、抹去等创作手法强制介入其原本的运行轨道，从被干预的习惯中揭露隐藏的权力现实。

The exhibition title is taken from the homonymous work I’ve Forgotten the Question, a quote from Georges Bataille’s book The Impossible. The original text reads, “I’ve forgotten the sentence: it was accompanied by a perceptible change, like a trip release cutting the ties.” Shi Yong rewrote the “sentence” into a “question”, leaving room for the viewer’s imagination while directly pointing to the artist’s “intervention” style of creation: the grammatical reconstruction of real life, including words. Shi Yong is like a game player, who observes everyday objects from an alternative perspective, forcibly intervenes in their original orbit of function by cutting, reorganizing and erasing them, and reveals the hidden reality of power in the intervened habits.