“杂妍糅蚩”——宗宁个展

策展人：段君

开幕时间：2018.9.16   16：00

展览时间：2018.9.16 -2018.11.30

展览地点：北京市朝阳区草场地红一号院A2 希帕画廊

Blended——Zong Ning Solo Exhibition

Curator：Duan Jun

Opening：2018.9.16  4:00 pm

Date：2018.9.16 - 2018.11.30

Venue：CIPA, Red No.1-A2, Caochangdi, Chaoyang District, Beijing

艺术家宗宁、画廊负责人李琳女士以及策展人段君接受媒体采访

Artist Zong Ning, Gallery Director Li Lin and Curator Duan Jun were interviewed

宗宁：杂乱的悲怆

Zong Ning: The Littery Pathetique

李泊岩

Li Boyan

宗宁的作品，让人感觉是某些熟悉的地方，似乎来过，又好像从没来过。来过是因为似乎住过，没来过是因为似乎忘记了。在CIPA画廊完成的最新个展《杂妍糅蚩》，有一个很难直接读出来的名字，它融合两个生僻的词——“杂糅”和“妍蚩”。在字面意思上看，似乎是好坏兼有，善恶并存的意思；从汉语的趣味上看，则体现出一个黑白难辨的杂乱象征。

Zong ning's work feels like something familiar. It seems to have been here, but it seems to have never been. Came because it seems to live, did not come because it seems to forget. The latest solo exhibition "Blended" at the CIPA gallery, "Blended" has a name that's hard to pronounce. In the literal sense, it seems to be a combination of good and bad, good and evil; From the interest of Chinese, it shows a mixed symbol of black and white.

展览现场

在三楼展厅，一张斜摆在展厅中央的行军床上铺着红色毛毯，毛毯上凌乱地堆着一条毛巾被，能确认这上面曾经躺过人。地上，掐灭的烟头零星散落，喝空的矿泉水瓶七歪八倒。还有一大摊灰烬，是15天没有清理的蚊香的自然杰作。这是一个杂乱的生活场景。墙上，是一幅名为《梨花镜》的黑白照片，照片中“女人叉开双腿”的图像，不是真的人而是图画的翻拍。这幅照片的出现让整个环境模凌两可，难以判断。昨晚，可曾是欢愉之夜？这是宗宁的作品？还是一个没有收拾完的住所？或是不对外开放的秘密展厅？这些指向什么，可能不重要，重要的是，宗宁让自己和自己生活的碎片、记忆的片段，一次次走进作品，让生活处境的现实折射在摄影的截取上。

On the third floor of the exhibition hall, a red blanket covered a camp bed in the center of the room, and on the blanket was a ruffled pile of towel quilts, which confirmed that someone had been lying on it. On the ground, stubbed cigarette ends scattered, drink empty mineral water bottles seven tilt eight. There's also a big pile of ash, a natural masterpiece of mosquito repellent that hasn't been cleaned in 15 days. It's a messy life scene. On the wall is a black and white photograph called Boudoir Mirror, in which the image of a woman with her legs apart is not a real person but a remake of the picture. The appearance of this photo makes the whole environment ambiguous and difficult to judge. Was it a night of fun last night? This is by zong ning, right? Or an unfinished residence? Or secret exhibition halls that are closed to the public? What these points point to may not matter, but what matters is that zong ning let himself and the fragments of his life, fragments of his memory, step into his works again and again, so that the reality of life situation is reflected in the capture of photography.

展览现场

宗宁的确有一套自导自演的工作程序，他将取材于上古神话、古代话本、民间传说中的一些故事作为脚本，然后设计并搭建场景，演员则通常是自己、模特和朋友。最后，再通过摄影的框取得到一幅画面。我们在展览中可以看到一楼的两个展厅，分别呈现了作为最终结果的摄影作品，以及一个比摄影更有分量的场景。坦白地说，构建场景是宗宁作品中最为震撼和最具特色的步骤。这不仅仅是一个独特的工作方式，更是“借古喻今”的集中表达。

Zong ning does have a set of self-directed and self-acting processes, using stories from ancient myths, ancient scripts and folklore as scripts, and then designing and constructing scenes, often with himself, models and friends. Finally, a picture is obtained through the frame of the photograph. In the exhibition, we can see two exhibition halls on the first floor, respectively presenting the photography works as the final result and a scene more significant than photography. Frankly speaking, constructing scenes is the most striking and characteristic step in zong ning's works. This is not only a unique way of working, but also a concentrated expression of "borrowing the past from the present". 

展览现场

为展览专门创作的作品《连珠箭》，取材自明代话本小说《二刻拍案惊奇》，如果读了这段小说（第三十四回《任君用恣乐深闺杨大尉戏宫馆客》），便会感受到那种离奇、妖媚、可笑的情节。策展人段君这样概括了这个故事：“宋朝一位京师士人乘着酒兴跳墙误入奸臣察京太师宅院,被院中一群妖艳妇人灌酒恣淫,士人尽管年轻,能放得‘连珠箭’,却无休无歇,完事以后肢体无力,最终被抬出扔到门外。”在一楼右侧的大展厅内，三面墙对应主要情节发生的三个场景。入口处的大宅门，是故事发生和结束的地方；一张硕大的床，是故事的精彩时刻；佛堂，是故事的尾声。三个场景由红色地毯贯穿链接。这一组场景有两个实际作用。第一个作用，是在摄影作品中，由模特扮演的士人和妖艳妇人，在三个场景中完成了最终的图像叙事。第二个作用，当观众走进这组场景中，犹如闯入这则故事，这是一出比图像观看更为奇幻的荒诞剧。

The work "Repeating Crossbow" specially created for the exhibition is based on the Ming dynasty's version of the novel "AMAZING TALES SECOND SERIES". If you read the novel (the 34th edition of "You use the unbridled music to be the loyal lieutenant Yang plays the palace guests"), you will feel the strange, charming and ridiculous plot. The curator duan summarized the story as follows: "in the song dynasty, a scholar from the capital city of China was transported to the imperial palace of the imperial court by a group of charming women, who were unbridled and unbridled. Although the scholar was young, he could release 'the arrow' without rest. After the event, he felt powerless and was finally carried out and thrown out the door." In the large exhibition hall on the right side of the first floor, three walls correspond to three scenes of the main plot. The gate of a large house at the entrance is where the story takes place and ends; A huge bed is a wonderful moment of the story; The buddhist temple is the end of the story. The three scenes are interlinked by red carpet. This set of scenarios has two practical USES. The first role, in the photographic works, is to be played by models as taxi men and women, in three scenes complete the final narrative image. The second effect, when the audience enters the scene, is like breaking into the story, which is more fantastic than the image watching.

展览现场

带入的情境，造戏的荒诞，无理的叙事，神秘的气氛，共同指向人性普遍意义上的不自知。罗兰巴特将图像的意义分为两个层面：一个是“知面” （studium），既大众可以理解的一般知识性层面，另个一个是“刺点”（punctum），就是对观者内心触动的图像细节。宗宁通过场景和图像的双重表达，为图像找到了多“刺点”的逻辑结构，在场景中被遗留的工作细节，如、地毯上留下的脚印、墙上斑驳的颜料、床上卷曲的毛毯、角落里枯萎的植物、佛像前平放的麻绳和木棍……以告密者的姿态，轻声告诉观者：这里不平常，这里发生过什么。

The situation brought in, the absurdity of drama making, the irrational narrative, and the mysterious atmosphere all point to the ignorance in the general sense of human nature. Roland barthes divides the meaning of images into two levels: one is the "studium", which is the general knowledge level understood by the public, and the other is the “punctum”, which is the image details that touch the audience's heart. Through the dual expression of scene and image, zong ning found the logical structure of multiple "punctures" for the image, and the work details left in the scene, such as footprints left on the carpet, paint on the wall, curly blankets on the bed, withered plants in the corner, hemp rope and wooden stick in front of the Buddha In the guise of a whistleblower, the audience was quietly told: this is unusual, what happened here.

展览现场

1865林肯遇难，偏爱拍摄死囚的摄影师亚历山大·加德纳（alexander gardner）用镜头记录下了整个绞刑过程。我们能在照片中看到高墙之外，那些戴着草帽爬上大树的窥探者，还能看到刑场内打伞的绅士。四名死囚被蒙着头，他们作为故事的主角，不知道他们正被拍摄，场景和旁人，在图像中成为了他们的语言。在宗宁的作品中，我们也能找到相似的通过环境表达的方式。《文玩》《半拉山》《三人抱树》等作品中，人物的渺小和无力感，增加了画面空间的能量。荒野的山林、威严的巨人、狰狞的怪兽、嶙峋的枯石，比人更加猛烈地霸占着有限的画面，它们即是生活中那些不可抗拒的困苦，也是臆想中挥之不去的主角。而且，人物没有特别强势的情绪，他们的姿态类似道具般僵硬，它们争先恐后抢夺表达的权利。

Alexander Gardner, a photographer who preferred to photograph death row after the death of Lincoln in 1865, used the footage to document the hanging. We can see outside the walls, the peepers in straw hats climbing up the trees, and the men with umbrellas in the execution grounds. The four prisoners on death row were blindfolded as the main characters of the story, unaware that they were being filmed, scenes and others, in images that became their language. In zong ning's works, we can find similar ways of expressing through the environment. In the works such as "Plaything", "Banla mountain" and "Hold a tree", the small and powerless feeling of the characters increases the energy of the picture space. The wild forests, the majestic giants, the monstrous monsters, the jagged rocks, occupy the limited images more fiercely than man, they are both the irresistible hardships of life and the lingering protagonists of imagination. Furthermore, the characters have no particularly strong emotions, their posture is as stiff as props, and they scramble for the right to express themselves.

展览现场

在一楼左手和二楼的展厅中，集中展示了宗宁近年的工作成果。这些作品凝聚了真实与虚假的争论，那些客观的叙事，经过相机的拍摄留下的若干局部和瞬间，给不同观众提供了想象真实的证据。宗宁在类似舞台的布景中，伪造了一个个不曾发生过的事件。尽管他从来不把最真实的东西直接呈现出来，但那些被借用的题材已将现实与虚幻揉捏在了一起。观众可以确认，图像中所有的笔触、人体、道具都是真实存在过的，却难以相信，将这些“真实”组合在一起而得出的结论，竟然是“虚假”。观众在这里有完全的解释权，那种从自身阅历而来的解读，远远超过了宗宁的布局。

In the exhibition hall on the left of the first floor and the exhibition hall on the second floor, showcases zong ning's work achievements in recent years. These works embody the debate between the real and the false. The objective narration, after being shot by the camera, leaves some parts and moments, which provide the evidence for different audiences to imagine the real. Zong ning faked events that never happened in a set similar to the stage. Although he never directly presents the truest things, the borrowed themes have combined reality with fantasy. The audience can confirm that all the strokes, human bodies and props in the image are real, but it is hard to believe that the conclusion drawn by combining these "real" is actually "false". The audience here has full power of interpretation, the kind of interpretation from their own experience, far more than zong ning's layout.

 展览现场

经过拍摄后的人和布景，戏剧性地交织在一起，把一种我们在话剧、电影中可能信以为真的经验调动出来，我们可以相信这是整个故事中最为关键一帧。当我们完全忽略故事的内容，来观看宗宁作品的时候，可以感受到这些作品不是一般意义上的摄影，而是借用摄影的限制，来呈现艺术家自身困境的纪录。生活的温度和气味，情感和病症，不断压迫艺术家的神经。宗宁的摄影作品，是对现实生活的结构，他凭借摄影，拉近了幻想的距离而推远了真实的存在，当人们在猜测幻境背后的真实到底是什么时，看到的却是满目的无奈和悲怆的杂处。

After the shooting, the people and the sets interweave dramatically, bringing out a kind of experience that we may believe to be true in the plays and movies, and we can believe that this is the most critical frame in the whole story. When we completely ignore the content of the story and come to see the works of zong ning, we can feel that these works are not photography in the general sense, but borrow the limitations of photography to present the record of the artist's own plight. The temperature and smell of life, emotions and symptoms, constantly oppress the artist's nerves. Zong ning's photographic works are the structure of real life. With photography, he Narrows the distance of fantasy and pushes away the real existence. When people are wondering what is the truth behind the illusion, they see helplessness and sorrowful miscellaneous things.

作者：希帕画廊