盐与鸟

Salt and Bird

2010-2018，六屏录像 , 有声 , 彩色

56 秒，57 秒，1 分 39 秒，1 分 40 秒，1 分 40 秒，3 分 00 秒

作品由艺术家提供

并由华宇集团及华宇青年奖提供项目支持

2010-2018, 6-channel video, sound, color

56”, 57”, 1’39”, 1’40”, 1’40”, 3’00”

Courtesy of the artist, produced with the support of the HUAYU GROUP and the HUAYU YOUTH AWARD 

题目取自两种北美原住民的歌曲种类:一类为鸟之歌；一类为盐之歌，前者常在欢快场合表演，后者常表演于悲伤的情境。对于自然景观的描绘与记录一直以来反应了文化地理的变迁，并影响着人们对日常生活与社会空间的规划与组织。在目前媒体无限渗透与大数据收集分析的时代，以曲线图为主要视觉呈现手段的分析图表成为一种日益左右着国家与个人日常策略的现代景观。

本项目既是将地域性与全球性，基于感官的传统风景与基于统计分析的现代景观进行比较与对接。

整个项目由三个部分组成。此次所展出的第一部分是项目的源起——美国原住民项目，艺术家要寻找一种书籍记载过的北美印第安人某种可能失传的奇特音乐传统， 这种音乐把山陵的曲线视为乐谱进行歌唱。艺术家根据前期的咨询和研究，发现美国某些州府的印地安部落仍有可能存有此种音乐形式。于是在 2016 年，艺术家在这些区域进行了长达 1 个半月的寻找与拍摄，最终与一些部落的歌手与普通人合作演唱艺术家本人编辑的涉及广泛领域的曲线图表。

The title combines the names of two types of sacred song of the indigenous peoples of North America: Salt Songs and Bird Songs. While the former are usually performed on festive occasions, the latter usually express grief or sorrow. Throughout history, the depiction and documentation of natural landscapes have always mirrored the transformations of cultural geography, while affecting how humans plan and organize their daily ritual and social spaces. In this media-inundated era where big data collection and analysis reign, analytical charts, and especially line graphs, have come to represent the modern landscape that affects various decisions at both national and personal levels.

This project is an attempt to compare and juxtapose regional specificity and globality, traditional landscapes (informed by sense perception) and modern landscapes (based on statistical analysis).

This project is composed of three sections, exhibited in three connected but separate spaces of different size. The first section presented in 8102 traces the origin of the project: Native Americans. The artist attempts to portray a unique North American Indian musical tradition that has been recorded, and archived, but may be lost already. In this tradition, the shapes of mountains are translated into music. Based on preliminary consultations and research, the artist has discovered that this musical tradition may have survived in some Indian tribes in certain states in the US. In 2016, the artist spent nearly one and a half months searching and shooting in these regions. Eventually, he invited several singers and acquaintances from these tribes to sing line graphs he edited to touch upon different fields.

杨健，1982 年出生于福建，2007 年毕业于厦门大学艺术学院获硕士学位。他于 2010 年获得荷兰 Stichting Niemeijer 基金会赞助支持，2015 年获得第四届三亚艺术季“华宇青年奖” 评委会特别奖。现生活、工作于北京和南京。

杨健的艺术实践初看起来导向某种对于情感或现象的“技术性”修辞，实则携带着忧郁的小说式内核，以及对事件处理时流露出的蒙太奇态度。其创作涉及影像、装置和行为等不同领域。

近期个展：

“在不可能相遇的时间和利维坦的注视下”，空白空间，北京，2018 年 

“杨健:建造废墟”，泰康空间，北京，2017 年

“无穷的开始”，空白空间，北京，2016 年

近期群展：

“三个屋子”，新时线媒体艺术中心，上海，2018 年 “Edge of Now”，白南准艺术中心，首尔，2018 年

Yang Jian (b. 1982, Fujian Province, China) received his BFA from the School of Fine Arts, Xiamen University in 2007. In 2010 he was awarded funding by the Dutch Niemeijer Fonds Foundation. In 2015, he won the Special Jury Prize of Huayu Youth Award at the Fourth Art-Sanya. Yang Jian currently lives and works in Beijing and Nanjing.

At first glance, Yang Jian's artistic practice seems oriented towards a kind of "technical" rhetoric with regards to emotions or phenomena, when in actual fact it possesses a melancholic, novel-like core, as well as a montage-like attitude that is revealed when his work deals with specific incidents. His artistic output includes video, installations and performance, among other domains.

Recent Solo Exhibitions:

The Times Impossible to Encounter; The Gaze from a Composite Leviathan, WHITE SPACE BEIJING, Beijing, 2018

Yang Jian: Constructing Ruins, Taikang Space, Beijing, 2017

The Beginning of Infinity, WHITE SPACE BEIJING, Beijing, 2016

Recent Group Exhibitions:

Three Rooms: Edge of Now, Chronus Art Center, Shanghai, 2018 

Edge of Now, Nam June Paik Art Center, Seoul, 2018