聊聊艺术的“那几个点” | 周雯静 「艺术访谈」
欢迎来到木牙Make Unique Young Arts，这周我们来聊聊医学与艺术～
Identity, body, gender, disease, power -- these are the words that connect the most sensitive points of our lives. We cannot ignore them and disengage from them. We need to make an effort to recognize and understand and accept these sensitive points that surround us.
These sensitive points are stamped on us at different times in our lives, and we have deep and intimate memories of them. We keep it a secret, or we subconsciously choose not to talk.
And today we are honored to have Wenjing Zhou come to Muya and talk with us about how she understands these points, and how she expresses them in different artistic forms.
Wenjing Zhou, born in HuNan, graduated from School Fine Arts De Nantes Saint-Nazaire. She worked and lived in Paris and Beijing. Her works exhibited at Gallery Ovision at Paris in France, Heduoling art gallery in Chengdu, Today art museum in Beijing, PyeongChang Olympic Media Art project in Korea, Asia Scene Art Space in Beijing.
I am concerned about identity, gender, body, disease, power. Starting from personal experience and methodology of micro history, production and involved in the emotional and physical power, and alienation, personal and public, as well as the identity, age, social ethics, discuss the geopolitical issues.
➤ 木牙MUYA: 2020年末了，目前有在研究什么新课题？2021年有什么新的计划？疫情隔离期间有做些什么有趣的事情吗？
In 2020, What new topics are you working on? Did you do anything interesting during the quarantine?
The creation of the red series has come to an end for me, and my current topic is the relationship between medicine and art. In terms of "clinical art", I have no ambition to invent a term. In fact, I have made a lot of explanations, not so much that I want to intervene in clinical therapeutic research through art, but to explore the intersection of medical and artistic vision in a visual way.
"Hyperplasia" is "in the name of disease," the second series, with "mammary gland hyperplasia associated with these dazzling term" breast cancer ", the work is not only a form of change, is biased towards the blue from the color, actually work itself is black and white, can be spread through the network because it looks like navy.
"In the name of disease," the source of the work idea is at the end of 2019, I visited a nearby in Paris saint Louis general hospital museum, the museum from 17 to 19 century all skin wax mold, at that time, no photography, all models are with mold on the patient's body, face up and turn out. It's really scary, and they're not allowed to take pictures, so I'm going to draw some manuscripts over there to record it. In those days, portraits of patients were displayed for viewing, but underneath were written the names of their diseases. They wear the clothes of disease and are named by disease. Illness is a more troublesome form of citizenship.
➤ 木牙MUYA: 雯静最近有看到哪些有趣的书籍，可以给我们推荐几本吗？
What interesting books have you seen recently? Can you recommend some to us?
One of my favorite books last year was Joseph Boyce's What Is Art, the 2019 edition of which is worth perusing. Boyce is an important and indispensable artist in contemporary art. Another was Levi Strauss's Tristes Tropique, which started my interest in structuralist anthropology.
➤ 木牙MUYA: 雯静的作品早期关注于女性视角以红色为主色。红色让人联想到血，月事等深入人心的事情。而作为中国人红色也有着特别的含义。也是最早出现的颜色之一。在公共标签中，红色代表女性，蓝色代表男性，对于这件事情你是怎么理解的？
Wen Jing's early works focus on the female perspective with red as the main color. Red reminds people of blood, moon events and other things deeply rooted in the heart. As a Chinese, red also has a special meaning. It was one of the first colors to appear. In public labels, red represents women and blue represents men. What do you think about this?
"Red for female, blue for male" is a relatively crude color representation, but the complexity of the color background is related to politics and culture, and even to linguistics. I am also working on small sketches now, and I am also interested in studying color, not in its symbolic or symbolic meaning, but in its sensual aspect. For example, I would focus on the relationship between blue, red, and yellow, and in my past experiments, I used different lightness saturation to make their combinations violent. In my paintings, I like to use a kind of "contradiction", that is, it looks beautiful, but the content is very violent. I like this kind of inner contradiction. In fact, about the color, a lot of very beautiful color combination together, but there is a very uncomfortable feeling. In the aspect of color, what I pay more attention to is a kind of feeling, a kind of ambiguous feeling that cannot be explained clearly.
➤ 木牙MUYA: 现在“独立女性”这一词被广泛提及甚至滥用，这一现象是否表示女性的社会地位已经得到了最大限度的改善或者说女性是社会的主要群体已经成为事实。雯静对于“独立女性”这个词汇是如何思考的呢?
Nowadays, the term "independent women" is widely mentioned and even abused. Does this phenomenon indicate that women's social status has been greatly improved or that women are the main group in society has become a fact? How does Wen Jing think about the term "independent woman"?
"Independent women" are, first of all, independent people, who need to be independent in material and spirit, and more importantly, in spirit. Today, it seems difficult to meet such standards broadly. If I have to say anything, I think what the women's movement needs to fight for today is the right to interpret the world. In the same way, I think the greatest power an artist has is the right to interpret the world. This topic reminds me of one of my works from the dictionary of power, is a work I like, I just compiled a my personal dictionary, I put all the power and relevant vocabulary collected, and then I give them an explanation, and according to the alphabet, arrange these words in a dictionary, to exercise my interpretation of the world.
➤ 木牙MUYA: 在社会公共对于女性的认知中，女性思维倾向于感性，男性思维倾向于理性，对此您是怎样看待感性和理性这样的情感占比的呢？
In the public cognition of women, female thinking tends to be sensible, while male thinking tends to be rational. How do you view the proportion of emotion as sensible and rational?
This sensible versus rational theory was read about in Daniel Kahneman's Behavioral Psychology, but the notion that women tend to think emotionally and men tend to think rationally is more of a pseudo-proposition or stereotype. Rationality and sensibility, in my opinion, are mutually generated and complementary to each other, such as Zhuangzi. I think a highly rational person must not be low in sensible capacity. On the contrary, people who are not rational are not necessarily capable of feeling. "Emotional" and "Sensible" are two words that are easily misunderstood.
➤ 木牙MUYA: 我曾经有看到过一个词叫“伤痛艺术”， 他的解释也很简洁，是说以伤痛为主要艺术表现形式。艺术通过痛感的情感知觉唤醒人的更深层情感意识，我很好奇在您的艺术创作的过程中，您觉得痛感对于艺术的意义与价值是怎样的呢？
I once saw a word called "the art of pain". His explanation is also very concise, which means taking pain as the main form of artistic expression. Art awakens people's deeper emotional awareness through the emotional perception of pain. I am very curious about the significance and value of pain to art in your artistic creation process.
The pain I'm trying to convey is not the feeling of holding a knife to show you. I'm talking about a deeper level of pain. In fact, many people have a feeling of pain when they see the work of my IUD. Physical and psychological. I'm just documenting a topic that my mother's generation, or my generation, doesn't want to talk or discuss about. IUD is more of a story from the past, a historically sensitive point. The work of "hyperplasia" comes from the medical mammography of the breast (mammography of the breast). The photographing process is a very painful process. The process of the body being materialized and the pain are the support of the work.
➤ 木牙MUYA: 作品《红色系列 N°6》对于《女人系列∙节育环》作品的重新创作，使用的材料分别是陶瓷和铜。在材料选择上，您能跟我们聊聊您对不同材料应用的一些经验吗？
"Red Series N°6" is a re-creation of the work "Woman Series ∙ IUD", using ceramic and copper respectively. In terms of material selection, could you tell us about your experience in applying different materials?
My creation is very slow. I often look back and think about the problems in previous works. In a state of uncertainty, I adjust and move forward slowly. Later, I re-created the work of "IUD". I was not particularly satisfied with the irony in the previous work, but wanted to focus on the pain "embedded" in the body. I found a local low-temperature ceramic, because it feels like human skin, and then I inserted the IUD into the tile and took it out, leaving a "pain" mark, and burned these tiles into a permanent mark. During the exhibition, I injected red ink into the negative space of the IUD. During the exhibition, the ink dried out quickly and formed dark red marks one by one. When these two works of IUD were displayed together, an interesting dialogue occurred: one is the entity, the other is the void.
➤ 木牙MUYA: 雯静认为艺术有什么样的功能，在你看来，艺术和设计又有怎样的区别呢？
What function does Wenjing think art has, and in your opinion, what is the difference between art and design?
In my opinion, artists are the ones who find problems and ask questions. They are neither doctors nor journalists. They are not necessarily capable of solving problems or even don't know the exact answers. Art only asks a question, but the person who sees the question tries to find and answer it. Good art asks a question that speaks to the human heart. In fact, this is also the logical difference between art and design, art is to ask a question, design is to give you an answer.
✤ Wenjing Zhou邮箱（Contact Email)：firstname.lastname@example.org