这是一次艰难的旅程:直面自我,寻找来时的记忆,感受当下的生成,遥望归时的路。艺术不是一种理论,更是一种活动,是使人感到存在的东西。这种活动需要追问动机,有意识和无意识的动机,情感在动机之前。由记忆追到诗再追到童年追到梦,但梦并不是愿望实现的地方,所以需要又一次启程。
这次的旅程由绘画作品、影像、在地直播和思考问题组成。绘画随着科技的进步一次一次被推向边缘,但每次都证明了不可替代性从而确立了无法撼动的地位。影像作为可追述的记忆拥有独特的魅力。直播有着即时不可回逆的线性边界。而需要思考的问题不仅尚无答案,甚至问题本身还是晦暗和茫无头绪的:这次行动中“边界”变成了一个模糊而又矛盾的存在,感知与时间,传统与当代,反省与自我真实,神话与历史,自然与人工等等,对这些边界的思考构成我时空观中的演变历程,而我希望以我最为熟悉的,同时也是最为自由的方式——艺术,来一次久违的追寻。
地理位置的选择源于儿时的经历和之后每次到达与离开,带着这些当地取材的矿物和记忆回到工作室完成了这些绘画作品,之后重返故地生成影像。随即这些绘画作品也将脱离本身的系列而和当时的具体空间位置与影像融合出新的作品和名称。地理空间的重要性不只是物理空间,还追述过往的时空。
老庄和禅宗的理想是“虚己游世”“一默如雷”,但这一次我无法做到“以无思之心行事”,就如大爆炸的动因是内爆,我将带着问题开始新一轮的自我压缩。
康春慧,2023.5.30
This is a tough journey: confronting the self, searching for memories of the past, experiencing the present moment, and looking ahead to the way home. Art is not just a theory but an activity, something that makes one feel alive. This kind of activity requires questioning motives, both conscious and unconscious, with emotions preceding motives. Chasing from memories to poetry, then to childhood and to dreams, but dreams are not where wishes come true, so another journey is needed.
This journey consists of paintings, videos, on-site live broadcasts, and pondering over questions. Painting, despite being pushed to the margins with technological advancements, repeatedly proved its irreplaceability, thereby established an unshakable position. Videos, as retrievable memories, possess unique charm. Live broadcasts have immediate, irreversible linear boundaries. The questions that need to be pondered not only remain unanswered but are also obscure and bewildering: in this project, “boundaries” become a vague and contradictory presence — perception and time, tradition and modernity, introspection and self-realization, myth and history, nature and artificiality, etc. The contemplation of these boundaries constitutes the evolutionary process in my spatiotemporal perspective. I hope to embark on a long-awaited pursuit in the most familiar and yet most liberating way to me — art.
The choice of geographical location is based on my childhood experiences at a certain place and my subsequent trips back there, every arrival and departure. I brought back locally sourced minerals and my memories there back to the studio and completed these paintings, and later returned to these locations to generate videos. Subsequently, each of these paintings will detach from its original series and become a new artwork with a new title, integrating its specific spatial location and on-site video. The significance of the geographical location lies not only in the physical space itself but also in tracing the time and space of its long past.
The ideals of Laozi and Zhuangzi, as well as Zen Buddhism are to “let go of oneself and then travel around the world” and “be silent yet sound like thunder.” This time, however, I cannot “act with a mind devoid of thought.” Just as the impetus for the big bang was internal collapse, I will begin a new round of self-compression with questions in my mind.
Kang Chunhui, May 30th, 2023