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“Ju Ting” 展览现场，瑞士卢森，2018 Ju Ting, Exhibition View, Lucerne, Switzerland, 2018 评论文章 鞠婷：洋葱皮｜Ju Ting: Onion Skins 文：凯伦·史密斯（Karen Smith）
乍一看, 在鞠婷的“绘画”作品中，是画面表层上那些并列横陈的明亮色面在人眼前创造出了魔力；但事实上，是作品中色调、形式与肌理的总体结合让它们更为有趣，并令人久难忘怀，即便目光已然移开。自2016年以来，色面连续地被铺陈，或更精确地说，覆盖，每一层如若厚塑料般的图层，铺满我们熟悉的长方形画框，产生出氛围非凡的视觉混合曲。每一层横陈于另一层之上，在建议下，应首先将其读作简单的扁平色块，它们令人想起设计师“情绪版”上那些织物的样本和某些寻得的碎片材料，从中，灵感得以炼金术般发酵、成型。 At first sight, the juxtapositions of brightly coloured planes spread across the surface of Ju Ting’s “paintings” works its magic on the eyes, but it is the combination of hue, form and texture that makes them wholly intriguing, and long after the eyes have turned away from them. As deployed since 2016, the succession of planes, which are laid—or more precisely, draped, as if individual sheets of thick plastic-like film—across the familiar rectangle of a picture frame, produces visual medleys of extraordinary ambiance. Layered one on top of another, and, as suggested, read first as simple blocks of flat pigment, they are reminiscent of swatches of fabrics and fragments of found materials of the type designers pin on “mood boards”, and from which the alchemical fermentation of inspiration takes shape. 鞠婷的作品新颖且富有激情，也予人以启示；然而, 有趣的是, 尽管情绪因素是观众观看其作品的重要元素，但这并非是她面对这些作品的尾声。她更专注于挖掘艺术的基本语言，并将其视为用基本材料进行创作的某种身体力行，这一过程如同字面意义上的考古发掘。这种对材料亲力亲为的方式，其本质源于二十世纪对形式主义的关注——显然并不新颖——但在中国现今的艺术语境中则极为有趣。特别是在面对崭新的二十一世纪艺术语境中的千禧一代。这是新媒体、后网络的一代，对待艺术的态度，特别在中国，在“产品”与奇观因素之间徘徊（除此之外，今天的艺术家还能靠什么生存下去博得关注？）眼下也是图像主宰一切的时代，而大部分图像是由智能手机等技术推动的社交媒体所创造、传播并浏览的，这在中国尤甚。那么，艺术家该如何创作绘画、图像平面并进行画面表达呢？如何去处理其所创造出作品的物质特性，在当下观看的即时效果会被无处不在屏幕断然磨平？鞠婷的作品，既在迎合，也在反驳这一现象。它们可能向观众展示了斑斓色彩，并且为了方便智能屏幕观看，给予一些那些可以被更小屏幕所能捕捉到的色彩感觉；但在那之外，关于作品的物质或创作的过程，却很少能在那个尺度上被揭示。因此，更好的情况是，站在一件作品面前，去惊叹其结构的简单与大胆，以及其对我们视觉、触觉以及智力、好奇心的影响程度。 Ju Ting’s works are inspired, and inspiring, yet, interestingly, even though the element of mood assumes a central role for viewers looking at the final pieces, it is not the endgame she envisages for these pieces. She is more focused on digging down into art’s essential language as a physical act of working with its fundamental materials for what is a literal process of archaeological discovery. The hands-on approach to materials, to what are in essence twentieth-century concerns with formalism, is obviously not new, but it is super interesting in the context that is art in China now. Especially in the context of the generation of millennials who are coming to art in a brand new, twenty-first century. This is an age of new media, post-postinternet, and an attitude towards art that, in China in particular, veers between “product” and the wow factor of spectacle (how else to get the attention artists so desperately need to survive these days?). The current age is also dominated by images, most of which are created for, disseminated through, and viewed on, social media as facilitated by the technology of smart phones etc., especially in China. So, how should artists approach painting, the picture plane, pictorial expression? How to deal with the physical properties of making when the very next instant sees those results peremptorily smoothed by the ubiquitous screen? Ju Ting’s works both cater to, and yet refute this phenomenon. They might give the viewer colour, and for the convenience of the smart screen, give it in the manner of a neat sound bite, but beyond that little of their substance and process is, on that scale, revealed. All the more delightful then to stand in front of a piece and to marvel at its daringly simple construct and the magnitude of its effect on the eye, the senses, and our intellectual curiosity. 鞠婷，《+- 020218》，2018，木板丙烯， 127 × 155 cm，局部 Ju Ting, +- 020218, 2018, acrylic on board, 127 × 155 cm, detail 再多说一句，鞠婷并不完全是个画家。她的作品也并不是通常意义上的绘画。“通常”本身，在今天就是一个完全没有意义的概念——但这类作品，使用颜料在二维平面上创作而成，即便它在质疑，或解构其创作过程，乍一看，似乎与绘画的行为一致。鞠婷的平行系列《珍珠》、《+-》以及《无题》，有一种清晰的雕塑性的形态与肌理感；因此，同样的与半浮雕亲近。这也许有一个简单的源头：鞠婷的艺术创作开始于版画。她曾在位于北京的中央美术学院版画系学习，师从国内最为有趣的版画、绘画艺术家之一——谭平。良好的受教于学院传统之中，鞠婷也被谭平鼓励要遵从自我思考——谭平自己早就这么做了。 Not to belabor the point, Ju Ting is not exactly a painter. Her art pieces are not paintings in the conventional sense. Convention itself is a concept largely devoid of meaning today, but works of this type, being made of paint and occupying a two-dimensional picture plane, initially seem to align themselves with the act of painting, even if they question, or deconstruct, its processes. Ju Ting’s parallel series’ Pearl | +- and Untitled have a clear feel for the sculptural in both form and texture, and thus, perhaps, equal affinity with bas-reliefs. The reason for this may have a simple origin: Ju Ting began as a print-maker, studying in the print department of the Central Academy of Fine Arts in Beijing, and under the tutelage of one of its most interesting artists, the print-maker and painter Tan Ping. Taught well in the academy tradition, Ju Ting was also encouraged (by Tan Ping) to think for herself—Tan Ping has long done just that. 鞠婷，《无题071618》，2018，木板丙烯，195 × 235 cm Ju Ting, Untitled 071618, 2018, acrylic on board, 195 × 235 cm 2013年她毕业之际，在中国处于一个艺术家终于能够决定“艺术可以是任何一切”的时代，她便开始扮演独立艺术家的角色。作为一个学生，她已经倾向于绘画，但从一开始就便远离其传统表达。她的实验开始于以最熟悉的版画语言进行画面表达；她不去雕刻铜板或木板，而是在已经平涂好的厚重涂料层上进行雕刻。她以一个雕刻家的技巧和精确性进行创作：她切割开颜料层，将细弦从其表面上拎起，剥离开其中的一部分，从而显露出下一层的内容，并将其继续放置于颜料表面曾未切割的那部分。通过这种方式，她抵达到一系列完全图案化的浮雕，将之总体冠名为《珍珠》、《+-》。鞠婷从一开始就选择了丙烯作为其创作材料，其质地的可塑性，让她能够一次性的切割开多层颜料。也因此，《无题》系列得以成型。 Graduating in 2013, she assumed the role of independent artist at a time in China when art could finally be anything an artist decided it could be. As a student she had gravitated towards painting, but was, from the first, far from committed to conventional expression. She began to experiment with her most familiar language of printmaking. She doesn’t carve copper plates or woodblocks, but instead into a prepared, and hugely thick, layer of paint slathered onto the flat surface of a wooden board. Working with the skill and precision of an engraver, Ju Ting cut through the paint, lifting up fine strings from the surface, peeling them back to reveal partially what lay beneath, and relaying them on the uncut portion of the paint surface. In this way she arrived at the series of starkly patterned reliefs that are collectively titled Pearl | +- (珍珠 | +-). Ju Ting chose acrylic as her main material because the malleable plasticity of its texture, allowed her to cut through many more layers of paint at a time. Thus, the Untitled series found form. 鞠婷，《无题071718》，2018，木板丙烯，62 × 52 cm Ju Ting, Untitled 071718, 2018, acrylic on board, 62 × 52 cm 表面看来，《无题》系列作品保留着丙烯颜料的浓郁色彩——有时，其最外层光亮润泽的如同那种上过亮光漆的名作。一个很好的例子是《无题121817》（2017），它同时也是一件醒目的冷色调混合作品。在这里，明亮的冷蓝色、粉色以及黄色罩于薄薄一层棕黑色下。它具有着黑巧克力的所有特质，特别是那种苦涩甜蜜的光泽。 In appearance, Untitled works retain the richness of acrylic pigment—on occasion top layers are as glossy as a well-varnished master piece. A fine example is Untitled 121817, 2017, which is also an arresting medley of cold tones. Here, bright cool blue, pink and yellow lie beneath a film of deep brown-black that has all the qualities of dark chocolate, not least its bitter-sweet sheen. 鞠婷，《无题121817》，2017，木板丙烯，115 × 109 cm，局部 Ju Ting, Untitled 121817, 2017, acrylic on board, 115 × 109 cm, detail 通常，这些图层是通过在木板上无数次的平涂单一色调的丙烯颜料而实现的；现在她使用更大的木板，需要铺在地面上来完成。方式则经常是用制作版画需要的刮刀作为笔刷，或调色板刀，来铺陈颜料，然后等待它们干燥——将将够干就可以，不能等它彻底地变硬。然后，就可以对其进行剥离，或与很多其他图层进行结合，成为一个新的组合。这种生产韵感的积累过程令人着迷。在很大程度上，它们是非常具有这个时代特性的——将怀旧（鞠婷喜欢象征过去的颜色）与当代的机械构成明晰结合在一起。这些组合散发出的情绪，可能是微妙的，但又有明显的差异。其中的差别表现为被安排好并列的各种颜色组合在一起产生的或大、或小的情绪。一个非常好的例子是《无题061316》（2016），一个由蓝色、绿色、棕色、青色、鸭蛋色和灰海豹色构成的组合曲。另一个不同的例子是《无题110717》（2017）用一层烟绿色——同酸黄色一样，是鞠婷喜好且重复使用的色调——和黯淡轻微过渡的橙色，再与变质般的叶绿素绿色——如同那种被割了两天的杂草——混合。 Generally speaking, these layerings are achieved by spreading various single tones of acrylic paint across a board—much larger boards now—that are laid flat on the floor. The application is often done with a print-making squeegee as a brush or palette knife and then left to dry, just enough, withoutfully hardening. It is then ready to be peeled off and combined as one among many layers of a new composition. The accumulation of tones that this produces is seductive. They are very much of the age in a way that combines nostalgia (Ju Ting has a liking for pigments that denote the past) with the clarity of contemporary machine-made. These combinations exuded moods, which can be subtle, but also dramatically different, the difference being signaled by the just-so juxtaposition of a major, or minor, tonal key produced by each combination of pigments. A really fine example of this is Untitled 061316, 2016, a medley of blue, green, brown; teal, duck egg, seal grey-brown. Entering a different key, Untitled 110717, 2017 blends a layer of smoky blue which, like Ju Ting’s fondness for acidic yellow is a recurring tone, against a sombre slightly over-done orange, and a souring chlorophyll green, like two-day-old wheatgrass. 鞠婷，《无题110717》，2017，木板丙烯，110 × 125 cm Ju Ting, Untitled 110717, 2017, acrylic on board, 110 × 125 cm 既然与艺术的相遇往往会促使我们将个人经历投射到我们所“看到”的东西上，很有可能我们的情感状态会笼罩在我们对一件作品的第一印象上。鉴于作品中那些动态感觉的感性能量，人们可能会怀疑，是否还会有其他的第一反应？然而，的确有。人们无法忽略掉那种肌理——仿佛奶油与硅胶的结合。丙烯是有密度的，当以这种方式使用时，它会积聚起相当大的重量。随着层的不断叠加，它们几乎看上去太重了，以至于无法承受自身的重量。面对这种多层，鞠婷将她于2017年在OCAT西安的首次机构展命名为“洋葱”。这种描述令人回味。洋葱的外皮从不是完全完整的，剥皮时它是非常容易被破坏的。同样的情况，也会发生在当鞠婷移除作品表层的过程中。面对这种不完美的境况，反而令她去鼓励自身，来处理创作中的“意外”。她如今学会了将其巧妙地融入进作品的表面肌理，成为某种她审美的功能性元素，这令她的作品增加了图像表面的厚度，同时保留有一种光亮度，令光线得以从表层中穿过——即便每一层已积聚出远远超过它们应有的厚度和重量。 Since an encounter with art is often a prompt to the projection of personal experience onto what we “see”, it is likely that our own emotional state suffuses a first impression of a work. Given the sensuous charge of dynamic tones in the works, one might wonder if there can be any other first response? And yet, there is. One can’t ignore the texture; one of buttercream-meets-silica gel. Acrylic is dense and, when used in this manner, accumulates a substantial weight. As the layers build they seem almost too heavy to bear their own weight. In reference to the multiple layers, Ju Ting titled her first institutional exhibition at OCAT Xi’an in 2017 Peeling the Onion. This description is evocative. Outer onion skins are never perfectly whole; they break easily in the peeling. So, too, do Ju Ting’s layers in the process of being removed form one surface to another. Running up against such imperfections encouraged her to work with the incidental accidents of process. She learned now to subsume them masterfully into the surface texture as a functioning element of her aesthetic. It allows her to raise the picture plane inches in thickness, whilst retaining a sense of lightness, of light passing through the surfaces, even as each piece accumulates a mass and weight far beyond what they suggest. “Ju Ting” 展览现场，瑞士卢森，2018 Ju Ting, Exhibition View, Lucerne, Switzerland, 2018 最终的效果非同寻常。这种令人困扰的表面，在作品中变得与其感觉一样引人瞩目,特别是对那些懂得日常生活中“困扰”的人来说。在很多层面，困扰、忧虑已经成为这个时代的关键词。人们可能会立即想到心理学上的“焦虑”，一种对当下世界上任何意义的存在与运作的长期忧虑。它也以我们为自身提供现实消遣的方式存在：为了抵消那种为生活在一个被越来越多的流水线般、高科技的，以及凡事力求完美（这加深我们的焦虑，因为我们要经历无法达到自身期望的挫败感）的世界中自我赋予的压力。这也成了我们如何设计自身生活的方式。到了二十世纪九十年代，甚至时装也在利用朋克的反时尚态度。随着破旧别致的室内装潢策略成为课程标准，粗犷的工业空间也成了时尚必备。当技术媒体圈子的影响扩大到年轻的后网络时代精明、富有创造性和创新的一代时，几乎在任何时间、地点，服装也变得批发似的休闲。布料被撕裂，穿孔，并开出一个难以预料的高价——有人可能会说，鞠婷的艺术跟随着川久保玲这类设计师的步伐。川久保玲的作品通过使用褶皱、磨损的边缘，去解构布料的形状，并重置人体的形态。 The effect is extraordinary. The distressed surface that this introduces into the works is as fascinating as their tonality, especially to those who appreciate the necessity of “distress” in daily life. In many ways, distress has become a keyword of the contemporary age. One might think immediately of psychological distress, of the perennial anxiety of existing and functioning to any degree of meaning in the world today. It is there also in the form of physical distractions that we provide for ourselves to offset the pressure of living in an ever-more stream-lined, high-tech, and will-to-perfection world (which gives rise to the distress we experience as our failure to live up to expectations). It’s how we style our lives too. By the 1990s, even couture was drawing on punk’s anti-fashion attitudes. With shabby chic interior design strategies par for the course, raw industrial spaces became de rigueur. As the influence of tech media circles expanded across a young post-internet generation of savvy, creatives and innovators, clothing became wholesale casual, anywhere, any time (almost). Garments got ripped, with holes commanding an unlikely premium—one might say that Ju Ting’s art follows in the steps of designers like Rei Kawakubo who reconfigured garment shapes and the human silhouette through deconstructions, using folds and frayed edges.
Ju Ting, Untitled 062218, 2018, acrylic on board, 190 × 156 cm, detail 同时，艺术也变得更为随意。不仅在装置、挪用以及执行的工艺上，也体现在其对外界影响，以及如何被陈列、展示的拥抱上。我们习惯于日常生活中那些不完美的事物被优雅地呈现——常常特别是在艺术中——我们为之感到兴奋，因为它暗示着一种对日益平庸、普遍的全球存在的尖锐挑战。对于任何在所有事情上都按照严格秩序和完善制度生活的人来说，《无题》作品中可见的破损、脆弱，以及可确定的日后更进一步的瓦解，都会对一些藏家或策展人产生影响，也许令其扫兴。然而，对那些欣赏艺术家实践及创作过程中“破损”意义的人来说，鞠婷的作品将会是非常有趣，唤起某种情感，甚至令人平静的。它们在挑战你去克制住试图去触摸那些损坏部分的手指；一种如同手指划过躯体伤痕般产生的惊悸。作为一个相对年轻艺术家的新起点，这些结构呈现出在当下中国的艺术语境中，一个对空间语言令人激动的探索。 In tandem, art has become more casual too. Not only in its installations, appropriations and the craft of its execution, but in terms of its embrace of outsider influences and points of display. We are used to having the imperfect elegantly represented in daily life, often through art, and we delight in it for insinuating an edgy challenge to an otherwise increasingly banal and generic global existence. Yet, to anyone who lives their life according to a strict regime of orderliness and perfection in all things, the damage visible in Untitled works, the promise of fragility and further disintegration they impart to collectors and curators alike, will be somewhat off-putting. To those who appreciate what the “damage” suggests of the artist’s practice and process, however, Ju Ting’s art will be intriguing, evocative, and, even, calming. It is challenging to restrain fingers from reaching out to feel those damaged parts; the same chill-thrill as running fingers over scar tissue. As a new departure for a relatively young artist, these constructs represent an exciting exploration of spatial language within the context of art and China today. 鞠婷于1983年生于中国山东省。她于2007年毕业于版画专业本科，2013年同专业研究生毕业。现工作、生活于中国北京。 Ju Ting was born in Shandong in 1983. She graduated from the print-makingdepartment with a BA in 2007, and with a masters in 2013. She lives and works in Beijing. 关于作者 译：刘溪｜Translated from English: Xi Winkler 麦勒画廊高兴地宣布艺术家鞠婷同名个展“Ju Ting”近日在麦勒画廊瑞士卢森开幕。本次展览也是她在西方的首次个展。展览将持续开放至10月27日。 Galerie Urs Meile is pleased to announce the opening of the first solo exhibition in the west of the emerging Chinese artist Ju Ting. The show would continue through Oct. 27. Galerie Urs Meile 798
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来自： WQ_AI_LYS_999 > 《撞色》
