“客厅” 王俊个展
策展：鲍栋
开幕：2007年7月06日 晚7：30
时间：2007年7月7日--7月13日
地点：中国重庆501艺术基地H2艺术空间
主办：H2艺术空间
"Living Room" Wang Jun Solo Exhibition
Curator: Bao Dong
Opening : 7:30pm, 06/07/07
Time : 07/07/07-13/07/07
Venue : H2 Art Space, 501Contemporary Art Center, Chongqing, China
Hosted by : H2 Art Space
以客厅作为主题的理由是多层次的。王俊的作品本身就是一个被拆解的客厅：被割开的地面，几近坍塌的吊顶，倾斜的顶灯，以及散落于展厅的日常摆设。在这个层面上，客厅是一个人们熟悉的日常空间，是悄无声息的生活现场，或许，Living Room应该被翻译成起居室。然而，王俊对这个空间支离破碎的处理却使它远离了我们日常生活的经验，使他变得陌生，进而成为被审视的对象。
一旦开始审视这些物体，人们应该能发现眼前的这个破碎的客厅实际上属于过去，一种过时的装修风格。从上世纪90年代开始，越来越多的人开始把客厅作为家庭装修的重心，曾经狭小的客厅变大了，原本简单的功能变得复杂了，其中最关键的是，客厅不再仅仅是吃饭或会客的地方了，它成了被客人观看、读解并进而确证主人社会身份的一个重要符码。这实际上意味着当代中国社会的消费化的转型。
不得不提的是，这件作品的最初的念头来自于一个拆迁工地。墙壁推到，地面暴露，一地琐碎，我们对中国城市里的这些场景肯定不会陌生，王俊从这些废墟中看见的是无数个体曾经的生活，一个普通的客厅因而有了纪念性，不管它曾经的主人是谁。
主人/客人这一对关系的维系可以落实到客厅上，但展厅中的这个客厅却并不生产这样的关系，它虽然使所有的观众都在成为了客人，但是其主人却是匿名的，“他”是中国当下现场中每个人的某个部分。
鲍栋
客厅：回忆的印象
etc
在重庆H2艺术空间，王俊展现了他的“客厅”：迸裂的地板砖蒙着厚重的灰尘，发黄的天花板渗漏着污水，破败的吊灯光线晦暗，生锈的图钉死死抓住残破的挂历边角，缝隙里挤着蟑螂的尸体……
眼下，住房成为中国普通市民的首要消费，人人忙于买房卖房，移居乔迁，人们注意力一夜之间被聚焦在斗室之内。欣然的乔迁、粗暴地遗弃，成为大都市的新神话，徒然凌驾于万物之上。
客厅是家庭的外事办公室，必须是敞亮、明净的公共空间；同时，它又充当了私人交流空间，必须温暖、舒适……于是，客厅就像人们日常生活中的灰空间，具有敞开和遮蔽的双重倾向。客厅双向度的特征，成为一面镜子，折射出人类日常生活变更的历史。王俊选择了客厅作为他的创作对象，展现它被弃之如敝履境况，捕捉人类在现实生活中呼喊与低语。
客厅是人们为自己营造的微型社交平台，满足着人类诉说与倾听的内心需求，旧式客厅的消亡正是一种旧式交流方式的消亡。人居客厅越来越舒适华丽，人们享受着各种奢侈品带来的快感，在感官的愉悦之上建立彼此的关系。而透过那些陆离的幻象，人类的内心世界却越来越冷漠和疏离；正是这样的疏离和隔膜，反过来促使人们以更多的财富，更多的感官享受来填补交流的空乏。
艺术家为还原这种空乏作了努力：剥离了日常生活用品，拆卸了这个社交平台可供交流的一切工具，暴露出客厅温暖甜美的表象掩盖之下艰涩沉重的内核，用冷漠的方式重现了现实的真切面孔。在这一艺术品的质问之下，可以感受到，人类孜孜追求着身体的座次，而灵魂却在这场追逐中无处措置——客厅荒弃的过程，正是人类心灵的孤独史。
王俊的客厅通过一种空间创作，传达了对时间的态度，并不动声色地转换为另外一个词：回忆。塔科夫斯基说，“回忆是一个精神概念”，“失去回忆，一个人将成为幻象的囚徒”。客厅里残留的痕迹是一些冰冷而沉重的、不可逆转的“时间”符号，涂写着一个人“回忆”中影像。它不但让人看到“时间流逝”，更让人们看到艺术家本人与“时间流逝”的对抗，通过坚决舍弃一些煽情和精巧的细节，呈现出凝重、朴拙的现实状态。作品最终完成了单纯内心情感到外化的空间的转换，完成了用生命空间替换自我空间，用一种个体的语言替换了个人的语言。
王俊试图重现被遗弃的垃圾，不仅见证那些即将湮灭的残骸，而且见证人类粗暴的遗弃，让这个成为废墟的空间促成观众的回忆，以此对抗大城市的集体失忆，从而构成了更高层面的限制，使作品从历史性的角度展开，超越了带有自恋色彩的个人情绪延展，最终用最简洁和冷峻的方式，去点燃观众集体性的回忆。
etc
在重庆H2艺术空间，王俊展现了他的“客厅”：迸裂的地板砖蒙着厚重的灰尘，发黄的天花板渗漏着污水，破败的吊灯光线晦暗，生锈的图钉死死抓住残破的挂历边角，缝隙里挤着蟑螂的尸体……
眼下，住房成为中国普通市民的首要消费，人人忙于买房卖房，移居乔迁，人们注意力一夜之间被聚焦在斗室之内。欣然的乔迁、粗暴地遗弃，成为大都市的新神话，徒然凌驾于万物之上。
客厅是家庭的外事办公室，必须是敞亮、明净的公共空间；同时，它又充当了私人交流空间，必须温暖、舒适……于是，客厅就像人们日常生活中的灰空间，具有敞开和遮蔽的双重倾向。客厅双向度的特征，成为一面镜子，折射出人类日常生活变更的历史。王俊选择了客厅作为他的创作对象，展现它被弃之如敝履境况，捕捉人类在现实生活中呼喊与低语。
客厅是人们为自己营造的微型社交平台，满足着人类诉说与倾听的内心需求，旧式客厅的消亡正是一种旧式交流方式的消亡。人居客厅越来越舒适华丽，人们享受着各种奢侈品带来的快感，在感官的愉悦之上建立彼此的关系。而透过那些陆离的幻象，人类的内心世界却越来越冷漠和疏离；正是这样的疏离和隔膜，反过来促使人们以更多的财富，更多的感官享受来填补交流的空乏。
艺术家为还原这种空乏作了努力：剥离了日常生活用品，拆卸了这个社交平台可供交流的一切工具，暴露出客厅温暖甜美的表象掩盖之下艰涩沉重的内核，用冷漠的方式重现了现实的真切面孔。在这一艺术品的质问之下，可以感受到，人类孜孜追求着身体的座次，而灵魂却在这场追逐中无处措置——客厅荒弃的过程，正是人类心灵的孤独史。
王俊的客厅通过一种空间创作，传达了对时间的态度，并不动声色地转换为另外一个词：回忆。塔科夫斯基说，“回忆是一个精神概念”，“失去回忆，一个人将成为幻象的囚徒”。客厅里残留的痕迹是一些冰冷而沉重的、不可逆转的“时间”符号，涂写着一个人“回忆”中影像。它不但让人看到“时间流逝”，更让人们看到艺术家本人与“时间流逝”的对抗，通过坚决舍弃一些煽情和精巧的细节，呈现出凝重、朴拙的现实状态。作品最终完成了单纯内心情感到外化的空间的转换，完成了用生命空间替换自我空间，用一种个体的语言替换了个人的语言。
王俊试图重现被遗弃的垃圾，不仅见证那些即将湮灭的残骸，而且见证人类粗暴的遗弃，让这个成为废墟的空间促成观众的回忆，以此对抗大城市的集体失忆，从而构成了更高层面的限制，使作品从历史性的角度展开，超越了带有自恋色彩的个人情绪延展，最终用最简洁和冷峻的方式，去点燃观众集体性的回忆。
Livingroom: Abandoned impression
Wang Jun have displayed his "living room" in Chongqing H2 art space ——Splitting floorboards are covered with thick dust；sewage is percolating through the old ceiling；light is dark and gloomy; the rusty thumbtack is seizing the calendar’s shabby body and the chink in the floor is tucked by cockroach’s corpse……
At present，the housing becomes most important consumption in China and everybody is busy migrating, buying or selling a house. People are focused on the room overnight. Moving and deserting become Metro’s new myth beyond all things on earth merely.
To be “the family foreign affairs office”, living room should be bright and clean social occasion. At the same time, acted as personal friend or relatives’ space for exchanging, living room must be warm and comfortable. So, with the double inclinations——opening and concealing，living room is a grey space in people’s daily life and a mirror to the changing of the daily life. Wang Jun has created the shabby living room to reveal people’s shout and whisper in real life.
The living room is a minitype social platform that people build for confiding and listening. Therefore, the extinction of old living room means the die of the old-fashioned way of communication. Living room is more and more comfortable and gorgeous; people are enjoying the pleasant sensation that various luxury goods brings about and building the relationship upon the delight of the sense organ. But seeing though the pleasant illusion, people's inner world is more and more indifferent and diaphragmatic， while the indifferent and diaphragmatic prompted people to fill the gap in the communication with more wealth and more organs’ pleasure hardly.
With great effort, the artist took away the daily life articles, dismantled all the communication implements and revealed the heavy ,intricate and obscure core of communication that concealed by warm and sweet superficies. Facing the art work, we can recognize that the souls get lost during pursue of space for body diligently and tirelessly. The process of livingroom’s depressing is the history of people’s solitary inner.
Living room built by Wang Junwork is about a concept of space, while it expresses the attitude to time that similar to another concept: “Recall”. Tarkovsky said ,“Recalling is a spirit concept”and“That who loses memories will become the phantom prisoner ". The residual marks in the livingroom are cold and heavy symbols of time that represent some image in one’s recall. It expresses not only the elapse of the time, but the artist’s attitude to oppose the elapse. Finally, the outer space replaces inner feeling, and life space replaces inner space, and particular language replaces personal language.
Reproduceing the abandoned rubbish, Wang Jun’s work not only witnesses the remains that those would be fade away soon, but the human being’s rude action of abandon. The shabby space evokes audiences' memory that opposes the public’s amnesia. It becomes higher limitation that makes the work unfolds from the historic meaning beyond the narcissistic personal sentiment.
Wang Jun have displayed his "living room" in Chongqing H2 art space ——Splitting floorboards are covered with thick dust；sewage is percolating through the old ceiling；light is dark and gloomy; the rusty thumbtack is seizing the calendar’s shabby body and the chink in the floor is tucked by cockroach’s corpse……
At present，the housing becomes most important consumption in China and everybody is busy migrating, buying or selling a house. People are focused on the room overnight. Moving and deserting become Metro’s new myth beyond all things on earth merely.
To be “the family foreign affairs office”, living room should be bright and clean social occasion. At the same time, acted as personal friend or relatives’ space for exchanging, living room must be warm and comfortable. So, with the double inclinations——opening and concealing，living room is a grey space in people’s daily life and a mirror to the changing of the daily life. Wang Jun has created the shabby living room to reveal people’s shout and whisper in real life.
The living room is a minitype social platform that people build for confiding and listening. Therefore, the extinction of old living room means the die of the old-fashioned way of communication. Living room is more and more comfortable and gorgeous; people are enjoying the pleasant sensation that various luxury goods brings about and building the relationship upon the delight of the sense organ. But seeing though the pleasant illusion, people's inner world is more and more indifferent and diaphragmatic， while the indifferent and diaphragmatic prompted people to fill the gap in the communication with more wealth and more organs’ pleasure hardly.
With great effort, the artist took away the daily life articles, dismantled all the communication implements and revealed the heavy ,intricate and obscure core of communication that concealed by warm and sweet superficies. Facing the art work, we can recognize that the souls get lost during pursue of space for body diligently and tirelessly. The process of livingroom’s depressing is the history of people’s solitary inner.
Living room built by Wang Junwork is about a concept of space, while it expresses the attitude to time that similar to another concept: “Recall”. Tarkovsky said ,“Recalling is a spirit concept”and“That who loses memories will become the phantom prisoner ". The residual marks in the livingroom are cold and heavy symbols of time that represent some image in one’s recall. It expresses not only the elapse of the time, but the artist’s attitude to oppose the elapse. Finally, the outer space replaces inner feeling, and life space replaces inner space, and particular language replaces personal language.
Reproduceing the abandoned rubbish, Wang Jun’s work not only witnesses the remains that those would be fade away soon, but the human being’s rude action of abandon. The shabby space evokes audiences' memory that opposes the public’s amnesia. It becomes higher limitation that makes the work unfolds from the historic meaning beyond the narcissistic personal sentiment.
期待下一个作品。
看了图又看了文章，感觉是为了解释而做的作品。太弱了，
