在沈也的艺术创作中，常将标题中的哲学暗示和作品形式的调侃结合在一起，通过将直接意指中能指和所指的固定关系转变为一种可相互替换的结构关系来进行语义修辞中本义和转义的转换，即是这样一种意识形态的修辞。《在你意识开始的时候已结束》是一块漆板，艺术家通过大漆工艺的处理令漆板表面层呈现不规律的皱褶。形式上的模糊化处理消解了作品的所指系统，而指示性的标题则使作品的象征意义有可能被多样化解读，既可暗示东方哲学中时间对物象的侵蚀，又可象征中国社会中文化产品的快速消费问题。而在《终将成为宠物的玩物》中，艺术家的表达更加直接和激进，以金色大漆的作旧工艺制作出狗的排泄物形态。这一形态和作品标题的结合，散发着对当下泛娱乐化文化浪潮的露骨讽刺。实际上，排泄物这一符号在西方美术史的创作中并不少见，不少艺术家都有所尝试：1961年，曼佐尼（Piero Manzoni）将自己的排泄物以1盎司每份的重量封装在小铁罐里并按同等重量黄金的价格进行销售；2007年，华人艺术家许汉威（Terence Koh）则将自己的排泄物镀金，并以50万美金的价格在瑞士巴塞尔博览会上出售；2008年，保罗·麦卡锡（Paul McCarthy）则在瑞士伯尔尼的克利中心广场上矗立起巨大的充气排泄物……但这些艺术家对排泄物符号的运用还是建立在一套西方美术史叙事的基础之上的，他们通过自己的行为或装置作品在对西方的拜物教和消费主义进行批评的同时，也是对西方艺术市场体制的一种调侃和反思。而沈也对排泄物符号的运用则是将其置于中国的当代文化语境之中，通过作品名称和形式的暗喻直指当下中国互联网注意力经济模式下催生出的大量垃圾信息。
Liang Project Co Space
展览时间: 2019.9.21 – 2019.11.12
开幕时间: 2019.9.21 15:00
地址: 上海市普陀区莫干山路 50 号 18 号楼 102
The Golden Touch · the Solo Exhibition of Shen Ye
The Golden Touch —— Cultural Rhetoric of Shen Ye
By Pi Daojian
Shen Ye is a cross-media contemporary artist. People often use different words to define his identity: lacquer artist, installation artist, conceptual artist, imaging artist and performance artist……But in Shen's view, all of them are shallow recognitions. The core of art relies on the transmission of concept. Therefore, Shen Ye refuses to confine himself to a certain identity, which keeps him boundless throughout the use of media. Various media such as lacquer, image, body, wood, hair and so on will appear in Shen Ye's different artworks according to the time and place. Specially fonding of lacquer, an Oriental art media, Shen Ye starts focusing on the effective transformation from tradition to present in his works. It is Shen Ye's never-ending pursuit to use lacquer media and its technology as an effective form of expression of concept, which is the artist's cultural rhetoric of social phenomena. Through the use of this rhetoric, the artist transforms signifiers and signified, forms and concepts, as well as the combination of material manifestations and social reality, etc. into formal language to evoke the audience's memory of hidden cultural imprints, and then trigger their deep association and thinking.
Saussure, the founder of linguistics, discarded the historical narrative of etymology in traditional linguistics and studied the consensus of language as a whole social phenomenon . He distinguishes the sociality and individuality of group language by holistic language/individual language, and analyses the meaning phenomenon in language through the horizontal combination and vertical aggregation of language, and divides the meaning into signifier (expression level) and signified (content level). Among them, the transverse-combination relation is a linear relation, which represents the fixed, repetitive and integral of language, i.e. the direct meaning; while the vertical-aggregation relation is a juxtaposition or contrast relation between meaning and form, which is a kind of implied meaning. Meaning in implied meaning implies direct meaning, which carries the inherent illusion of ideology, while signifier in implied meaning realizes the rhetoric of ideology by means of changing, deviating and distorting the meaning of words.
In Shen Ye's artistic creation, he often combines the philosophical implications in the titles with the ridicules in the form of his works. By transforming the fixed relationship between the signifier and the signified in the direct meaning into a structural relationship that can be replaced by each other, the original meaning and the transferred meaning in the semantic rhetoric are transformed, that is, such an ideological rhetoric.
The work "It's been Ended at the Beginning of Your Consciousness" is a lacquer board. By the treatment of lacquer process, the artist makes the surface of the lacquer board appear irregular folds. The fuzzification in form dispels the referential system of the work, while the indicative title makes the symbolic meaning of the work possible to be interpreted in a variety of ways. It can not only imply the erosion of time on objects in Eastern philosophy, but also symbolize the rapid consumption of cultural products in Chinese society. In "the Toy that will Eventually Be a Pet", the artist's expression is more direct and radical, performing the dog's excrement with the old craft of golden lacquer. The combination of this form and the title of the work exudes a bare satire on the current wave of pan-entertainment culture. In fact, the symbol of excrement is not uncommon in Western art history. Many artists have tried it: in 1961, Piero Manzoni encapsulated his excrement in small tin pots with a weight of 1 ounce each and sold it at the price of the same weight of gold; in 2007, Chinese artist Xu Hanwei （Terence Koh） gilded his excrement and sold it at the Basel Expo in Switzerland for $500,000. In 2008, Paul McCarthy erected a huge inflatable excrement on the central square of Cree in Bern, Switzerland... However, the use of excrement symbols by these artists is based on a set of narrative of Western art history. They criticize Western fetishism and consumerism through their own actions or installation works, and at the same time, they are also a kind of ridicule and Reflection on the western art market system. Shen Ye uses excreta symbols in the context of contemporary Chinese culture. Through the metaphor of the name and form of his works, Shen points directly to a large number of garbage information generated under the current mode of Internet attention economy in China.
In another series of works represented by Eternity and the Golden Touch, Shen Ye arouses the viewer's thinking through the transformation of Eastern philosophy and Chinese mythology. The artist let lacquer slip along a hair, indicating the time view in Oriental philosophy, while Yuan can be regarded as an extension of Eternity. By replacing works with the same form into a different space field, the time view in Eternity is replaced by the Oriental view of life. Shen Ye returns to the transformation of traditional Chinese culture narrative in The Golden Touch. As a collective representation (représentations collectives), mythology functions as "distorting things". In the case that the signifier of the direct meaning is unchanged, by distorting the signifier of the direct meaning, the same signifier loads different signified meanings and transforms the sign of the direct meaning into the implied meaning. Installation work "The Golden Touch" vividly imitates the stone that has been turned into gold by a touch by Lu Dongbing in the allusion of "the Golden Touch" with lacquer and gold foil. The crow standing on the wooden box symbolizes the search for the golden pointing finger. The use of the polysemous cultural symbol "crow" in this work is also interesting. For the black feathers and decaying habits, crows have become an ominous omen in Chinese culture. The images of "Over old trees wreathed with rotten vines fly evening crows" and "no more fireflies in rotten grass, but only evening crows in weeping willows" are all associated with desolation and decay. On the other hand, crow was first regarded as a Sunbird in ancient China, which was associated with the prosperity of sovereign and the sacrifice of ancestral temples. For example, in the Classic of Mountains and Seas：the book of the great chaos land, there is a expression that "one sun appears and another sun disappears, all of which are carried on the back of the crow". In addition, crow has been regarded as a kind of bird linked with "filial piety", in ancient times, "crow nurturing" is used to describe children's repaying their aged parents for the upbringing. Through the semantic deviation, transformation, transformation and substitution of the symbols of crow and golden stone, the rhetoric of the Golden Touch becomes extremely complicated: If the crow is regarded as the symbol of the sun bird, its search for the pointing golden finger is logical. On the contrary, if the crow is regarded as the symbol of decay and desolation, it seems abrupt to find the golden finger through it, which makes the work not only an irony of the fetishism which is referred to by the golden stone, but also a teasing on the golden stone itself.
In Criticism of Judgment, Kant regards the non-utilitarian aesthetics between reason and sensibility as important means to prevent people from being alienated by reason. With the development of the times, aesthetic activities are constantly related to ethical demands, sensory stimulation, class distinction and wealth acquisition. Therefore, Shen Ye used multiple cultural rhetoric techniques such as embezzlement, reorganization, rewriting, symbolization, metaphor and metonymy to integrate the concern of the problem and philosophical thinking into the traditional medium of lacquer and liberate the lacquer from the shackles of the conventional "lacquer technology". Through the semantic rhetoric of cultural symbols, the artist cancelled the explicit orientation in aesthetic narration in the present expression of lacquer, in order to make the relationship between its original meaning and the new semantic field more complex and rich. This ambiguity of semantics also gives the works a new aesthetic value of non-utility.
Liang Project Co Space
Artist: Shen Ye
Duration: 2019.9.21 – 2019.11.12
Opening: 2019.9.21 15:00
Address: 102, Bldg 18, Moganshan Rd 50, Shanghai, China