双重奏—吴俊勇个展
DUET-WU JUNYONG SOLO EXHIBITION
展览时间：2011年3月5日 – 2011年4月5日
开幕时间：2011年3月5日下午5点 – 7点
展览地点：艺术ISSUE PROJECTS
北京市朝阳区崔各庄乡北皋甲1号 100015
“双重奏”意指两人间一唱一和表演，在这里也是个人内部的双重分裂，同时也意味着双重标准和双关指涉。表层的荒诞嬉戏或狂欢游行背后都充满寓意，弥漫在每个肢体动作与道具里，它们来自民间故事、神话、典故、记忆，都和社会现实对个人心志触动有关。“奏”既是表演也是叙说，在这遍地敏感词汇的土地，言语必须被不断加密，历史 、当下现实都是它的译码。
展览作品为2005-2010五年间的11部动画作品，包括《等咱有钱了》、《出游记》、《劇場》三部曲、《鲤鱼》、《春天俱乐部》、《蜘蛛的圆周》、《乱花》、《躁动》、《鸟兽散》。
影像作品本身是基于时间性的，在时间的轨道上展开叙事。六年对这些作品来讲又是它们的时间轴，每件作品在这条线上都只是一个片段，把它们并置放在展厅的容器里，又构成一件时空的作品，时间叠加于时间之上，每个刻度标记出一个人在时光里的变迁，生理、心理、认知、改变、被改变……
在这条线索上，可以明显看到早期的作品比较关注“身体内部”，在舞台上的“动物性身体”和“社会性身体”，后面的作品更多关注“身体外部”：社会，历史，民族，舞台背后的意志。或者说是从“现实批判主义”到“超现实主义”到“浪漫现实主义”。年龄和环境的变化影响着视角的聚焦，从特写到广角，从彩色到黑暗，从荒诞到严肃，这其实是一个人的一段历史。
The term Duet refers to the coordination and the contradiction between two performers. Here it also implies the twofold identity disorder within one person and draws a connection with double standard and double meaning. Behind every absurd game or riotous parade lies something meaningful, a sense prevailing in each of the body movements or the props. Derived of folktales, myths, allusions and memories, these parables reflect the touch upon personality by the social reality. A Duet is a performance; it is, meanwhile, a narrative. In a land highly sensitive to vocabularies, speeches must be continuously encoded. As to decipher? Take a look at the history and the current society.
The exhibits are 11 animation pieces during 2005 and 2010 by artist Junyong Wu: Wait us Rich, Parade, Opera trilogy, Carps, The Spring Club, Circle of Spider, Flowers of Chaos, Dysphoria and Cloud’s Nightmare.
Each piece has its own line, revolving the story around the axis of the time. In all, they follow the track of the six-year sequence, each being its segment. Yet presented together in the container of exhibition hall, they become an integral composition of a grander time and space, comprised of one moment upon another. Each and every scale marks the evolution of a person along the years, physically, psychologically and mentally; changing yet changed…
Following the clue, it is obvious that, while the early works concern more about “the internal”, the biological body and the social body on stage, the later ones center on the “external”, society, history and nation – the will behind the stage. The artist’s ideology evolves from realistic criticism to superrealism and then to romantic realism. Maturing with age and change of the environment has kept his perspectives shifted from close-up to wide angle, light to darkness, and absurdity to seriousness. This, in fact, tells of a part of history of an individual.
