[北京]宋冬 & 尹秀珍《筷道：十八岁》

宋冬 & 尹秀珍《筷道：十八岁》

开 幕 式：2019年11月11日上午11点11分至晚上11点11分

展览时间：2019年11月11日– 2020年1月11日

展览地点：前波画廊 - 北京市朝阳区草场地红第一号D座，邮编100015

Song Dong & Yin Xiuzhen

The Way of Chopsticks: Coming of Age

Exhibition Time: November 11, 2019 – January 11, 2020

Opening Reception: 11:11 am – 11:11 pm, Monday, November 11, 2019

Venue: Chambers Fine Art

Red No.1 – D, Caochangdi, Chaoyang District, Beijing 100015, China

Tel: + 86 (10) 5237 0742

前波画廊荣幸地宣布将于2019年11月11日起举办宋冬和尹秀珍的《筷道：十八岁》，这将是两位艺术家在前波画廊的第四次合展。这对结婚26年的夫妇自九十年代初起就分别独立活跃于当代艺术舞台，各自在国际上被公认为九十年代成熟起来的一代人中最杰出的中国当代艺术家。他们因个人生活和职业创作领域的成就，与其他著名的二十世纪艺术家夫妇并驾齐驱，例如罗伯特和索尼娅·德劳内夫妇以及让·阿尔普和索菲亚·托伊伯夫妇。

自2002年以来，宋冬和尹秀珍在前波已有三次合作展览的经历，其中包括2002年、2006年以及2011年的《筷子》、《筷道》、《筷道III》。他们建立了一种创作方式，既强调了两人的亲密关系，同时又强调了各自的独立性。在2001年与茅为清的谈话中，两位艺术家同意在展览中合作，并决定以筷子作为展览主题，同时涉及到他们对20世纪末城市环境发生变化的共同兴趣，但表现更为中立的观点。尹秀珍在其作品中用的衣服及私人物品，以及宋冬作品中融入的旧家居及建筑元素，都保留着前主人使用过的痕迹。同时，筷子是亚洲日常生活的基本特征，因此也可以从不同的文化以及哲学角度来审视。一根筷子是无用的，但是一双筷子却有多种用途。筷子也可以被看作夫妻之间各自独立，却又相互支持的关系象征。

缘于此，两位艺术家建立了一种工作模式，同时亦为之后所有《筷道》展览的表现方式奠定了基础——在确定了作品尺寸等一些共享的参数后，他们对彼此的想法与制作过程保密，各自独立创作，只有在画廊进行布展时才能够看到对方的作品。

前三个展览各有趣味，截然不同。2002年的首次展览《筷道》探索了“吃喝玩乐”的主题，体现了好玩有趣、手工制作的特点，同时附有艺术家共同设计的详尽图录。2006年的展览《筷道II》，展示了一双八米长的巨型筷子，以及受美国随处可见的安全警告装置启发而创作的几组绘画和筷子的横截面。2011年的展览《筷道III》规模更为壮观，两位艺术家创作了一双十二米长的巨型筷子。宋冬的筷子受房梁启发，而尹秀珍的作品则是融入了起重机的结构。两位艺术家特为展览设计了一本精湛的图录，以双螺旋活页夹为特色，每人一半，生动鲜活的解说了“筷道”这一艺术项目的历史。

在《筷道》首次展览的十八年后，宋冬和尹秀珍在此次展览《筷道：十八岁》中又回到了这一主题。尽管“成年”的含义以及成年的年龄定义因不同的文化而有差异，但宋冬和尹秀珍决定他们的筷道项目终于可以在2019年11月成年了。为了庆祝这一具有重要纪念意义的时刻，他们将会在前波画廊的东展厅举办一个小回顾展，并在西展厅中展示为这一特殊纪念日所创作的新作品。通过专注于一个主题，我们也可以通过这些展览摸索两位艺术家过去二十年中创作风格的发展。

如过去的十八年一样，此次展览中新一代筷子的面目只为艺术家自己所知，2019年11月11日将于前波画廊揭示给观者们。   

Song Dong & Yin Xiuzhen - The Way of Chopsticks: Coming of Age

Exhibition Date: November 11, 2019 – January 11, 2020

Chambers Fine Art is pleased to announce the opening on November 11 of The Way of Chopsticks: Coming of Age by Song Dong and Yin Xiuzhen, their fourth joint exhibition at Chambers Fine Art. Since the early 1990s Song Dong and Yin Xiuzhen who have been married since 1993 have had flourishing independent careers, and have established international reputations as two of China’s most prominent artists from the generation who matured in the decade of the 1990s. In this personal and professional achievement, they may be compared with other celebrated married couples of the twentieth century such as Robert and Sonia Delaunay and Jean Arp and Sophie Taueber – Arp.

On three occasions since 2002, however, Song Dong and Yin Xiuzhen have worked on three exhibitions Chopsticks, The Way of Chopsticks, The Way of Chopsticks III in 2002, 2006, and 2011 respectively in which they evolved a way of working that simultaneously emphasized their closeness while emphasizing their individuality. In conversations with Christophe Mao in 2001, the artists were persuaded to co-operate on an exhibition and decided on the theme of chopsticks which was related to their mutual interest in the transformation of the urban environment at the end of the 20th century but more neutral. The used clothes and other personal items that Yin Xiuzhen used in her works and the battered household furnishings and architectural elements that featured in the works of Song Dong bore traces of previous ownership and their disposability. Chopsticks, on the other hand, are an essential feature of day to day living in Asia which can also be viewed from many different cultural and philosophical viewpoints. A single chopstick is useless but a pair has multiple uses. It also can be seen as the symbol of the relationship between husband and wife, independent but mutually supportive.

With this in mind, the two artists evolved a working method that has characterized all the subsequent manifestations of The Way of Chopsticks. After establishing the general parameters of the exhibition, they would work independently of each other and only during the installation on the gallery premises would they see each other’s work. 

The three previous exhibitions have differed widely in character. The first exhibition in 2002 (Chopsticks) which they characterized as an exploration of the “theme of Eating, Drinking, Playing and Happiness” had a hand-made, playful character and was accompanied by a substantial catalog designed by the artists. This was followed by The Way of Chopsticks in 2006 which included monumental chopsticks eight meters in length as well as wall-hung cross-sections of chopsticks and paintings inspired by the ubiquitous security warnings seen everywhere in the United States. 

Even more ambitious was The Way of Chopsticks III in 2011 for which the two artists created a pair of monumental chopsticks twelve meters in length. Song Dong was inspired by the beam of a house for his chopstick while Yin Xiuzhen turned to the structure of a crane. On the occasion of this exhibition the artists designed a remarkable catalogue/ object distinguished by dual spiral ring binders that provide a detailed chronology of the history of the chopsticks project. 

Eighteen years after the first exhibition Song Dong and Yin Xiuzhen have returned to the theme in the current exhibition The Way of Chopsticks: Coming of Age. Although the meaning of the phrase “coming of age” as well as the age at which it is recognized varies from culture to culture, Song Dong and Yin Xiuzhen have concluded that their exceptional chopstick project has come of age in November 2019. As a celebration of this momentous event, they will stage an abbreviated retrospective in the east gallery of Chambers Fine Art and an exhibition of new works on the theme in the west gallery. By concentrating on a single theme it will also be possible to trace stylistic developments in their work over the last two decades. 

As has become their custom, however, the particular characteristics of this new generation of chopsticks is known only to the artists and will be revealed to their admirers on November 11, 2019. 

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