无界之归——第三届杭州纤维艺术三年展平行展
中国美术学院美术馆展区：
尹秀珍：“七天”
展期：11.26——12.2.2019
艺术总监：施慧
主策展人：冯博一
策展人：王晓松、刘钢、黄燕、金泽韵（日）
助理策展人：张凡、王琦、杨杨
以一位具有代表性艺术家的个展，作为杭州纤维艺术三年展的一个单元是其展览结构的方式。这次我们邀请了尹秀珍。她根据场馆的现有条件，用七天时间、七个展厅，呈现了近年创作的七件作品。使用“七天”的间隔、次序和寓意构成了尹秀珍这次阶段性创作的研究性个案。她以纤维为主要媒介，或纤维的思维方式，通过收集、置换、拼接等各种织物，将个人经历、记忆痕迹和时代变化缝合、编织在一起，试图在现实的时空中寻找历时性的记忆，以时间的对位法来测度个体与社会之间复杂的关系。并在现场形成了置身于其中的感受与体验，营造了我们共同经验的“集体潜意识”。
The way which Hangzhou Triennial of Fiber Art unfolded, is to adopt the solo exhibition of a representative artist as a div of its own exhibition structure. This time we invited the artist Yin Xiuzhen. Taking into account of the present conditions of the venues, Yin presented seven works which created in recent years into seven exhibition halls within seven days. By using "Seven days" intervals, different sequences and special implications, these elements constitute Yin Xiuzhen's resheach-oriented and staged creation. During her process, where fiber serves as the main media, or as the way to conceive, she sewed and weaved personal experiences, memory traces along with changes of time through collecting, replacing and stitching fabrics. In an attempt to find diachronic memories in real time and space, to measure the complex relationship between individuals and society with the method of counterpoint. At the scene, where the feeling of being present is formed, the "collective subconsciousness" of our ordinary experiences are created spontaneously.
经历之重 Weight of Experience
水泥、穿过的衣服 Concrete,used clothing
尺寸可变 / Dimensions Variable
2019
《经历之重》是我水泥系列作品的延续，我在1994 年第一个装置作品《对话》中就使用了水泥干粉，那是我使用水泥的开端。1995 年的第一个个展中展出的《衣箱》就是水泥封存的作品，那时我把过去三十多年中穿过的衣服一一缝合好，摞成一摞，用水泥封存在我父亲做的我使用多年的衣箱中。从那时起，穿过的衣服所承载的记忆、历史和时代的印痕就成为了我作品中的重要元素，我“搜尽经历打草稿”，“经历”成为了我这类作品看不见的核心。而水泥遇水凝结的特性，它的冰冷和建筑性以及质感一直吸引着我。我试图使用它，给予它生命的温度和启示。我曾在手中攥着湿水泥团儿，让它与我的体温相同，冰冷的水泥在我的拳中不断地固化和升温，而我的手不断地被水泥降温，被同化，我可以感受到由软及硬的微妙变化，最后达到平衡，湿软冰冷的水泥团儿变成了干硬的、带有我体温和印痕的硬物。之后我把水果封到水泥中，看着水果慢慢地在水泥中腐烂变干，最后被鸟叼走，留下印痕和空间，那是生命和时间的痕迹。我在水泥中封过很多日常物，也做过封有日常物的水泥砖，那是水泥对时间和经历的封存，也是水泥对岁月的禁锢。我也把水泥灌入由穿过的衣服构筑的领、袖容器中，用领袖的形限位水泥。当我把黄油封入水泥时，较量出现了，水泥禁锢着黄油，而黄油渗透到水泥中瓦解着水泥，这相互交映的关系和多年来对水泥的体会，让我对经历的重量产生兴趣，这个重量不是物质的重量，是认识的重量，是精神的重量，是经历之重。
我用带有经历和体温的衣服盛装水泥混凝土，有些是素色的，有些是彩色的。它们被曾经包裹过人体的衣物包裹着。这些曾经承载过肉体和生命温度，经历过不同人生的衣服，继续承载着这些冰冷的建筑性材料。随着时间的推移，水泥慢慢由软变硬，当我将这些衣服撕扯开来，经历的印痕和温度留在水泥上。这些衣服与水泥共存，带有岁月沧桑甚至是残酷的痕迹。原本冰冷的水泥似乎有了生命的温度。
——尹秀珍
Weight of Experience is a succession of my concrete works. The year 1994 marks the beginning of my employment of concrete when Iused dry concrete powder in Dialogues, my first installation work piece. Suitcase in my first solo in 1995 is also a concrete work piece. I sewed the clothes I wore in the past three decades and piled them up to seal them into a worn suitcase made by my father and served me many years. Since then, the worn clothes with memories, experiences, and imprints of times have become significant elements of my works. I searched all experiences to get inspired. Experiences have always been the invisible core of my works of this kind. What attracts me most in concrete is its coldness, architecture property, texture, and its coagulation when mixed with water. I tried to make the most of it, giving it the warmth and enlightenment of life. I once held a lump of wet concrete to warm it to my body temperature. The cold concrete ball, gradually solidified and warmed in my hand, constantly cooled and assimilated my hands at the same time. I could feel its subtle change of hardening, and eventually reaching a balance. The lump of wet soft cold concrete turned into a hard, dry, and solid chunk with my temperature and my palm prints. After that attempt, I stored fruits in concrete, witnessing them rot and dry, and being pecked by birds and leaving only their vestiges and hollows. They were tracks of life and time. I sealed many daily life articles with concrete and made cement bricks containing those things as well. The concrete thus seals the meaningful time and experiences and locks time. I also poured concrete into containers made by and in the form of neck and sleeve openings of used clothes, which were used to mould the shape of concrete. However, when I tried to seal butter in concrete, some interesting antagonism appeared that concrete limited the butter and at the same time the butter penetrated into and disorganized concrete. The interactive forces and years’ interaction with concrete arose my interest in the weight of experiences. It wasn’t the weight of object, but the weight of cognizance, spirit, and experiences.
Concrete is held in those plain or colorful clothes with experiences and body temperature. It is wrapped up by clothes once enfolded human bodies. Those clothes, worn and warmed up by people and experienced various lives, move on to carry the cold constructive materials. As time passes away, they harden. When I peel the clothes off, I saw the imprints and temperature of experiences were printed on concrete. Those clothes, going through vicissitudes and brutality of time, now live together with those cold concrete. The cold concrete has seemly got its temperature of life.
——Yin Xiuzhen
时间纤维 Time Fiber
陶瓷 Porcelain
尺寸可变 / Dimensions Variable
2019
时间是抽象的，也是具象的。
对于时间的解释是多样的，它是物质的运动、变化的持续性、顺序性的表现。也是人类用以描述物质运动过程或事件发生过程的一个参数，更是物质的运动和能量的传递。而纤维是由连续的细丝组成的物质。在动植物体内，纤维在维系组织方面起到重要作用。纤维与时间都带有某种持续性和延展性。
有人说：时间就是生命。我说：时间是生命的纤维，把经历、记忆、体温以及情感编织起来形成精神和情感的宇宙。
人类与其他动物的不同之处之一，是可以给自己创造服装。衣服除了遮羞避寒等功效外，还盛载着不同的特性，等级制的时代，衣物是不能随便穿的。即使是在众生平等的现今，衣服仍然承担着诸如民族属性、文化属性、政治属性等等众多实用之外的特征。甚至关于衣服样式和穿着方式的选择，也会把人们依照世界观、价值观、人生观和审美观等的不同分出若干个不同的共同体。
我一直持续地对衣服所承载的多重属性感兴趣，也对穿过的衣服所带有的历史、记忆和经历感兴趣。衣服是人经历时间的容器，也是人的第二张皮。而这些经历、记忆和情感温度成为灵魂留在衣服的纤维中。我曾经做过一系列叫作《21 克》的作品，就是借助瓷泥烧制穿过的衣服得来的。21 克是灵魂的重量。
我们生活在无边的宇宙中，而在我们灵魂的深处又聚集着无数的小宇宙。时间和经历就藏在衣服纤维中，就像得道高僧的舍利子，是智慧和德行的结晶，就像佛，是觉者。而自觉、觉他和觉行是觉之三义，是智慧觉行的圆满者，舍利子。
将不同人穿过的衣服碎片浸泡在瓷泥中，让泥浆渗透到衣服的每个空隙，充分地与经历和时间在一起。用手捏制如同佛像的“抽象物”，将这些一并入窑烧制。火焰将衣物全部烧掉，而浸透衣服的瓷泥在火焰的焚烧中由软及硬地变化成为瓷结晶。这不只是样式的结晶，而是空间的结晶，时间的结晶。每条带有经历的纤维化为灰烬，留下了我们看不见的灵魂的空间。而这些尊似是而非的像又构筑新的想象时空。就像爱因斯坦在相对论中提出的：不能把时间、空间、物质三者分开解释。我做了这三者的混合体——《时间纤维》。
——尹秀珍
Time is abstract, and concrete as well.
There are various interpretations of time. Time is about movement of matters. It’s continuity of changes. It’s manifestation of order. Time is more than a parameter used to describe the moving process of matters, and the developing procedure of events, but also the extension of movement and energy. Fiber, on the other hand, is made up of continuous threads. Fiber has a significant effect in maintaining tissues. What time and fiber have in common are continuity and ductility.
Some people say time is life. In my mind, time is the fiber of life, knitting a spiritual and emotional cosmoses with experiences, memories, temperature and feelings.
One thing that distinguish human beings from other animals is that we can make clothes. Besides the functions of coverage and warming, clothes carry various properties. Back in the hierarchical era, people were forbidden to wear clothes beyond their social status. Even at this modern time advocating everyone born to be equal, clothes also bear many properties beyond practical uses, such as ethnicities, cultures and politics. And also, the choice of fashion style and the way of dressing also divide people into different communities with different views over the world, values, life, and aesthetics.
I ’ve always been interested in the multiple properties of clothes, as well as history, memories and experience of those used clothes. They are a container of our passed time, and our second skin. These experiences, memories, emotional temperature become the soul left in the fiber of clothes. I have once made a series named 21 Gram, which was created by firing mixture of used clothes and porcelain clay. The name comes from the saying that 21 Gram is the weight of soul.
We live in the endless universe, and in our deepest soul live numerous microcosms. The fiber of used clothes carries time and experiencesis just like enlightenment monk’s sarira, a crystallization of wisdom and virtue, and like buddha, the awakened. Sarira coming from enlightened ego, enlightened others, and enlightened conducts. That are the three aspects of enlightenment and the completeness to awareness of wisdom.
Fragments of used clothes worn by different people were soaked in porcelain clay and the mud penetrated into every ostioles of the clothes to be fully mixed with experiences and time. I kneaded the mud into buddha statues and fired them in porcelain kiln. The clothe fiber was burned off and the soaked porcelain clay was hardened to be porcelain crystallization in flames. Not only is it the crystallized statue, but also crystallized space and time. Every piece of fiber was burned into ashes, leaving invisible spaces for souls. These unrecognizable buddha statues create new imagined time and space. Just as Alert Einstein came up with in The Theory of Relativity, time, space, andmatter cannot be explained separately, I made Time Fiber, combining time, space and material.
——Yin Xiuzhen
消化腔 Digestive Cavity
铁架、穿过的衣服、布料、不锈钢、海绵 Steel frame, used clothing, fabric, stainless steel, sponge
325cm × 818cm × 835cm
2015
钢材支架、不同人穿过的衣服、织物下脚料。
从体操竞技毯和高速路中获取灵感和元素，创造一个消化场域，用人们穿过的衣物和制造各种生活物品剩下的织物下脚料缝制一个“胃”，让带着人的气息、经历和温度的不同人穿过的衣服成为这个胃的膜，在这个“胃”的穹顶下，那张有着高速路元素的竞技毯上，是一个交流和消化的空间。观众进入这个“消化腔”中，共同参与这个“消化”的过程。
——尹秀珍
Steel frame, used clothes worn by different people, fabric leftovers.
Inspired by and based on elements of gymnastics mats and expressways, the digestive field a “stomach” was created by sewing up used clothes and leftovers of fabric used to produce various daily necessities. These used clothes with people’s smells, experiences and temperature make the membrane. Under the dome of the “stomach”, the mat with the element of expressways provides a space for communication and digestion. When entering this “digestive cavity”, the viewers become part of the digestion process.
——Yin Xiuzhen
行思 Walking Thinking
132 双宁夏本地人穿过的鞋子、织物 132 shoes worn by Yinchuan local people, fabric
尺寸可变 / Dimensions Variable
2018
鞋是肉身的承载物，也是经历的承载物。有人说：你不能把世界上所有的路都铺上毛毯，但你可以在自己的脚上穿一双鞋。鞋与路相伴，行万里路，如读万卷书。穿过的鞋都带着不同人的经历、记忆、印痕和审美观，既是“生活物”又是“认识物”。收集穿过的鞋就是收集经历，我“搜尽经历打草稿”，让“经历”成为创作的重要元素，使离开肉身的鞋产生新的能量。每双鞋被一条长长的织物“腿”相连，像是被拉伸的“肉身”继续生长着。把腿打结，悬挂。一只脚悬在空中可以看到鞋底，另一只脚，脚尖着地像芭蕾。寂静中有一丝不安，优美中内含残酷，集体潜意识暗流其中。个体的孤独和集体的盲从交织。脚步的向上和前行并置，像自我的羁绊，又像他者的束缚。人造材料对皮肤的模仿使这些物有了生物性，收集来的不同人穿过的鞋，将人们的经历和脚步汇集一处，注入了人的灵性。使众多延伸的“腿”汇聚成林，观者漫步穿行，身上的鞋与脱身的鞋共同构筑一个“行思”的场，使静成为了动。
——尹秀珍
Shoes are not only pedestals to human body, but also vehicles of experiences. It has been said that you can't blanket all the roads around the world, but you can put shoes on your feet. Shoes go with roads. Travelling ten thousand miles is like reading ten thousand books. Shoes worn by different people carry different experiences, memories, impressions and aesthetics. On the one hand, it is living objects and on the other hand, it is recognition object. It is collecting experiences to collect used shoes. I “search all the experiences to get inspired” and make “experiences” an important element in my creation. Experiences enable shoes off human bodies generate new energy. Each pair of shoes is worn by long fabric “legs”, as if the lengthened "flesh legs" are still alive. Knotted and hung up, one foot is hung in the air and the audience can see the sole of the shoe while the other foot touches the ground with its tip, just like ballet. In the tranquil there is a hint of unease and in the grace cruelty. In the field there are collective subconscious flows. Individual loneliness interweaves with collective slavishness. The upward steps juxtapose with the forward steps, just like fetters from ego as well as bondages from others. The imitation of skin by synthetic materials makes these things biological. Shoes worn by different people collected together bring different people’s experiences and footsteps together and infuses into the work human spirituality. These extended “legs” conflate to be a wood through which the viewers stroll. The shoes of the walking viewers and the shoes hung there help build the "walking thinking" field and turn the work from static into dynamic.
——Yin Xiuzhen
无题 Untitled
不同人穿过的衣服、木框、墙壁、影像 Used clothing, wood frame, wall, video
尺寸可变 / Dimensions Variable
2014/2019
用收集来的、不同国家人们穿过的衣服制作一张由各国象征性建筑或权力机构建筑构成的倒映图，将太极图的阴阳对立统一体的曲线拉成水平，成为长方的、黑白分隔的两块，成为阴阳、昼夜、黑白、曲直和两极对立的共同体。这些建筑互为阴阳黑白，分别占据对立的色块。虽然是黑白，这黑和白并非单一色，不同的黑色和不同的白色将统一的背景变得丰富，这些丰富的、带着经历的衣服像是带着镣铐在舞蹈。把这张倒映图挂在黑白颠倒的墙上，中间的分割线重合在一起，使得黑中有白，白中有黑，相互映衬，形成一个在空间中的影壁。我在周围的墙壁上用刀尖划出一条水平分割线。它存在，但看不清。
——尹秀珍
It is a symmetrical balance picture containing signature or government buildings of different countries made from clothes recycled from various countries. The diagram of the universe (Chinese: Taiji) is unfolded into a horizontal picture composed of two systematical rectangular pieces, one black and one white opposing each across the original reversed S curve dividing yinyang straightened, thus form a unity of two opposing sides representing yin and yang, day and night, black and white, and right and wrong respectively. Two of each building are made, one white and one black, lying in contrasting color background and opposing each other to represent yin and yang respectively. The black and white are not pure. They are of different chroma blocks to enrich the roughly white or black backgrounds. It seems that those white or black clothes with experiences and different chroma were dancing with fetters. The reflection picture is hung on a wall canvas with black and white sides switched to be the background and the separating lines are superposed. Thus there is white in black and black in white to form a screen wall of reflection. I mark off a horizontal dividing line on the wall. It exists, but nowhere to be seen.
——Yin Xiuzhen
高速路 Highway
穿过的衣服，不锈钢架，铝板，木板，灯 Used clothing, stainless steel, aluminum panel, wood panel and lamp
329cm×654cm×200cm×2
2009
社会持续高速地运转，使得人们没了喘息的空间。高速公路是连接异地的路网，有时也会瘫痪成停车场。高速呈现着速度的效率，也承担着速度的危险。我们要停下来，看看彼此。坐下来聆听和交谈。深思“高速”。
——尹秀珍
The society continues to operate at high speed, leaving people no room to breathe. Highways are networks connecting different places and sometimes turn into parking lots. High speed represents efficiency and also bears the hazard of speed. We should stop to look at each other. Sit down to listen and talk. Reflecton “high speed”.
——Yin Xiuzhen
公社 Commune
德国科姆尼茨当地人穿过的衣服，缝纫机，更衣柜，工作台，椅子及台灯 Used clothing worn by locals of Komnitz in Germany, sewing machines,lockers, working benches, chairs and table lamps
直径 / Dia. 1000cm × 500cm
2008
2007 年，我受策展人沃克马·比利希的邀请到德国的开姆尼茨做调研，为我之后的在地创作项目做准备工作。
开姆尼茨是德国南部城市，民主德国时期称卡尔·马克思城，两德统一后1991 年复名开姆尼茨。开姆尼茨自中世纪以来一直是纺织业中心。但随着20 世纪90 年代“后冷战”和“全球化”时代的到来，以及中国纺织制造业的兴起，它逐渐地失去了纺织业中心的地位。大量的纺织业工厂关闭，纺织相关产业人员被迫转业。曾经的纺织辉煌不在。
我试图用艺术的行动将历史、文化、记忆编制在一起，以带有人的经历和温度的穿过的衣服为媒材，重新把人们汇聚在同一空间中，重新思考时代的转折点，面向未来。
我在城内的学校、商场、电影院、车站、居民区、公司、体育馆、政府办公地等等不同场所收集大家穿过的衣服。在市中心一个交通枢纽的公共空间创作这件名为《公社》的行为装置作品。
公社是一种所有成员分享共同利益的专门社区，我与众多志愿者共同建立的这个《公社》是精神的。
我邀请城中会缝纫的人们加入到这个《公社》的项目中，大家都踊跃报名参加，他们在这个公共空间中把每一件衣服剪成条儿，拼合成5 米高的竖条，之后再将这些条拼合在一起，逐渐形成一个直径10 米，高5 米的空间。这个空间把所有参与的人包围在其中，这当中有收来的衣服和当时纺织工厂的更衣柜，以及众多收集来的不同的、使用过的缝纫机。这些志愿者大多都曾是不同制衣厂和纺织厂的职工，现在从事着各种不同的行业，就是与纺织没关系。他们是用业余的时间来参加这个缝制工作的，每天不同时段都会有不同的人参与，非常积极。很多人即使不当班，也会来帮助打下手。他们说在这里似乎找到了消失很久了的温暖，在这里他们是志愿者，经历、记忆和与之相关的反思成为他们的共同利益和精神财富。当最后一个布条被缝合的时候，所有人都恋恋不舍地离开这个曾经共同拥有并一起工作的空间，只留下更衣柜、桌子、缝纫机和带着经历的还未被缝合的衣服。大家只能从由衣服围合的、围墙上的孔洞向内张望，这些孔洞是领口和袖口。他们用自己的双手建了一道自己不能进入的围墙，而这个有着经历和温度的围墙把这个新世界连在了一起。
——尹秀珍
In 2007, I went to Chemnitz in Germany, at the invitation of curator Volkmar Billig to do research and prepare for my later creation there.
Chemnitz, in the south of Germany, was called Karl Marx city during German Democratic Republic period and restored to be Chemnitz in 1991 after the German reunification in 1990. It had been a centre of textile industry since the Middle Ages. However, as the development of the post-cold war and the globalization process in 1990s and the rising of textile industry in China, the city gradually lost the status as a textile industry hub, which caused amounts of textile factories to be shut down and related industries and employees to transfer. The former glory was gone.
In art creation, I try to, through employing the medium of recycled clothes with human experiences and body temperature, combine history, culture and memories to bring people into the same one space to look forward with reflection on turning points in history.
Commune, the performance installation art work in a public open space at a transportation hub in the downtown area of the city, is made with used clothes I collected from different places, such as schools, malls, cinemas, stations, neighborhoods, business firms, stadia and government offices.
This Commune I created with volunteers is spiritual, but the real Commune in history was a unique community where all members shared common tangible interests.
I invited people with stitching skills to join the campaign Commune and received active participation. On the open plaza, they cut every clothe into ribbons and then spliced them into 5-meter high tapes that were pieced to enclose a bucket of 10 meters diameter and 5 meters height and barreled all the people, recycled clothes, lockers used in textile mills, and numbers of used sewing machines of different types. Most of the volunteers had been employees of various clothing firms and textile mills and then working in different sectors that have nothing to do with textile. They volunteered their spare time to sewing this campaign up and thus different people work at different times everyday. Some of them came to aid even in days not on their duty. As they said, itseemed that they could find back warmth used to surround them and had been lost for a long time. As volunteers, they share the interests and spiritual treasure of their experiences, memories and reflections. When the last strip was sewn, all participates had to left reluctantly the space they worked and occupied, leaving lockers, tables, sewing machines, and clothes with past stories yet to be sewn. Only could they look in through the holes on the clothe fence formed by neck or cuff openings left naturally. They built a wall without entrance with their own hands, and the wall was of experiences and warmth connected the past to this new world.
——Yin Xiuzhen
展览现场
尹秀珍
尹秀珍（1963年生于中国北京）是中国最重要的当代艺术家之一，自上世纪90年代开始以活跃的姿态参与到中国当代艺术进程中多个重要节点性展览及事件中。作品广泛展出于世界各地的博物馆及艺术机构，其中包括海外最大规模的中国当代艺术巡回展《蜕变与突破——中国新艺术展》（1995－1998）、威尼斯双年展中国馆（2007）、纽约现代艺术博物馆艺术家个案“项目 92”（2010）等，并于2012年在荷兰格罗尼根博物馆与德国杜塞尔多夫美术馆举办了回顾型个展。2014年，费顿出版社著名的“当代艺术家”系列丛书为尹秀珍出版专著，这也是继草间弥生之后第二位入选的亚洲女性艺术家。尹秀珍的作品被荷兰格罗宁根博物馆、德国杜塞尔多夫艺术宫博物馆、澳大利亚白兔美术馆、丹麦ARoS奥胡斯艺术博物馆、日本森美术馆、尤伦斯当代艺术中心、K11艺术基金会、香港M＋美术馆等重要博物馆及艺术机构收藏。
