无产者的“失败之书”，切片或时间的停顿
M'room
▲海报 Poster 设计Design：刘博清Liu Boqing
https://v.qq.com/txp/iframe/player.html?vid=p13432h8ymi&width=500&height=375&auto=0
失败之书
Traces of Abandonment
策展人：海杰
Curator：Hai Jie
艺术家：卜云军、杨欣嘉、姚清妹、张巍、张晓、宗宁
Artists：Bu Yunjun ,Yang Xinjia,Yao Qingmei,Zhang Wei,Zhang Xiao,Zong Ning
开幕：2018.6.23下午3:00
Opening:2018.6.23. 15:00
邮箱：minostudio@163.com
Mail : minostudio@163.com
微信：Foxsoda（预约观展）
Massage : Foxsoda(to visit by appointment)
《Untitled -Wall No.1》
100×375cm
Inkjet print 2011
卜云军
这件作品2011年拍摄于上海的一家画廊的墙面，当时画廊撤展，留下灯光照在空白的墙面。我看了很久最后决定拍了下来。但后来一直没有合适的拍摄对象，这个系列作品就一直没有继续了。
《Untitled -Wall No.1》
100×375cm
Inkjet print 2011
Buzhanjun
The art work was shot on the wall of a gallery in Shanghai in 2011, when the gallery retreated, leaving the light shining on the blank wall. I watched for a long time and finally decided to film it. But since then there have been no suitable subjects, the series has not continued.
《独步者的黄昏》
数码图像 尺寸可变
2013-未完成
杨欣嘉
图像素材来自网媒新闻，内容为萨达姆奔赴刑场之路。作品始于2013，是当时关于图像的抽离、衍生和再生产的系列创作之一。作品之所以被无限期搁置，是因为对细节的处理和取舍一直处于纠结之中，也是对图像系列的创作思考到了一定阶段，自我中断。
《The dusk of the walker》
Digital image Variable size
2013-unfinished
Yangjiaxin
Image material from the network news media, the content of Saddam Hussein's way to the execution site. The work, which began in 2013, was one of the series on image extraction, derivation and reproduction. The reason why the work is indefinitely shelved isthe processing and choice of details has been in a dilemma, but also thecreation of the image series to a certain stage, self-interruption.
“林威登女士在蒙田大道”
"Ms. Lin weideng on Montaigne Avenue"
装置
视频, 照片
2013-2014
姚清妹
在一个公寓内部，我述说并演练了我想象的即将在蒙田大道上实施的行为介入的场景。
在这个行为里，林威登，一个中国新贵，在路易威登专卖店里突然爆发了恋物癖症的精神崩溃。这件作品同时也提出了这样一个问题：行为是否需要排练？而这种排练同时作为行为之前的行为，表演之前的表演，同时也构成了行为之前的文献。那么行为是否真的发生？行为的真实发生是否有必要？
"Ms. Lin weideng on MontaigneAvenue"
installation
video，picture
2013-2014
Yaoqingmei
Inside an apartment, I told and rehearsed what I imagined was going to happen on Montaigne Avenue. In this act, Lin weideng, a Chinese upstart, suddenly brokeout of fetishism at Louis Vuitton's store. The work also raises the question:does the act require rehearsals? This rehearsals are both acts before behavior, performances before performance, and also constitute pre-action literature. So, did the act really happen? Is it necessary for the act to happen?
《废片》
2009-2015未完成
张巍
这些失败的合成照片是我在制作《人工剧团》系列时的一些无法进行下去的废片，刚开始在技术上的失败让我差点放弃了这个系列。虽然后来我解决了技术上的问题，我也想在构成虚假图像中找到乐趣，但一种很不爽的情绪一直伴随着整个过程，让我更加困惑，陷入了一种技术的魔咒之中。后来我才发现那些细腻精致的画面并不能打动自己，反到是那些未完成的废片更鲜活与生动。
《Scrap sheet》
2009-2015 unfinshed
Zhangwei
This work is based on the family of the old family, photographing the portrait of each family member, and superimposing all the photos together with the film shifting technique, forming a new picture . It was once shelved for the difficulty of making the technology and the uncertainty of the meaning of the new generation of the image.
《家族》
纸，即显胶片，亚克力相框
18x13cm
2014
张晓
这个作品是以老家的家庭为单位，拍摄了每个家庭的成员肖像，然后用即显胶片的移膜技术将所有照片叠加到一起，形成一个新的图像。期间因制作技术的难度，以及新产生图像的意义的不明确，一度搁置。
《clan》
paper，polaroid ，Acrylic frame
18x13cm
2014
Zhangxiao
These failed composite photos were some of the pieces I couldn't do when I was working on the Artifical Troupe series, and I almost gave up the series at the beginning of my technical failure. Although I later solved the technical problem, and I wanted to have fun in making false picture , a very unpleasant emotion followed the whole process, making me even more confused and trapped in a spell of technology. Later, I realized that the delicate and delicate images did notimpress me, but the unfinished scraps were more vivid and vivid.
《面壁》系列
黑白底片 4x5英寸 8x10英寸 11x14英寸
2009-2018
宗宁
这些底片是我创作《面壁》这个系列作品时的失败品,失败的原因多是因为技术操作，也有的是冲洗完成后觉得画面索然无味干脆放弃，极少数是因为经济拮据拍摄完成没有条件扫描，便长期搁置。
《face the wall and meditate》series
black and whitenegative film
4x5inch 8x10inch11x14inch
2009-2018
Zongning
These negatives were the failures of the series of works I created "facet wall". Many of the reasons for the failure were due to technical manipulation. Some of them felt that the screen was completely dull and abandoned after it had been developed. Very few are long shelved because of financial constraints when filming is done without conditional scanning.
▲布展 working photo
“失败之书”是策展人海杰就艺术家创作过程中的一个思考，它试图提出一些问题，引发一个讨论。
6月23日，一个酷热的下午，我们一起聊了聊“失败之书”，似乎依然没有定论。而“结果”恰恰是这个项目并不重视的部分，它意味着社会语境对成功的定义，我们试图回到艺术家的创作状态来讨论作品本身。
有兴趣的朋友可以关注我在一直播平台帐号“M演播室”观看我们的讨论回放。
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当我们在讨论“失败之书”时，到底在说什么？
可以把“失败之书”艺术项目当做一个艺术家工作室或工作现场。
展出的作品是六位艺术家一些未完成、被放弃的作品。
失败是常态，成功才是偶然。作品的成功与失败，标准是什么？艺术家的标准？观看者的标准？被认可的标准？被定义的权利是谁？
关于“作品”的定义，如果展出作品被艺术家签名，观众收藏，它是否可以视未是一件完成并成功的作品？
项目中展示的“失败“的作品，是这件作品的切片，它反映和包含着艺术家创作中的一部分状态。
所谓“成功“是结果。但时间是线性的，艺术家创作都是多线性多线索在生长，展览呈现只是片刻的停顿。
“失败之书“试图展现无产者的权利，只有那些成功的艺术家，才有机会追溯作品的“前生”，成为文献的一部分。
策展人海杰认为，作品处于“未完成”状态，可以看到艺术家创作过程中的纠结、痛苦，却是充满活力，最生动的部分。
"Traces of Abandonment" is a reflection of artist creation by curator Hai Jie, who tries to ask questions and trigger a discussion.
On thehot afternoon of June 23 th .we chatted together about "Traces of Abandonment" , which still seemed inconclusive. And "result" is exactly what this project does not value, it means the definition of success in the social context, we try to return to the artist's state of creation to discuss the workitself.
Interested friends can follow me on a live platform account "MStudio" to watch our discussion replay.
Whatare we talking about when we talk about the book of failures?
Think of the"Traces of Abandonment" art project as an artist studio or worksite. The works on display are some unfinished, abandoned works by six artists.
Failureis the norm, success is accident. What are the criteria for success andfailure? An artist's standard? The standard of the viewer? Accepted standards? Who are the rights defined?
With regard to the definition of "art work", if the art work on display is signed by the artist and collected by the audience, can it be regarded as anincomplete and successful work?
The"failed" piece shown in the project is a slice of the work that reflects and contains a part of the artist's creation. Success is the result. But the time is linear, the artist creation is multi-linear and multi-cluegrowing, the exhibition is just a pause.
"Traces of Abandonment" attempts to show the rights of proletarians, and only successful artists have the opportunity to trace their work back to its"past life" as part of the literature.
CuratorJay believes that the work is "unfinished" state, you can see the artist in the process of entanglement, pain, but full of vitality, the most vivid part.
米诺Mino 2018-06
海杰，从事独立策展和影像批评。
2011、2013 TOP20-中国当代摄影新锐展推荐委员会委员；平遥国际摄影大展艺术委员会委员，资助奖评委；西双版纳国际影像展学术主持；第七届AAC艺术中国年度影响力评选摄影组初评评委；2013第三届成都纵目摄影双年展学术主持；2013首届北京国际摄影双年展爆名展策展人；2014济南国际摄影双年展实验展策展人；2015集美x阿尔勒国际摄影季策展人；2016集美x阿尔勒国际摄影季发现奖提名人； 2017年连州国际摄影年展策展人；第六届侯登科纪实摄影奖终评评委；第六届金拴马桩奖大学生影像艺术界终评评委；2017 成都A4美术馆国际摄影论坛“回声”主讲嘉宾；2018南京艺术学院美术馆首届AMNUA摄影展主策展人；2018深圳圈子青年艺术奖推荐委员。
先后在中国美术学院、天津美术学院、厦门大学、北京工业大学、福州大学厦门工艺美院、歌德学院、北京电影学院青岛分校等多所高校和机构做近30场学术讲座。
学术方向：中国当代摄影个案研究、中国当代摄影口述史、中国当代摄影语言流变与社会思潮。
出版：《照镜子的人：16位中国当代摄影艺术家访谈录》（2012年8月中国青年出版社出版）、《表态：与十四位中国当代摄影艺术家对话》（2013年6月中国民族摄影艺术出版社出版）、《屏幕生存：2000年以来的中国当代摄影切面》（2016年6月中国民族摄影艺术出版社出版）等书。
主持微信公众平台“海杰视界观”。
Hai Jie, an independent curator and critic, once acted as the member of the Recommendation Committee of 2011’ and 2013’ Top 20--Chinese Cutting-edge Contemporary Photography Exhibition; the member of the Art Committee and the judge of the Award for Financially Aided Works by Young Artists of the Pingyao International Photography Festival; the academic moderator of 2012’, 2014’ and 2016’ International Film Exhibition; the judge for the first round election of the photography group on the 7th Award of Art China; the academic moderator of the 3rd Chengdu Zongmu Photography Biennale in 2013; the curator of the Debut Exhibition of the 1st Beijing Photo Biennale in 2013; the curator of the Experiment Exhibition of the 2014’ Jinan International Photography Biennale; the curator of the 2015’ Jimei x Arles International Photo Festival; the nominator of the Discovery Prize of the 2016’ Jimei x Arles International Photo Festival; the curator of the LianZhou photo Festival in 2017; and the judge of the 6th Hou Dengke Documentary Photograph Award.
Hai Jie has lectured at nearly 30 venues in China Academy of Art, Tianjin Academy of Fine Arts, Xiamen University, Beijing University of Technology, Xiamen Academy of Arts and Design of Fuzhou University, Goethe-Institut, Qingdao Campus of Beijing Film Academy, as well as other universities, colleges and institutions. Academically, he focuses on case study on contemporary Chinese photography, oral history of contemporary Chinese photography, changes in the language of contemporary Chinese photography and social ethos. Recently, he is writing the “Talking About Pictures” series, which targets at typical hot images, starts from specific event, and discusses the complex states and relationships between image and power, ideology, culture, politics, media and theory.
Hai Jie has published the One Looking into the Mirror: Interviews with 16 Contemporary Chinese Photographers (By China Youth Publishing House in August 2012), Attitude Declaration: Interviews with 14 Contemporary Chinese Photographers (By Chinese National Fine Arts Publishing House in June 2013), Living on Screen: Profile of Contemporary Chinese Photography Since 2000 (By Chinese National Fine Arts Publishing House in June 2016).
Hai Jie’s WeChat account: “Hai Jie Vision”
策展人海杰项目｜失败之书Traces of Abandonment