HOW 新展预告 | 我与博伊斯·王广义：人脸识别 - 寻找鞑靼人后裔
人脸识别－寻找鞑靼人后裔
展期：2021年07月17日- 2021年10月17日
艺术家：王广义
策展人：杜曦云
地址：昊美术馆（上海）二楼特别项目展厅
主办：昊美术馆
Please scroll down for English version.
昊美术馆荣幸地宣布，持续性项目“我与博伊斯”的第五个展览，将于2021年7月17日在昊美术馆（上海）2层展厅开展，此项目每4个月邀请一位艺术家，用作品的形式与馆藏的博伊斯展览进行对话，并在博依斯展区以“展中展”的形式展出。项目由策展人杜曦云主持。
人脸识别能找出鞑靼人后裔吗？
文/杜曦云
种族（Race），是在体质形态或遗传特征上具有某些共同特色的人群，划分时可以根据外在特征（如肤色、眼色、眼型、发色、发质、鼻型、嘴唇的厚薄、头型、脸型等）、基因、以及自我认同等为标准。“人种”这一概念以及“种族”的具体划分，都是相当具有争议性的课题，在不同的时代和文化中都有差异。
对于种族的研究，至少在两个范围（国家范围和国际范围）进行，各种研究的目的不同，讨论非常复杂。目前，围绕着人种概念展开的辩论横跨多个学科，对于人种是什么、是否存在、到底有几个、应该如何定义、如何理解、如何分析等问题，尚无定论或共识。
许多演化学家和社会学家认为，基于近年来的生物学研究结果，任何对于人类种族的定义，都缺乏科学分类的严谨性和正确性；人种的定义是不准确的、随意的、政治化的和约定俗成的，随文化视角的差异而变化，种族应该视为一种社会建构。
但也有其他科学家认为，人种概念并非毫无根据，人种概念和多位点基因数据之间的确有关联，而试图摒弃人种概念的真正动机，主要为科学以外的其它原因。例如，科学界对诸如“高加索”、“尼格罗”、“蒙古”人种等词汇的支持，在近一百年里有明显的下降。但这些词汇原先指的是颅骨类型，源自颅面测量的技术，目前在法医人类学等领域继续使用。
鞑靼人（英语：Tatars，鞑靼语：татарлар，俄语：татары），先祖为柔然，是多个族群共享的名称，包括以蒙古族为族源之一的游牧民族、在欧洲曾被金帐汗国统治的部分突厥民族及其后裔。中国的塔塔尔族和俄罗斯等地的鞑靼族，都源自古代蒙古草原上的鞑靼人。如今的鞑靼人主要分布于中亚、阿富汗和欧洲（俄罗斯的喀山、乌克兰的克里米亚、白俄罗斯、波兰、立陶宛、芬兰）各地。
在博伊斯讲述自己神话般的濒死经历里，他说他的飞机坠毁在克里米亚的荒原上，鞑靼人发现了他，用毛毡包裹使他保暖、用油脂敷伤来治愈他。这个故事中，和祛魅后心底虚无的现代人相比，鞑靼人似乎保留了人类源远流长的某种神秘能力，提供给博伊斯开启艺术生涯的契机。博伊斯则从这个故事出发，对接和萨满、神学相关的大量寓言和符号，为他那些向着无限开放的艺术言行赋魅。
王广义在美术馆展厅里安置了人脸识别设备，让观众亲眼目睹自己和鞑靼人的面部相似程度。对观者而言，这可以是不期而遇的庄重“寻根”，也可以是变本加厉的轻松游戏，或者皆而有之。在中世纪至20世纪初的欧洲人绘制的地图里，鞑靼人的游牧区域被称为鞑靼利亚（拉丁语：Tartaria）。在欧洲文献里有时将“China”理解为汉人聚居的关内十八省，而将元、明、清朝境内北部的蒙古族和满族列入“鞑靼利亚”中，两者并列。在博伊斯的语境中，鞑靼人让失魂落魄者返魅后元气饱满的重新出发，鞑靼人-萨满-神学-政治-艺术之间环环相扣、起承转合。他认为艺术=生活，艺术=人：解放人类是艺术的目标，对我而言，艺术是关于自由的科学。在沉浸式遭遇人工智能、大数据的当代人眼里，“人脸识别”的意味是什么？鞑靼人的后裔长什么样？
2021年6月30日
关于艺术家
王广义，1957年生于中国黑龙江省。1984年毕业于中国美术学院。生活和工作于北京。
在80年代参与和组织了北方艺术群体，90年代曾创作了在国际上具有广泛影响的《大批判》系列。曾参加中国现代艺术大展（1989）、第45届威尼斯双年展（1993）、第22届圣-保罗双年展（1994）、西班牙圣莫妮卡美术馆《中国前卫艺术》（1995）、德国路德维西美术馆《回望》（1996）、德国斯图加特美术馆《数字与神话：20世纪艺术回顾展》（1997）、法国蓬皮杜艺术中心《那么，中国呢？》（2003）、法国马塞现代艺术博物馆《身体-中国》（2004）、中国国家会议中心《改造历史》（2010） 、艺术长沙（2015）、釜山双年展（2016）、古根海姆美术馆《1989年后的艺术与中国》（2017-2018）等群展；在深圳OCAT当代艺术中心（深圳，2008）、路易斯-布莱恩基金会美术馆（伦敦，2008）、 今日美术馆（北京，2012）、拉维罗美术馆（意大利,2014）、MAC当代美术馆(西班牙, 2015)、新加坡当代美术馆（2016）、鲁迅美院美术馆（沈阳，2016）、武汉合美术馆（武汉，2016）、布拉格市立美术馆（捷克，2018）、巽汇空间（同济大学，上海，2019）、亚美尼亚国家美术馆（亚美尼亚，2019）等地举办个展。
作品被泰特美术馆（英国）、古根海姆美术馆（美国）、Sammlung Essl博物馆（奥地利）、第森美术馆（西班牙）、路德维希美术馆（德国）、历史博物馆（德国）、新加坡当代艺术基金会（新加坡）、卡地亚当代艺术基金会（法国）、福特基金会（美国）、旧金山现代美术馆（美国）、亚太博物馆（美国）、阿兰·莫黑亚勒美术馆（美国）、亚美尼亚国家美术馆（亚美尼亚）、印尼雅加达Nusantara现当代美术馆（印度尼西亚）、香港M+美术馆、何香凝美术馆、广东美术馆、民生美术馆、深圳美术馆、今日美术馆、和美术馆、成都当代美术馆、龙美术馆、中国美术学院、OCT当代艺术中心、泰康空间、合美术馆、松美术馆、湖北美术馆、星美术馆、余德耀美术馆等机构收藏。
关于策展人
杜曦云 | Du Xiyun
1978年生，2000年于陕西师范大学美术学院油画系，获学士学位。2006年于四川美术学院美术史系，获硕士学位。曾任上海昊美术馆副馆长、上海喜玛拉雅美术馆副馆长。
他的艺术观点著述于各类杂志和出版物，并曾创办和主编《艺术时代》等刊物。他曾策划多个展览和项目，近期包括：武汉·赵半狄的小窝，武汉美术馆，2021；确实中的冲击：上海首届全球 NFT 加密艺术展，上海西岸·油罐艺术公园1号罐，2021年；我与博伊斯·尹秀珍，上海昊美术馆，2021；我与博伊斯·赵半狄的小窝，上海昊美术馆，2020；联合构筑，苏州金鸡湖美术馆，2020；我与博伊斯·杨振中，上海昊美术馆，2020；我与博伊斯·周啸虎，上海昊美术馆，2019；上海文件：匀速运动，上海喜玛拉雅美术馆，2019年；蒙塔达斯：亚洲礼仪，三影堂摄影艺术中心，2018年；今日之往昔：首届安仁双年展，2017年；走向未来：马德里·北京音乐潮，塞万提斯学院，2017年；萧条与供给：第三届南京国际美展，百家湖美术馆，2016年；北京·798诞生纪（2002-2006），宋庄美术馆，2016年。
Me & Beuys · Wang Guangyi
Face Recognition- Find Descendants of TatarsDuration：2021/07/17 - 2021/10/17
Artist：Wang Guangyi
Curator : Du Xiyun
Venue：Special Project Space, F2, HOW Art Museum (Shanghai)
Organizer: HOW Art Museum
Will Face Recognition
Find Descendants of Tatars？
Du Xiyun
A race is a grouping of humans based on shared physical genetic qualities into categories generally viewed as distinct by society. The categorization could be based on physical characteristics (i.e. skin color, eye color, eye shape, hair color, hair texture, nose shape, lip thickness, head shape and face shape), genetic traits or self-identification. The concept and categorization of “race” have always been considered controversial and defined differently during different time periods and cultural contexts.
Studies on race are carried out on at least two levels (domestical and international). As purposes of such studies vary, discussions into the topic are highly complicated. Currently, studies and debates on “race” are interdisciplinary, and so far no universally acknowledged conclusion has been reached concerning what race is, whether it exits, how many races there are and how to define, understand and analyze race.
According to many evolutionists and sociologists, based on recent research on biology, all the definitions on human races lack stringency and preciseness in terms of scientific classification. Definitions on human races are imprecise, casual, politicalized and established mainly by usage. They change as cultural perspectives shift. In this regard, race should be deemed as a kind of social construction.
However, some scientists claim that the concept of race is not totally groundless. There is evidence of connections between race and multilocus genetic data. And the reason behind the attempts to abandon the concept of race is often driven by non-scientific factors. For instance, support for terms such as “Caucasoid”, “Negro” and “Mongolia” from the scientific community has decreased significantly during the past century. But these terms originally derived from techniques of craniofacial measurement and referred to skull types, and currently are still widely used in forensic anthropology.
Tatars, who are considered descendants of Rouran, is an umbrella term for different Turkic ethnic groups bearing the name “Tatar”. Their origin could be traced back to Mongol Empire when Genghis Khan unified the various steppe tribes. The Tatars in China and Russia all derived from the Tatars living on immense grasslands of the ancient Mongolia. Today the Tatars mainly live in Central Asia, Afghanistan and Europe (including Kazan in Russia, Crimea of Ukraine, Belarus, Poland, Lithuania and Finland).
In an account Beuys gave of the near-death experience he had, he said he was rescued by a group of nomadic Tatars who tended to his wounds with animal fat and wrapped him in felt. In this story, compared with the modern people who had been disenchanted and left with nothing but void in mind, it seemed that the Tatars managed to retain some mysterious power that mankind had for long possessed, which imbued new inspiration to Beuys’ artistic practice. To him, the incident presented itself as an opportunity for him to embrace the fables and signs related to Shaman and theology, re-enchanting the artistic exploration gearing towards infinite openness and possibilities.
By installing a set of face recognition facility at the gallery space of the museum, Wang Guangyi makes it possible for the viewers to see with their own eyes how much similarity they share with the Tatars. To the viewers, this could be either an unexpected and yet quite solemn chance to “search for their roots”, or a casual and fun game, or both. In the maps drawn by the Europeans from the Middle Ages to early 20th century, the nomadic areas of the Tatars are known as Tartaria. In some European literature, “China” sometimes was perceived as a parallel concept to “Tartaria”. In the context of Beuys’ art, the Tatars enabled the desperate to restart with full vitality after re-enchantment. Tatars, Shaman, theology, politics and art in this case formed an organic chain. According to Beuys, art equals life and art equals human beings: “The liberation of human beings is the goal of art, for me, art is about the freedom of science.” To the contemporary people who are almost besieged by AI and big data, what does face recognition mean to them? And what do the descendants of Tatars look like?
Jun. 30, 2021
ABOUT ARTIST
Wang Guangyi
Wang Guangyi. Born in Harbin, China (1957). Graduated from China Academy of Fine Arts (formerly the Zhejiang Academy of Fine Arts), Hangzhou, China (1984). Currently live and work in Beijing.
In 1980s, he attended and organized North Art Group, in 1990s, he create Great Criticism series which have wide influence in international art world. Selected group exhibition: China Avant-garde (1989), 45th Venice Biennale(1993), 22ed Sao Paulo Art Biennial (1994), Aperto 95, Avant-gardes Artistiques Xinesses in Santa Monica Center d’Art (1995), Begegnungen mit China in Ludwig Forum Fur International Kunst (1996), Magie der Zahl-In der Kunst des 20 Jahrhunderts in Staatsgalerie (1997), Alors, La Chine? in Pompidou Art Center, China, the Body Everywhere? In MAC Marseille (2004), Reshaping History in China International Exhibition Center (2010), Art Changsha in Hunan (2015) , BUSAN BIENNALE (2016), “Art and China after 1989: Theater of the World”, in Solomon R Guggenheim Museum, New York/Bilbao, US; Solo Exhibition in: OCT-Contemporary Art Terminal (China, 2008), Louise Blouin Institute of Louise Blouin Foundation (The U.K, 2008), Today Art Museum(China, 2012), Museo di Villa Rufolo (Italy, 2014), MAC contemporary Art Museum (Spain, 2015), Museum of Contemporary Art (Singapore, 2016), Museum of Luxun Academic of Fine Arts (China, 2016), United Art Museum (China, 2016), Prague City Gallery (Czech, 2018), XUNWAY Art Space (Tongji University,China,2019, National Gallery of Armenia (Yerevan, Armenia, 2019), etc.
Works are collected by Tate Museum, UK. Guggenheim Museum, USA.; Museum Sammlung Essl, Vienna; Kunst Der Gegenwart, Austria; Carmen Thssen-Bomemisza Collection, Spain; Museum Ludwig Koln, Germany; Haus der Geschichte der Bundesrepublik Deutschland ,Germany; Sigapore Contemporay Art Foundation, Singapore; Foundation Catier pour L’art Contemporain, France; The Ford Foundation, USA.; San Francisco Museum of Modern Art, USA.; Gortesia Pacific Asia Museum, USA.; Allen Memorial Art MuseumUSA.; Armenia National Museum, Armenia; Nusantara Mordern and Contemporary Art Museum, Indonesia; M plus museum(Hong Kong), He Xiangning Art Museum(Shenzhen), Guangdong Museum of Art(Guangzhou), Minsheng Art Museum(Beijing), Shenzhen Art Museum(Shenzhen), Today Art Museum(Beijing), He Art Museum(Shunde), Chengdu MOCA, Long Musuem(Shanghai), China Academy of Art(Hangzhou), OCT-Contemporary Art Terminal(Shenzhen) , Taikang Art Museum(Beijing), United Art Museum(Wuhan), Song Art Museum(Beijing), Hubei Museum of Art(Wuhan), Star Museum(Shanghai), Yuz Art Museum China(Shanghai), etc.
ABOUT CURATOR
Du Xiyun
Curator, Born in 1978. He received his bachelor's degree in oil painting from the school of fine arts in 2000 and his master's degree in fine arts history from Sichuan Academy of Fine Arts in 2006. He was deputy director of HOW Art Museum, deputy director of Shanghai Himalayas Museum.
His artistic views have been published in various magazines and publications, and he used to work as the chief editor of ARTTIME. He has been involved in organizing and planning several exhibitions and projects, most recently: (2021）Wuhan·Zhao Bandi's Hut, Wuhan Art Museum, Wuhan; (2021)Me&Beuys·Yin Xiuzhen:Braking, HOW Art Museum, Shanghai; (2020)Me&Beuys·Zhao Bandi's Hut - A Noah's Ark in the Post-Pandemic Era, HOW Art Museum, Shanghai; (2020)Me&Beuys·Yang Zhenzhong, HOW Art Museum, Shanghai; (2020)Co-constructing, Jinji Lake Art Museum, Suzhou; (2019)Me&Beuys·Zhou Xiaohu, HOW Art Museum, Shanghai; (2018)Muntadas: Asia Protocols, Three Shadows Photography Art Centre, Beijing; (2017)The future is here: Musical frenzy from Madrid to Beijing, Instituto Cervantes of Beijing; Today’s Yesterday: The 1st Anren Biennale, Anren; (2016)Historicode: Scarcity&Supply/ The 3rd Nanjing International Art Festival, Baijia Lake Museum, Nanjing; BEIJING 798 GENESIS(2002-2006), Museum of Song Zhuang, Beijing.
*图片致谢艺术家
*Courtesy of the artist
文 Text／杜曦云 Du Xiyun
编辑 Edit／Murphy
昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，共有三层展览和活动空间，总面积约7000平方米，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间为周二至周五中午12点至夜间8点30分，周末及节假日开放时间为上午10点至夜间8点30分。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。
开馆时间周二至周五开放时间为 12:00-20:30（每周一闭馆）周末及节假日开放时间为 10:00-20:30
昊美术馆（温州） HOW ART MUSEUM (WENZHOU）
昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间至夜间10点，目前特殊时期开放时间为下午1点至夜间8点（周二至周日）。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。
特殊时期开馆时间周二至周日 13:00-20:00（每周一闭馆）
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