妄念
时间: 2018年9月12—10月24日
地点: 英国伦敦 萨奇美术馆 
艺术总监：管怀宾   张颂仁
策展人：王岩
助理策展人：林灿文
主办：中国美术学院跨媒体艺术学院      萨奇美术馆
鸣谢：平行当代艺术（英国）    杭州世通文化艺术策划有限公司

　　2018年9月12日，由策展人王岩策划的展览《妄念》将在英国伦敦萨奇美术馆举行，本次展览由中国美术学院跨媒体艺术学院、萨奇美术馆和START艺术博览会主办，得到了中国驻英国大使馆文化处的大力支持。展览呈现了十位/组中国青年艺术家(朱玺、段官来、王震宇、吴穹&汪洋、王志鹏、孙晓宇、宋戈文、傅冬霆、邵睿璐)全新创作的十余件绘画、装置及影像作品，不仅融合东方传统哲思与西方当代文化视野，更集中呈现了中国青年艺术家对社会当下的回应、反思与预测。折叠现实与精神世界，领观者游走其中，同时探寻虚妄与执念、身份与权利、政治与信仰等议题。作为一次实践，“妄念”不矫准任何偏离，也肯定非常规的生命体验，挖掘并还原隐含于艺术创作中不可视的信息和精神图景，重新思考艺术的力量。

　　展览启幕之前，雅昌艺术网将陆续刊发十位/组参展艺术家的对话内容，以期更真实地呈现他们的所思所为。

　　对象：王志鹏Wang Zhipeng（flower）

Q&A

　　Q：『分形』这一数学概念是何时又如何进入你的创作与思考视野的？

　　When and how does the mathematical concept—"fractal" enter your vision of creation and reflection?

　　A：大二的时候，那时候在上书法课，也在网上邂逅了分形。我记得是浏览到了一张“照片”，照片里的物象很像海底的植物，非常的迷人，但又感觉有些奇异，一查究竟，就发现了分形。那段时间有一个基础编程工作坊，主题正巧是“书法”，所以很自然就把两件事情往一块儿想了，分形确实与书法有潜在的联系，就琢磨着怎么把两者结合做一个作品。

　　When I was in the second year of college, I was studying a calligraphy class at that time and met the "fractal" on the Internet. I remember browsing through a "photo". The image in the photo is very similar to the plants in the seabed. It is very charming, but it feels a bit strange. When I check it, I found the fractal. During that time, there was a basic programming workshop. The theme happened to be "calligraphy", so it was natural to think about two things together. The "fractal" really had a potential connection with calligraphy. At that time, I began to wonder how combine the two into one work. "Fractal" has entered my vision since then.

王志鹏    Mandala    2016     尺寸可变   时长可变

　　Q：你如何描述你所谓的“艺术与技术交汇中的“浑沌”现象”？

　　How do you describe what you call “‘the chaotic phenomenon’ in the intersection of art and technology?

　　A：这句话的意思不知道怎么能说的更清楚，因为我所使用的媒介、涉及的研究对象，探索的领域与艺术、技术以及数学等等都沾一点边，比较像一个业余爱好者。这当中会发现有很多不确定的事，比如从技术的探索上，要去学会控制和掌握一些新技术，这中间会出现很多奇怪的无法预料的bug，算是一些困扰的事，但这偶尔也会生发出很多其他的可能性，就像一颗颗胚芽一样，可能有的绽放了，甚至能结果。另外，这个“浑沌”也与我所探索的“分形”有一些关系，因为分形本身就有“秩序中隐匿着混乱，混乱中孕育着秩序”的特性，所以这些想法就导致了这样一句不太准确和靠谱的话。

　　I find it hard to explain the meaning of this sentence. I am more like an amateur because many topics I touched upon are related to art, technology and mathematics such as the medium I’ve used, the object I’ve researched and the area I’ve explored. Many uncertainties will occur during the process such as exploring and mastering some new technologies. I’ve also encountered some strange and unexpected bugs which are troublesome. However, these can also generate many possibilities which might blossom and bear fruits like tender buds. In addition, the so-called “chaotic phenomenon” has something to do with the “fractal” I’m exploring because “fractal” itself has its own characteristics, namely chaos hidden behind order and order born from chaos. In view of the above thoughts, I came up with the sentence which might be inaccurate and unreliable. 

　　Q：你将创作《MANDALA》时在软件中调整和把玩公式参数的过程也是一个修行的过程，能否理解为你个人的日常创作状态？

You view adjusting formula parameters of the software in creating MANDALA as a spiritual process. Can it be taken as your daily state of creation?    

　　A：准确的说，应该是做有关“分形”这个主题作品的状态；由于分形自我迭代特性，参数的细微调整都会对产生的图像结果产生巨大的影响，如同蝴蝶效应；生成的图像有些并不可见或者无法形成具体的形象，需要我不断的去“完成”，所以也是一个感知和感悟的过程。

　　To be precise, it can be taken as the state when I create works of art with “fractal” as the theme; any subtle parameter adjustment will exert huge influences on generated pictures like the butterfly effect. Some of the generated images are invisible or unable to form concrete images which needs me to “complete” constantly. Therefore, it is also a process of perception. 

　　Q：这件作品完全静默，跟以往的“声光电”作品有所不同，更能够看出你对于作品纯粹性的追求，是如何静以创作的？

　　The piece of artwork is completely still and silent which is different from the previous “audio and visual” artworks, from which we can tell that you want to pursue the purity of artwork. How do you create this silent artwork?

　　A：没有什么纯粹的追求，只是作品在视觉上的信息量足够丰富，有趣味，适合用眼睛去看，所以作品不需要在空气中传播信息。（笑）

　　I didn’t intend to pursue the purity. The artwork contains enough rich and interesting information which is suitable for you to appreciate visually, so no more information needs to be conveyed to you through the air. (Laugh)

　　Q：“既是万物之象，又非万物之象”，如何去理解这一点？

　　“It is the image of all things; it’s not the image of all things”. What does it mean?

　　A：Leave这个单词有两个相反意思，“离开”和“留下”，一个不确定的词，需要一个语境，一对主客体来确定他。分形有一点让我着迷的是，他与自然有某种交集，由数学公式生成出的表象仿佛可以看到自然，但又有些距离。看到的总是似是而非，不三不四，不清不楚，也会用一些已知的事物围绕其身上并加以确定，但终究还是其未知的自己。一个客观对象的变化，一个主观对象的变化，相互一作用，都是不能够确定的。

　　The word “leave” contains two opposite meanings, namely “stay” and “go”. A word with uncertain meanings needs a context, object or subject to confirm it. What fascinates me about “fractal” is that it has intersection with nature. It seems that we can see images generated by mathematical formula but there still exist some distances. What we see are always vague, uncertain and unclear. We tend to confirm it with the help of what we’ve already known but it’s still unknown to us. The changing objective target and subjective target interact with each other which can’t be confirmed.