口 目 气 足 口 — 能 尖 日 个 展
2019年 3月2日 - 4月7日
MOUTH-EYE-QI-FOOT-MOUTH — Nhozagri Solo Exhibition
2 March - 7 April, 2019
能尖日 | Nhozagri 花前景象| Take Picture Before 纸本水彩| Paper watercolor 33x41cm 2018
能尖日 | Nhozagri 雨中的花 | The Fowers in the Rain 纸本水彩 | Paper watercolor 32x36cm 2018
能尖日 | Nhozagri 观看呕吐 | Watch the Vomiting 纸本水彩、聚苯乙烯、毛绒、树脂 | Paper watercolor, polystyrene, plush, resin 81x48cm 2018
能尖日 | Nhozagri Photograph 龟 | Photograph The Turtle 纸本水彩、聚苯乙烯、毛绒、树脂 | Paper watercolor, polystyrene, plush, resin 127x59cm 2018
能尖日 | Nhozagri 叶面场景| Leaves the Scene 纸本水彩| Paper watercolor 40x34cm 2018
能尖日 | Nhozagri 熊的讲述 | The Bear's Story 纸本水彩、聚苯乙烯、毛绒、树脂 | Paper watercolor, polystyrene, plush, resin 128x88cm 2018
能尖日 | Nhozagri 毒果 | Poisonous fruit 粘土，丙烯 | Clay, propylene 15 x 12 x 11cm 2015
能尖日 | Nhozagri 进入 | Enter 粘土，丙烯 | Clay, propylene 9 x 9 x 11cm 2015
能尖日 | Nhozagri 开易拉罐 | Open cans 粘土，丙烯 | Clay, propylene 10 x 10 x 18cm 2015
能尖日 | Nhozagri N 件倒霉事 | N bad things 纸本水彩 | Watercolor on paper 40 x 37cm 2017
能尖日 | Nhozagri 重复说话 | Repeat to speak 纸本水彩 | Watercolor on paper 37 x 27cm 2016
能尖日 | Nhozagri 声音的弹力 | The elasticity of sound 纸本水彩 | Watercolor on paper 40 x 24cm 2016
能尖日 | Nhozagri 泡泡里跳绳的人 The guy in the bubble jumping rope 纸本水彩，高密度泡 Watercolor on paper, high density foam 16cm x 21cm 2018
能尖日 | Nhozagri 开心的滑滑 | Slippery and happy 纸本水彩，高密度泡沫，软胶 | Watercolor on paper, high density foam, soft glue 17 x 15cm 2018
能尖日 | Nhozagri 算数 | Count 纸本水彩 | Paper watercolor 41x32cm 2018
能尖日 | Nhozagri 戴首饰的女孩 | The Girl in the Jewelry 布料、粘土、丙烯上色 | Cloth, clay, acrylic coloring 35x30cm 2018
能尖日 | Nhozagri 食饺贝在进食 | The Dumpling Shellfish is Eating 毛绒布料、树脂 | Plush cloth, resin 30x30x30cm 2018
能尖日 | Nhozagri 螺旋形是所有故事的形状 The Spiral is the Shape of All Stories 纸本水彩，高密度泡沫 Paper watercolor, high density foam 74 x 74cm 2018
能尖日 | Nhozagri 嫦娥 | The Goddess of the Moon 纸本水彩、聚苯乙烯 | Paper watercolor, polystyrene 65 x 40cm 2018
能尖日 | Nhozagri 小雨中的花 | Flowers in the Drizzle 纸本水彩，聚苯乙烯 | Paper watercolor, polystyrene 28x32cm 2018
能尖日 | Nhozagri 藕 | Lotus root 纸本水彩、聚苯乙烯 | Paper watercolor, polystyrene 63 x 50cm 2018
能尖日 | Nhozagri 飞过云层 | Fly Through the Clouds 纸本水彩、聚苯乙烯 | Paper watercolor, polystyrene 35 x 22cm 2018
能尖日 | Nhozagri 偶然的云人 | The Accidental Cloud Man 纸本水彩、聚苯乙烯 | Paper watercolor, polystyrene 50 x 50cm 2018
能尖日 | Nhozagri 偷这件事情 | Steal it 纸本水彩、聚苯乙烯、毛绒、树脂 | Paper watercolor, polystyrene, plush, resin 70 x 48cm 2018
能尖日 | Nhozagri 秘密 | Secret 纸本水彩，雁皮纸，独幅版画 | Watercolor paper, wild goose paper, single print 42x50cm 2018
能尖日 | Nhozagri 草地上的荷兔猪 | The Rabbit Pig on the Grass 纸本水彩、聚苯乙烯 | Propylene on canvas, polystyrene 40x30cm 2018
能尖日 | Nhozagri 噩梦 | The Nightmare 纸本水彩、聚苯乙烯 | Propylene on canvas, polystyrene 50x33cm 2018
能尖日 | Nhozagri 圆球和影子 | The Ball and the Shadow 布面丙烯、毛绒布、树脂 | Propylene on canvas, plush, resin 39x30cm 2018
能尖日 | Nhozagri Photograph 小龟 | Photograph The Turtle 纸本水彩、聚苯乙烯、毛绒、树脂 Paper watercolor, polystyrene, plush, resin 35x17cm 2018
能尖日 | Nhozagri 甜花 | Tianhua 布，树脂，水彩 | Cloth, resin, watercolor 40x30cm 2018
能尖日 | Nhozagri 新的自己 | A new myself 木板油画 | Oil on wood 10 x 10cm（12 张） 2013
口目气足口 — 能尖日的可能性世界
能尖日是89 年出生，毕业于央美版画系的研究生。她的弥漫甜蜜的少女系风格来自于对学院系统教育的有意的排斥，和独特个体在艺术世界中自我专断的权力，是一种自愿的、暂时的无遮化的赋形。蒸汽波（Vaporwave）是发源于2010 年，是一种脱胎于赛博朋克的互联网文化和迷幻体验结合在一起的复古电子科技风格。一种将8、90 年代的电子舞曲互相剪辑，切断、扭曲、分层、循环成简单、宁静、阴暗、低沉、致幻的风格，杂糅出一种复古音乐与流行电音的混合乐曲，这种低成本的制作方式让蒸汽波变成了一种全民参与的艺术形式。同样在视觉元素里也是充满了低保真、彩虹渐变色、复古科技的迷幻超现实主义的风格, 在生产、分配和消费中，进行耗费、逾越和祝祭。感性的解放和直觉力的尊崇，从而使旧有的解释学的陈规陋俗得以破解，使当代人存在的知觉决然的呈现。
在B 站上的弹幕群体，以“灵魂画手”来称呼那种传神但技术低拙的画风。在观念绘画之后，“坏”画也成为了反抗已经定型的现代主义语言风格的绘画路径，作为对“好”画的嘲讽，表现为变形扭曲的图像，混搭通俗与流行的风格，配合荒诞不羁的内容。他们的挑战如此的成功，以至于现在显然不是反对派，而是与曾经合法的品味一样，受到了美术馆和收藏家的追捧，甚至登上了主流的位置。以攻击那些自诩为高级正统人士为主要的共同文化目标里，致力于生产反区向的异质化努力，无疑依然蕴藏在中国广大的民间通俗文化之中，亚文化依然是先锋性源源不断的供给资源库。能尖日作品以网络美学的属性，指向卡通、动漫、游戏，以及蒸汽波的美学风格，以新的尺度达到感官比例和平衡。故事以网络超文本（Hypertext）性作为叙事方式，作品作为一个无限开放的链接节点，时间不再是一种消极的容器，是一种不断流动的和现实之间的关系，比如“切故事”和“游戏棋”，如同一个“时空体”囊括了移动的迷宫和各种不同叙事的可能性结果。人在平淡的生活中依然需要加点甜，战胜了自我欲望的魔兽后，飘离出理性之外的奇幻和疯狂依然是人与AI 较量中不可战胜的区别。能尖日的自我的小船已经带着梦、时空和被子飘向了远方，带着她的子民去摸索主体建构的其他的可能性，这种摸索是在自设的游戏规则里面寻找未来，是指向可能性的奇幻世界的一种个人化的出路。
MOUTH EYE QI FOOT MOUTH---the World of Possibility of Nhozagri
Curated by Fu Xiaodong
A living particle which is unwilling to face the excess of joy, lacks freedom, without joy, and remains sternest should reach its extreme. This is just a trap. The being that is fulfilled, should apply excessiveness, not deprivation, to reach extremity.
------L'expérience intérieure, Georges Bataille
Ancient amoeba is a single-cell protozoa, belongs to the class of Sarcodina and Rhizopoda. The body of amoeba is bare and soft. It can protrude from all directions its pseudopods and has several blisters and telescopic bubbles. It is a transparent ellipsoid that can produce fission. This free-living amoeba can enter the body of the host from the nasal cavity and engulf the brain nerve cells. Therefore, it is the most important observation object for single-cell genetic experiment, and also the starting point of all the strange deformed monsters. Slime is a kind of fictional little mud who appears in video games and fantasy novels. As a sticky substance and a jelly-like semi-liquid, it is green, soft and elastic, constantly splitting and blending. In reality it is based on amoeba and originates from the Cthulhu mythology system---a huge deformed monster that can melt anything but stones into its body.
The conception of Nhozagri Kingdom of its soft-body subjects comes from the legend of these unicellular or multi-cellular deformed mollusk. They grow wildly, in a casual, melancholy, loose, and weak way. For these cute subjects with flock satin and fluffy hairs, "their appearances stay in the moment of captivation", their "eyes are full of illusion and hallucination", therefore "exposing their own past and future." "There are some events of things that condense a moment of things, just like a petrified magic." They are a blue sky, or a bank of white clouds, a block of time and space. They infinitely rebound with human existence, and functions with each other reciprocally and recursively. One can stay in "one place", play "one thing", and have a "complex mind". The soft-body subjects are not just some images, instead, they can be anything in this world--- ions, air, and light can all become soft-body subjects gathered by breathe. "The world is not just about the planet earth," Nhozagri said. These poor yet cute subjects are regarded by Nhozagri as a self-conscious group that can survive and reproduce on their own. Every subject is a key to enter Nhozagri Kingdom as well as to activate unique time. In short, they are the evidences of the material existence in a possible world. They superimpose on each other and form texts of the body like “MOUTH EYE QI FOOT MOUTH, which denotes “eyes, ears, nose, tongue, and body”, namely, the five senses and four limbs. For the internal organs, Nhozagri applies the method of pictogram or homophone: to apply the sound of “肠”（cháng） and “鹅”（é）to imitate the sound of “嫦娥”(cháng-é) (the Goddess in the Moon); to apply the sound of “虫”（chóng） and “蝶”（dié）to imitate the sound of “重叠”（chóng-dié） (overlap). It is a superimposed reconstruction of object pictogram, body symbol and phonetic imitation. They are not merely an alternative way of viewing. but a diversified form of “being”, returning to a more ancient and magnificent mechanism of the machine of the universe, and finally, closely join all the things together, no matter how far they are, through the analogy manifested in the ancient method of Chinese cosmology.
The Quilt of Time
After capitalism, industrial civilization, view of science, and Evolution Theory, everyone was facing a challenge---since the ancient symbolic system of Western Catholic collapsed, as well as the Oriental Confucian ethics and daily religious system collapsed, what should we center on to reorganize our civilization?
In the Nhozagri’s kingdom of possibility, every subject and every story is trying to form a space-time system of her own, that the audience can imagine in mind a grand and differed universe through the few pictures and words in this exhibition. As Nhozagri puts, "I often feel that in some spaces, whether I have been there or not, exist some fragments of things in consciousness, and they are in a non-linear time, recombined by memory and amnesia, therefore forming some form or shape, just behind me or beside me." As if with super-feeling, she fixed the impression of time and create this impression. These accidental creations formed a chaotic multi-time relationship, expanding narratives in the splitting linear time. In "Four Dimensions", the images of various subjects gradually fixed and individualized, and also increasingly personalized. The thinking mode based on a fully developed symbolism is defined as the contemporary mythological thinking of a forked time and space.
Nhozagri tries to appease and heal the unhealed wounds of modern people. If the exhibition “Curious Cabinet” in Sanlitun presents the great trauma in the center of civilization that cannot be healed by rationalism, empiricism, Phenomenology of Spirit, protestant ethics, and s order of symbolism, then we can say that from World War I to World War II, from national wars to democratic wars, it is human themselves who is always in the pursuit of material and spiritual satisfaction that drives people crazy. The insatiable demands for materials and the desire for the ultimate pursuit of metaphysical world that have led to the development of strange monsters within human beings.
Nhozagri wants to "play secretly". "Art creation is to filter gems from the air; I look into the inside world while standing outside of time, walking and picking; looking through transparent gems, the objective world have changed its soul through the refraction of marbles. Any act of play is a topological structure.” We have to turn our attention from external oppression to inner relaxation, from hysterical alienation to crystal sedimentation and soothing. We can't imagine a world without power, without capitalism exploitation. We can't imagine a world that doesn't eat people. Facing such a terrible yet normal world, we try to stop doing counterproductive things while just lingering in the world of inhumanity, so as to alleviate this contradiction and anxiety. "Until the quilt of time is covered, they will fall asleep and gradually show clear images." To cut the connection with real life is not drift outside the reality, but return to it. It is a simul-construction with the collapsing world, an alternative way to truly intervene the reality. Therefore, against the background of the indifferent doomsday, we can have such a romantic and poetic world of healing. With a temperament of post-humanistic unknown things, Nhozagri’s subjects are full of the praise for material lives in the universe and for the ordinary daily life, giving a vivid example of “all things are equal”. It is an accidental ecstasy, as if enjoying a beautiful view, a slightly mild sweet and pleasant possession, and a lasting enjoyment from the inner mind. An accidental joy comes into being, as if enjoying a landscape, it is a slightly dull sweet and pleasant possession, a lasting enjoyment from the inner mind. Nhozagri said: “Painting is a method to know the world. Lonely but brave.”
Nhozagri was born in 1989 and graduated from Printmaking Deptment, Central Academy of Fine Arts. The sweet girl style impregnated in her works comes from the intentional rejection to college system education, and from The arbitrary power of a unique individual in the art world, which can be regarded as a voluntary, temporary and unobstructed form-giving. Vaporwave is a microgenre of retro electronic style that combines the internet meme with huge amount of cyberpunk tropes and psychedelic experience emerged in 2010. The style is defined by its appropriations of 1980s and 1990s mood music styles; through clipping cutting, twisting, layering, and circulating, a simple, quiet, dark, low, and illusory style appears. It tends to be characterized by a nostalgic engagement mixed with a popular entertainment. The low-cost production method of Vaporwave makes it an art form that everyone has access to be involved. Also in its visual, there is the psychedelic surrealist style filled with low fidelity, rainbow gradient colors and the retro technology, consuming, exceeding and sacrificing in the production, distribution and consumption. Its perceptual liberation and intuitional respect allow the previous hermeneutics to be cracked, decisively foregrounding the perception of contemporary existence.
The cyber citizens on the Bilibili named the expressive but low-tech paintings as the works of “soul painters”. After the conceptual painting, the "bad" painting has become a painting path against the stereotyped modernist language style, as a mockery of "good" paintings, which is represented by distorted images, mixed with popular styles, and absurd content. Their challenge was so successful that it is now clearly not an “opposition”, but more likely a once legitimate taste, having been sought after by art galleries and collectors, and even becoming the mainstream. Subcultures, usually share a common goal—to attack those self-proclaimed “high-ranking”professionals, and devote to producing heterogeneity in the opposite direction. Subculture is still providing continuous supply of resources to the avant-garde, as it is undoubtedly hidden in the vast Chinese folk cultures. The works of Nhozagri, with the attributes of cyber aesthetics, point to the hybrid styles of cartoons, animations, games and vaporwave, reaching the sensual proportion balance with a new scale. The story uses the hypertext as a narrative method. When her works are taken as an infinitely open chain node, time is no longer a passive container; instead, it becomes a continuous relationship with the reality, such as her works “cutting stories” and “chess game", like a "space-time body" encompassing the moving maze and various possibilities of different narratives.
People still need to add some sweetness in their plain life. After defeating the monster of self-desire, the fantasy and madness that drift away from rationality is still the invincible difference between human beings and AI. Nhozagri’s boat of the self-speaking has drifted off into the distance with dreams, time and space and quilts, and with her people to explore other possibilities of the construction of the subject. This kind of exploration is to find the future in the rules of the game set by herself, which is a personal way out of the fantasy world of possibilities.
4 Jiuxianqiao Rd, 798 Art Zone,
+86 10 59789671
周二至周日10：00 - 18：00
Tuesday-Sundy 10:00 - 18:00