南楠 Nan Nan 「白光穿刺Tingling」 展期 Exhibition Duration：2022.10.29 – 2022.12.24 深圳市福田区天安科技创业园A座803C
周二至周六：早10点至晚6点
《白光穿刺》展览现场
/ 王澈对话南楠 / 王澈：在思考展览策划方式上，我最想呈现出来的是一个艺术家个人状态、成长轨迹、生活经历，再到思考的角度、广度、深度，最后到作品的形式和面貌。所以展览设置了三个部分：一是关于你个人的一个短片、二是一间你在展览期间可以跟观众轻松交流的空间，三是绘画作品。这样展览很像是去艺术家工作室拜访，也很像把一个艺术家呈现出来，在陪伴观众的过程中创作或者展览也显得更有诚意。In thinking about the way of exhibition planning, what I want to present most is an artist’s personal state, growth trajectory, life experience, then the perspective, breadth, and depth of thinking, and finally the form and appearance of the works. Therefore, the exhibition has three parts: one is a short film about you, the second is a space where you can easily communicate with the audience during the exhibition, and the third is the paintings. In this way, the exhibition is very much like visiting an artist’s studio, and it is also very much like presenting an artist to create or exhibit in the process of accompanying the audience, which is also more sincere. 南楠：能通过不同的维度和方向去了解作品是特别有意思的，也是我自己喜欢看别的艺术家的作品的方式。就像我看过印象最深刻的展览是一个展出了十几位艺术大师未完成的作品的展览，对我来说它从一个新的角度让我重新认识了他们。艺术是个特别不讲道理的事，怎么看、怎么琢磨、怎么喜欢都是在一个特别复杂的加工过程中自己得出的结果。自上而下也好自下而上也罢，都要通过自身的经验。所以去了解围绕着作品和艺术家的一切都会影响怎么看这个作品，这些无形的经验会让作品更立体更有意思。It is particularly interesting to be able to understand the work through different dimensions and directions, and it is also the way I myself like to see other artists’ work. For example, the most impressive exhibition I have ever seen was an exhibition that featured the unfinished works of a dozen masters, and for me it gave me a new understanding of them from a new perspective. Art is a particularly unreasonable thing, how to see, how to ponder, how to like are the results of a particularly complex process. Top-down or bottom-up, it’s all through one’s own experience. So getting to know everything that surrounds the work and the artist affects how the work is seen, and these intangible experiences make the work more dimensional and interesting. 映 In your eyes 布面油画 Oil on canvas 100x100cm 2022 王澈：对，自身经验作为创作的底色是至关重要的，据我了解，你学艺术很偶然，但是在接触到艺术之后，你在世界各地游走学习，看了不少展览，研究了不少艺术类型和方法，这个过程我觉得特别重要，艺术很难仅仅只在一个学院获得学习，大量的观看是可贵的经验，这些经历给你带来了什么？Yes, your own experience as a base for creation is crucial. As far as I understand, you studied art by accident, but after you start painting, you traveled around the world to study, saw a lot of exhibitions, studied a lot of art types and methods, this process I think is particularly important, art is difficult to just get learning in one college, a lot of viewing is valuable experience, what did these experiences bring to you? 南楠：我一直觉得我走上艺术这条路是偶然的，但是也是我隐隐约约预料到的。12岁的时候我记得我父母带我寒假去了欧洲8国游，现在听起来很急促的一趟旅程对我真的是很大的一次震撼。我是一直特别相信环境对一个人的影响的力量，那趟旅途我就一直像一块海绵疯狂的吸收一切新的东西。从小对周遭的环境就特别的敏感，后面去过那么多地方，每个地方给我的影响都不太一样。美国、西班牙、日本、英国和包括疫情前每年冬天都要去趟的韩国，都滋养了我很多。不过纽约是我成年后待的最长的的城市，我现在的很多直觉就是很纽约的。我朋友有次说我，我的Spiritual animal是犹太老太太，我觉得就特别符合。现在仔细想想的话，拓宽了视野看过了好东西这个真的对我影响很大。在这些地方住过后对这些地方出现的艺术家和艺术作品我好像更加理解了，这种理解是从源头上来的。就比如西班牙的那种自由，英国的风景和日本的版画。一切都很合理。I always felt that my journey into art was accidental, but also something I vaguely anticipated. 12 years old, I remember my parents took me on a winter break trip to 8 countries in Europe, which sounds like a very rushed trip now. I’ve always believed in the power of the environment to influence a person, and I was like a sponge on that trip, absorbing everything new. I’ve been sensitive to my surroundings since I was a kid, and I’ve been to so many places, and each place has a different impact on me. The United States, Spain, Japan, England, and Korea, which I visited every winter before the epidemic, all nourished me a lot. But New York is the city I’ve spent the most time in as an adult, and a lot of my intuition now is very New York. My friend once told me that my Spiritual animal is an old Jewish woman, and I think it fits especially well. Now that I think about it, I’ve broadened my horizons and seen some great things, and this really had a big impact on me. After living in these places, I seem to have a better understanding of the artists and artworks that appear in these places, and this understanding comes from the source. For example, the freedom of Spain, the landscape of England and the prints of Japan. It all makes sense. 眼神落在了棱角上 The Eyes Fall On The Edges 布面油画 Oil on canvas 100x100cm 2022 王澈：我很认同你说的到这些地方住过，会更理解这里的艺术家和作品的合理性，这是很不概念化也很不文本化去理解艺术或艺术家的方法。你现在在深圳做创作，做艺术空间，也有一些艺术收藏，对于你的经历和状态，我感受到的是进入艺术圈你与其他人不同之处在于一种主动性，在尝试或者改变一些东西上有很高的兴趣。我如果去理解你的绘画，谈你的作品其实更愿意从你的工作方法、对艺术的态度、在艺术圈中的各种实践上整体来看，我觉得这些关联性是很强的，也是解读一个艺术家的可能方法，所以，在你上面说的经历中，是否使你确立了一种工作方法？或者某种思考的方法？I agree with you that having lived in these places, you will understand the artists and the rationality of the works here, which is a very non-conceptual and non-textual way to understand art or artists. What I feel about your experience and status is that you are different from other people in the art world because you have a kind of initiative and a high interest in trying or changing something. If I were to understand your paintings and talk about your works, I would prefer to look at your working method, your attitude towards art, and your various practices in the art world. Or a certain way of thinking? 南楠：方法是解决问题的行动，我其实很喜欢你用的主动性这个词。其实这个算是我的一种方法之一，就是去做，就是全年无休。不去想其他的，不会被外界的元素影响我的主心骨。如果生命中有一条下划线，它就是我的创作。所有的一切都会映射到这上面，比如我坐在车上突然听到个音乐然后脑袋开始放空就会想到创作。这个我不知道这样说有没有很好的传达到。当你全部的注意力都在一件东西上面，以你为中心的所有一切副线任务都会以各种各样的方式回归到主线上。The method is problem-solving action, and I like the word initiative that you used. In fact, this is kind of one of my methods, just going for it, just all year round. Not thinking about anything else, not letting outside elements affect my focus. If there’s an underline in life, it’s my creation. For example, if I am sitting in the car and suddenly hear a piece of music and my head starts to relax, I will think of creation. I don’t know if that’s a good way to reach you. When you have all your attention on one thing, all the side tasks that are centered on you will come back to the main line in various ways. 阿毛 Creature: Furry 布面油画 Oil on canvas 100x100cm 2022
王澈：或许你现在更多的是将艺术创作变成了一种日常，对于创作的思考经常被外界的某个瞬间、情景、事件所影响，从而变成作品的原由。这其中有我一直比较喜欢讨论的艺术家的直觉性，从自身到环境再到自身的过程，有些东西是秘密的，但这个过程却是流露艺术家表达的重要途径，艺术很多时候就是一种生活方式，或者观看世界的角度，作品在感性和直觉先行的创作后，为什么创作这些作品的思考会随之而来。Perhaps you are now turning art making more into a daily routine, and your thinking about creation is often influenced by a moment, situation, or event in the outside world, which turns into the original reason for the work. There is the intuitive nature of the artist that I always prefer to discuss, the process from oneself to the environment and back to oneself, something that is secret, but this process is an important way to reveal the artist’s expression. Art is often a way of life, or a perspective of viewing the world, and after the works are created with sensuality and intuition first, the thought of why these works are created will follow. 南楠：我习惯在画画前放空自己，有时会听会儿音乐，有时会翻翻画册，有时就静静地坐在那。我希望能通过放空的过程，让一些细小的冲动可以浮上来。然后就像抓野兔一样，需要非常灵敏的状态去下笔。关于你说的作品完成后关于创作的思考会随之而来这点，我觉得是一半一半的。我认为对作品的思考是一个持续的状态，可能在开始创作很久之前就开始了，然后创作中会有些新想法，到完成后又有些新的理解，到可能过去很多年你又明白了些之前没注意到的。I used to empty myself before painting, sometimes I would listen to music for a while, sometimes I would look through my painting books, sometimes I would just sit there quietly. I hope that through the process of emptying myself, some small impulses can come to the surface. Then it’s like catching a hare, it requires a very sensitive state to put down the brush. Regarding your point about the reflection on creation coming after the work is finished, I think it’s half and half. I think thinking about the work is a continuous state, which may start long before you start creating, and then there will be some new ideas during the creation, and then some new understandings after the work is finished, and then you may understand something that you didn’t notice before many years later. 展览现场
王澈：你这是生活体验性艺术家呀，也像写日记记录当时的处境，这次展览的作品大多在深圳创作，跟这个城市和环境有什么关联吗？You are a life experience artist, like keeping a diary to record your situation at that time. Most of the works in this exhibition were created in Shenzhen, do you have any connection with this city and environment? 南楠：因为我自己喜欢真诚的作品，所以在创作的时候把自己最裸露的状态体现到作品画面上这件事让我非常开心。不如说这也是我自己去自省作品好坏的一个标准吧。关于这次的展览它是我对自己对于艺术，生活，情感的一次小总结。今年9月我就30岁了。人家都说三十而立，我一直在考虑这个时代人到30立的应该是什么。虽然想了很久还是没有一个我满意的答案，但是思考的过程我反复回顾了自己的这个状态。这组作品其实是我第一次在深圳这个城市创作的一组绘画，之前在其他的很多城市都创作过但唯独没有在这个养大我的地方认真的画一组作品。在这里我觉得能让我更去关注自身，回到这里我很舒服自然不需要去刻意的做什么。我可以反馈到我自己，把这几年我在其他地方积累的那个看不清摸不着但是拥有很强烈的那种能力释放出来。每一种能力它的那个颜色，虚实，性格都不一样，不能拿逻辑和体系去框它。所以这次在在画面上的表达方式也很有挑战性，我没有去做系列或是一个贯通的研究命题。每一幅作品都是独立的，我不知道结果会是什么样的。Because I like sincere works, I am very happy to show my nakedness on the screen when I create my works. It is also a criterion for me to self-reflect on the goodness of my works. About this exhibition, it is a small summary of my art, life, and emotions. I will be 30 years old in September. I have been thinking about what people should be when they reach 30 in this era. Although I have been thinking about it for a long time, I still don’t have a satisfactory answer, but I have repeatedly reviewed this state of my own during the thinking process. This group of works is the first time I created a group of paintings in Shenzhen, a city where I have created in many other cities before, but I have never painted a group of works seriously in this place where I was raised. Here I feel that I can pay more attention to myself, and I am very comfortable and natural back here without having to do anything deliberately. I can feed back to myself and release the unseen and untouchable but strong ability that I have accumulated in other places in the past few years. Each ability has a different color, reality, and character, and cannot be framed by logic or system. Therefore, the way of expression in the picture this time is also very challenging, I did not try to make a series or a coherent research proposition. Each work is independent, and I don’t know what the result will be. 展览现场：艺术聊天室 王澈：不知道结果是什么样的，但是先做，没有太多预设，用一种真诚的状态在生活过程中发现和感受。我一直以来也喜欢这种工作方式，把自己和邀请的艺术家一起放在路途中，像猎手在捕获，这种状态接近一种自由的感觉，收获的是很开放的知识，训练的是直觉和感性的能力。艺术要无限接近人，才能呈现生动性和温度。所以我往往在和艺术家接触的时候最先还是感受人的状态，我认为艺术家的价值是提供一种生活状态、看事物的方式，轻松的、自由的、诚恳的，这对于艺术家来说需要多么深沉的去感受，花多少时间去凝视思考，其实挺重要。比如使用捕捉和感受的直觉方式去创作，就必须不停的把自己放在路上，放在一种对生活不停的有意识感受中，这样反复和连续性才能有结果。你把每件作品独立面对，不以系列去思考，其实挺决绝的，系列的思维是惯性的，一旦惯性，艺术性和思考力就会丧失，止步于此，流于商品或者物的结果。而选择体验表达需要有浓烈的现实感，与生活摩擦的程度，展览主题使用“白光”是来表达现实感，我感性的认为刺眼的白光有沉重感，结实感，不轻浮，有力度，“穿刺”是与现实交织的状态。在与你交流对话这段时间，你对于生活的节奏，身体的变故，艺术的经历让我有一个整体的感受和认识，展览也在这种感受中被呈现，一切真实自然。 Not knowing what the result will be like, but doing it first, without a lot of preconceptions, with a sincere state of discovery and feeling in the process of living. I have always liked this way of working too, putting myself on the road with the invited artists, like a hunter on the catch, this state is close to a feeling of freedom, the harvest is very open knowledge, the training is intuitive and sensual ability. Art must be infinitely close to people to present vividness and temperature. So, I tend to feel the human state first when I am in contact with artists. I think the value of artists is to provide a state of life, a way of looking at things, relaxed, free, and sincere, which is quite important for artists how deeply they need to feel and how much time they need to spend on gazing and thinking. For example, if you use the intuitive way of capturing and feeling to create, you must keep putting yourself on the road, in a kind of non-stop conscious feeling of life, so that repetition and continuity can have results. You face each piece independently and do not think in terms of series, which is quite decisive. The thinking of series is inertial, and once inertial, artistry and thinking will be lost and stop there, flowing into the result of commodities or objects. The theme of the exhibition uses “white light” to express the sense of reality, and I sensually think that the blinding white light has a sense of heaviness and solidity, not frivolous and strong, and “piercing” is intertwined with reality. The state of “piercing” is intertwined with reality. During the time of communication and dialogue with you, your rhythm of life, physical changes, and artistic experiences have given me an overall feeling and understanding, and the exhibition is presented in this feeling, all real and natural.
