Nailhenge －Ye Funa Solo Exhibition
艺术家 | Artist：叶甫纳 | Ye Funa
策展人 | Curator：付晓东｜Fu Xiaodong
展览日期 | Exhibiting Time : 2016/7/2?7/31
开幕 | Opening : 2016/7/2 16:00 PM
地点 | Venue : 空间站 北京市朝阳区酒仙桥路4号798艺术区中一街 SpaceStation, NO.4 Jiuxianqiao Rd, 798 Art District, Beijing
Community of Celibates
We are autonomous, liquid and multiple. We are your sisters and brothers. We come from future to form a community of celibates with you. As seeds of knowledge of new intimacy, we shall help you shed the shackles of gender and social identity. We love no one. Instead, we love the world and all that we share with all. Let’s leave the islands of our selves, betray families and countries of origins. This exodus is our real violence against the oppressing systems. Twenty one artists are going to experiment the new territory of new formats of sex, body and love in divers subjects, materials and media in a mood of celebrations and festivity.
“Exhibitionist: Peep Stream” is an ongoing live online performance program initiated by artist Funa Ye and Beio. Each Exhibitionist:Peep Stream episode brings the artists and specially curated guest participants together in a live, interactive performance which is accessible to the online audience. Viewers can messages and virtual gifts to the channel and all interactions will be considered as part of the performance.
我们想游戏地表达欲望、狂喜和温柔，反对僵化的性别指派，因为我们自治、流动和多面。我们来自未来，求做你的兄弟和姐妹，汇入一个普遍单性的共同体，卖身于全球资本主义系统的同时，仍亲密着自己和他人的亲密。从自己的单性出发，让知识更残酷和绚烂！敢抛弃核心身份，我们不惮成为怪兽，在另一个调性上重新生产主体和社会生活。 让我们走出自己的性别，走出家，并走出自己的领土，把“我”抛在脑后，去创造出一个没有种族、性别、阶级、性向名称和其它身份坐标的新世界。这是来自我们身上的真正暴力。 我们谁也不爱，只爱我们的世界以及我们与一切人分享的那一切！这就是我们的占领。 绝不再让家成为亲密和团结的唯一范式，不让父子关系成为基准。绝不让家阻碍我们去实验另选的关系。家庭、公司和国家是当代苦难的根源。绝不再让蜂窝式道德成为全球资本主义系统里的我们的欲望结构。根茎才应是男女和家庭关系的新的亲密模式。让我们离开自己的性别，去找到新的性、新的身和新的爱。
The Ballad of Generation Y
Curator: ZHANG Ga
From December 6, 2015 to February 22, 2016
Opening: December 5, 18:00-21:00
Venue: OCAT Shanghai, 30 Wen’an Road, Zhabei District, Shanghai
Beginning December 6 of this year, OCAT Shanghai will open its fourth annual exhibition, The Ballad of Generation Y. As the latest installment of OCAT Shanghai’s annual OCAT Young Artist Project, this year’s exhibition is curated by media art curator ZHANG Ga. The exhibition incorporates video, electronic devices, installations, documentation, as well as other medium and visual tropes. A new generation of ten young Chinese artists will present eight media works in OCAT Shanghai’s two galleries. The Ballad of Generation Y expands from Folklore of the Cyber World, ZHANG’s parallel online exhibition project conceived for the Chinese Pavilion at the 2015 Venice Biennale. The exhibition, which germinated in virtual cyberspace, will have its physical embodiment in OCAT Shanghai.
The participating artists in this exhibition have been active in recent years within the field of media art and are part of an emerging creative force. While LIU Xin displays the “tears” she collects from participants around the world via the Internet, SHEN Xin assembles a stoic closed-door meeting that adapts symbols of traditional Chinese mythology into animation. After experiencing 86 long days adrift at sea, GUO Xi and ZHANG Jianling present their accumulative work Grand Voyage, from traveling to material evidences, while blurring the boundaries between the virtual and the real in an attempt to establish a new order. LIU Jiayu’s rhythmically breathing, mechanical petals poetically echo the pulsating narrative of the Great Voyage, as GUO Cheng and CHEN Yiyun’s “long-armed robot” explores the new index gauged by the conflux of mechanics, emotions, and life. Implementing various mediums on assorted screen sizes, LIN Ke launches into space travel out of the darkness of enclosed space that transcends material and conceptual limits. In contrast, MIAO Ying utilizes simple GIFs to expose the crude real politics of cyberspace, while YE Funa’s “nail machine” transforms into an assemblage for aesthetics, collectivism, the Internet, and the tangible reality.
Under the conception of “Generation Y,” the curator not only encapsulates the authoring environment and working conditions of a new Internet generation of media artists, but also accentuates the conundrum encountered by this new generation of artists—will the ever-changing media technologies propel creative inspiration or suffocate it all alive. Through this exhibition, OCAT Shanghai wishes that while the audiences try to comprehend the state of affairs of Generation Y, at the same time, the viewers will also experience the dynamic and seductive power engendered by the tension between the wanton reality and the role that media art plays.
— OCAT Shanghai
|Artist:||Chen Youjian, Chen Junhao, Gao Yan, Han feng, HuQingtai, HuYun, Jiao Xingtao, Li Zhanyang, LiQing, NiYouyu, Peng wei, Qiu Zhijie, Shi Yong, Sui Jianguo, Wang Guanshan, Xia Xiaowan, Yang Yongliang, Yang Zhenzhong, Yao Ruizhong, Ye Funa|
|Venue:||5F, Power Station of Art|
In contemporary society, the phenomenon of Shanzhai – “copycat” – pervades every sphere, and plagiarism never ends. When we look back at the origins of Chinese contemporary art, the accusation that it worships the West incessantly lingers; when we reflect on the development of Chinese classical art, we may see that relentless imitation of predecessors is the label that has been commonly placed on Literati painting especially since the late Qing Dynasty. In light of these facts, one can’t help but wonder: what is the real reason the Western “appropriation” approach seems to fit China so particularly well? Are Chinese really what Westerners accuse us of being – disrespectful of copyright, with no sense of innovation? Are the current phenomena of Shanzhai and artistic plagiarism in China related to the tradition of Linmo – copying – that has historically existed in Chinese art? If Westerners can make attempts at total “appropriation” with no concern for copyright, why can’t Chinese practice Shanzhai, which at least involves making changes to the original work? Will an excess of reproduction and reproduced works affect the continued creative progress of art?
The exhibition proposes the concept of “Appropriation Art in China” for the first time. The curator expanded and altered the Western concept of appropriation art, integrating appropriation, linmoand Shanzhai with the intention of elaborating a concept of “Appropriation Art in China” that links the past with the present. Appropriation art in China, then, consists of at least three phenomena:linmo, which is related to Chinese traditional art; appropriation, which is related to modern art and the contemporary art of the West; and Shanzhai, which has connections to contemporary society. By looking at the creative practices related to these phenomena within Chinese contemporary art, and by discussing the interactions between different approaches to artistic production and new technologies and materials; repetition and creativity or originality; intellectual property and the sharing and inheritance of knowledge, the curator attempt to render apparent the differences between the Chinese and Western concepts of appropriation.
2015：“Curated Nail Residency”, MoCA Pavilion, Museum of Contemporary Art, Shanghai
Now Funa Ye presents a part of her Curated Nail– Nail Residency– into MoCA Pavilion. Artists, curators and manicurists will be divided into three groups to accomplish this project and the involved fields include interactive media, network art and network platform, painting, curating panel, performing arts, manicure products and so on. The experience, discussion, research and practice people get from Nail Residency will deepen their understanding about the special space and medium. During the residency, the artists will present a series of workshops, lectures, exhibitions and performance open to the public.
Since its launch in September 2014, Nail Project calls for curating proposals on “nail” this special space. Nail Project and some participants will carry out these proposals and present them in Micro Message Public Platform. At the same time, many offline activities will be held to make “nail exhibition space” happened on everybody’s nails.
WeChat Official Account：exhibitioner
Since 2014, Ye Funa began to convene “Curated Nail” in the name of “exhibitionist”. In the past two years, she collected more than 150 artists’ deliveries and engaged in the creation. With the temporary and mutative nail as the carrier of art program and in the manner of the bodily natural growth to transform the everyday life, she attempted to criticize the traditional museum exhibition. Among the past two years, various art institutions of various city invited “Curated Nail”. As a result, 24 on-site activities was completed. The exhibition “Nailhenge: Ye funa’s solo Exhibition” at Space Station this time, which assembled a set of installations, paintings and literatures, is a large-scale summary of “Curated Nail”.
Nail polishing, or painting, is a self-beautification and decoration of the body; as a part of daily life of female, it is a mark of the artificial reforming of the natural extremities of the body. As the ancient practice of body aesthetics, then, how Ye convert it into a modern political shape of the right to life?
Nail decoration is one of the oldest customs of China. The earliest gold and silver nail-sheath that unearthed in the ruins of Zhou Dynasty is a symbol of wealth and power. They shown the classy lifestyle of the aristocratic women. As the old saying goes, “It was my own parents who created and endowed my body in the form of skin covered with hairs.” Having long hair and fingernail reflected the image of Confucian ideas. During the Warring States, there are kinds of incredible customs such as burial with nails, nail incineration for treatment and so on. As a part of the body’s metabolism, nails were attached to lovesick, avatars, spiritualism and other witchcraft meanings. “Compendium of Materia Medica” argued that nails are the end of soft tissue. Therefore, according the condition of nails, the doctor can diagnose disease of Qi-blood and liver-blood. There has been a red-nail (colored by garden balsam) fashion in Tang Dynasty. The vermilion Koudan (red-nail) that has amber attractive is one of the earliest erotic imagery. One of Li He’s poem (He was a short-lived Chinese poet of the late Tang Dynasty, known for his dense and allusive use of symbolism, for his use of synecdoche, for his vividly imaginative imagery, and for his otherwise sometimes unconventional style of poetry) — “The candle atop shines through its thin mantel, at midnight garden balsam being pounded in the garden.” — depicted the scene of manufacture of nail dye. By 1920, inspired by automotive paint, Revlon’s Michelle Menard first invented the modern nail polish. Just like capillaries, nail culture in the era of globalization, with its overwhelming consumer and normalization, already penetrated into the streets of different cultures, even more, smartphone APPs may allow you to get home service at any time. Bare nails, just like the face without makeup, have been unable to be up against the open gaze in public places. In this sense, nail painting is no longer the striking red for the purpose of lure, but a form of self-expression of female subject. Even if nail painting cannot be understood by the desire subject — the straight — transgender self-assertive will be intensified. Surely, “Curated Nail” will become a multi-faceted attempt that will seal the fate of all the possibilities. Although “Nail Plan” has often been mocked as a trivial lowbrow, it is not only a revolution that rise from a little body transformation of individual female, but an occupation of the most frequently used and neglected blank area in every life. How we treat the elapsed time and ourselves is a conceptual that should be changed. “Nail Plan” is undoubtedly inquiring the problem of the self. The concept of “Nailhenge” in the tiny system of female individual, which is in the absence of the right to speak and ignored, focusing on an optional aesthetic consumption, was able to ubiquitously ignite the self-perception of the different histories and respective areas.
Ye launched more than 150 artists that come from different backgrounds to mobilize the different historical origins, backgrounds of knowledge, life experience, daily habits, and religious beliefs. She fully developed all the functions of nails that flow in everyday life. They can be used to record telephone numbers and comments; the hand one can be used as weapon and the soft one masturbation; they can be used in mapping or astrology; they can be decorated with hair or plated; they can be used in virtual reality or augmented reality; in drink and shit and metaphysical affection; in engaging in academic curatorial or selling advertising … “Join the nail plan and let your everyday life is full of miracles!”
How an ancient custom or an everyday life of the collective unconscious, which is relying on gender awareness and which most people involved in the implementation on the extremities of the body, can be transformed into a contemporary one? Here, as blowout, it prompts the creation, reconstruction, regeneration of consciousness. Your body, your life and your time can also become a work of art. Not only this tiny custom revolution with a social motive, but also the individual who cannot vent her creative got a chance for release in the brief moment that become a new way of linking individual and self, individual and history, individual and group. With the growth of the temporary body, the creation bloomed, expired; leaving it’s fresh and then is preserved in literature.
The exhibition architecture that relies on the mythology of “Five Fingers Hill”, “Stonehenge” reconstructs the tradition and history of the different civilizations. Noble and magnificent rock images were interpreted by everyday popular aesthetic. Ye imitated different kinds of mythologies of creation with nails. It is a creative and vulgar subversion of the divine origin. The mocking laughter and absurdity that informed by the lack of coordination and consistency are rising prevalent. “Nailhenge” is not only a rediscovery of everyday life, but also a reinterpretation. The exhibition simulated an anti-myth and anti-ritual order and established Ye’s own judgment about the cosmos.
对于指甲的关注，是中国最古老的习俗之一。最早出土的周朝金银质的假指甲护套，是一种象征身份地位和权力财富的象征，展示着贵族女性不劳而获的生活方式。“发乎体肤，受之父母”，留长发与留指甲，就成了儒教观念的形象体现。在战国期间，也有指甲囊随葬，焚烧指甲灰治病等匪夷所思的习俗。作为身体的新陈代谢的一部分，指甲就被附会了相思、替身、招魂等巫术涵义。《本草纲目》认为“爪为筋之余”，指甲可以诊断气血、肝血之病。唐朝已经有用金凤花染红指甲的风尚，朱砂的蔻丹，琥珀般诱人，是最早情色意象之一。唐李贺的“蜡光高悬照纱空，花房夜捣红守宫”，描绘了制造指甲染料的场景。1920年 受到汽车喷漆的启发，露华浓的Michelle Menard发明了现代意义上第一瓶指甲油。美甲文化在全球化的时代，以其无法抵抗的消费性和日常性，如同毛细血管一般，早已经渗透到不同民族文化的街头巷尾，更有手机APP客户端随时上门服务。裸露的指甲如同素颜一样，已经无法面对公共场所的公开化凝视。美甲也由色相引诱为目的的单纯的红色，发展为女性主体的自我表达。各种千奇百怪的美甲即使不能受到欲望主体直男的理解，但自我张扬的跨性别属性愈演愈烈，“指甲计划”无疑成为将可能性推向极端的一种多方位尝试。“指甲计划”经常被人做为琐细的低级文化而嘲笑，但是，这正是一个来自女性个体的平庸日常的一次小小的身体改造的革命，一块被人忽视的司空见惯的但生活中使用最频繁的空白区域的占领。生活之中无小事，我们如何看待我们的自身和所经历的时间是一种有待改变的观念，“指甲计划”无疑是对自身问题的一种逼问。“甲天下”的概念在没有话语权的、被无视的、女性个体微小的生活系统中，一个可有可无的审美性消费处着手，却能够无所不在的点燃不同历史和各个区域的自我认知。
By Guo Xiaoyan
What we called history or memory, for us individuals, seems to hold two meanings: the!rst is !nding a way for understanding our personal identity from our “past”: the second is to make use of the “past” to help us understand better the reality to which we is confronted. If we push the former to its extremity, it might develop into a notion of destiny and lead us to make history our burden; if we do the same for the latter, then history might on the other hand become a possible tool to help us change the world.
Ye Funa’s works leads us into history. When we are confronted to changes in someone’s life, what we see is a limit, a border: a person’s “history” seemsto come back eventually to its starting point and the spiritual link between predecessors and successors is the historical one. Young artist Ye Funa begins by an introspection into the meaning of herself as a “political destiny”, starting from the observation of her familymembers and from their historical “overlapping layers”.
She inserts the image of herself as a character among the historical photographs, turning time into fiction through the blurring of their outlines and the mixing of their contents – and “me”, “rehearsing” or “escaping” among this series of historical photographs, I am cruising without a starting point or a !nal destination.
Then again, what is the meaning of experience or historical narrative for “me”? If our life did not precede some other people’s lives, and vice-versa, why should we try to get closer to history, why should we crave for it? Ye Funa’s intention is not to “hook up” people and history in a picture from an expanded epistemological point of view, nor does she want to be emotional or to bear witness to anything, but rather she’s trying to excite the prejudices of the viewers towards the identity she de!ned for herself, and to project it back onto the viewers: her replacement of the images in an historical context questions the limits of “me”, while at the same time deliberately creating a burst seam of an involuntary and silent laugh, turning it into a “machine for thinking.”
Ye Funa’s re“ections on this issue must have started when she was a graduate student: she wrote her thesis on the visual symbols of China’s ethnic minorities. Her interrogation was on how the historical narrative is turned into a recognized visual symbol: in the narrative about the internal situation after Liberation (that is, about ethnic minorities), how could what was written become a consensual memory that everyone could share? The production of such a collective memory, not only consists of imaginary common characteristics about the native, but also and more importantly ofcommon experiences, history and memories. On this, Ye Funa puts some questions: what kind of languagesystem and visual system, under which conditions, makes the basis for the aesthetical view on ethnic minorities such a universal concept – in “Nationalities Pictorial”, ethnic minorities women wear all kindsof “scenic costumes” to portray their daily lives, thus conveying all types of hackneyed clichés. This re“exive attitude, for a young artist who attaches great importance to the dimension of historical thought for her own intellectual construction, is very meaningful.
We need to sort out precisely our understanding of the political realities of the times, and we should as well look at the signi!cance of history in today’s life; inthe !nal analysis, all the discussion about the art and practice are inseparable from the discussion aboutlife and practice, what we need to open up is the Way of Life and Art. Determining our own problems and displaying our possibilities through the imagination we use to solve them, that is the subject of young people. As a young debutante artist, Ye Funa turns herself on her own initiative into a “historical curious youth” (in the words of Qiu Zhijie), and this goes to show that art does indeed develops itself in the intellectualdifferences of every individual.
The model for “getting into the act”: “playing” the White Madame, Su Danji, Sally Yeh, Frida Kahlo…
Presumably, most girls of the same age will think of a whole series of related names. Ye Funa’s ability to “get into the act” stems, to a certain extent, from her “impoverished memories.” Such shared memories have brought together the lives of urban single daughters born around the year 1985.
The best explanation of the impression of these “impoverished memories” is as follows: in those days, we had clear memories of every spokesperson for popular culture, as there really were so few—Madame White and Madame Green from the TV series Legend of the White Snake, Su Danji from Gods and Heroes, Cao Lei, who appeared in braids at the opening of King of the Slobs, bell-bottomed Sally Yeh, singer of the hit song Xiaosa Zou Yi Hui, Jin Jing from the movie Little Beijing Girl, even Mavis Fan, who came to fame slightly later as the “lead” in Healthy Song. Through these women, you can basically gain an understanding of the quality standards and aesthetic attitudes for entertainment and cultural products at the time.
It is easy to imagine how, in a time when “role models” were the primary source of education, “imitation” and “playing the part” became the main means for “getting into the act,” allowing us to shallowly love these models of popular culture. “Imitation” and “acting” also indirectly became the way for these single child girls to play by themselves. Owing to the focus on “realism,” the methods can appear quite repetitive: Madame White Snake’s coiled hair can be approximated using cut-out strips of cardboard from shoeboxes; for her dangling jewelry, you could use your mother’s pearl necklace—which is about the same length; an embroidered quilt cover can stand in for the long flowing sleeves; as for bizarre and cheap special effects from such shows as Journey to the West, it’s pretty easy to replicate the imagery… those standard props are outmoded, unsophisticated and cautious, but they are faithful to the textures of the original, a pursuit of “realism.”
Like the pearl necklaces, blouses and veils that constantly emerge in my memory, that designer and technician of the time known as “Momma” had a habit of quickly slapping together various shapes and forms. It’s more like making a copy sketch than a more expressive drawing. Such widespread aesthetic habits find their echoes in Ye Funa’s Nationalities Pictorial; when others begin to approach an artist’s creations, they leave a fundamental impression. If this series of creations touches on the historical burden of policies regarding ethnic minorities found in Nationalities Pictorial magazine, then in a series of assignments for her experimental art class entitled Aesthetic Survey, Ye presents an attitude of satisfaction towards the sustained accumulation of these unsophisticated, realistic, outmoded, hazy, technicolor objects. In these past few years, through observation of her living environment, these collected images have grown more vivid and confident. At first glance, they are ethnic objects from her home in Yunnan Province. Upon closer inspection, they are: a calendar of landscape paintings with a digital clock, a purple rubber washbasin, an embroidered animal brooch with googly eyes, things that can be found in the streets and alleys of any big city. What is different is that to this day, Ye Funa still enjoys sharing them in the public environment, just as we used to haughtily wear such “markers” as children on outings to the park.
Also, such a degree of “getting into the act” is apparently also the result of “vanity”; little girls are drawn to alluring beauty and moving expressions, including fantasies about the words unspoken: super abilities, the powers of the queen, dressing up as a man, sisterly friendship… the rich outpouring of signifying images from Ye Funa’s childhood correspond to the values standards that subconsciously influence children from single child families. For the single daughter, they have come to form the image of an independent and beautiful woman, but to a great extent, we have forgotten the treachery of these women, and cannot understand their loneliness, instead bestowing them with confidence and great ability. These “spokeswomen” thus appear classic and timeless. Single daughters “vainly” communicate with others, just as they talk to themselves in jest. Aside from pop standard-bearers such as Su Danji, Ye Funa’s longstanding infatuation with Mexican artist Frida Kahlo has the same reasoning behind it.
The Often Out of Character Family Album
Looking back over the objects of Ye Funa’s roleplaying, they all seem designed to induce laughter. The knowledge of the unattainability of the object at the outset of “getting into character” has laid down fissures in the plot. The series Family Album, in which she plays the roles of her parents and grandparents, is seen as the artist’s bodily experience of her forebears’ emotions and identities. This series intentionally approaches the aesthetics of the age of mechanical photography, as the colors and clarity, owing to technical limitations, are faithful to the human eye. Aside from the natural effects of shifting focus, it also has the subjective tones of the human eye—human awareness and emotions. Just as we assign color markers to a certain era, as if those color elements came to form the aesthetic habits that describe that time, our memories are constantly affirmed by the technical imperfections of the photographs, reminding us of the real environment of our memories. The artist has never doubted that though the smiles of the age of film were patternized by posing, the emotions were pure and true. From the outset, she pushed herself to shift between the objects of her curiosity with “vain” enthusiasm.
If the reference for the plot is the image of the “lady” we have so frankly analyzed above, then the little girl is its carrier. The “little girl” here will not develop into a young woman and then a lady, but remain as a perpetual and neutralized carrier, like Lewis Carrol’s Alice. In Logic of Sense, Gilles Deleuze says that the emphasis in Alice in Wonderland is on pure “events” that form synchronous tension between past and future, and that the author has stripped Alice of her body, making her act as a stand-in for the “immaterial.” If, for a moment, we treat each of Ye Funa’s acts of “getting into character” as an event, then the repetition of the plot turns the object of the roleplaying into a fantastic repeated adventure. In an effort to penetrate the object, the artist is challenging her own resilience through constant adventures. Deleuze points out that Alice’s body is “immaterial”, that substance is the result of nonsense. The result of the girl’s (Ye Funa’s) penetration of the object of imitation leads to a senseless result that cannot respond to the era in which it is situated—a bizarre worldview: viewing things in the world with an innocent and fair eye, slow to pick up on the social disparities arising from gender (like the female identity as analyzed in The Second Sex), an inability to master accepted mature values judgments, an unabashed continued enthusiasm for old things from memory… she is perpetually “in a process of shaping and forming a frontier that never existed.”
In Alice in Wonderland, the girl Alice is a free body. In Family Album, Ye Funa’s qualities as a girl realize their power to convince. As the artist strives to play her ancestors, imitating their facial expressions and telling their stories, the traces of “vanity” are also revealed; the girl’s clear glances are cases of “falling out of character” due to weak acting skills, but they also abstract the object from the heavy appraisal of history and dilute the far-reaching depth of history. The inability to truly “get into the act” (the impossibility of overlapping the object) makes it so that the plot can only find sublimation on the expanding surface. The static images leave many fissures in the narrative process, revealing the desires that the girl brings with her as she attempts to enter into the life of an era—the joy of adventure and the boundless fantasies.
Each slip-up (“falling out of character”) leads to the disintegration of vexing historical sentiments, and it trends towards a dreaming, adventuring, wandering flat tree-trunk, just as Alice understands that “the more events traverse the depthless, expansive surface, the more they influence their cut and scraped bodies.” The artist has used her body’s penetration to scramble the normal structure of cause and effect, and the “acted out” fate is decoupled from the aged historical sentiments to return to the surface. “That which is most concealed becomes the most obvious.”
Lucy, Freely Wandering Between “In” and “Out”
“The trivial, the degenerate, the failed, the never-completed, the fabricated and the real, the exhibitionist and the voyeur, the performer and the viewer, all are treated as one in an effort to reach the limits of control (without fully losing control).” – Ye Funa, Lucy, Video, 2012
The qualities of the “girl” are more concrete in the series of candid self-shots entitled Lucy. By entering into bizarre, adventurous events, Alice constantly asked the question, “Who am I?” Now, through “Lucy,” an excited, perplexed, “mysterious identity,” the artist is perpetually getting “in” and “out” of character, situated in a never-ending “search for the self.” If it weren’t for the large amount of unedited clips on Ye Funa’s computer, then the very “exquisite Lucy” would be easily concealed. Over the past few years, she has recorded countless random video segments, almost all of them taking place in Yunnan, always with a face (a paper mask named “Lucy”) connecting the randomness of these otherwise candid shots. The artist inserts herself in the frequently occurring circumstances of life, using documentary methods to transplant this unchanging, interesting image—for instance, picking up half a mannequin and dancing with it, putting on a mask to tease a begging monk, playing guitar in a phony manner amidst the ruins of demolished buildings…the uncritical traces of a counterfeit environment and the perpetual passion for “acting” lead people to believe that this plot is unfolding in her “hometown,” and the artist’s observations within it lead to a constant flux between being “in” and “out” of the act, the two inextricably interwoven.
Her “Everyday”–Nowhere to Live
In her recent exhibition Nowhere to Live, the “everyday” becomes the theme through which we can read into the artist’s individual creations as a recipient of a Western education. How i become a illiteracy consists of a series of altered pages in the Sunday Times, with scribbles, notes and revisions all over the paper like a true “correction” but also like a romantic interruption, like a child taking on the haughty airs of an adult’s manner of speaking, as if teaching the reader how to daydream, or sometimes, how to deal with an absent image: the headline “Cameron Says Sorry to Women” has been changed to “Camera Says Sorry to Women.” When the Prime Minister’s name is changed to ‘camera,’ the identity shifts from that of a person to that of an object, and the camera’s historical dimension gains the depth of speech. Through a “girl’s” translation, a time-sensitive phrase is turned into a timeless statement, the existence of time completely removed and transformed into perpetuity. This is like the Barbie Doll in Irreversible; perhaps only through the unknowing gaze of the “girl” can the ‘made in China’ Barbie Doll become so conflicted: will dyed hair grow out black, or will it need to be dyed again? Motherly concern has wiped out Barbie’s unassailable goddess qualities. The goddess has been brought down to the level of a normal person with growing hair!
by Yuz Foundation , 2.28—4.28,2013
“入戏”的砝码：“扮演”白娘子、 苏妲己 、叶倩文、福瑞达……
很容易想象，以“榜样”为普遍教育的时代里，“模仿”、“扮演”为何首选为“入戏” 的方式，帮助我们肤浅地热爱流行标杆。“模”和“演”也间接变成独生子女和自己玩耍的途径。 我们古板地用垂手可得的“道具”来模仿这些广受艳羡的对象，方法也由于注重“写实”而显得趋于雷同：白蛇娘娘盘旋的发髻可以用皮鞋盒硬纸板剪出固定；慈溪的垂坠发饰品理应用妈妈的珍珠项链——当时项链的长度和形状基本一致；水袖是锦缎大花的被面子；至于《西游记》这样的神怪剧的低特效，完全能够一点一指而实现简易意象……中规中矩的道具制作手段陈旧、土气、小心，却也侧重质感上的货真价实——即追求“写实”。
如同你我记忆里高频率浮现的珠片衣、珍珠衫、人人会攒的球状红纱头饰…… 那时的设计师兼技师“妈妈”习惯毫不懈怠地把尺度正常的物形拼接一起 。简直相当于完成了一件几周的素描临写，而不是侧重意象表达的速写。这类普遍的审美习惯回应在叶甫纳的那组《民族画报》创作中，它们在他人试图探究艺术家创作之始时，给出一些基本的印象。如果说这套创作牵涉《民族画报》杂志有关民族政策的历史负担的话，那么，在实验艺术系的一系列名为“审美调查”的训练作业中，叶甫纳对这些土气的、写实的、陈旧的、模糊的、穿色的物件的持续收罗表明其得意态度。这些年通过观察她的生活环境，被搜集的图像鲜活自信起来。它们咋看之下是一些来源家乡云南的民族物件，经过仔细审阅分析后，竟然就是：山水风景画电子钟挂历、绛红色的橡皮脸盆、眼珠会滚动的动物秀花服装贴物，如此种种大城市街道巷子随处可见。不同的是，至今叶甫纳仍旧欢乐地把它们分享到公众环境中去，就像我们儿时穿戴着相同的“标识物件”来到公园广场般臭美和自信。
然而，如此“入戏” 显然也是“臭美”所致 ，小囡们对诱人的美貌和感人的表情是多么心悦诚服，包括对潜台词的幻想：超能力、女王权利、女扮男装、姐妹情谊…… 叶甫纳孩童的时代，标识形象的层出不穷生动地对应了引导独生子女潜意识的价值标杆。对独生女孩来说，她们其实塑造了一个独立鲜豔的女子形象，几多程度我们忘却了这些女子的阴险，也无从了解她们的孤寂，反而给予她们自信和无所不能的美好赋加。这些“代言人”从此显得经典而永垂不朽。独生子女们“臭美”着与对象沟通，亦与自己玩耍谈话，除了流行标杆苏妲己，叶甫纳从小就莫名迷恋墨西哥女艺术家福瑞达也是一样的道理。
如果说戏码的参照是刚刚坦率分析的“女子”形象，载体是“女小囡”（女孩）。那么，这里的“女孩”，并不会演变成少女和女人，而是一个永恒而中性化的载体，就类似刘易士.卡罗儿笔下的女孩爱丽丝。吉尔.德勒兹在《哲学的客体》中分析到：《爱丽丝梦游仙境》强调的是造成过去和未来同时性拖拉的纯粹“事件”，而作者集中抽离了爱丽丝的身体并让其作为“非物质的替身”活动。（刘易士.卡罗儿 的原文是“小女孩……对事件的感觉，能释放出非物质的替身。”）那么，暂且把叶甫纳每一次“入戏”过看作是一个事件的发生，戏码的重复使得扮演对象成为奇幻的反复冒险。为了努力穿越对象，艺术家本人在不断的冒险中挑战自己的弹性。德勒兹指出爱丽丝的身体是“非物质的”实体也就是无感觉的结果，女孩（叶甫纳）穿越模仿对象的结果导致一个无法对应所处时代的无感觉的结果——怪异的世界观：天真而公平地看待世界上事物，对性别产生的社会差异的迟钝（诸如《第二性》所分析的女性身份），不能驾驭公认成熟的价值判断，对记忆中陈旧事物毫不自卑的持续热忱……她时时刻刻“处在追溯和形成某一从未有过的前沿的过程之中。” 。
在最近的展示《无处藏身》里，“日常”作为话题解来读受西方教育艺术家的个人创作，《 How i become a Illiteracy》 是一组被涂鸦的泰晤士日报，随处可见的报纸信息通过手稿般的涂绘、注释、改正，看似一本正经的‘改错’又好似浪漫的打岔，像小孩冠冕堂皇得佯装成人的说话方式，去教导阅读的人如何走神或处理缺席的图像，‘Ccameronalist says sorry to women ’ 成为 ‘Ccanmera says sorry to women’。当‘官员’篡改成‘相机’的时候，身份由人替换成了物，相机的在历史中的维度忽然打开一个语言维度，通过“女孩”的传译将具有时效的短句变成无时效的词句， 时间的存在被彻底抽离从而永恒。 也就像《Irreversible》 中的芭比娃娃，‘made in China’的芭比娃娃也许通过“女孩”懵懂的眼睛才会如此纠结：染过的头发是否会长出新黑发而需要补染？婆婆妈妈的关照消除了芭比不可质疑的女神特质，女神降为了也会长头屑的凡人！