HOW+SPACE 新展预告 | 韩乙田：无聊之人
韩乙田：无聊之人
Han Yitian: MR.BUZZ
展期：2023年05月01日-2023年06月05日
艺术家：韩乙田
HOW+策展人：郑果
地址：HOW+SPACE 展厅二
上海市浦东新区祖冲之路2277弄1号3楼
主办：HOW+
*Please scroll down for English version.
HOW+很荣幸的宣布，将于2023年5月1日起在HOW+项目空间展厅二呈现艺术家韩乙田的全新个展“无聊之人”。
无聊之人
无聊一词并非当代特有的词汇，然而人们对它的认识及其演变过程，却随着社会变更产生了完全不一样的定义。
在中世纪，无聊被神学家们定义为一种恶习，是宗教失职的体现。随着尼采高喊“上帝已死”，无聊与欲望及感观联系起来，然而在宗教神话被逐渐消解的当今，无聊变成了一种科技发展无法解决，甚至助长其蔓延的独有精神状态。
《帽⼦戏法》
韩乙田
2022
动画
尺寸不变
韩乙田作为成长于八零年代后期的艺术家，从自身生活环境出发以无聊探索自我存在，并通过其全新个展“无聊之人”向观众提出一个值得思考的问题：现代人是否都期待一种仅存的「无聊感」？
“无聊之人”呈现的作品不仅是艺术家韩乙田对寻常生活日记般的记录捕捉，更是他从看似无聊的细微末节中找寻“有聊”的再创作。比如同名系列作品《无聊之人》（MR.BUZZ），就缘起于艺术家曾在废旧课桌上的涂鸦。画中主人公的名字MR.BUZZ，即致敬了卓别林的电影《摩登时代》，也体现了艺术家所认为无聊状态下脑海里存在的声音情景。韩乙田将自己从陷入无聊的时空中抽离出来，用人们熟悉的方式在该场景里创作，并通过再呈现的方式还原该场景。彼时画满涂鸦的课桌变成了引发人们回忆与共鸣的作品。
《夏⽇故事》
韩乙田
2022
布⾯丙烯
300cm × 200cm（总）
75cm × 75cm （2pic）
150cm × 120cm（1pic）
200cm × 150cm （1pic)
与时间周旋、通过无意义的消磨时间来填充时间，是艺术家希望通过创作与观众探讨的思维游戏。
当代人大部分的无聊感与个人身份与场景是绑定的。比如学生通过在课桌上涂鸦打发时间，上班族在地铁站等车时刷短视频。然而哲学家海德格尔提出了一种“深度无聊”的状态，即并非因为某事或者某种身份所引发，而是无聊自身无聊化的状态。
韩乙田在疫情期间创作的作品《Mood》则反映这种脱离任何关联事物的深度无聊。在所有人无事可做、无处可去的的时刻，无聊提供了一种抛去外在身份而重新意识到自己本身的契机。艺术家敏锐的捕捉到了这一点，并借此创作以唤醒自己与观众对自我本身的关注。而艺术家所说的当代人期待的“无聊感”也正是如此。
《⼤风警报》
韩乙田
2022
布⾯丙烯
180cm × 180cm
展览“无聊之人”意在通过生活化的艺术语言引导人们体验时间找回本我，同时也试图通过凝视构建不同个体间相互关联并存在的佐证。
马奈的名作《奥林匹亚》突破性的让观赏者在凝视画作时，也被画中人深深凝视。韩乙田的作品《当值》（On Duty）则将在美术馆情境下，容易被忽略的第三方视角也加入进来——当值保安的凝视。艺术家作品中的人物形象，并没有对眼神进行刻画，而是通过镜片反光来代替人物视角，使得凝视似乎来自四面八方。这正好对应了我们所感受到的凝视，并非来自某种确切的目光，而是我们内心感受到的视线。这些他者与“我”的凝视与反凝视，加深了观众在展览中自己的存在感。
《当值》
韩乙田
2022
动画
尺寸可变
当代人在仅存的“无聊感”中体验时间本身，在与艺术对望中，将注意力放回自己身上。艺术家韩乙田的“无聊之人”取之于生活，再将生活反馈给观者。
关于艺术家
韩乙田
韩乙田，1986 生于山东省烟台市，毕业于中央美术学院造型学院实验艺术系，现工作于北京。艺术家尝试用行为，影像，绘画，雕塑，装置等艺术语言表达自己的想法——不局限于手段，而是注重观念，特别是基于自己爱搞怪的性格，将严肃正统的古典美学用无厘头的方式进行解构，创造新的解读。
过往展览：未来现场（2022，北京）；记疫全球巡展 （2020，上海）；被干扰的情绪（2018，香港）；重启的虚拟——新媒体艺术联展（2016，上海）；Art Central Hong Kong（2015，香港）；首届长江国际影像艺术双年展（2015，重庆）；实年一验 中央美术学院美术馆（2014，北京）；脸书 facebook 昊美术馆温州馆（2014，温州）；无界代码 兰境艺术中心（2014，北京）；美国迈阿密海滩SCOPE艺术博览会（2014，迈阿密）；艺术北京 农业展览馆（2013，北京）；艺术北京 农业展览馆（2012，北京）；xxx下一个十年的当代艺术 今日美术馆（2011，北京）；“和而不同—第二届学院实验艺术文献展”中央美术学院美术馆（2011，北京）；澳大利亚白兔美术馆中国当代艺术第三次收藏展（2010，悉尼）；毕业生毕业作品展 获二等奖 中央美术学院（2009，北京）；“看气候”中央美术学院油画系展厅（2008，北京）；时间——实验艺术中时间的表述的可能性，中央美术学院主楼展厅（2007，北京）；“首届学院实验艺术文献展—源于生活” 中央美术学院（2006，北京）。
韩乙田：无聊之人
Han Yitian: MR.BUZZ
Dates: May. 01, 2023 – Jun. 05, 2023
Artist: Han Yitian
HOW+ Curator: Zheng Guo
Venue: HOW+SPACE TWO (3F, No. 2, Lane 2277, Zuchongzhi Road, Shanghai)
Organizer: HOW+
HOW+ is pleased to announce MR. BUZZ, solo exhibition of artist Han Yitian, will be on view at HOW+SPACE TWO from May. 01, 2023.
MR.BUZZ
Mr. Buzz, a man in boredom. “Boredom” is not a contemporary word; however, with the evolution of the society people’s perception and definition of it have witnessed drastic changes.
In the Middle Ages, boredom could be considered a vice by theologians because “boredom represented the neglected of religious duties”. When Nietzsche claimed that “god is dead”, boredom was hereby linked with desires and sensualities. But today at a time when religious myths are gradually under deconstruction, boredom has become a unique state of mind that cannot be eliminated by technological development and instead, is even aggravated by it.
On Duty
Han Yitian
2022
Animation
Alterable measure
Han Yitian, an artist born in the late 1980s, takes his own living environment as a point of departure to explore his own existence through boredom, and raises a question worth serious thinking in his new solo exhibition MR. BUZZ: do all contemporary people expect a sense of boredom?
Works on view at MR. BUZZ are not only Han’s diary-like record of life, but also his re-creation of the seemingly “boring” subtleties in the hope to search for something “unboring” from within. Take MR. BUZZ, the eponymous work of the exhibition, for example. The artist draws inspiration from the graffiti he once saw on abandoned school desks. Name of the protagonist, Mr. Buzz, is both a homage to Modern Times by Charlie Chaplin, and reflects the sound effect the artist imagines “boredom” would leave on people’s mind. Detaching himself from the time and space in which he is trapped in boredom, Han Yitian then chooses to create in this scenario in a way that is familiar to people and restores the scene through re-presentation. The desk covered with graffiti now has become a work that ignites memories and resonance.
Haven’t heard of!
Han Yitian
2023
Acrylic on canvas
212cm × 173cm
To fill time by deftly dealing with it and meaninglessly killing it is the mind game that the artist wants to plays with the audience through his creation.
For the contemporary people, most of their sense of boredom is bound by their identities and the scenarios they are in. For example, students kill time by doodling on their desks, and office workers browse short videos on subways. Heidegger raised the idea of profound boredom, meaning that boring oneself with something is a more profound form of boredom.
Mood, an installation created by the artist during the pandemic, reflects exactly this kind of profound boredom that is detached from anything that could be associated with it. At a time when everyone had nothing to do and nowhere to go, boredom presented itself as an opportunity for people to leave the external identity behind and pay true attention to oneself. The artist sensitively captures this and endeavors to inspire both himself and the audience to truly pay attention the “self”. This is exactly what the artist describes as the “sense of boredom” that contemporary people expect.
Self- Portrait
Han Yitian
Mixed media installations Graffiti, collage and ready-made assemblies
2023
120cm × 135cm × 70cm
MR. BUZZ intends to encourage people to experience time and find their own self through the language of art that is close to our daily life; and it also tries to build evidence of the interconnections and existence of different individuals through gaze.
One prominent feature of Olympia by Manet is when viewers gaze at the painting, it feels they are being gazed by the figures in the painting too. Han Yitian’s On Duty manages to adds a third-party perspective that is easily neglected in the museum context – the gaze from the security guard on duty. Instead of delineating the eyes of the figures in his work in detail, the artist resorts to reflections on their lenses to make the gaze seem to come from all directions. This echoes perfectly the gaze we feel, not from a specific spot but from the depth of our mind. The gazes and counter-gazes between the other and “me” further deepen the viewers’ sense of their own existence in the exhibition.
Wow!
Acrylic on canvas
2022
180cm×180cm
Contemporary people manage to experience time in the remaining “sense of boredom”. While looking at art, they manage to pay their attention back to themselves. The “Mr. Buzz” in Han Yitian work derives from life and then gives life back to the viewers for contemplation.
ABOUT THE ARTIST
Han Yitian
Han Yitian (b. 1986, Shandong Province) graduated from of the Department of Experimental Art of the School of Plastic Art, Central Academy of Fine Arts. He now works and lives in Beijing. His practice covers a wide range of media including performance, video, painting, sculpture and installation. Thanks to his focus on the conceptual as well as his mischievously quirky personality, Han Yitian is adept at deconstructing serious and classical aesthetics in a somewhat nonsensical manner to create new interpretations.
Future Site 2022, 2022, Beijing; A Memory of the Pandemic Combat, 2020, Shanghai; Disturbed Emotion (solo), 2018, Hong Kong; Reboot Virtuality – New Media Group Exhibition, 2016, Shanghai; Art Central, 2015, Hong Kong; The 1st International Biennale of Video Art and Photography, 2015, Chongqing; Ten Years in One Inspection, CAFA Art Museum, 2014, Beijing; Facebook, HOW Art Museum (Wenzhou), 2014, Wenzhou; No Boundary Codes – 2014 International Youth New Media Art Exhibition, LANNG Art Center, 2014, Beijing; SCOPE Art Show, 2014, Miami; Art Beijing, National Agricultural Exhibition Center, 2013, Beijing; Art Beijing, National Agricultural Exhibition Center, 2012, Beijing; XXX, the Next Decade of Contemporary Art, Today Museum, 2011, Beijing; Harmonious Differences – 2nd Experimental Art Exhibition, CAFA Art Museum, 2011, Beijing; 3rd Collection Exhibition of Chinese Contemporary Art at White Rabbit Gallery, 2010, Sydney; Graduation Show (2nd prize winner), CAFA, 2009, Beijing; Check the Climate, Gallery of Oil Painting Department, CAFA, 2008, Beijing; Time – The Possibility of the Representation of Time in Experimental Art, Main Building Gallery, CAFA, 2007, Beijing; Coming from Daily Life ·1st Academy Documentary of Experimental Art, CAFA, 2006, Beijing.
HOW昊美术馆于2022年正式创立全新艺术品牌——HOW+。该品牌由昊美术馆创立，HOW+团队独立运营。HOW+代表与任何领域、人群发生连接的可能性。通过持续举办展览与跨界联合项目，打造全新复合型艺术空间与艺术品牌。视野涵盖艺术、科技、商业、设计、建筑、时尚、音乐等多元流行文化形式。借由多维度展览拉近艺术、商业与大众之间的距离，推动并打造一个更贴合前沿艺术动态、城市消费潮流的文化艺术现场。
HOW+SPACE项目空间位于昊美术馆三楼，占地面积1000㎡。HOW+将打破对传统艺术平台想象的藩篱，借地处年流量达30万人次的浦东文化地标优势，打造一个可持续发展的艺术生态社区。作为创新艺术空间，HOW+SPACE将与昊美术馆及HOW+store形成互补综合的形式存在。在为艺术家打造自由展览空间的同时，HOW+SPACE将通过对当下潮流文化的把控，及一贯高品质的公共项目输出，为不同领域的品牌提供定制化服务。其范围包括展览规划、跨界联名、公共教育活动和媒体战略等。旨在更有效地将艺术家专属IP品牌化，结合艺术类展览及活动，线上线下同步推广。
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