隋建國——公共化的個(gè)人痕跡
　　策劃：劉鼎
　　開幕時(shí)間：2008年4月19日星期六下午4點(diǎn)
　　展覽時(shí)間：2008年4月20日－5月
　　展覽地點(diǎn)：卓越藝術(shù)，北京市朝陽區(qū)酒仙橋路4號(hào)798藝術(shù)D區(qū)
　　開放時(shí)間：周二至周日上午10點(diǎn)至下午6點(diǎn)
　　聯(lián)系電話：010-8167 9255
　　電子郵箱：info@joyart-beijing.com
　　網(wǎng) 址：www.joyart-beijing.com

　　隋建國長期以來通過雕塑實(shí)踐來對(duì)雕塑的觀念和形態(tài)進(jìn)行思考和拓展，也同時(shí)運(yùn)用錄像、裝置、行為等其他的媒介對(duì)社會(huì)生活形態(tài)的變遷和塑造社會(huì)生活形態(tài)的力量和 機(jī)制進(jìn)行反思和討論。卓越藝術(shù)的第二個(gè)項(xiàng)目“公共化的個(gè)人痕跡”是隋建國通過抽離和呈現(xiàn)雕塑創(chuàng)作中翻制和放大泥稿的過程而對(duì)個(gè)人意志被轉(zhuǎn)化成公共意志的社 會(huì)現(xiàn)實(shí)所展開的研究。

　　“公共化的個(gè)人痕跡”是藝術(shù)家將自己個(gè)人的偶然的塑造痕跡，通過一個(gè)公共放大器放大從而獲得了公共性的過程。私人的手跡在被放大后，呈現(xiàn)出某種類似巨人的接觸 后留下的痕跡，從個(gè)人到巨人、從普通人到巨人、從私密到公共、從真人到超人，成為一個(gè)即是個(gè)人的又非個(gè)人的存在的證據(jù)。在這中間，作為放大器的雕塑放大體 系，擔(dān)當(dāng)了重要的角色。

　　“公共化的個(gè)人痕跡”討論的不僅僅是藝術(shù)家思想的主觀性和個(gè)人化印記的轉(zhuǎn)化，而是在更廣泛的層面上揭示公共意志的源泉，即個(gè)人欲望、意愿、野心、思想和價(jià)值 觀，即使進(jìn)入了完全非個(gè)人化、由他人掌控和執(zhí)行的、理性的生產(chǎn)、傳播和流通的流程，結(jié)果也只是放大和強(qiáng)化這種個(gè)體性的需求和存在。只不過這種存在通過各種 再現(xiàn)系統(tǒng)披著普遍性和合法化的外衣更加隱蔽地遍布在我們的四周并支配著我們。這些匿名和隱形的力量對(duì)從實(shí)體的建筑物、城市的規(guī)劃到無形的社會(huì)規(guī)則、道德觀 和價(jià)值判斷到國家的意識(shí)形態(tài)等方面都施加著有力的影響。在這樣的現(xiàn)實(shí)中，“歷史萎縮成了（永恒的）現(xiàn)在，一切事物都圍繞著個(gè)體私利和個(gè)體生活而運(yùn)轉(zhuǎn)。”

　　Sui Jianguo: Revealing Traces
　　Curator: Liu Ding
　　Opening: 4pm, Saturday, April 19, 2008
　　Exhibition Dates: April 20 – May 2008
　　Venue: JoyArt, Zone D, 798 Art District, 4 Jiuxian Qiao Road, Chaoyang District, Beijing, China
　　Opening Hours: 10am – 6pm, Tuesday – Sunday
　　Tel: ＋86 10 8167 9255
　　Email: info@joyart-beijing.com
　　Website: www.joyart –beijing.com

　　For many years Sui Jianguo has used his art practice to contemplate and expand upon sculptural concepts and forms. He also employs related media, video, installation and performance to reflect and discuss the changing patterns in our social lives and the forces and mechanisms that shape our social patterns. In JoyArt’s second artist’s project “Revealing Traces” Sui Jianguo unfolds his research through the extracting and presentation of molding and the enlargement process of a small clay model; he also examines the social phenomenon that is the transformation of individual will into the public will.

　　In “Revealing Traces” the artist sculpts his own haphazard imprint; through this public amplifier he enlarges them, thus achieving a communal process. Once one’s personal fingerprints have been enlarged, it appears as if a giant has left behind an imprint; from individual to a colossus, from average person to god, from personal to public, or from a real person to a superman, these become testimony to the existence of something personal, yet also impersonal. Amidst all this, the system that achieves these sculptures’ magnification assumes a major role.

　　“Revealing Traces” is not merely a discussion on the subjectivity of the artist’s ideas or of the transformation of an individual’s imprint; on a broader level it reveals the source of the public will: the personal desires, aspirations, ambitions, ideology and values of the individual. Even though the manufacturing process is executed and manipulated by others, it is rationally produced, and its propagation and circulation is completely impersonal; the result is the enlargement and intensification of the individual’s desires and existence. Draped as a cloak of universality and legitimacy, this kind of existence is concealed everywhere around us, and it governs us through its various resurgent devices. These anonymous and invisible forces impose a powerful influence on society, from architectural entities, urban planning, intangible social rules, moral concepts, value judgments and even to national ideology. In such a reality, “History has withered to become the now, everything revolves around the individual’s personal gain and the individual’s life.”