《青年艺术养成纪》——由策展人蒋欣慧打造的系列展览，旨在发掘更多优秀的青年艺术家，同时为他们提供更加广阔的艺术展览平台。

作为本系列展览的第三场，“不要回答——钱荣荣/黄冠雄 实验影像展”，展出两位艺术家以摄影、装置、影像为媒介的最新作品。他们以自由、开放、实验的姿态呈现自我对艺术语言的探索、对城市文化生活的思考。2019年1月27日至2月25日，新年之际，即将启幕！

“不要回答”是Sisu和Tito针对自己抛出的问题（没有）给出的答案，这种答案兼程对于成果的反思，留给公众以彷徨感和不确定性。恰好凭借这种对经验主义的怀疑、对探讨状态的研究，给予我们一种途径——贴近那个难以名状的思想边界。吊诡的现实，勾起了这两位年轻艺术家的兴致，他们觉察到这份扭曲，并付诸于自己的创作手法。且不究谬误与否，这种创作状态本身就是最恰当的语言。

"Not answering" is the (non) answer that Sisu Qian and Tito Huang (not) give to the questions they ask themselves and with which they question reality, reflecting on its alleged fruition and apparent perceptions, leaving to the public not fixed points but stimuli. Stimuli to question and study reality in a workshop attitude that combines the empirical disposition with the poetic sensibility, the best approach to put ourselves in contact with something ineffable and fleeting. It is the changeability of reality and the variability of its effect on those who experience it that interest the two young artists who find in the distortion, declined in their respective languages, the visual style best suited to express the interface of living beings with what they perceive through fallacious senses.

感官谬误，是哲学领域的课题，譬如柏拉图式的，成为感官世界的主角，Sisu的一系列摄影，消解人体，促使我们拼凑感官的记忆，被凸显的皮肤肌理，埋入麻木乳头的褶皱，或者看见那个反射光泽的眼球体被纤细而有活力的睫毛所修饰。当下所见的每个阶段，都赋予我们逾越惯性的能力，解构固执的视觉系统。比拟Luis Bunuel（路易斯·布努埃尔）和SalvadorDali（萨尔瓦多·达利）的处女作，超现实主义短片《Unchien Andalou（一条安达鲁狗）》。这系列作品中，我们瞥见了遮蔽本质的面纱，如那顶富有弹性的帽子蒙住了头颅，仿佛浮现了马格利特·杜拉斯的那句名言(《情人》，1928年)。

丰满的嘴唇，在低饱和度的视线中脱颖而出，伴随它的微张，呈现牙齿的剖面，这是另外一面，譬如Vito Acconci的那些表演，在皮肤上留下咬痕。

It is precisely the fallacy of the senses, already the central theme of many philosophical doctrines, including the Platonic one, to be the protagonist of Sensory World, a series of photographs by Sisu Qian that abstract details of the human body, of which we want to capture sensory memories, highlighting the texture of the epidermis, as in a furrowed and numbed nipple (the writing of the cold on the skin through wrinkles). Or still see the glossy and specular sphericity of the eyeball, now adorned by slender and dynamic eyelashes, now observed in the various phases of its rotation, as if to want to experience the ability to see beyond the visible, in a deconstruction of the canonical vision, comparable to the debut eye cut of the short film Un chien Andalouby Luis Buñuel and Salvador Dalí. A glimpse of the veil that hides the naked essence of things, covering us with that elastic cap that covers the entirehead of the subject in the photo that appears a Magrittian quote (The Lovers, 1928).

And also ajar mouths, with full lips, the only color note of themonochromatic series, that stand out with a bright red, together with the wide open mouths that show the anatomy of palates and teeth, recalling their negative, the footprints left on the skin by those performative bites by Vito Acconci.

聚焦于身体粗粝的机理，游离出来，像聚焦耕地时的犁沟，去深究水源的路径。水里有鱼，有蛙，它们预设了人和动物的相似性，这同样是Sisu作品《鱼羊记忆》里的元素。其中一部分，配合中国传统音乐，大锦鲤在贪婪的觅食，它们相互游来蹭去，战胜同伴。在第二部分中，男女老少像极了鱼，独享街边小吃的过程中被镜头捕捉，街头小吃的粗俗同被Strauss Valzer的西方笔记所提炼。这在新年的时间呈现，也预示着影片第三部分的重生。从中国古代祭祀祖先的仪式（烧纸钱）切入，用火的破坏性在昭示重生。

The focus on body details and on the folds of the skin that, out of context, appear as furrows in ploughed fields,is rarely interspersed by a careful study of the shape assumed by the water, in which fishes or frogs are seen, anticipating that human-animal parallelism, subject of the first two parts of the Fish Memory and Sheep Memory video. If in the first one, in fact, on a traditional Chinese music, big specimens of koi carp dart, swimming over each other and overpowering their peers in the spasmodic search for food, that leaves the eager mouths empty, in the second part Chinese men and women of any age, just as eager as fishes, are caught in the act of eating street food, whose vulgarity is refined by the Western notes of the famous Strauss Valzer. It is perhaps the typical custom of playing this song on New Year's Day that anticipates the rebirth of the third part of the video that,starting from an ancient Chinese rite dedicated to ancestors, celebrates the renewal through the destructive and regenerating action of fire, shown in its temptingcrackle.

年的话题，我们必须提到《日记系列——除夕》，监控式的视频，记录了她在除夕这一天的日常。在微信中书写、复制和粘贴祝福信息的过程，虚拟的主题，在这里比任何时候都更加明确。《存在主义和虚无主义》的形式类似于Hans Haacke的作品《凝结》，但两者含义不同。这组作品提醒我们的囚徒身份，我们的处境或多或少是模糊的，而即使我们看清了本质，却同样无能为力。

Speaking of New Year's Day, we must mention Diary Series - Chinese New Year's Eve,the video on Qian's monitor, recorded during her frenetic activity of writing,copying and pasting messages of good wishes on the eve of the Chinese Lunar Year, in a common messaging application. The theme of virtuality, here more explicit than ever, immediately brings back the installation Existentialis mand Nihilism which, in a form similar to the work Condensation by Hans Haacke, but in a different meaning, reminds us of our condition asprisoners of a glass cage, more or less blurred, which makes us see what is outside it, but preventing us from reaching it.

另一组蒙太奇的图像，重叠的洞创造出前所未有的虚拟世界，吸引人们去探索。因此，几乎所有这些作品都让人感到焦虑:一个人想要触及不可知的东西，一个人想要捕捉短暂的东西，一个人想要获得与转瞬即逝的感觉相关的永恒记忆。这种焦虑在生命的起源找到了平衡，在孩子们入迷的睡眠呼吸中，作为成年人的镇静剂，多亏了童话的录音，Sisu才反复体验，吞咽了下去。

The aspiration to the elsewhere is found in surrogates as photomontages such as Hole that, in a bundle of photos of overlapping holes, creates unprecedented imaginary worlds that invite to be explored. To traverse almost all of these works is therefore the anxiety: the one to reach the unknowable, the one to capture the ephemeral, the one to eternal memory linked to fleeting sensations.An anxiety that finds peace at the origin of life, in the enchanted breath of children sleeping, repeatedly experienced by Sisu as a sedative sound foradults, swallowable thanks to the recordings of Fairy Tale.

展期 | 2019.1.27—2019.2.25

 青岛银川东路3号国信体育场M区G层