版画制作对材料和媒介的依赖决定使用这种媒介的艺术创作是一个不断制作,返工,再推进的过程。 每一次刮刻、对版、释压赋予每一张看似相同的作品独一无二的生命。 这种源于“印”的复制性,以及与后现代图像文化的关系,已逐渐超越了其作为媒介的物理功能,成为广泛被运用的形式语言,衍生出更深层次的社会人文意义。从手工制版到机械化印刷,从纸面到数字世界,延伸一步到不断重复出现的影音信息等等。正如英国作家Will Self说,我们生活在一个“后图像时代”(post-image)。21世纪的生活已经到达了一个视觉超载的极点,目之所及若非我们制造的图像, 就是图像被他人所造。娱乐节目、广告、路标,不胜枚举.他们嵌入我们的生活里,被不假思索的接受并 习以为常,成为一种文化符号。于是这种重复就不再是简单的周而复始,而成为一种螺旋衍生的蝴蝶效应。 同时当代艺术的着眼点又越来越不可回避的渗透进社会文化和经济的各个层面，艺术家们关注重复而平淡的“日常”， 又用多样的形式语言切入日常背后的更深的层面， 提出怀疑，问询或是追溯，甚至是挑衅。

此次展览希望提供一个开放的场,没有媒介的限制也不施予评断,更侧重的从国际和多元的视野呈现给观者一个当下的多重切面；同时作品与作品之间在这个场之中又产生有意思的呼应和新的关系。我希望在这种“呈现”中讨论并探索“重复”之于“衍生”的关系和中外艺术家们在知觉或无觉中对复制性 这个动作的运用与再创造。于是，展览本身也成为“衍生”过程的一个节点，在现象中延续下去。

2015年8月

 李昶

 At the juncture of the 9th Impact International Symposium (2015), using traditional printmaking language as the basis, this exhibition seeks to explore the possibility for traditional prints to have a more profound and far-reaching impact on the art scene, against the backdrop of contemporary art development.

Printmaking’s reliance on material and medium means that the art form thus derived is a process of continuous making, reworking and progression. The engraving, etching and decompression methods employed in printmaking render similar-looking prints unique in their own ways. Print’s reproduction and its association with post-modern pictorial culture have gradually transcended its physical functions as a medium, and prints have become a widely used stylistic language, resulting in social and humanistic significance that is more wide-ranging.

From manual printmaking to mechanical printing, from the world of paper to the digital world, to an age in which video and audio signals keep bombarding us. As Will Self, the British author says, we live in a post image. In the 21st century, life is rife with visual excesses. Everywhere we look, we see images in abundance, either by our doing or by our contemporaries. Entertainment programs, advertisements, road signs, just to name a few, have invaded our life and been taken for granted as symbols of culture. As a result, such repetition is no longer a simple cycle but a spiral with the butterfly effect. At the same time, the focus of contemporary art has become inevitably and increasingly intertwined with every facets of social, cultural and economic fabric. Artists pay heed to the repetitive and plain banality of daily life, and question, enquire into or provoke interest in factors underlying such banality, with languages expressed in a myriad of forms. This exhibition hopes to provide an open and free space, without constraining and commenting on the art medium. Instead, it seeks to emphasize through international and diverse perspectives the multi-faceted contemporary life. The exhibition discusses and explores the interaction between repetition and spiral, as well as the utilization and re-creation of the repetitive process by Chinese and foreign artists in a conscious or unconscious manner.

Thus, the exhibition has become a node by which it turns into a spiral process. 

Lisa Chang Lee

8.2015

Online article about this exhibition: 

艺术家浅谈“重复与衍生”：

在痛苦的（创伤性）回忆中，我对重复这个词饶有兴趣。当正在发生的事情与当事人的主观意识理解之间发生错位，痛苦随之诞生。痛苦的经历无法消弭。取而代之的是当事人围绕着痛苦的经历饱受煎熬。

其结果之一就是，既然事情不可能已经发生，它们将持续发生，周而复始，无休无止。

                                                 --------宝林·艾茫德

Repetition interests me in the context of traumatic memory. Trauma is characterized by a disjunction between what is happening and what"I" is able to consciously understand. Traumatic experiences cannot be processed, the subject that is supposed to experience them dissolves around them instead.

One of the result is that since the thing can't have happened, it keeps happening, repeating itself.

-----------Pauline Emond

我不重复，因为我抑制自己；我抑制自己，因为我重复；我失忆，因为我重复；我抑制自己，因为只有通过某种重复式模式，我才能体验到某些事物或者某种感受。

不同和重复

吉尔斯·德路兹（Gilles Deleuze）

重复一直是我艺术实践中的核心环节。我的艺术形式主要包括素描和版印（后者的实践过程包括复制、制作副本、重复）。在日常生活中，重复经常与单调和迂腐相关。但是，在更广的空间和时间范围内，重复并非总是可以预测的——有时，维度被分割开来并重复不断；有时间，随着事物的重现，我们感受到怪异的幻觉记忆。其力量比我们的想象离奇并复杂得多。大卫·休谟认为重复不会改变重复的事物本身，但是却改变了大脑的感知。同样的，对我来讲，每个铅笔印痕或者印刷的表面不仅仅是在纸的表面撰文，而且是对时间的表述以及对内心世界历程的展示。

在《无题》（2014）的作品中，黑色矩形的作用如一层障碍，阻止富有洞察力的目光。多层的黑色（经过多次丝网印刷）和黑色的形状对图画主题形成重重壁垒，旨在将图画中的主体从背景中移除和转移，使得观众可以重新想象并发现该作品的真谛。在作品的处理与画面之间，的确有些令人不安的东西。

在《难民向海滩出发》（2014）这幅作品中，我使用了不同透明度和笔尖宽度不同的银色画笔，以便使作品模糊化，并在作品创造中使用不同的色调和角度，来重新表现作品的意境。通过抑制画面中的某些因素，我试着强调这些因素的存在。由于构图的方式（通过微细银色笔痕来反衬光线），随着灯光的变化和欣赏作品的角度改变，观众得以忆起模糊化的往事。

-----------安娜斯塔西亚·米娜

" I do not repeat because I repress. I repress because I repeat, I forget because I repeat. I repress, because I can live certain things or certain experiences only in the mode of repetition."

Gilles Deleuze, Difference and Repetition.

Repetition has always been central to my practice. I mainly work with drawing and printmaking (which as a process also deals with copying, duplicating, repeating).

 In everyday life repetition is often associated to the realm of monotony and banality. However, in a broader spatial- temporal level repetition is not always predictable, sometimes dimensions appear to divide and duplicate and sometimes we experience the uncanny feeling of déjà vu as things come around again. It is a force far stranger and complex than we might ever imagine. David Hume [1] proposed that repetition changes nothing in the object repeated but does change something in the mind which contemplates it. Likewise, for me each pencil mark or each printed layer, is not just an inscription of the drawing on the paper's surface but it's also a projection through time and an imprint of an inner journey.

In Untitled (2014), the black rectangle functions as a barrier that disallows a penetrating gaze. The multiple layers of black (screen-printed again and again) and the way the black shape suffocates what is pictured, aim in removing, separating the image from the event it depicts, allowing in this way to the viewer to re-imagine and recover the image. There is definitely something uneasy about the relationship to be had with this image.

In Refugees set off for the beach (2014) I used various silver paint markers with different opacity and nib width, in order to obscure and re-render the image to varying degrees and create different tonalities within the image. My effort focuses on subtly suppressing certain elements of the picture in an effort to accentuate their very presence. Because of the way  the image is made (miniscule silver pen marks that reflect the light), the viewer is led to perceive obscured past events affected by changing lighting conditions and the angle by which they are seen.

------Anastasia Mina

由某些刺激引发，人类行为通常被重复的模式（习惯）所决定。学习并辨别这些模式使我们能够在愈来愈复杂的环境中生活。因为我们以史为鉴，从过去学到的经验教训中受到激励，我们不需要对未来的行动进行全新的规划。与这种行为模式相对应的是行为的范围——这包括所有的行为方式，而不仅仅指大脑通过分析激励机制和目标并筛选的最佳方式。起初，我研究了人类的需求（和欲望），以便不断将其所处的环境归类，以调节功效和目标与社会现实之间的不协调。不久，我发现自己归类的需要与功用维护毫不相干。我仅为归类而归类——收集重复的瞬间——仿佛随着时间的推移和收集的增多，我会对周围发生的一切有更好的了解。我在使用自己唯一的工具来探索事物发生发展的过程，而该工具可能永远也无法解释这个过程。

--------麦克斯 帕玛

Human behavior is mostly determined by repeating patterns (routines), triggered by certain stimuli. Learning and recognizing these patterns allows us to function in an increasingly complex environment. Future actions don't have to be newly developed as they become necessary since we can draw from an archive of previously learned actions and previously encountered stimuli. The counterpart to this man-made code of behavior is the actual range of action – all possible actions, rather than just the one the human brain determines to be the most accurate for a certain stimulus. In the beginning I studied the human need (and desire) to constantly categorize it's environment in order to maintain functionality and the resulting discrepancy between objective reality and social fact. Soon I discovered that my own need to categorize in many instances had nothing to do with the preservation of functionality. I was categorizing for the sake of categorization- collecting repeating moments, as if at some point I would have a bigger understanding of what was going on around me. I was using the only system that I had at hand, trying to understand processes that perhaps could never be explained through this system.

------Max_Appel-Palma

重复性程序总是包含重新构建现实的思想。我们的头脑依赖集体式的信息储存，帮我们将类似的事务关联起来。在我的作品中，我重新追溯并引用此类关于内心的图像。

--------詹思敏 艾岛博纳

Repetetive processes always include thoughts of recreating reality. In our mind we have recourse of a collective archive, which enables us to associate similar perceptions of things. So in my work I requote and trace back those kind of inner pictures.

---------Jasmin Edelbrunner

我在大自然中找到的循环系统：森林里面的树木、乡下的山麓、水和海洋的舞蹈。大自然从不停滞，季节交替，周而复始，瞬时即变，重复发生。我的所有作品都涉及自然。参观森林时，我时常想将其带回家，与大家一起分享，虽然我知道其实那是不现实的。我学会了通过艺术来表达自己的情感，这样一来就可以表述自己在自然中的感受。

-------克瑞纳 曼德斯基

Where I find the repetitive system within in the nature, trees in the forest, mountains in the countryside or is the movement of the water and the sea. Nature never stops, it runs in cycles, always transient, always recussing.
All of my works are related to nature. When I visit a forest I often feel like I want to take it home and share it with others, but that would be impossible. Through art I learned to express emotions, which gave me a way to create a representation of the things I experience in nature.

-------Karina Mendreczky


我的艺术概念大多源于对人类行为的审查和质问，并时常伴随着具有重复性的对比、嘲弄、讽刺和幽默。

为了配合这次以“重复”为主题的展览，我此次展出的四幅作品都是通过重复性对比制作而成。作品《态度》（1983-1987）是通过朋友们摆姿势来展示人类的主要面部表情，从而成就了我的创作。这些表情包括幸福、惊奇、恐惧、失望、愤怒、反感和兴趣。这些表情被放在网格中，表现了不同艺术家在配合我的请求时所呈现的不同表情特征。

在《二百个舌头》（2003）的作品中，挤压舌头的动作不断重复，展示出舌头如何从其最初的指责姿态发展到挑衅或者欣喜若狂的形态，以及媒体和广告中如何复制并扩张类似行为。《战争与和平》表现的是日常手势发出的混合信息。通过将不同时代（从古至今）和不同文化中“V”这个符号的使用情况集合起来，我对相关的忌讳进行抨击，将这种手势的含义化为虚无。

类似地，《选美大赛》对雕像进行跨时间和跨文化的比较。通过重复的使用，作者认为雕塑中的创新和工艺使得观众对艺术的认识与对选美大赛的理解雷同。

--------迪克·哲崴

My concepts are generally driven by scrutiny and questioning of general human behavior and are often developed by way of repetition employing comparison, parody, irony and humour.

The four images I am showing here in response to the theme of 'repea't all operate by enabling comparison by way of repetition. 'Attitudism' 1983-87. In which I have asked artist friends to pose for me exhibiting the main universally recognised facial expressions of happiness, surprise, fear, sadness, anger, disgust and interest. I have then presented the outcome in a grid which reveals aspects of the individual artists characters by way of their attitude in response to my request.

With '200 Tongues' 2003 the gesture of extruding the tongue is repeated to illustrate how it has shifted from its original expression of rebuke toward provocation or ecstasy and how this is backed up by its proliferation in media and advertising. War and Peace 2009 is again in consideration of the mixed messages received from common gestures, By bringing together the different eras and cultures within which the V sign has been and still is used, from antiquity through to its contemporary use, I'm debunking the taboo that had been associated with the gesture by rendering it as virtually meaningless.

'The Beauty Contest' is working in a similar way with the comparison of statues, again across time and cultures. In this instant via repetition it is suggesting that the originality and craft within the

sculptures has rendered the viewers perception of art to that of a beauty contest.

------Dick Jewell

当我第一次从策展人这里拿到“重复／衍生”这个提案时，就感觉到了与我现在进行的创作有着些许契合。虽然当初我并未从这个角度出发去进行创作。但有意思的是作品往往就是这样，在被创造出来以后就被重新解构着。仔细想来这种契合或许源于版画基本的创作方式所锻炼出的思考方式的演变吧？老子“一生二，二生三，三生万物”以及石涛的“一画”论均是这样一种概念的阐释。版画创作的重复性所带来的结果有两种：一种是传统量变到质变的风格化转变，另一种是把概念从最开始就像外科手术似的解构重组基因序列造成作品形式的突变。而我选择了后者。或许这样一个主题正映射着如当下所发现的人类社会的熵进程对我们每个创作个体的影响。

-------------江超

When I received the proposal from the curator about the exhibition “Repetitive/spiral”, I knew that it had a bit in common with my current works, although I hadn’t produced my art on the basis of the theme. However, what is interesting is that this is often the pattern: artworks being reinterpreted. If you think about it carefully, such harmony may be derived from the basic principles of printmaking. Laozi’s “one gives rise to two, two to three, and three to everything” and Shi Tao’s “one painting” theories both share the same conceptual interpretation. The repetition in printmaking has two results: one is a stylistic change, i.e. from traditional quantitative change to change in quality; the other is surgery-like genomic sequencing, from the inception of the work, to abrupt changes in the art medium. Of the two, I opted for the latter. Perhaps such a theme reflects the impact on our individuality of the entropic process of the society.

---------Jiang Chao

版画作为艺术创作的手段，其复数性与技术性的机械劳动，生动展现了“重复-衍生”这一主题的内指与外延。

--------陈钊

As a medium of art creation, prints’ pluralistic and technical production vividly portrays the connotations and extensions of the theme: repetitive and spiral.

--------Chen Zhao

原本相同重复的几十个画面，每一个用不同的语言遮盖消解，画面相同的程度在不断的减少，单张的画面有了初步的独立性，再在之前破坏的基础上分别建立起新的视觉平衡。这些画面每张都是完整独立的，画面里没有覆盖上的形象，又会使观者联想起整个系列作品的来源。

----------张菀

Several dozens of repetitive canvases are being obscured and hidden each by a different language, with identical contents being reduced and each canvas becoming a bit more independent, before a new visual equilibrium is established on the basis of destruction. Each canvas is fully autonomous, with no images covered, reminding the viewers of the origin of the whole series. 

------Zhang Wan

“重复”构建期待和期望。重复可以表现为“双重” —— 一次性复制对二元关系提出直接质疑：真实与复制、原件与仿制品，原作的独一无二与复制件的永恒存在。当重复表现为多次复制时，它建立的是一系列的反复，从而引发连续叠加的设想。

我的作品时常以一层重复性的视觉符号作为根基，在此之上由其他完全不同、来自特属环境的符号去“攻击”已建立的画面层次。不同的元素在同一个空间面面相觑，相互对峙，也同时构成新的关联以及层次结构。

在我的作品中， 已经出现过的视觉符号时常被提取并重新使用。通过这一行为，我想探讨观众怎样去看待那些在不同作品中重复出现的符号和图像，特别是在新画面中局部被重复或摘录的符号。此外，当作品中的符号和图像被转换及使用时，观众与作品、我与作品、观众与我的距离又会产生什么样的转变？

我的作品利用重复这个概念挑战人们时常会建立的基本假设。通过极度的复制和重复性的使用一系列视觉符号，我希望观众能够重新面对和评价作品中含有的符号以及图像。重复也可使事物畸变，或使原有的意义或内涵消失。如此，重复能够让作品抽离对视觉符号、物体表面的描述，更纯粹、更单纯的去探讨绘画、探讨空间。

／／／／／／

Pergamon Foil (2014—­现持续)

Pergamon Foil自2014开始，是一件持续进行的作品。这件作品是场域特定装置绘画，其数量、组合与排列呼应不同的展览场景。

Pergamon Foil像子弹一般的形状来自于我之前的另一幅画作。在那幅作品里，这个形状给画面赋予了一种方向感，起到了构图的作用。而在Pergamon Foil里，每片形状中的各个图像来源于锡纸的放大图，以及美国艺术家Larry Bell近期的新光线投射作品的截图。

这件作品探讨艺术家重复使用图像和视觉符号的权利，以及重复性在艺术中的角色。作品持续累积，其中重复的图形建立了一种对连贯性和同一性的期待。但与此同时，Pergamon Foil中每一个图形中的画面从不重复。这种二元对立的特性也是选择锡纸为画面的决定因素，因为锡纸在折皱后虽然“碎裂”，但仍然是一个整体，正符合这种二元性。那么，重复引发的是一种期待和整体性的感觉，还是其中包含的差异和个体性呢？

-----张月薇

Repetition is the building up of anticipation and expectation. Repetition can be conveyed as a double – a duplication that raises direct questions around the real versus the copy; the original versus imitation; and the unique versus immortality of the reproduced. To duplicate more than one time, a repetitive field is established, from which assumptions are evoked to suggest continuous reiteration.

Fields of repetitive motifs are often built in my work, to construct a ground layer within which I then “attack” by bringing in other disparate, context-specific motifs. This is to look at how elements from different contexts confront each other, and how new hierarchies and associations emerge when disparate motifs are juxtaposed together.

Often, parts of a figurative motif used in one of my works are extracted and employed again in subsequent works. Through this, I want to examine how the audience may relate to a repeated re-occurrence of the same motif or image, when clues are only partially given. Moreover, it is to explore the changes in distance between the audience and my work, when the transformation and reorganization of previously employed motifs become perceivable throughout the works.

Hence, in my work, repetition serves as a way to challenge assumptions. Through excessive repetition or duplicating an image, I want to direct the viewer to re-think the imagery in front of them. Repetition allows a distortion, or makes redundant the original meaning and significance of the motifs in question. Works thus become more about painting, about space, rather than a description of the motifs that are repeated.

Pergamon Foil (2014-present)

Pergamon Foil is an ongoing project. The shapes have been continuously produced since 2014. The installation configuration for this work, including the number and arrangement of the shapes, is site-specific.

The bullet-like form of the shapes is appropriated from a previous painting. This shape was originally a compositional solution to that painting, where it provided a sense of direction in the painting. The painted image in each shape comprise of enlarged photographs of crumpled aluminium foil, and also enlarged sections of Larry Bell's new light interference paintings.

More shapes are continuously added to this ongoing project. This allows the building up of expectation of continuity and sameness through repetition. However, each of the painted image in Pergamon Foil is individual and never repeats. This duality is also iterated through the painted aluminium foil in the work, as when aluminium foil is crumpled and thus “broken”, it still exists as one entity. Does repetition propel a sense of wholeness through its projection of expectation, or does it actually highlight difference and singularity when one realises its role in devising such expectations? The work examines the authority of the artist in re-employing visual references within one’s practice, as well as the role of repetition in works of art.

-----Vivien Zhang

重复，能生长出离一个既定的时间。这个过程由一个模板（底片）开始，而模版终 会成为多余的、废弃的一块材料被扔进垃圾箱。 然而其间的衍生物便自成体系成 就了一番新的天地。以迈克尔斯诺 (Michael Snow) 的作品《行走的女人》(Walking Women)中的模版为例，由这些剪切图形衍生而来的雕塑和摄影作品才完成了艺术 家的意图，表达着空间及时序关系。斯诺曾写道：“我任意地推进着我任意选择的 主体：它的用意是不可预见的。机运。我抓住机会把抽象艺术中发生的事物‘带向 人格化’。”去重复就是去稳固，去确认，去扩展，从而把我们的思路赶出他固有 的区域。 所有的事物都在行进当中，无论是我们创造的事物还是创造我们的事物。重复的动 作从某种程度上来讲埋藏了变化，掩盖了那些重复中生动细微又隐蔽的个体革新。 重复呼唤一双敏锐的眼，一双能观察到微小动态的眼。我希望我的作品是这样一双 眼，带着观者去看那些不可预见。

------王梅一

Repetition is about stemming out of its own time. The process of a repetition starts with a stencil (the negative) that later becomes the forgotten bit of material that gets chucked in a bin. It is the derivatives that form a brand new universe. Michael Snow’s cutout Walking Women for instance, the sculptures themselves became representations of a spatial and sequential relationship. Snow once wrote “I arbitrarily continue with an arbitrarily chosen subject: it was not designed for uses that could be foreseen. Chance. I take a chance ‘draw personification’ of things that happened in the abstract art.” (The collected Writings of Michael Snow: The Michael Snow Project) To repeat is to empower, to confirm, to expand, and to drive our thoughts out of its set domain.

Everything is on the go, either the thing that we create or the thing that created us. The gesture of repeating buries the procedure of self-transformation to
a certain level where it is also proposing a vivid micro view of this mild revolution through its hidden modification of individuality. Repetition is screaming for a pair of keen eyes, a pair that could scrutinize its subtle movements and departures.

-----Meiyi Wang

单元的“重复”作为主要元素为我的作品带来“相似却不相同”的视觉秩序以及内容。

雾霾是当今社会快速发展的产物之一，而每一个个体在社会发展中也对应地感受到一层看不见的“雾霾”，由困惑、欲望或者其它成分所组成。

这五个单元的框架分别陈列了我的出生、成长、生活、学习的五座城市一年内的雾霾指数的视觉化信息。我相信数据视觉化过程是人的主观情感与思考向客观数据蔓延的过程。这五个看似重复的单元为观者展示了我一段又一段“相似却不相同”的经历与情感旅程。

-------刘佳玉

Repetition of units in my collection brought audience a visual order of "similar difference". The haze is currently a great issue and a natural outcome of the fast development of modern society especially in China. However, as an individual, people can also relatively perceive a invisible haze, composed by the confusion, desire or any other ingredients because of the same context, namely, the rapid change of everything around ourselves. The five repetitive frames and structures respectively display the haze index of one year of the five cities where I was born, grew up, studied and live. I believe the process of data visualization is a permeating process from subjective emotion and thinking to the objective data. The five units that seem to be repetitive reflect my "similar but different" perceivable and emotional journey and experience in my different stages.

-----Liu Jiayu

[1] Hume, David, A Treatise of Human Nature