白雙全獲中國當代藝術獎(CCAA)2012最佳藝術家獎

Pak Sheung Chuen Wins Best Artist at the 2012 Chinese Contemporary Art Awards
by Elizabeth Leigh, BLOUIN ARTINFO Hong Kong
Published: November 10, 2012

Hong Kong artist Pak Sheung Chuen won the Best Artist award at the 2012 Chinese Contemporary Art Awards (CCAA). The winners were announced this week at the Central Academy of Fine Arts in Beijing. Founded in 1997 by Swiss collector Uli Sigg, the CCAA are awarded annually to Chinese artists and art critics who show outstanding achievement in artistic creation and critique.

Pak Sheung Chuen was chosen out of 45 nominees by seven jury members, including Uli Sigg, Carolyn Christov-Bakargiev, Chris Dercon, Feng Boyi, Huang Zhuan, Li Zhenhua and Lars Nittve.

"[Pak Sheung Chuen's] art is almost invisible, almost impossible to document, but manages to explore the human condition in all its complexities and with loving precision," said Nittve, director of the M+ museum in Hong Kong. "He produces work that, against all odds, is recognizable as art."

The simultaneously contemplative and playful nature of his work, which has no specific medium, is exemplified in pieces such as his 2005 "To share a watermelon with an unknown person." Pak buys half a watermelon from a supermarket and eats it in his own home, while considering the question of where the other half of the watermelon ended up and who is the anonymous person "sharing" his watermelon.

Two other Chinese artists were awarded by the CCAA this year. The Best Young Artist award went to Yan Xing, and the Lifetime Contribution award to Geng Jianyi.

Pak Sheung Chuen presented by Vitamin Creative Space also won The Frieze London 2012 stand prize in October. Follow news of Pak on his blog pakpark.blogspot.hk.

2012 CCAA-最佳藝術家獎：白雙全／評委評語

中國當代藝術獎(CCAA)2012-最佳藝術家獎：白雙全
Contemporary Chinese Art Awards (CCAA) 2012 - Best Artist: Pak Sheung Chuen

評委評語：
白雙全的作品是對藝術與生活邊界的挑戰，其藝術創作強調與自己日常生活的密切關係，所表現的均為日常生活中的凡人瑣事與狀態。他的藝術近乎無形並無法記錄，但卻以出眾的準確性探索了人類境遇的複雜層面...... 通過作品中豐富的多義和歧義，白雙全的作品既不為市場服務，也不能被媒體利用，他的觀眾永遠是那些對發現充滿熱忱的人們。(2012-11-7, CCAA 2012)

Jury Statement:
Pak Sheung Chuen manages to produce works that, against all odds, are recognizable as art. Emphasizing its intimate relationship with daily life by engaging with everyday situations and common people, his art is almost invisible, almost impossible to document, but manages to explore the human condition in all its complexities and with loving precision…… Rich in the articulation of ambiguities, Pak's work is not for the market, not for the media, but for everyone who cares about discovery. (2012-11-7, CCAA 2012)

觀看：全文／Complete version

2012 CCAA-最佳藝術家獎：白雙全／相關報導

相關報導／Media reports:

「我們發現中國當代藝術正與‘藝術必須商品化，必須玩世不恭或充滿諷刺’此類立場漸行漸遠。」泰特美術館館長Chris對當下中國的藝術狀態總結的頗為到位......(HI 藝術)

"[Pak Sheung Chuen's] art is almost invisible, almost impossible to document, but manages to explore the human condition in all its complexities and with loving precision," said Nittve, director of the M+ museum in Hong Kong. "He produces work that, against all odds, is recognizable as art......" (BLOUIN ARTINFO)

 「皮力認為：「耿建翌是中國當代藝術中價值最被低估的藝術家(沒有之一)。」但有評論質疑，雖然耿建翌獲獎實至名歸，但白雙全和鄢醒的獲獎就很容易使人聯想起烏利·希克和香港以及皮力的某些關係。希克在之後的採訪中表示這是巧合，有六個評委在，他一個人說了不算，他很樂意看到這種大中華區選擇藝術家的現象......」(羊城晚報)

「兩年一屆的CCAA中國當代藝術獎今年已經是第八屆了，與之前單槍匹馬不同，本次藝術獎得到了西九龍文娛區以及央美美術館的配合。此去瑞信今日藝術獎不到一周時間，報喜鳥、萬寶龍等等商業品牌也紛紛開始給藝術家頒獎，在各種藝術獎繁多的當下，藝術評選的公信力反而受到了懷疑。希客表示CCAA將堅持學術，並且希望未來能夠有更多機構參與進來，使之變成更具公共影響力的獎項......」(大公報)

“The jury’s selection took into account what it sees as a shift in Chinese contemporary art away from commodification and cynical detatchment towards more humanist, conscientious examinations of relevant social issues……The selection of these three artists may signal a new interest in Chinese media, performance and conceptual art over the typically sought after paintings by established cynical realists…” (AAP)

2012-11-7 Randian: “Winners of 2012 Chinese Contemporary Art Award [CCAA] Announced”
2012-11-8 Press Release: “Contemporary Chinese Art Awards (CCAA) 2012”
2012-11-8 HI 藝術、大公報：《耿建翌、白雙全、鄢醒獲CCAA大獎》
2012-11-8 新聞稿：《2012 CCAA中國當代藝術獎(CCAA) 2012》
2012-11-8 新京報：《白雙全獲中國當代藝術獎最佳藝術家獎》
2011-11-8 看網：《CCAA中國當代藝術獎耿建翌、白雙全、鄢醒獲獎》(現場視頻)
2012-11-10 羊城晚報：《2012年度中國當代藝術獎揭曉(組圖)》
2012-11-10 BLOUIN ARTINFO: “Pak Sheung Chuen Wins Best Artist at the 2012 Chinese Contemporary Art Awards”
2012-11-15 AAP: "Winners Announced at the 2012 CCAA"

關於CCAA 2012最佳藝術獎

Art in China 03: Hong Kongism

在Art HK11期間參與了AAA舉辦的Backroom Conversations的討論，題為「香港學」(Hong Kongism)，同台有Phoebe Wong、朗天、麥曦茵、Bernice Chan和黃智龍。藝術雜誌Art in China節錄了我和Phoebe談香港藝術的部份，英文和西班牙文雙語。

Discussion in Art in China 03 / 2011-July

作品：回家計劃（概念及執行）

回家計劃
關於台北雙年展2010的創作提案二
白雙全, 2010-8-6

創作概念
藝術家站在美術館的大堂，等候一個願意讓他陪伴回家的觀眾，他在大堂擺設了一支直立的宣傳旗幟，上面寫著「讓藝術家陪你回家！」，招募現場觀眾參與他的活動。在路上，觀眾站在一個和藝術家對等的位置上，觀眾既是觀眾，亦是提供創作內容的人，而藝術家亦同樣扮演著創作人和觀眾的兩個身份。兩個人，一條路上，分享四重角色。

當觀眾走入美術館看藝術品，他卻遇見藝術家。藝術家等／不等於藝術品？若果藝術品是一件擺放在美術館內供人欣賞的物品，當你在美術館遇上藝術家，你就是遇上一件流動的藝術品，一個流動的美術館。你和藝術品是點對點的相遇，但你和藝術家在路上卻是兩條平衡線的重疊，在時間線上每一刻都可以是藝術。而你甚至可以相信，你就是藝術家。

當藝術家站在大堂等待一個觀眾出現的同時，他變成了「觀眾」。他期盼著驚喜和精彩的情節在他眼前一幕幕展現：首先是一個未知的人，接著是一條未知的路，最後是一處未知的地方。人生的故事濃縮成動人的電影，未知和神秘使人內心雀躍。

回家計劃是藝術家和觀眾互換角色的場景，在觀眾的家，藝術家完全變成了觀眾。回家計劃是帶領觀眾離開美術館的計劃，藝術不只出現在美術館，它也在路上，也在你的家。但在於我，回家計劃是一個拿公費和陌生人去旅行的計劃，經驗一個台灣人帶我遊台灣的旅程，在這要感謝館方和觀眾支持。

回家計劃由藝術家策劃，然後和觀眾一同去完成。它讓藝術家和觀眾站在一個對等的位置上，彼此認識和發現，既強調交流和信任的重要，亦重視創作過程中的偶遇和隨機性，它並沒有一件所謂的完成品，或者完成品就是過程中的一個變數。

執行日期
第一回測試期：8月12日至15日(共4天)。
第二回執行期：9月4日至15日(共12天)，安排在開幕前3天和開幕後9天進行。時間：每天下午3:00-5:30（閉館前兩個半小時，星期六6:00-8:30）。
第三回執行期：11月8日至14日(共7天)，為了使我不在美術館時(即9月15日後)，觀眾也可以參與回家計劃，所以我安排在展覽完結前的七天做回家計劃的最後一回。願意參加第三回的觀眾請填上表格，投入木箱。我會在所有的表格內抽出七個觀眾，每一天安排去一個觀眾工作的地方，等他放工，然後陪伴他回家。

回家計劃的旅程記錄將會在藝術家的部落格發放：www.oneeyeman.com

PS1:
我第一次和女朋友去台灣是在2004年的聖誕節，我們去了九份玩，還買了幾盒芋頭酥，因為太晚，我們在路口等不到回程的車。那時餅店的老闆走過來叫我們上車，由九份送我們到台北，雖然他們說是順路，但車子也要走個多小時才到台北呢，而我們買的只是幾十元港幣的手信。我們真的很感動，我太太昨晚還在說九月我們再回台灣時，一定要去九份探他們。就是這樣簡單，相信和感激使我們在未來的路上重遇～～或者就是這個回憶，我真的很想在台灣做這個「回家計劃」，它是使人與人本應有的一份簡單的信任，再一次體現。

PS2:
這件作品是在澳門的旅遊計劃《重繪記憶的地圖：澳門站》的延續。

******
II. Go Home Project
An artist stands in the museum lobby, waiting for an audience willing to let him accompany him/her home. He has placed a vertical banner in the lobby that reads “Let the artist go home with you!” to recruit viewers on the scene to participate in his event. Go Home is a site “artist” and “audience” can exchange their roles. On the way, the audience takes a position of parity with the artist, both acting as audience and providing creative content, while the artist similarly plays dual roles as creator and viewer. In this way, between the two people and the road, four roles are shared.

When the viewer enters the museum to view works of art he encounters the artist instead. Is this equal to/not equal to art? If an art work is an object placed in a museum for people to view, when you encounter an artist in a museum you are coming face to face with a fluid art work and a mobile museum. You meet the work of art in a point to point encounter, but you and the artist in transit are two overlapping parallel lines, where each moment along the time line can be art. And you might even believe that you are the artist.

The artist himself becomes an “audience” as he stands in the lobby waiting for an audience to appear. Like viewing a film, he anticipates the appearance of unexpected surprises and exciting developments before his eyes: first is an unknown person, followed by an unknown route, and finally an unknown place. “The unknown” is both mysterious and magnetic, and the biggest creative impetus. When the audience leads the artist to depart the museum, the audience becomes the leading role. They become the follow travelers on the way. Their role are changing. When the artist arrived the audience’s home, audience become “artist”, and his home become a “museum”.

The Go Home Project places the artist and viewer on equal footing, to get to know and discover each other, both stressing the importance of exchange and trust, and placing importance on arbitrariness and randomness in the creative process. It is not a finished work, per se; perhaps the finished work is a variable itself.


Installation and Execution
As the Go Home Project is conceived in line with the principle of leaving the least possible amount of objects in the museum, the entire installation consists of just one banner and one sheet of paper. The banner stands on the floor (like political campaign pennants) with Chinese characters reading Let the artist go home with you! The banner can be rolled up and taken away, and will only be set up when I am there on site. In addition, I am also considering keeping a list of people who take me home with them and the relevant dates for posting in the museum. My interaction with audience members in the Go Home Project is of a private nature and thus will not be openly displayed at the museum, but will be recorded on my personal blog with their consent.

First round dates: Aug 12 through 15 (total 4 days)
Second round dates: Sept 4 through 15 (total 12 days): three days prior to the opening and nine days after the opening.
Third round dates: Nov 8 through 14 (total 7 days): In order to enable all the audience participation in the Go Home Project when I am not present at the museum (after September 15) I will arrange for a second round during the seven days prior to the opening. I will make a sign and leave a registration form for audience members willing to let the artist go home with them to take part in this event. I will select seven audience members from among all the completed forms, and arrange to go to the workplace of a viewer, where I will wait for him to get off work and accompany him home.

作品：製造太陽千個（昆士蘭省圖書館計劃）

製造太陽千個
白雙全


關於昆士蘭省圖書館的創作計劃，作品將於Light form Light中展出。展覽網站：www.maap.org.au/light-from-light

創作概念：
對於沒有觸摸過的物件(Object)，我們會用想像去證明它的存在。太陽是一件我們沒有觸摸過但相信它存在的東西，我們對太陽的想像是：圓形、光和熱力。這三個特質構成我們對太陽的想像，也構成「太陽」。

《製造太陽千個》(Making Thousands SUNs)是一個製造太陽的計劃，由一個太陽製造成千百個太陽。我們通過圖書館的系統，把印有太陽的圖書從不同的圖書分館運到中央圖書館，每一分館只需要尋找一本封面有太陽相片的書，圖書館管理員手持圖書拍一張照片，然後把圖書和相片寄去中央圖書館即可。我的想像是：不同大小的太陽從四面八方走近中央，最後組成一個巨大的太陽。

當帶住太陽的千本圖書集齊在中央圖書館後，我就會把這堆圖書編排在一個平面上，我在上面蓋上一張白色的牆紙，在每一本書的太陽位置我都開一個和太陽一樣大的圓孔，之後把牆紙分成若干塊份，貼在圖書館四面的玻璃牆上。當太陽的光線穿過玻璃牆上牆紙的小孔打落在地上，地上就會投射出大大小小圓形的光，而且帶有熱力。這是一個個真實的太陽。

這樣我們製造了心中想像的千個太陽，亦同時製造了千個在物理上真實的太陽。


(Left: Brisbane’s Sun, 2010.6.20; Right: Mulheim an der Ruhr’s Suns, 2010.7.10)
附件：圖書館的Newsletter。

English version:
Making Thousands of SUNs
A project for the exhibition “Light From Light” in State Library of Queensland
Pak Sheung Chuen

Concept:
For the object had never been touched, we can only use our imagination to prove its existence. The sun is something that we haven’t touched but believed in its existence, our perception for the sun is round, bright light, and heat. These three characters constitute our imagination of the sun, also the concept of the sun. Making Thousands of SUNs is a project to manufacture sun, to produce thousands of suns from one sun. By using the state library’s lending system, gathering books with sun on the cover from different regional branch libraries to the Queensland State Library. Each branch library will only needs to find one copy of the book with sun (photo image) on its cover, the librarian will hold the book and take a photo, then send the book with photo to the state library. My imagination is: the different sized suns from all directions coming close to the centre, eventually they will form one grand sun. After the thousands of books with sun arrived at the state library, I will lay these books on a plane, cover them with a large sheet of white wallpaper, following each sun’s position on the book cover, I will cut out a hole same size as the sun, then divide the wallpaper into portions, attach them to the glass windows of the library. When the sun is showering through the paper holes on the window, it will project different sized round shaped light onto the floor with heat. Therefore, each of the dots becomes the sun of it’s own. Now, while we have the thousands suns in our heart, we also produced thousands physically realistic suns.
(Translated by Paul Bai)

作品：製造太陽千個（Library Newsletter）

Pak Sheung Chuen wants every library in Queensland to be involved!


(Images: Susan Furness, Collection Maintenance Coordinator from the State Library of Queensland’s Collection Access found this book for Pak Sheung Chuen while he was in Brisbane for his Light from Light residency. The sun on the cover of Michael Haag’s ‘Alexandria’ will inspire part of Pak’s artwork.)

Newsletter from State Library of Queensland, on July 2010:
See the State Library of Queensland in a new light when international artists arrive in Brisbane. They have created artworks specifically for the library site for Light from Light, an exhibition that will be simultaneously mirrored at the Shanghai Library in China from October.

And it’s not only the State Library of Queensland that gets to participate in this unique exhibition about the properties and metaphors of light. A respected artist from Hong Kong, Pak Sheung Chuen, wants every library in Queensland to be involved.

The artist is creating a new artwork comprised of images of the sun collected from hundreds of book covers found in Queensland library collections. According to Pak, who visited the State Library of Queensland while on residency in Brisbane, the sun images will inspire a window sculpture that creates “thousands of suns from one sun”.

The artist hopes that library staff across Queensland will help him create the work simply by loaning one book from their collection.

For this exciting project, books that feature an image of the sun on the front cover will be on display at the State Library of Queensland to accompany the artwork. As part of the project, Pak will be also be creating an ‘online catalogue’ that shows the staff member who helped him create the work.

For more information about Light from Light and how your library can be involved in this special library project, please contact Kim Machan, Director of MAAP – Multimedia Art Asia Pacific and exhibition curator: kim@maap.org.au or 07) 3161 7960.


About the exhibition Light for Light: www.maap.org.au/light-from-light
About State Library of Queensland: http://www.slq.qld.gov.au/

二樓五仔記事簿／夏05／德／一張雜亂的工作枱

一張雜亂的工作枱
白雙全

一張雜亂的工作枱，總結了我對剛果感覺和我在剛果的七日考察報告。一個有政府但似在無政府狀態的剛果，作為一個外來者我只能站在一個被隔離的位置去觀察市內百態和人們表面的日常生活：由警察勒索要錢，到超高的物價生活超低水平，到四圍燒垃圾的臭味，到各處都是死水蒼蠅疫蚊滿天飛的情景……仍然歷歷在目，剛果給我的印象就是這樣令人悲憤和心傷。這只是一個表面的觀察。

這裡的東西是我在剛果Kinshasa可以到的地方買來的幾作物件，還有幾段偷拍的短片和幾張相片。我把它們和一些中國買回來的東西放在一起做了這個裝置。其中三段短片是我和當地人合作完成的：我和一個剛果的朋友一起小便，兩個人排出的尿液成為一個小池在烈日下蒸發乾涸；我幫一個剛果的朋友抹汗，我把抺過汗的紙巾一直保留著到今天；我圍著Kinshasa的一個小區用清水在地上畫了一個圈，在水痕未蒸乾前我由尾追上，把水的頭尾相接。

2010-7-7

******
A Messy Table
PAK Sheung Chuen

The messy table sums up my feelings of the Congo. It is my report on the 7-days-inspection in the Congo. The Congolese Government likes an anarchy system. As an outsider I could only stand in an isolated position to observe the surface of city life and the people's daily lives: extortion of money by the police, the super high prices but low living standard, the smell of burning refuse all round, the stagnant water everywhere, flies, infected mosquitoes flying scenes…… It is still fresh in my memory. Congo gave me a grief and heartache impression. But this is just a superficial observation.

Here's something I bought from Kinshasa where I only permitted to go to a few places. I also displayed some photographs and some stolen video shots. Combining with the things I bought from China, I made this installation. The messy table also included 3 short videos that I collaborated with local people: 1, I peed with a Congolese friend. Two discharge of urine formed a pond which evaporated slowly into air by the hot sun. 2, I helped a Congolese friend to absorb his sweating by a tissue. The tissue has been preserved until now. 3, I poured the clear water around a small district in Kinshasa. The water drew a circle on the ground. Before the water mark evaporated, I chased its tail until I could connect the tail with the head.

2010-7-7