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王拓，1984年生于吉林省长春市，2007年毕业于东北师范大学获生物学学士，2012年毕业于清华大学美术学院获绘画系硕士，2014年毕业于波士顿大学艺术学院获MFA。王拓的艺术实践以影像、行为、绘画为主并涉及多种媒介，通过在预设情境下对他人真实生存经验以及文献行为化的介入，来揭示当代人类境遇与精神遗产之间不稳定的关系。他的作品中经常基于对已有的文献（如文学、电影、戏剧、美术史）的引用，来建立一个多重叙事的情节迷宫，在那里，有关当代社会的戏剧化的、幽默而荒诞的成分被展示出来。王拓的实践也同时探讨了人造观念和意识形态是如何从其历史背景中生发而出，并与持续变化的社会状况相适应的主题。王拓现主要工作生活于北京与纽约。曾为纽约皇后美术馆2015至2017年度的驻馆艺术家。近期个展包括：从未走出的神话（空白空间，北京，2017）、失忆事典（泰康空间，北京，2016）、唐纳天与王拓：唯有孤独（inCube Arts，纽约，2016）、合唱（Riverviews Artspace，林奇堡，2016）。近期群展包括：九（皇后美术馆，纽约，2017）、一场关于真实的导览（国立台湾美术馆，台湾，2016）、Peekskill Project VI（HVCCA，纽约，2016）、Re-make/Re-build/Re-stage（Vox Populi，费城，2015）、地拉那国际电影节 （TEN Multimedia Center，地拉那，2015）。
王拓作品放映
Special Screening: WANG Tuo
2018年1月25日（周四）19:30 - 21:00
2018.01.25 ( Thu ) 19:30 - 21:00
放映Screening ︎
《审问》
Interrogation
《角色扮演》
Roleplay
《现实与自然》
Real and Natural
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审问 Interrogation，2017，
单频高清影像静帧
single channel HD video film still, 18'20"
角色扮演 Roleplay，2016，
单频4K影像静帧
single channel 4K video film still, 24'31"
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现实与自然 Real and Natural，2014，
三频高清影像静帧
three-channel HD video film still, 13'49"
2017年在空白空间“王拓|从未走出的神话”展览现场
王拓的近期实践关注有关“阶级”作为一个被大众媒介塑造出的人造观念和被符号化的症候群。在他近期影像作品中，例如《角色扮演》、《中毒》等探讨了社会结构中的分层如何慢慢呈现出一种已然和具体人群无关，但在意识形态的角度起支配作用的典型形象。这种有效的典型形象经由商品经济连接而具有全球化共识，并在可描述的文本化本质之下，展现出令人信服的甚至超越本体的迷惑性以及戏剧化倾向。
在本次放映中，艺术家王拓将放映多部近期影像作品，并从其创作脉络出发，探讨作为人造观念的阶级如何被塑造，以及如何超越阶级本身。
《审问》是一个由胶片摄影，图像拼贴以及画外音组成的动态影像。作品由两部分叙述交织在一起：一部分是取材自艺术家对一位地方纪检委官员的采访记录，内容由其陈说当年成功面试该职时所需的心理技巧，慢慢演变到描述其日后审问工作中经常使用的心理手段。另一部分是一篇以英格玛·伯格曼（Ingmar Bergman）1966年的电影《假面》为灵感，由艺术家写作的短篇故事。故事中，一个拒绝说话的演员和一个试图使其开口的护士在长时间的相处中，悄然变成了彼此，互换了身份。在这个隐喻我们所处的复杂现实的作品之中， 人们熟悉的现实情境与隐蔽于日常的极端情境借由一种类似的沟通结构产生了丰富的交集，而在其中的人的境遇也因此发生变换。
《角色扮演》是一个基于行为的短片，通过对即兴情境下表演的调动来探讨人造观念（如“中产阶级”、“完美婚姻”）如何在人们的集体无意识中被形成和被定义，以及意识形态和文化档案中的假定事实与现实之间不可靠的关系。影片由多个空间内的叙述穿插而成：互不相识的两位演员在艺术家租赁的高级公寓客厅中，经由回答常规的婚姻咨询治疗的问题，即兴扮演一对“完美的”中产阶级夫妇。在另一场景中，两位演员分别在各自现实生活的家中，用第一人称独白的形式讲述并再现了美国经典电影《邮差总按两遍铃》（1981年）的情节。两种叙事在结构上的相似和内容上极大反差，以及表演在两种情境下的展示和隐喻，双向质疑了人造观念的真实性和实在性。
影像《现实与自然》属于艺术家的《虚空画——人类戏剧研究》项目。基于对经典文学和绘画的研究，该项目审视了文献、口述历史以及当代人类境遇间不稳定又相互依赖的关系，同时展现出源于当代社会与日常生活中的戏剧化情境。《现实与自然》将两部19世纪欧洲文学——冯塔纳的批判现实主义小说《艾菲 • 布里斯特》和左拉的自然主义小说《泰蕾丝 • 拉甘》——置于当代的社会语境中，通过结合采访、真人秀和荒诞派戏剧的综合过程，创建了一个情节剧式的迷宫。艺术家根据原著小说的叙事框架设计了问题，并对表演者进行采访。这种人为的安排隐秘地引导着受访者们的反应，使他们调动自己真实的生活经历、亲密关系、创伤以及想象分别重现了这两个二百年前的经典故事。视频由男女主人公分别进行的意识流式的独白开始，并以一位教授对文学思 潮的评析穿插其中。这个项目强化了艺术家实践的一个关注点：我们当下的意识形态如何从历史语境中派生，又如何继续适应不断变化的现实状况？正如每一个人类口述故事在不同时代都有其各自的现实版本，在已有文献的基础之上，艺术家试图制造一个浮动着当代境遇与细节的视觉文献。
The Interrogation is a video constructed entirely from still film photography and photo shop collage – playing out as a photomontage along with a voiceover. The work is two narratives intertwined. One comes from an audio recording of the artist interviewing a local officer from the Commission for Discipline Inspection. In this interview, the officer talks about the psychological tricks he had used to succeed at his job interview. Then he describes the mental methods he always applies to his suspects during the interrogation process. The other narrative is a short story written by the artist and inspired by Ingmar Bergman’s movie Persona (1966). In the story, an actress refusing to speak and a nurse trying to make her talk gradually switch roles and turn into each other. These two narratives together bring to mind the complexity of the reality that we are currently in: Our everyday routines and the extreme situations that remain hidden behind our mundane daily lives intersect through a similar structure of communication. The roles that people play in these scenarios are thus in constant flux.
By generating performance within an improvisational scenario, Roleplay discusses how artificial concepts, such as "middle class" and "perfect marriage", are created and defined by collective unconsciousness. It also explores the unreliable relationship between reality and the presumed truth of ideologies and cultural archives. The film is weaved together by narratives from multiple spaces: Two actors who are perfect strangers are put into a rented fancy living room and requested to improvise a “perfect” middle-class couple by participating in a real couples therapy session. In the other situation, the two actors are in their current real-life apartment and status, reenacting the classic American noir film The Postman Always Rings Twice (1981) in first person. In addition to the presentations and implications of the performances in two situations, the similarities in structure and the differences in content between the two narratives question the authenticity and reality of artificial concepts.
The videos Real and Natural is included in the artist’s larger project Vanitas — A Study for Human Opera. Based on the studies of classic literature and painting, the project examines the unstable yet interdependent relationship between archive, oral history, and contemporary human experience, presenting the dramatic situations originating from present society and everyday life. Real and Natural places two 19th-century European works of literature — Fontane’s critical realist novel Effi Briest and Zola's naturalist novel Thérèse Raquin — into a current social context. Combining interview, reality show, and theatre of the absurd, the artist constructs a maze of melodrama. He interviews people with predesigned questions based on the narrative structures of the books. This manipulation secretly directs the responses of interviewees into a situation where they use their real-life experiences, intimate relationships, traumas, and imaginations to retell the classic stories of two hundred years ago. The video starts with a man and a woman presenting their monologues in a stream of consciousness, intertwining with a professor's criticism on literary thought. This project highlights the artist’s practice in developing a discourse on how present ideology is derived from its historical context and continues to adapt to constantly changing conditions. As every oral story has its corresponding version in reality, the artist attempts to produce a visual archive based on the pre-existing archive and topped with contemporary conditions and details.
