蔡雅玲个展: Pygmalion et Galatée | 100 · 展览

Q1：请介绍一下你自己，你来自哪里又是如何走上职业艺术家这条道路的？

Who are you? Where are you from? How did you become an artist?

蔡雅玲：我叫蔡雅玲，我来自中国。我8岁那年就确定了我要成为一名艺术家，虽然我当时并不知道艺术家意味着什么？在那之后，我在中国的中央美术学院学习，去年博士毕业后，我继续创作，并找到了自己真正感兴趣的领域，也逐渐认识了自己。

My name is Cai Yaling and I am from China. When I was 8 years old I was sure that I wanted to be an artist, although I didn't know at that time what it meant to be an artist. After that, I studied at the Central Academy of Fine Arts in China, and after graduating with my PhD last year, I continued to create artworks and found a field that I was really interested in, and gradually got to know myself.

Q2：你通常是如何进行艺术创作的？

What is your artistic approach?

蔡雅玲：我通常先从材料入手，我会感受每一种材料带给我的不同的、独特的感受，你会发现，即使同样是中国的宣纸，都会有很大的不同，就如同每个人一样，有的会很敏感，有的则很有力量。我会找到我和这些材料之间的关系。

生活本身带给我的启发也很重要，我会将我的身体感受、家庭生活感受、社会感受都通过不同的材料表达出来。

I usually start with the material first, I can feel the different and unique feelings that each material brings to me, you will find that even the same Chinese rice paper will be very different, just like every human being, some will be very sensitive and some will be very powerful. I will find my relationship with these materials.

The inspiration from life is also important. I will express my body feelings, family life feelings and social feelings through different materials.

Q3：可以分享一下关于你在巴黎驻留期间的经历吗？你有完全的自由决策权吗？

Tell us about your experience in Paris, did you have free rein? (or carte blanche)

蔡雅玲：我今年4月份和5月份，受到艺术8和巴黎市政府的邀请，在巴黎国际艺术城进行了2个月的艺术驻留活动，这段时间对我的影响非常大，我放下了之前的创作方式和媒介，选择用中国的水墨和宣纸进行创作。我在巴黎看了很多博物馆，那里有很多经典的大理石雕塑，这些用坚硬的材料去创作出柔软感受的转变让我很感兴趣。

I was invited by Art 8 and the City of Paris from April to May this year to do a 2-month art residency at the Cité Internationale des Arts in Paris, which had a great impact on me, as I let go of my previous ways of creating and mediums,  chose to work with Chinese ink and rice paper. I visit many museums in Paris,  there have a lot of classic marble sculptures, and I was intrigued by these transformations of using hard materials to create soft feelings.

Q4：为什么你会选择将皮格马利翁与加拉泰亚的神话结合在一起？同时又是如何将这个神话融入你的创作中的？

Why have you combined the myth of Pygmalion and Galatea? How does this myth fit into your work?

蔡雅玲：这个故事一直很吸引我，因为其中的转变关系，还有其中包含的身体接触。其实在中国的很多神话故事中，有很多自然界的东西拥有生命的例子，比如山神、树妖。当一个雕塑家爱上了他创作的大理石雕塑，我认为是完全有可能的，从石头转变成柔软的女性身体，一定是雕塑家投入了足够的爱和关注。两个人之间的关系才会发生了转变。是彼此的爱才让坚硬的石头变成了柔软的身体。

当我看到博物馆的大理石雕塑时，我也被那些柔软的质感吸引。我用潮湿、柔软的水墨画出坚硬又性感的身体局部，又用坚硬肯定的线条去寻找身体之间的关系，身体和身体之间的接触包含着爱、依恋，也包含着伤害、痛苦。

This story has always fascinated me because of the transformative relationship and the physical contact it contains. In fact, in many Chinese myths, there are many examples of things in nature possessing life, such as mountain gods and tree demons. When a sculptor falls in love with a marble sculpture he has created, which I think is entirely possible, the transformation from stone to a soft female body must be the result of the sculptor devoting enough love and attention. It is the relationship between the two that is transformed. It was the love for each other that transformed the hard stone into a soft body.

When I saw the marble sculptures in the museum, I was also attracted to those soft textures. I use damp, soft ink to draw hard yet sensual body parts, and hard affirmative lines to find the relationship between bodies, where the contact between body and body contains love and attachment, as well as hurt and pain.

Q5：不论是你的作品还是古老神话中对女性的致敬之间存在着怎样的联系？

What is the link today between this myth and the homage you wish to pay to women in your works?

蔡雅玲：我一直在思考，当女性在面对情感时应该如何处理？女性应该如何面对自己身体的欲望呢？这个故事中的女性处于被引导、被激活的位置。但我希望女性能够真诚的面对自己的身体和感受。因为当诚实的处于主动选择时，才能坦然的接受一切，不论是好的还是糟糕的。

I've been thinking about what women should do when they are dealing with their emotions. How should women deal with their body's desires? The women in this story are in the position of being guided and activated. But I hope women can honestly face their bodies and feelings. Because when honestly in the position of active choices, it is possible to be open to everything, whether it is good or bad.

Q6：这件以玻璃为载体的短暂性作品的含义是？它有着哪些独特之处？

How does this ephemeral work on glass dialogue with others ? What is its particularity ?

蔡雅玲：我希望整个展览空间充满一种暧昧的气氛，玻璃窗上的画作都是围绕女性欲望展开的。不同于教堂中的玻璃窗，属于更个人、私密的画面。阳光透过这些画作将五彩的光线照进整个展览空间，让画作和这个古老但漂亮的展厅成为一个神秘的空间。

I wanted the space to be filled with an ambiguous atmosphere, the paintings on the glass windows all centred around female desire. Unlike the glass windows in the church, they are more personal and intimate. The sunlight shines through the paintings and brings colourful light into the whole exhibition space, making the paintings and this old but beautiful space become a mysterious space.

蔡雅玲的另一件作品也正在新里昂中法大学博物馆中展出。今年5月29日至7月3日期间，此装置曾展示于奥斯曼大街上的巴黎老佛爷百货（Galeries Lafayette Haussmann）的临街橱窗中。

展览现场回顾

蔡雅玲（2015-2017年度青年艺术100入围艺术家）1984年出生于山西本科、硕士、博士毕业于中央美术学院。2023取得中央美术学院美术学博士学位。

坚持呈现自己生活中的真实情感，并创造恰当的艺术形式。提取日常生活中有深切体会的词汇和话语，探寻日常综合材料与文字情绪相对应的雕塑形式。把女性成长过程中身体和心理被压制的体验和感知，自然的渗透在材料的处理方式中，勾勒出当代女性面对现实困境的耐力和抵抗，搭建起与大众的生活经验共情的基座。

近几年主要个展有：2024年“皮格马利翁与嘉拉迪雅：蔡雅玲个展”（雷诺基金会，法国里昂） “Hidden body”蔡雅玲个展（巴黎国际艺术城，法国巴黎）、“我的秘密花园”（中法大学原址，中国北京）、2023年“红色，黄色，红色—蔡雅玲个展”（浙江美术馆，中国杭州）

作品曾在德国柏林Kommunale美术馆、中国美术馆、今日美术馆、民生现代美术馆、广东美术馆、中央美院美术馆、金鸡湖美术馆、合美术馆等机构展出。被德国柏林Kommunale美术馆、广东美术馆、浙江美术馆、合美术馆等公共机构收藏。

特别鸣谢：Renaud.fr Foundation、YISHU BA艺术8

 - 编辑：何

 - 审校：宋继瑞、蔡雅玲

创始于2011年，是以挖掘和推荐青年艺术家为己任的高端艺术品牌，始终以青年艺术家为服务核心。目前，“青年艺术100”已经发展为国际“青年艺术第一推广品牌”，是文化部文化产业重点推广项目、京津冀一体化文化产业重点推荐项目、北京市文化局重点文化推荐项目。“青年艺术100”依托庞大的艺术家资源库、艺术专家资源、策展人资源和丰富的媒体资源、院校资源，以艺术为媒、发展完善成为集艺术咨询、艺术顾问、艺术策划、艺术展览、艺术驻留、艺术基金、艺术市集、艺术奖项、艺术定制、艺术乡建、城市更新等于一体的综合性艺术服务品牌，是各个领域联姻艺术的首选顾问。