BP艺术家｜ 陈问村 Chen Wencun

陈问村1991年出生于浙江杭州，2014年于中央美术学院版画系毕业，后赴英国于切尔西艺术学院、英国皇家艺术学院取得双硕士学位，现工作生活于杭州并执教于中国美术学院。

陈问村倾向于将他的作品称为艺术习作，这些习作从自我寻找与探索的基本诉求出发，关注人之本性，语言和交流，集体经验及其价值等命题，并将这种关注投射于他对于媒介与材料的敏锐感受力，通过基于绘画，装置，影像，现成品的实践，构成一种从行为到意识再回到行为的自我训练，也构成一次次找寻人性共通之处与非差异的过程。他的作品曾于“时间开始了- 乌镇当代艺术邀请展”展出（中国乌镇，2019），并在全国与欧洲范围内多次参与机构与大使馆群展。陈问村现任教于中国美术学院。

Chen Wencun (b. 1991, Hangzhou, China) graduated from the Central Academy of Fine Arts with a BFA in 2014. He graduated from Chelsea College of Art and Royal College of Art with two MA degrees. Currently, he lives and works in Hangzhou.

Chen Wencun refers to his works as “studies”, which start from the basic demand of self-search and exploration with a concentration on human nature, language and communication, collective experience and its values. Projecting these concerns onto his keen sensibility for media and materials, his practice includes painting, installation, video, and found objects, constituting a self-training from behavior to consciousness and back to behavior, and a process of finding commonalities rather than differences in human nature. Chen Wencun has exhibited at “Now Is the Time: 2019 Wuzhen Contemporary Art Exhibition” (Wuzhen, China, 2019). He has participated in numerous group exhibitions at institutions and embassies throughout China and Europe. Currently, Chen Wencun teaches at the China Academy of Art.

未经切割半透明的纸币，被一块块来自破裂旧仓库门的木板封印在墙面上。半透明的纸张使所见变得晕眩，不同于这些“鬼钱币”，墙角与倒在地上铁笼内的砖块呈现一种清晰的错觉。

在中国，似乎越来越难存留对砖砌成房的概念与记忆。老旧房屋不断被拆毁而非修缮，新楼房以不可思议的增长速度获取着更多的经济利益。然而巨大的变化以剧烈的方式影响人们的价值观，最明显的是人对声名与财富的巨大渴望。

一块砖是渺小的，可以被轻易替代，但它是组成一座城市的小小细胞，正如人在社会中的存在。我们像一块块转，筑成了这个极速膨胀的国家建筑。

Pieces of the translucent and uncut banknote are sealed on the wall by several pieces of wood from a broken door of an old warehouse. The overlapped image makes the sight giddy. Unlike these "ghost money," bricks along the wall and in the iron cage offer a manifest illusion.

In China, the idea and memory of bricks are gradually disappearing. Old buildings are being constantly demolished rather than renovated, and tall reinforced concrete structures are arising at an incredible speed to gain more significant economic benefits. But the great rate also impacts people’s minds profoundly, especially the excellent desire for overnight fame and extreme wealth.

Bricks are so tiny to be replaced easily, and they are like molecules constituting the whole city. Just as a person to the society, we are as bricks constituting the building of a rapidly expanding country.

这是一张张宛如整版末切割的纸币残影。陈问村用传统的石版画媒介，手绘结合照相制版，将微弱模糊的纸币图案印刷在自制油纸上。他不断重复着这一行为，在大庭广众之下公然印刷着“伪钞”。

This work presents sheet after sheet of what looks like faint impressions of whole, uncut currency sheets. With the traditional lithograph-ic format, Chen Wencun combined hand drawing with computer-aided drawing to print faintly blurred currency designs on oil paper that himself made. He repeats the same action, printing "counterfeit bills" in public. 

纸币残影堆叠在类似货架的尖塔之上。去掉一切标显面值和信息的细节后留下的钱币鬼影使看似完美、资本指向明显的图像保留人为的痕迹。

纸张使用与其“身份”不符的廉价的新闻纸为基底，数遍处理，转变成一种坚韧且细腻的质感。 

Piles of ghosted banknotes are stacked on a stack-like tower. Details of denomination and other information are removed, only to show a faint image of the notes, while leaving the seemingly perfect symbol of capitalism with raw touches. 

An imbalance between the rough newsprint base and the notes' delicate social identity weaves into its texture, a result of multiple image-making processes.

在这个由肥皂与不锈钢组成的装置中，人类个体作为当代社会的生产机器，化身为铺展在纤薄而坚硬钢层之上的肥皂砖。个体构筑的集体在生产更多、占有更多的欲望驱使下，逐渐变得鲜亮整齐，接受着世界的反复冲刷。

The work FLOW testifies Chen Wencun's exploration of the endless human desire, the relationship between individual and collective identities. In this installation of soap and stainless steel juxtaposed, we, as production machines in contemporary society, are embodied in the soap bricks laid on top of the firm yet thin layer of steel. Driven by our desire to produce more and own more, we gradually grow shiny and neat as washed out by the entire world. 

“Ben” 是陈问村长期保持的记录习惯。将英国收集的现成书拆开，抹去书中的内容，后用中国传统的装帧方式重新组合起来，添页，书写，不断地增加，就像人每天对自己做的那样。渐渐的将这种行为转变为作品本身。他追求时间延展的状态，其作品并非一个时间点，而是一种诸如时间形式的长期行动。

"Ben" is a personal artist book of Chen Wencun which was his daily behaviour initially comes from a habit of using a sketchbook for recording his art and life at any time. He disassembles ready-made books remove the characters and then use his way to rebind it in this repetition: bind it raise it keep adding thing to it like people do to themselves every day. Gradually it transforms from an external and functional object to the work itself. He pursue a state of time. The work is not a point in time but the long-term activities such as the form of time. 

签证计划 指代那些希望在西方国家学习、生活并拥有国际身份的国人的集体经验。陈问村使用蚀刻版画技法，将英文书页的内容剥离转印到每张试卷上，就像移民局官员每天重复地在无数护照上盖章的动作一样。

Leave to Remain made by hundreds of English sample test combined with printmaking acid and plastic file pockets this work was inspired by the collective experience of the students with international identities who wish to study and live in the Western country. Chen Wencun used mono-print transferred ink from book pages to every piece of test paper like the action of immigration officer stamps heavily in hundreds of passports every single day.