此次展览，张新军借一些艺术家的“收藏”来形成一个与艺术家的间接性展览。这里的“收藏”，并非种类的汇集，而是物和他们之间生成的联系，这种联系延展了物的自身轮廓而被甄别为它物。这也是艺术家—策展人张新军认为一条理想的线索去寻找这个展览，因为在不同的物和人之间，联系生成了结构，它把孤立的事物编织起来。寻找意味着路径，展览的生成不是心灵先行，而是身在其中。展览中出现的物不能简单地说属于创造者还是拥有者，它们可以恰当比喻为定影和显影，而艺术的名义被指称为一间暗房也许更为恰当。从这些物来看，它们多半平淡无奇：一双胶鞋、一顶蚊帐、一些石头、一个电话本......但它们却远非仅此而已。
In this exhibition, Zhang brings together selections from artist's “collections” to indirectly form an exhibition of artists manners and ways of seeing through what and how they acquire. The “collection” here is not so much about the identity of the objects themselves as it is the connections they have with each other. Zhang, who is also an artist, chose to create an exhibition by focusing on the connection between objects and the structural interplay that is created between them. Searching means a path taken. The exhibition did not originate in the mind first, but in the body as it walked along that path. The objects that appear in the exhibition do not simply refer to their creators or to the owners. They are freed from those associations through a natural process of developing and becoming, as photographic film is developed and becomes something else in a darkroom. Most of these things are common or humble objects and would never be considered to be art: a pair of rubber boots, a mosquito net, some stones, a phone book... but in all actuality they are much more than that.
王光乐珍藏的那只胶鞋是一次经过路边卖胶人的地摊获得的。它上面贴满了橡胶补丁，因为卖胶人想通过这只鞋来向路人显示他卖的胶好。这只鞋并不一定展示胶的性能好，因为很多胶都能做出那样一只鞋，但这只鞋能让人清晰地看见卖胶人的劳动：每一块补丁都经过合适的修剪和打磨，让它们和胶鞋粘的严丝合缝。他从容地等待一块块晾干，直到这只胶鞋几近被贴满。
Wang Guangle's rubber boots were collected at a roadside glue vendor's stall. He had rubber boots covered with rubber patches to show passers-by that the glue he sells is good quality. But this glue does not necessarily exhibit superior performance because many other glues also can make or repair such a boot, but with this boot one can clearly see the glue seller's work: each patch is properly trimmed and polished to make them fit seamlessly onto the boots. After he applies the patches he waits patiently for the pieces to dry until the boot is nearly full.
席丹妮的外公，因为60年代没有足够的布票，买不了蚊帐，他靠平日积攒的口罩，用口罩的纱布做了一顶蚊帐。那顶蚊帐已经不见了，席丹妮根据母亲的记忆，复原了那顶蚊帐。
Xi Danni's grandfather, who did not have enough cloth ration tickets to buy mosquito nets during the lean years of the 1960’s, built a mosquito net out of the face mask gauze he had more easily accumulated. The mosquito net has long disappeared, but according to her mother's memory, Xi Danni restored the mosquito net.
Ana Mendes 用影像记录了一位不识字的老太太，她用绘图的方式来记忆朋友，同事的电话号码。她电话本上面的图就是一群代码，她用这个办法在与世界的沟壑上面，建起了一座桥。
Ana Mendes videotaped an illiterate old lady tell her story. Because of her disability the elderly woman used drawing to remember the phone numbers of friends and colleagues. The picture on her phone book in the exhibition is a group of codes, which she used to build a bridge over her separation from the world.
Richard Tessadri 是一位因斯布鲁克大学的地质学家和研究员，他在过去30年中收藏了大量的人体结石。这些结石通常被送来进行分析和辅助诊断。Katrin Hornek 从2015年在网络上征集人们张贴的结石，形成雕塑项目“Lithos”。机缘巧合，她发现了 Tessadri 的结石研究，在Tessadri不幸离世之后，Katrin 带着Tessadri收藏的结石来到阿尔卑斯的 Tishhofer 洞窟，开始了另一个艺术项目。
Richard Tessadri, a geologist and researcher at Innsbruck University, has collected a large number of human kidney and gall stones over the past 30 years. These stones are usually sent for analysis and auxiliary diagnosis. In 2015 artist Katrin Hornek collected body stones posted by people on the Internet. Coincidentally, she discovered the stone study work of Tessadri. After his unexpected death Katrin took stones from the Tessadri collection to the Tishhofer cave in the Alps for an art project.
Masao Sato, 是一位日本木匠，在20多年前的一次暴风雨中，他建的庙被摧毁。他的精神导师告诉他，一位朋友将在未来会拿走这个庙。Ariel Schlesinger 后来获得了这个庙，并在2016年把它残留的部分重建在德国，里面围着一棵大树。
Masao Sato, a Japanese carpenter, built a temple that was destroyed in a storm more than 20 years ago. His mentor told him that one day a friend would take the temple away. In 2016, Ariel Schlesinger acquired the temple, and rebuilt the residual parts in Germany, with a large tree inside.
郑沁冰是一位教师，他多年收集圆石，并把这些圆石养在花盆中，他在复原小时候替石头做过的梦，梦见石头开出了花。
Zheng Qinbing, a teacher, has collected round stones for many years and keeps them in flowerpots. He recalls his dream of boulders when he was a child and dreams that they blossom one day.
这些大大小小的事与物，显现了与追求效率、目标和功能，而流于理性认同的正确价值的断裂，如同不能被身体系统吸收的元素，以简单而又自然的方式，沉积结构成异于身体器官的石头。这种简单自然的沉积结构方式，正如透过这些物看到的朴素劳动的堆积，无需置疑劳动的真实性，它的纹理如你所见：从一只胶鞋到一只粘满橡胶补丁的胶鞋，不是1和1的数字之和，而是一条去到达中的路径；从口罩到蚊帐，猜想把现实的苛刻秘密转移，让纱布从浑浊的呼吸，到安静的月夜；没有文字的协助，电话本中那些指向具体的人物信息被抽象线条替代，成为意识的书写；身体结石的分析与归集是对生命体的地质勘探与敬重；庙对于世间的赠送，是期待它在另一趟旅程中重获新生，犹如等待那些石头去开花。
All these things, large and small, show the pursuit of efficiency, goals, and functions, and flow into the rupture between the natural and the rational ways of value identification. Like the elements that cannot be absorbed by the body’s system in a simple but natural way, sedimentary structures become stones different from body organs and their structures. This simple and natural way of depositing ‘structure’ is like the accumulation of simple labor seen through these objects. There is no need to question the authenticity of labor. Its surface is as you can see: From a rubber shoe to a rubber-patched shoe, it's not just the ordinary one-plus-one, but a path to reach the destination; from the gauze face mask to the mosquito net, conjecture secretly transfers the harshness of reality, allowing the mask to be transformed from a muddy breath into a spliced mosquito net; without ‘language assist’, the information pointing to specific characters in the telephone book is replaced by abstract lines and becomes the writing of consciousness; the analysis and collection of body stones are is the geological exploration and respect for live bodies; the gift of the temple to the world is expected to regain its life in another journey, just like waiting for the stones to blossom.
张新军、James Elaine / 文字
Zhang Xinjun, James Elaine / Text
In this exhibition, Zhang brings together selections from artist's “collections” to indirectly form an exhibition of artists manners and ways of seeing through what and how they acquire. The “collection” here is not so much about the identity of the objects themselves as it is the connections they have with each other. Zhang, who is also an artist, chose to create an exhibition by focusing on the connection between objects and the structural interplay that is created between them. Searching means a path taken. The exhibition did not originate in the mind first, but in the body as it walked along that path. The objects that appear in the exhibition do not simply refer to their creators or to the owners. They are freed from those associations through a natural process of developing and becoming, as photographic film is developed and becomes something else in a darkroom. Most of these things are common or humble objects and would never be considered to be art: a pair of rubber boots, a mosquito net, some stones, a phone book... but in all actuality they are much more than that.
王光乐珍藏的那只胶鞋是一次经过路边卖胶人的地摊获得的。它上面贴满了橡胶补丁，因为卖胶人想通过这只鞋来向路人显示他卖的胶好。这只鞋并不一定展示胶的性能好，因为很多胶都能做出那样一只鞋，但这只鞋能让人清晰地看见卖胶人的劳动：每一块补丁都经过合适的修剪和打磨，让它们和胶鞋粘的严丝合缝。他从容地等待一块块晾干，直到这只胶鞋几近被贴满。
Wang Guangle's rubber boots were collected at a roadside glue vendor's stall. He had rubber boots covered with rubber patches to show passers-by that the glue he sells is good quality. But this glue does not necessarily exhibit superior performance because many other glues also can make or repair such a boot, but with this boot one can clearly see the glue seller's work: each patch is properly trimmed and polished to make them fit seamlessly onto the boots. After he applies the patches he waits patiently for the pieces to dry until the boot is nearly full.
席丹妮的外公，因为60年代没有足够的布票，买不了蚊帐，他靠平日积攒的口罩，用口罩的纱布做了一顶蚊帐。那顶蚊帐已经不见了，席丹妮根据母亲的记忆，复原了那顶蚊帐。
Xi Danni's grandfather, who did not have enough cloth ration tickets to buy mosquito nets during the lean years of the 1960’s, built a mosquito net out of the face mask gauze he had more easily accumulated. The mosquito net has long disappeared, but according to her mother's memory, Xi Danni restored the mosquito net.
Ana Mendes 用影像记录了一位不识字的老太太，她用绘图的方式来记忆朋友，同事的电话号码。她电话本上面的图就是一群代码，她用这个办法在与世界的沟壑上面，建起了一座桥。
Ana Mendes videotaped an illiterate old lady tell her story. Because of her disability the elderly woman used drawing to remember the phone numbers of friends and colleagues. The picture on her phone book in the exhibition is a group of codes, which she used to build a bridge over her separation from the world.
Richard Tessadri 是一位因斯布鲁克大学的地质学家和研究员，他在过去30年中收藏了大量的人体结石。这些结石通常被送来进行分析和辅助诊断。Katrin Hornek 从2015年在网络上征集人们张贴的结石，形成雕塑项目“Lithos”。机缘巧合，她发现了 Tessadri 的结石研究，在Tessadri不幸离世之后，Katrin 带着Tessadri收藏的结石来到阿尔卑斯的 Tishhofer 洞窟，开始了另一个艺术项目。
Richard Tessadri, a geologist and researcher at Innsbruck University, has collected a large number of human kidney and gall stones over the past 30 years. These stones are usually sent for analysis and auxiliary diagnosis. In 2015 artist Katrin Hornek collected body stones posted by people on the Internet. Coincidentally, she discovered the stone study work of Tessadri. After his unexpected death Katrin took stones from the Tessadri collection to the Tishhofer cave in the Alps for an art project.
Masao Sato, 是一位日本木匠，在20多年前的一次暴风雨中，他建的庙被摧毁。他的精神导师告诉他，一位朋友将在未来会拿走这个庙。Ariel Schlesinger 后来获得了这个庙，并在2016年把它残留的部分重建在德国，里面围着一棵大树。
Masao Sato, a Japanese carpenter, built a temple that was destroyed in a storm more than 20 years ago. His mentor told him that one day a friend would take the temple away. In 2016, Ariel Schlesinger acquired the temple, and rebuilt the residual parts in Germany, with a large tree inside.
郑沁冰是一位教师，他多年收集圆石，并把这些圆石养在花盆中，他在复原小时候替石头做过的梦，梦见石头开出了花。
Zheng Qinbing, a teacher, has collected round stones for many years and keeps them in flowerpots. He recalls his dream of boulders when he was a child and dreams that they blossom one day.
这些大大小小的事与物，显现了与追求效率、目标和功能，而流于理性认同的正确价值的断裂，如同不能被身体系统吸收的元素，以简单而又自然的方式，沉积结构成异于身体器官的石头。这种简单自然的沉积结构方式，正如透过这些物看到的朴素劳动的堆积，无需置疑劳动的真实性，它的纹理如你所见：从一只胶鞋到一只粘满橡胶补丁的胶鞋，不是1和1的数字之和，而是一条去到达中的路径；从口罩到蚊帐，猜想把现实的苛刻秘密转移，让纱布从浑浊的呼吸，到安静的月夜；没有文字的协助，电话本中那些指向具体的人物信息被抽象线条替代，成为意识的书写；身体结石的分析与归集是对生命体的地质勘探与敬重；庙对于世间的赠送，是期待它在另一趟旅程中重获新生，犹如等待那些石头去开花。
All these things, large and small, show the pursuit of efficiency, goals, and functions, and flow into the rupture between the natural and the rational ways of value identification. Like the elements that cannot be absorbed by the body’s system in a simple but natural way, sedimentary structures become stones different from body organs and their structures. This simple and natural way of depositing ‘structure’ is like the accumulation of simple labor seen through these objects. There is no need to question the authenticity of labor. Its surface is as you can see: From a rubber shoe to a rubber-patched shoe, it's not just the ordinary one-plus-one, but a path to reach the destination; from the gauze face mask to the mosquito net, conjecture secretly transfers the harshness of reality, allowing the mask to be transformed from a muddy breath into a spliced mosquito net; without ‘language assist’, the information pointing to specific characters in the telephone book is replaced by abstract lines and becomes the writing of consciousness; the analysis and collection of body stones are is the geological exploration and respect for live bodies; the gift of the temple to the world is expected to regain its life in another journey, just like waiting for the stones to blossom.
张新军、James Elaine / 文字
Zhang Xinjun, James Elaine / Text
