瓦吉科·恰齐亚尼个展“指头,拳头,吮拇指”丨中国顺义丨空白空间

冬日暖阳 The Warm Winter Sun，2022，单频 4K 录像（彩色，有声）single channel 4K video (color, sound)，18’07"

展览现场，瓦吉科·恰齐亚尼个展“指头，拳头，吮拇指”，空白空间（顺义），2022.9.17-10.27

Installation view, Vajiko Chachkhiani,Finger, Fist, and Thumb Sucking, WHITE SPACE(Shunyi), Sep 17-Oct 27, 2022

影片《冬日暖阳》（The Warm Winter Sun）试图探讨童年经验、个体与群体记忆、创伤等与成年个体的关联。

影片中，中年男子重返乡间的童年居所。空无一人的家中仍保留了过往生活的诸多细节，往事仍历历在目。

经过了短暂的思忖，男子将房子付之一炬，以这场决绝的仪式向着过往的一切告别。

然而这摧毁般的行为是否能够真正使他实现自我的和解而重获心灵的自由，又或者这一行为只不过再次强化了过往的创伤？

在男子转身离去之后，那些于灰烬中存留的，将与他永远同在。

The Warm Winter Sun explores the connection between childhood experiences, individual and collective memories, trauma, and the adult individual. The piece portrays a middle-aged man returning to his childhood home in the countryside, whose empty home still retains many details of his past life, bringing back vivid memories. After a brief reflection, the man burns down the house to the ground, a powerful ritual of bidding farewell to the past. However, does such a destructive act allow for self-reconciliation and regaining freedom, or does it re-enforce past wounds? After the man leaves, the ashes will nevertheless remain with him forever.

天空之下 Lower Than the Sky，

2021，单频 2K 录像（彩色，有声）single 2K channel video (color, sound)，16’25"

《天空之下》讲述了一个有关人们被迫流离失所的故事。在这有如冥想般的影片中，两艘于 90 年代用以从阿布哈兹的苏呼米载着难民的渔船从黑海深处慢慢显现。它们彼此相邻，并排而行，向着陆地缓缓驶来。随着船只的靠近，马达的声音也愈加清晰，观众得以看见船上载着的人群。然而在船只似乎将要上岸之前，由于某种原因它们慢慢停了下来，并逐个转身，继而驶向了它们的来处并再次消失在黑海的深处，只剩下海水的涛声。于此过程中，海浪、声音、光线发生着微妙而持续的变化，而不变的是两艘船给予彼此的陪伴，以及船上那些始终凝视着镜头的双眼——仿佛在诉说着人性中希望与失落的交错。影片展现了一种于情感和感性上沉思的力量，以及与自然相通的内在逻辑：事实上，亘古不变的乃是自然规律本身，而其他所有的事物都会出现并最终消失，一如生与死的过程。

Lower Than the Sky

is a story about people who are forced to displace and become homeless. In this meditative film, two fishing boats carrying refugees from Sukhumi, Abkhazia since the 1990s slowly emerge from the depths of the Black Sea. They are next to each other, side by side, slowly heading toward land. As the boats get closer, the sound of the motors be-comes clearer and the viewer can see the people they are carrying. However, before the boats seem to come ashore, they slowly stop for some reason andturn around one by one, heading back to where they came from and disappearing again off the horizon of the Black Sea, leaving only the sound of the waves. During this process, the waves, sounds, and light change subtly and continuously, but what remains the same are two boats, keeping the company of one another, and those on board staring at the camera without a flinch, as if voicing the interplay of hope and loss in human nature. The film shows the power of emotional and sensual contemplation, and the intrinsic logic of nature: the fact that what remains unchanged is the law of nature itself, and that all other things appear and eventually disappear, just like the process of life and death.

蜜蜂瀑布 The Bee Fall，2021，单频 2K 录像（彩色，有声） single channel 2K video (color, sound)，24’24”

Giorgi 在回到故乡后，受复仇心驱使，决定继续对他的妻子施暴。

Giorgi 的母亲面临抉择: 是应无条件爱她的儿子，还是保护幸存者。

After returning to his hometown, Giorgi, driven by vengeance, decides to finish the job he started and abuse his wife one last time. His mother faces a tough decision-side with her son, who she is supposed to love unconditionally or protect the survivor.

颤抖的心 Shivering Heart，2018，单频 2K 录像（彩色，有声）single channel 2K video (color, sound)，10’07"

一个男人能努力到什么程度来吸引一个女人？23 岁的桑德罗和母亲生活在一起，他爱上了埃琳娜，后者却对他无动于衷，并且极为冷淡。

该片将格鲁吉亚的民间故事搬上了现代银幕，它是否向我们道出了原始的本能？意即，不惜一切代价追求欲望——即便这意味着牺牲自己母亲的心。

How far can a man go in his efforts to charm a woman? 23year-old Sandro lives with his mother and is in love with Elene, who doesn’t reciprocate his feelings and is absolutely indifferent towards him. The film, which is a modern screen adaptation of a Georgian folktale, tells us about primordial instincts? About the consuming desire of hunting down the pray at any cost – even if it means sacrificing the heart of one’s own mother.

重金属蜂蜜 Heavy Metal Honey，2018，单频 2K 录像（彩色，有声）single channel 2K video (color, sound)，14’14"

展览现场，瓦吉科·恰齐亚尼影像作品，空白空间（草场地），2022.9.9-10.20

Installation view, Vajiko CHACHKHIANI

Videos, WHITE SPACE (Caochangdi), Sep 9-Oct 20, 2022

这部影片是一个历史隐喻，而蜂蜜——甘甜而黏稠——则隐喻了家庭内部结构。

全球史和个人史之间的交集让两者密不可分地联系在一起。只有当行动和认知重合的时刻，才能扳动开关，让故事/历史走上不同的轨道，从而改变叙事。

The film stands as a metaphor for history and honey – sweet but viscous – as a metaphor for internal family structures. Global and individual history share points of intersection at which they are inextricably linked. And it is only the moment of action and recognition that can flip a switch and set stories/history on a different course that changes the narrative.

棉花糖 Cotton Candy，2018，单频 2K 录像（彩色，有声）single channel 2K video (color, sound)，13’42"

影片讲述了一位年轻祖母的内心冲突，她在与孙女观看马戏团表演的空间中，回溯了自己的一生。观看表演时，她第一次开始与自己对话，她以前从未有机会这样做。正是这次对话导致了其内心的冲突。这一冲突可能被暴露在外，抑或停留在她的心中。但无论如何，祖母在马戏团表演过程中经历了一场仪式。最后，棉花糖掉落在地上，这可能暗示了她已经释放了内心的压抑。

The film is about the inner conflict of a young grandmother who retraces her whole life in the space of a circus performance she is attending with her granddaughter. While watching the performance, she gets into dialogue with herself for the first time, she has never had time for that before.

It is this dialogue which generates the conflict and it might expose outside or might stay inside herself in any case, during the circus performance, grandmother goes through a rite of passage and the cotton candy falling down at the end might suggest that she has released something inside that oppressed her.

冬日未至 Winter Which Was Not There，2017，单频 2K 录像（彩色，有声）single channel 2K video (color, sound)，10’40"

一个男人注视着一尊巨型人像被起重机从海里吊起。显然，这尊雕塑让人想到经典的英雄纪念像，但奇怪甚至是有点不可思议的是，雕像的脸和身体竟然与看着它从海中升起的男人惊人相似。

A man watches a monumental concrete sculpture of a man being hoisted out of the sea. The sculpture is clearly reminiscent of a classic heroic monument but in a strange, and somewhat uncanny way, the face and figure of the sculpture look amazingly like the man who’s watching it rise out of the sea.

我们开向远方，你在前面 We Drive Far, You in Front，2016，单频录像（彩色，有声） single channel video (color, sound)，02’50"

未经处理的七色玄武岩石块从上方砸落下来，有时会在撞击后碎裂。这段影像以比真实时间慢 20 倍的速度拍摄。

艺术家构建了一个不和谐的场景，其中图像呈现出厚重的物质感，成为人类脆弱心理的隐喻。

这些刚从采石场开采的玄武岩原石，随后会被加工成建筑材料。由此可知，这些石头将被用来装饰个人或家庭的室内和室外空间，而人类的戏剧将在这些结构中演绎。

Unprocessed seven-tone basalt stones crumble on top of each other sometimes break. The footage is filmed twenty times slower than real time. The artist constructs a dissonant scenario where an image, heavy with physical materiality, serves as a metaphor for the fragility of human psyche. These raw basalt stones, fresh off the quarry, are later processed to be employed in architecture. In this context, the interiors and exteriors adorned by these stones will be inhabited by individuals or families, and human unprocessed and processed dramas will take place inside these structures.

生命轨迹 Life Track，2014，单频高清录像（彩色，有声） single channel HD video (color, sound)，03’33

这部影片在一个机构里拍摄而成，病人们在此度过他们生命的最后一段时间。

The film was shot in an institution where ill people spend their last period of live.

冰激淋先生 Ice Cream Man，2014，单频高清录像（彩色，有声）single channel HD video (color, sound)，01’01"

这部影片包含了在难民安置区拍摄的原始素材。

The film includes raw footage from a refugee settlement.

通往孤独的走廊 Corridor to Solitude，2014，单频高清录像（彩色，无声） single channel HD video (color, silent)，05’17"

镜头对准一条走廊，它通往高度戒备监狱中的一个单独监禁牢房。

The camera follows the hallway that leads to a solitary confinement cell in a high-security prison.

无尽的章节 Chapter with No End，2014，单频高清录像（彩色，有声） single channel HD video (color, sound)，21’28"

《无尽的章节》呈现一名男子在墓园睡觉的未剪辑原始素材。他躺在墓棺上，背对着摄像机。影片从白天开始，当夜幕降临，墓园外的房子里星星点点的人造光亮起来，摄影机被关掉，影片结束。

A Chapter with no End

is the title of raw footage of a man sleeping in a cemetery, lying on top of a tombstone with his back to the camera. The scene takes place during the daytime. When night falls and dots of artificial light appear from the houses on the other side of the cemetery’s wall, the camera is switched off and the footage stops.

灰尘轨迹 Dust Track，2013，单频高清录像（彩色，无声） single channel HD video (color, silent)，03’37"

《灰尘轨迹》有关一片由灰尘、风和阳光搅动的躁动不安的表面。影片拍摄于监狱内一处没有天花板的狭小空间，这里是高危犯人唯一可以呼吸新鲜空气的地方。

Dust Track

is an agitated surface of dust, wind and sunlight. It was taken in a narrow space that has no ceiling and is the only place inside the prison where dangerous prisoners can enjoy the open air.

白色组曲 White Suite，2012，单频高清录像（彩色，有声） single channel HD video (color, sound)，10’01"

排爆后的莫洛托夫燃烧瓶被放置在水中，白色气体在水中逐渐扩散，呈现出诗意的画面。某种意义上，影片就像是一曲无声的音乐。

We see Molotov cocktails in the water. Already disarmed Molotov’s slowly white color is dripping in the water, which creates poetic graphic images. Somehow film is music without the sound. We see Molotov cocktails in the water. Already disarmed Molotov’s slowly white color is dripping in the water, which creates poetic graphic images. Somehow film is music without the sound.

黑色录像 Black Video，2012，单频高清录像（彩色，有声） single channel HD video (color, sound)，12’14"

水中是玻璃制成的尖锐体，水面上方黑色颜料缓慢滴落下来。影片在某种程度上就像是一曲无声的音乐，呈现了暴风雨开端的状态。

We see cliff shape made out of glass in the water. Slowly black color starts to drip. The film somehow recreates the beginning of the storm. This film is also music without sound.

训练你的情感 Train your Sentiments，2011，单频高清录像（彩色，有声）single channel HD video (color, sound)，01’15"

年轻人不断撞墙的影像被循环投影在一列格鲁吉亚的货运火车上。这列火车从亚洲向欧洲运输石油。

Film of a young man hitting wall is looped and projected on the cargo train in Georgia. The train transports oil from Asia to Europe.

社会芭蕾 Social Ballet，2006，单频高清录像（彩色，有声） single channel HD video (color, sound) ，02′04"

影片中，每当小巴士经过教堂时，车上的乘客都会用手在胸前画十字。在行进过程中，这些动作变得越来越抽象和无形。

The film shows mini-bus passengers crossing themselves whenever the bus passes a church. Over the duration of the bus ride, the movements become more and more abstract and formless.

About Vajiko CHACHKHIANI

瓦吉科·恰齐亚尼（Vajiko Chachkhiani）的作品在介于外在世界和人类心理机制之间的某处进行运作，用微妙和迷人的视觉诗歌激发我们对人类境况被遮蔽面的自觉性。他的许多雕塑作品常常植根于表演或变革性的行动，亲和极简主义的同时又充满叙述性的意义。通过他的雕塑和装置作品，恰齐亚尼探讨了诸如孤独、暴力和焦虑等心理状况，并将它们与宗教、政治、文学和诗歌的主题交织在一起。冲突、文化–自然，以及外部现实和个人内心生活之间的摇摆是反复出现于他作品中的主题。瓦吉科·恰齐亚尼的创作涉及录像、雕塑、行为、照片以及大型装置。

瓦吉科·恰齐亚尼 1985 年生于格鲁吉亚第比利斯，目前工作生活于柏林和第比利斯。他于 2013 年毕业于柏林艺术大学，并师从 Gregor Schneider 教授。在此之前，他曾于第比利斯技术大学学习数学与信息学。

他的近年个展包括：

- 天空之下，勃兰茨艺术博物馆，欧登塞，丹麦（2021）

- 重金属蜂蜜，德国联邦艺术博物馆，波恩，德国（2018）

- 两者，锡根当代艺术博物馆，柏林，德国（2015）

- 许多生命在模仿死亡时经过，柏林达勒姆美术馆，柏林，德国（2015）

Chachkhiani 的作品也曾参与群展：

- NIRIN，第 22 届悉尼双年展，悉尼，澳大利亚（2020）

- A Good Neighbour，伊斯坦布尔双年展，慕尼黑，德国（2018）

- 更加狂野和反对，汉堡美术馆，汉堡，德国（2018）

- 等待中。在权力与可能性之间，汉堡美术馆，汉堡，德国（2017）

他的作品“死狮中的活狗”在第 57 届威尼斯双年展格鲁吉亚馆（2017）展出。Chachkhiani 曾入围 2017 年未来世代艺术奖终选名单。他所获的奖项包括：奥罗拉别墅奖助金，2018；托卡斯驻地奖助金，2018 ；鲁本斯促进奖，2017 等。

Vajiko Chachkhiani operates somewhere between the outside world and the human psyche, bringing the shadowy aspects of our conditio humana (human condition) to awareness through subtle and intriguing visual poetry. Frequently based on performances or transformative actions, many of his sculptures have an affinity to minimalism. At the same time, they are charged with narrative meaning. Through sculptures and installations, he seeks to address psychological conditions such as loneliness, violence, and angst, weaving them with topics from religion, politics, literature, and poetry. Reoccurring themes in Chachkhiani’s work are conflict, culture/nature, and the oscillation between the outer reality and the inner life of the individual being. Chachkhiani’s work includes films, sculptures, performances, photographs, and large-scale installations.

Vajiko Chachkhiani (b. 1985 in Tbilisi, Georgia) lives and works in Berlin and Tbilisi. He studied at the University of the Arts (UdK), Berlin, with Prof. Gregor Schneider until 2013. Previously, he studied Mathematics and Informatics at the Technical University of Tbilisi.

His solo exhibition includes:

Lower than the Sky, Kunstmuseum Brandts, Odense, Denmark (2021);

Heavy Metal Honey, Bundeskunsthalle, Bonn, Germany (2018);

Many Lives Passing Through While Imitating Death, Kunsthaus Dahlem, Berlin, Germany (2015);

Both, Museum für Gegenwartskunst, Siegen, Germany (2014).

His works were also presented at

NIRIN – The 22nd Biennale of Sydney, various venues, Sydney, Australia (2020);

A Good Neighbour, Pinakothek der Moderne, Munich, Germany, in cooperation with Istanbul Biennale (2018);

Wieder und Wider, Hamburger Kunsthalle, Hamburg, Germany (2018);

WAITING. Between Power and Possibility, Hamburger Kunsthalle, Hamburg, Germany (2017).

In 2017, his work "Living Dog Among Dead Lions" was shown in the Georgian Pavilion at the Venice Biennale. Chachkhiani was nominated for the Kunstpreis Böttcherstraße 2018, and he received Villa Aurora Fellowship in Los Angeles and a Residency Grant Tokyo in 2018, and the Rubens Promotional Award in 2017.

空白空间正在展出

CURRENT EXHIBITION

画廊开放时间 Opening hours ：

周二-周日 TUE-SUN10:00-18:00

空白空间 | 草场地

北京市朝阳区机场辅路草场地 255 号

空白空间 | 顺义

北京市顺义区金航东路 3 号院 D7 栋 1 层

如需更多信息，请关注我们

For more information, please follow us

Weibo ：空白空间

Instagram：whitespacebeijing