指头,拳头,吮拇指·瓦吉科·恰齐亚尼个展丨中国顺义丨空白空间

我们高兴地宣布，瓦吉科·恰齐亚尼（Vajiko Chachkhiani）在空白空间的首次个展“指头，拳头，吮拇指”（Finger, Fist, and Thumb Sucking）将于 9 月 17 日（周六）在顺义空间开幕，并持续至 10 月 27 日（周四）。展览涵盖其新近创作的雕塑、绘画、影像等作品。

“指头，拳头，吮拇指”是一段关于个体生命旅程的心理转变的叙事，以及对自我的寻找与指认，重访与告别。展览标题以手部的三种姿态借指孩童个体与生俱来的基本欲望，亦暗指后天所经历与习得的安全与暴力、拒绝与接纳、依赖与独立、真我和假我等概念。

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

Installation view, Vajiko Chachkhiani,Finger, Fist, and Thumb Sucking, WHITE SPACE(Shunyi), 2022

在展览的前半部分，观众将进入到一片仿如儿童游乐园般的雕塑群中。艺术家在自己孩子喜爱的玩具的形态基础之上，塑造了诸多超越常规尺度的雕塑，探讨作为客体的“玩具”及玩“玩具”（游戏）这一行为背后所承载的一系列机制是如何在个体的幼年阶段形塑自我与世界之关联的。

第一个拥有物（XL）The First Possessions (XL)，2022，不锈钢 stainless steel，254×130×95(h) cm

《第一个拥有物》、《非我拥有物》是一系列形体巨大的类猫头鹰和鸟型雕塑，俏皮的造型与表情将欢乐与惊讶融为一体，夸张而张大的口腔与眼睛形成了长长的通道，像是欢迎孩子们在其中穿梭探索。作品援引心理学家唐纳德·温尼科特（Donald Winnicott）著述《游戏与现实》（Playing and Reality）中有关“过渡性客体”及“过渡性阶段”的概念，即婴儿个体在脱离无微不至的母亲照顾与确立自我，以及自我的内部世界和广大外部世界的中间阶段与中间物。“第一个拥有物”来源于孩童玩耍中的发现，它不是被给予或强加的，而来源自孩童个体的发现与选择，更是他们的初次创造与艺术经验。

不要做这与不要做那 Don’t Do This and Don’t Do That，2022，不锈钢，弹簧，铁链，花岗岩 stainless steel, spring, chain, granite，136×97×175(h) cm

如果说对于玩具和游戏方式的选择代表了孩童的自由意志以及他们与外部世界建立联系的方式，那么反向而论，成人对于玩具和游戏的控制本身亦可成为了对孩子的规训方式。散落在展厅其间的动物型摇椅雕塑《做这与做那》（Do This and Do That）、《不要做这与不要做那》（Don’t Do This and Don’t Do That）等则将展览的讨论延伸至系统性的教育、文化等对孩童成长的影响。小巧的摇椅自由地摆荡其间；而对于另一些大型的摇椅，铁链不仅禁锢了它们的方向，更使得其看起来随时有倾覆的危险。

第一次触碰 First Touch，2022，不锈钢，弹簧，水泥 stainless steel, spring, cement，59×41×73(h) cm

玩玩具有时不仅和个体有关，更是一种群体性的行为乃至竞赛活动。在系列雕塑作品《我们在一起而你不在》（We Are in The Circle But You Aren’t）中，艺术家对儿童暴力、霸凌行为的来源，及其天然性与习得性展开探讨。作品借用了广泛流行于华德福教育（Waldorf Education）中一种木雕玩具形态——作为全球最大的另类教育运动推动者，华德福教育以人智学的创立者鲁道夫·史坦纳的学说为宗旨，强调想象力在学习过程中的重要性，并且将价值观融合在学术、实践和艺术追求之中，却也因对宗教、心灵内容、顺势疗法的推崇以及可能涉及种族主义的教学内容而饱受争议。作品周身涂满的蓝色马克笔笔触如夜雨般倾泻而下，使得孩子们看起来安静、沉默而疏离。形如月牙的火焰内心则暗指戈雅的绘画《女巫的安息日》（Witches’ Sabbath），暗示政治、宗教、资本等对人的利用，以及人内心的恐惧。

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滑动观看细节 swipe for detail

我们在一起而你不在（夜晚繁星闪烁） We Are in The Circle But You Aren’t (The Night is Full of Stars)，2022，木头，LED 灯，艾迪马克笔，丙烯 wood, LED light, edding marker, acrylic，60×20×119(h) cm

在展览的第二部分，艺术家以影片《冬日暖阳》（The Warm Winter Sun）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。

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

Installation view, Vajiko Chachkhiani, Finger, Fist, and Thumb Sucking, WHITE SPACE(Shunyi), 2022

We are delighted to announce that Vajiko Chachkhiani’s first solo exhibition, "Finger, Fist, and Thumb Sucking" at White Space, opens on Saturday, September 17, and will run through Thursday, October 27, at the Shunyi location. The exhibition is comprised of his recent sculptures, paintings, and video.

"Finger, Fist, and Thumb Sucking" is a narrative about the psychological transformation of an individual’s life journey, the search and affirmation, revisiting and bidding farewell to the self. The exhibition’s title refers to the three gestures of the hand as a reference to the basic desires inherent in every child while alluding to notions of security and violence, rejection and acceptance, dependence and independence, the true self, and deception shaped and acquired from later life experiences.

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

Installation view, Vajiko Chachkhiani,Finger, Fist, and Thumb Sucking, WHITE SPACE(Shunyi), 2022

In the first half of the exhibition, the spectator will enter a sculptural complex that resembles a children’s amusement park. Based on the shapes of his own children’s favorite toys, the artist has created sculptural pieces much more prominent than conventional scales, exploring "toys" as objects and how the mechanisms behind the act of playing with "toys" (games) shape the relationship between the self and the world at an early age.

工人和他的影子 Worker and HisShadow，2022，纸上马克笔 marker on paper，29.5×36.8 cm，装裱尺寸 framed: 32.7×40 cm

The First Possessions and Not-Me Possession 是一系列大型猫头鹰和鸟类雕塑，它们的嬉戏形式和表情混合了喜悦和惊喜，它们奇异的嘴巴和睁大眼睛形成了长长的通道，仿佛邀请孩子们去探索。这件作品引用了心理学家唐纳德·温尼科特（Donald Winnicott）的《游戏与现实》（Playing and Reality）中的“过渡对象”和“过渡阶段”的概念，指的是婴儿个体在离开母亲的照顾并建立自我时的中间阶段和中间对象，建立自己的内心世界和更广泛的外部世界。“第一占有”来自于孩子在游戏中的发现，而不是被给予或强加。个体孩子的这种发现和选择也标志着他们的第一次创造性和艺术体验。

做这与做那 Do This and Do That，2022，不锈钢，弹簧，铁链，花岗岩 stainless steel, spring, chain, granite，130×97×180(h) cm

If the choice of toys and play represents a child’s free will and how they relate to the outside world, conversely, adult control over toys and play can become a form of discipline for the child. The animal-shaped rocking chair sculptures Do This and Do That and Don’t Do This and Don’t Do That scattered throughout the gallery extend the exhibition’s discussion on the systematic influence of education and culture on child development. The small rocking chairs swing freely; for other oversized rocking chairs, chains not only confine their swinging directions but also make them appear dangerous from tipping over.

我看到你的利齿 I See Your Big Fangs，2022，不锈钢，弹簧，水泥 stainless steel, spring, cement，80×41×77(h) cm

Playing with toys is more than an individual act; it can also be a group action involving competition. In the series of sculptures, We Are in The Circle But You Aren’t, the artist explores the sources of violence and bullying among children and questions whether violence is human nature or an acquired experience. The work appropriates the forms of carved wooden toys from Waldorf Education, the world’s largest promoter of the alternative education movement. Based on the teachings of Rudolf Steiner, the founder of Anthroposophy, Waldorf Education emphasizes the importance of imagination in the learning process by integrating values in academic, practical, and artistic pursuits. It has been controversial for promoting religion, spiritual content, homeopathy, and potentially racist teaching. The blue marker strokes painted all over the work look like a downpour of night rain, making the children seem quiet, silent, and detached. The crescent-shaped flame alludes to Francesco de Goya’s painting Witches’ Sabbath, suggesting manipulation from politics, religion, capital, etc., on people and their inner fear.

（从左至右）

第一个拥有物（S）The First Possessions (S)；

第一个拥有物（XS）The First Possessions (XS)；

第一个拥有物（XL）The First Possessions (XL)

2022，不锈钢 stainless steel

125×105×111(h) cm; 125×53×111(h) cm; 254×130×95(h) cm

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

Installation view, Vajiko Chachkhiani, Finger, Fist, and Thumb Sucking, WHITE SPACE(Shunyi), 2022

In the second part of the exhibition, the artist explores the connection between childhood experiences, individual and collective memories, trauma, and the adult individual with the film, The Warm Winter Sun. 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.

关于艺术家

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：

- 指头，拳头，吮拇指，空白空间（顺义），北京，中国（2022）；

- 天空之下，勃兰茨艺术博物馆，欧登塞，丹麦（2022）；

- 重金属蜂蜜，德国联邦艺术博物馆，波恩，德国（2018）；

- 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）；

- 两者，锡根当代艺术博物馆，柏林，德国（2014）。

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 exhibitions include:

Lower than the Sky, Kunstmuseum Brandts, Odense, Denmark (2022);

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

Many Lives Pass By 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-SUN 10:00-18:00

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

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