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夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG

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夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG 博文精选芳草地画廊夏航数字感觉 HANG INTERVIEW XIA Tree 不锈钢雕塑世界崇真艺客

△ 光阴之隙 Memory Tree

不锈钢 Stainless steel

800 × 600 cm

2019

“雕塑是一切，是世界的法则。” 这是德国雕塑家威廉·勒姆布吕克对雕塑这一媒介的认识。若将它放在艺术家夏航身上继续演绎，大抵会变成：“游戏是一切，是雕塑的法则”。哲学家康德曾在自身审美认知基础上提出“游戏说”，合法化创作之无目的性并将其自由本质归结为人类的天性。

"Sculpture is the essence of things, the essence of nature." This is how German sculptor Wilhelm Lehmbruck's talks about the medium of sculpture. We could refer to the sculptures of Xia Hang as it follows: "Playing is the essence of things, the essence of sculpture”. The philosopher Kant conceptualized the theory of playing impulse as the basis of his own aesthetic to legitimize the purposelessness of creation, associated with the free character of human nature.

“‘美是一种在感性冲动和形式冲动之间展开起自身自由的潜在的游戏冲动。’夏航正是基于这样的源动力，开始了其既感性又理性的游戏般的创作。” —— 赵文娇，侨福集团艺术文化部总监

以游戏为天性，后天又深受经典动漫影视作品影响的夏航，将古典美学、建筑学与玩具制造充分融合，缔造他独一无二的创作语言与方法论。从早期创建的角色“阿鲁”到路霸机车、工具车，再到展现自然世界鬼斧神工的平面作品，夏航利用榫卯等结构法将成百上千个不锈钢机械零件拼装成雕塑，外形如同精密复杂的仪器，却不具备机械学意义与实际功能，这一“缺憾”反而验证了夏航作品无功利的、纯粹的艺术性。

Playing games is essential for Xia Hang, who is also deeply influenced by popular animation and films. He fully integrates classical aesthetics, architecture and toy manufacturing into his unique creative language and methodology. From the character "Alu" created in the early days to locomotives and tool carts, to graphic works representing the beauty of nature, Xia Hang uses mortise and tenon and other joint structure techniques to combine hundreds of stainless steel mechanical parts and assemble them into sculptures. These mechanical structures seem sophisticated and complex, however they have no practical function. This peculiarity highlights their non-utilitarian and pure artistic character.

△ 徘徊者 Ranger

不锈钢 Stainless steel

230 × 130 × 70 cm

2017

△ 《徘徊者》，悉尼邦迪海滩

Ranger at Bondi Beach, Sydney

△ 夏航作品《龙涎定海》，青海胶东国际机场

Long Xian Ding Hai by Xia Hang at Qingdao Jiaodong International Airport

与上文提到的勒姆布吕克一样，夏航是真正如同造物者的艺术家，以将一块零件命令为一个词语为起点，从无到有地渲染出一个拥有主观秩序的新世界。说是主观秩序，是因为尽管夏航每一件作品在人工搭建前都需要在数字世界中反复演算、以确保其每一个微小零件位置与尺寸的正确性，夏航却认为他是在利用精确的数字，去描述一种主观的感觉。

Echoing Lehmbruck’s statement, Xia Hang is an artist-demiurge: he starts with a single word and he ends up creating a brand new language with its own grammar. This "grammar" can be referred to as "subjective": although every piece of Xia Hang’s work needs to be carefully calculated before executing the manual assemblage in order to guarantee the correct position and size of each tiny unit, however Xia Hang believes that he is using a scientific and mathematical approach to describe individual feelings.

夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG 博文精选芳草地画廊夏航数字感觉 HANG INTERVIEW XIA Tree 不锈钢雕塑世界崇真艺客

△ 传奇 Legend

不锈钢 Stainless steel

100 × 100 cm × 4

2018

△ 噪音 Noise

不锈钢 Stainless steel

210 × 130 cm

2015

利用在虚拟世界具象到数字层面的精确性，呈现艺术家的内在向往 —— 一个单纯的游戏世界。而使世界运作的能量来源，是多年来夏航对造型美学的信仰、与对玩耍之于人类重要意义的天然直觉。而那些强调互动、交流甚至对抗的“玩耍”，对于今日的人类而言，似乎显得别样可贵。

The accuracy that Xia Hang uses to transfer the "concreteness" of a virtual world into a digital dimension is aimed at creating a pure and playful world. The world of Xia Hang is imbued with a vibrant energy which comes from his endless pursuit of modeling aesthetics and from his intuition about the importance of playing for mankind. Playing emphasizes interaction, communication and even confrontation and this is extremely valuable nowadays.

“夏航以动物性特质辨识主体性世界，配合毫无差异的机械性精密的分解，在不同个体内部寻找相似性的同时并没有抹去个体原有的意义，而是更加专注于多元体系的内部原有主体间的相互契合关系。以同质化的结构创造不同文化相遇和撞击，这种相互联接而又相互排斥的胶着状态，让人想起德勒兹提到 “多元论 = 一元论”的神奇公式。” —— 苏磊，策展人、艺术理论家

△ 游说者 Lobbyist

不锈钢 Stainless steel

266 × 180 × 560 cm

2019

P = PVG ART 芳草地画廊
X = XIA HANG 夏航

P：都说您创作的是“玩”的雕塑，您童年阶段是否实现了“玩具自由”？

Your artworks are often considered “playful sculptures”. Did you realized “Toy Independence" in your childhood?

X：小时候能拥有四五种玩具就不错了。最常见的是弹玻璃球，还有“pia ji”。“pia ji”就是纸壳做的玩具，圆形，正面有印刷画。我当年最喜欢的是一套可拆卸的铁片螺丝玩具，吊车、工具车等等，现在还留着呢。

Of course not. When I was young, it would be good enough to have four or five kinds of toys. The most common toys were small bouncing balls made of glass, and "Pia Ji". "Pia ji" is a round shaped toy made of paper shell with printed pictures on it. Back then, my favorite one was a set of assembled iron toys including cranes, tool carts, etc. I still keep it.

△ 定海者 Ocean Protector

不锈钢 Stainless steel

275 × 125 × 120 cm

2017

P：影响您最深的动漫作品呢？

What about the animation work that influenced you the most?

X：一定是变形金刚啊。那个动画90年代刚进入中国，让我眼前一亮，觉得作者有智慧，作品的概念很吸引人。

It must be Transformers. Animation was just imported in the early 1990s. At that time, I was impressed by the author’s intelligence and I thought that the concept behind the work was very attractive.

夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG 博文精选芳草地画廊夏航数字感觉 HANG INTERVIEW XIA Tree 不锈钢雕塑世界崇真艺客

△ 甲午 Jia Wu

不锈钢 Stainless steel

140 × 58 × 28 cm

2018

夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG 博文精选芳草地画廊夏航数字感觉 HANG INTERVIEW XIA Tree 不锈钢雕塑世界崇真艺客

△ 梦游者 Dream Walker

不锈钢 Stainless steel

75 × 65 × 50 cm

2016

夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG 博文精选芳草地画廊夏航数字感觉 HANG INTERVIEW XIA Tree 不锈钢雕塑世界崇真艺客

△ 星辰之歌 Star's Melody

不锈钢 Stainless steel

800 × 800 × 400 cm

2019

P：您的个人风格大概形成于何时？

When did your personal style start to take shape?

X：把组装用到雕塑上是2009年，研究生毕业时的作品。之前也做玩具组装类的雕塑，但零件数量和机械原理都相对简单。我喜欢研究技术，研究事物巧妙的构成方式。

I began to apply the method of assembling materials to create sculptures in 2009, when I realized the work for my graduation. I used to make sculptures with toys assemblage in the past, however in my early experiments I used to use few units and a rather simple mechanical principle. I like to study technology and appreciate the way things are structured.

P：为何选用冷色不锈钢作为主要材料？

Why do you choose cool stainless steel as the main material?

X：不锈钢材料带来的镜面效果特别有意思，使得雕塑没有自身、只有反射，观者观看雕塑，却看到周围的环境。

The reflective character of stainless steel is particularly interesting. When viewers look at the surface of the sculpture, they see nothing but reflection of the surrounding environment.

夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG 博文精选芳草地画廊夏航数字感觉 HANG INTERVIEW XIA Tree 不锈钢雕塑世界崇真艺客

△ 追光者 Light Follower

不锈钢 Stainless steel

1680 × 680 × 750 cm

2018

P：为何使用榫卯等建筑结构进行作品拼接？可逆性对您来说为何重要？

Why do you use mortise and tenon and other architectural structures to join your sculptures? Why is reversibility important to you?

X：一开始我希望作品有与观众互动参与的过程，所以把雕塑设计为可逆可拆卸。后来的作品不可逆了，因为我选择不去区分作者和观众，二者都是媒介，都是人，只要有人类的参与，虚拟数字世界与人类之间的互动性就已经实现了。

At the beginning, I wanted the viewers to interact with the artworks, so my sculptures were reversible and removable. Later on, I created irreversible works, as I choose not to distinguish between the artist and the audience: we all belong to the same medium, we are all humans. As long as there is a basic involvement of the audience, an interaction between the digital world and the human dimension is established.

夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG 博文精选芳草地画廊夏航数字感觉 HANG INTERVIEW XIA Tree 不锈钢雕塑世界崇真艺客

△ 守望者 Watcher

不锈钢 Stainless steel

140 × 85 × 120 cm

2014

P：接下来有何创作目标？

What about your next goals?

X：接下来做以能量和记忆为线索的作品。由一种智能化、凭空的能量产生造型。在平面把造型刻出来然后穿插，把平面当成空间面，能量是其中的逻辑。

I’m going to make works revolving around the subject matters of energy and memory. The shape will be created by a smart and out-of-the-air energy. I will carve out the space from a flat surface and then I will interweave it with other elements, establishing a logic between the flat surface, which is treated as a space, and the energy of the creation.

△ 活塞 Piston

不锈钢 Stainless steel

215 × 45 cm

2015

△ 小男孩 Little Boy

不锈钢 Stainless steel

200 × 80 cm

2015

P：所说的“记忆中的能量”是哪些？

Could you talk about the "energy in memory” you mentioned?

X：我最近在做关于记忆的研究，我认为记忆碎片有可发掘的深度。我们常常感觉自己记住了一件事，但其实我们的记忆和现实的差距相当大。现实和记忆哪个重要？我认为是后者，人活在记忆中。能记住的才是我们的生活，记不住的就与我们无关了，像硬盘似的，丢了就没有了。

I'm currently doing research on memory, and I think that fragments of memory are worth to be explored. We often think that we remember something, but the gap between our memory and reality is quite large. Is reality more important than memory or vice versa? I think the latter is more important as people live in memory. Our lives are based on what we can remember; what we can't remember has nothing to do with us. Like a hard disk, if we lose it, we lose everything in it.

我的作品《礼物》、那件木马，就是以记忆为线索创作的。当时我想，我小时候好像有这样一件玩具，但我又不是很确定，因为当时年纪太小了。我不停地回忆一件事，一件模糊的事，来回思考几次，就发现我根本不确定它是否发生过、开始怀疑它的真实性。不过，人类没有必要去追求记忆的真实性。

For example, my work Gift represents an horse and it is realized through the creative filter of memory. Maybe I had a similar toy when I was a child, but I am not very sure about it as I was too young. I keep recalling memories from the past but they are blurred: I am never sure whether they happened for real so I sometimes doubt their authenticity. However, we do not need to pursue the authenticity of memory.

△ 礼物 Gift

不锈钢 Stainless steel

100 × 70 × 89 cm

2019

P：是否考虑在现有创作方法的基础上增加AR、VR等技术？

Do you consider applying AR and VR technologies to your existing creative methods?

X：这些技术对作品本身的意义不大，可能我还是古典主义出身，更倾向于深入研究造型和美学。

These techniques are of little significance to my works. Perhaps I have a classic education so I tend to delve more into style and aesthetics.

夏航｜我用精确的数字去描述一种感觉 ARTIST INTERVIEW | XIA HANG 博文精选芳草地画廊夏航数字感觉 HANG INTERVIEW XIA Tree 不锈钢雕塑世界崇真艺客

△ 古楼 Ancient Building

不锈钢 Stainless steel

215 × 51 cm

2019

本文图片来自艺术家和芳草地画廊

photo credit to the artist and Parkview Green Art

夏航 Xia Hang

夏航1978年生于辽宁沈阳，2002年毕业于鲁迅美术学院雕塑系，获学士学位，2009年毕业于中央美术学院雕塑系，获硕士学位。艺术家现工作生活于北京。主要个展“低语者”，芳草地画廊，北京，2016，“玩趣”，杰·艺术画廊，上海，2010，“请勿触摸：夏航雕塑个展”，新时代画廊，北京，2008，等；主要群展包括“末世天启”，芳草地画廊·798，北京，2019，“鲨鱼与人类”，澳大利亚国家海事博物馆，悉尼，2018，“中国雕塑年鉴展”，国家大剧院，北京，2013，等。

Xia Hang was born in Shenyang, Liaoning Province in 1978. He received a Bachelor Degree from the Sculputre Department of Lu Xun Academy of Fine Art in 2002; in 2009, he received a Master Degree from the Sculpture Department of Central Academy of Fine Arts. The artist currently works and lives in Beijing. His main solo exhibitions include "Whisperer", Parkview Green Art, Beijing, 2016, "Play&Fun", J Art Gallery, Shanghai, 2010, "Please Don't Touch", New Age Gallery, Beijing, 2008, etc; selected group exhibitions include "Apocalypse of Eschatology", Parkview Green Art 798, Beijing, 2019, "On Sharks & Humanity", Australian National Maritime Museum, Sydney, 2018, "China Sculputre Almanac Exhibition", National Centre for the Performing Arts, China, 2012, etc.

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