“梅花落了一地 就晚了”。
一枚的詩(shī)句，就這么簡(jiǎn)單平淡，平淡到讓人落淚。
一枚的行為藝術(shù)，也一直與她的詩(shī)句一樣，安靜、簡(jiǎn)單、平淡。
一枚躺在世界任何一個(gè)地方，任何一個(gè)國(guó)度，任何一種溫度，任何一種氣息，她就是一粒塵埃，回歸到塵埃的位置。
大地是卑微的身軀丈量不過(guò)來(lái)的，蒼茫俗世里，一枚以卑微的身軀感受街道、河流、沙灘、瓦礫的冷暖與尖利，以入睡、禁閉、隔離、冥想、死亡與涅槃的姿態(tài)。這是一種朝圣與救贖，以自己的卑微去憐憫、去體悟、去獻(xiàn)祭、去拯救另一種卑微。或許，這僅僅是旁觀者的過(guò)度闡釋，也許，一枚僅僅只是為了生命里的一個(gè)片刻的休憩。一枚在躺下的一刻，釋放了自己，獲得了心靈的自由。
一枚還喜歡讀詩(shī)。
一枚喜歡給大地、虛空、一堵墻、一幅畫、一個(gè)茶盞讀詩(shī)。也許，她不需要對(duì)方聽(tīng)懂她的詩(shī)，也不需要對(duì)方理解她的詩(shī)意，這樣，其實(shí)才是真正的詩(shī)意。讓詩(shī)彌漫在空氣中，慢慢消散。
一枚不太喜歡給人讀詩(shī)，如果你遇到一枚讀詩(shī)，你可以捂住耳朵，讓她的詩(shī)，從你身邊的空氣流過(guò)。
藍(lán)京華
2019.9.2宋莊
一枚的一個(gè)行為作品是她的“給畫讀詩(shī)/給萬(wàn)物讀詩(shī)”系列。一枚認(rèn)為，通常的情境是，給人讀詩(shī)，但她要反常規(guī)地給人之外的萬(wàn)物讀詩(shī)。在這里我看到了一枚的孤絕，仿佛是對(duì)詩(shī)的當(dāng)下處境的指陳，在公眾那里，詩(shī)被甩出了他們唯利是求的生活圈之外，詩(shī)的讀者消失了。對(duì)人的失望——藝術(shù)的反常對(duì)應(yīng)著社會(huì)的反常——導(dǎo)向一枚把除人之外的萬(wàn)物當(dāng)做詩(shī)歌的讀者，這是一個(gè)莫大的諷喻。但她似乎并沒(méi)墨守這一自定的要求，我也看到了她對(duì)著人讀詩(shī)的那些作品，她最近在上苑藝術(shù)館實(shí)施的大多是這類作品，對(duì)著靜默的藝術(shù)家及其作品讀自己的詩(shī)，很有儀式感，我非常喜歡。這些“行為”非常日常化，但更偏向于處理人際之間的關(guān)系，它們凸現(xiàn)出交流雙方的身份。在一次被邀請(qǐng)的傾聽(tīng)中，對(duì)方被詩(shī)（本體的詩(shī)）以及一枚的詩(shī)（具體的詩(shī)）多少影響了。它有一種詩(shī)化人際關(guān)系的功能，在偏重功利的社會(huì)環(huán)境中制造了一個(gè)詩(shī)介入的非功利性場(chǎng)景。另外這一交流情形還形成一種模型，它對(duì)拉近陌生人之間關(guān)系，消除生人間的隔膜是有效的。且這一實(shí)用功能相比于當(dāng)下過(guò)度功利化，仍具有非功利性，因?yàn)樗赶蛑鴮?duì)人與人之間不可被實(shí)利化部分的理解，指向著人對(duì)于他人的深度敞開，渴望抵達(dá)人際交流的狂喜狀態(tài)，在最低的境況是一次詩(shī)歌表演，在最高的境界是覓得知音或收獲深刻的批評(píng)。
一枚“一個(gè)人的開幕式”，圖像作品布置在兩層空間的底層的入口和南北西三面，居中是一張鋪上了白布的大長(zhǎng)桌，桌子?xùn)|面靠著一張高腳椅。她先是坐在椅子上環(huán)繞周圍的圖像作品讀詩(shī)，她把觀眾排斥在展覽空間之外，這是她命名的“一個(gè)人的開幕展”的個(gè)人賦予的意涵。但觀眾并沒(méi)有被嚴(yán)格屏蔽，一層門口的觀眾可直接觀看，二層觀眾則穿過(guò)這一層特別設(shè)計(jì)的敞口（通達(dá)一層），穿過(guò)上苑藝術(shù)館創(chuàng)辦人程小蓓那件隱喻麇集的造夢(mèng)者的有趣裝置俯看“行為表演”。接著椅子上的總體性的、個(gè)人化的讀詩(shī)，她開始對(duì)展出的圖像作品一一讀詩(shī)，讀完后回到長(zhǎng)桌邊，開始一頁(yè)頁(yè)撕詩(shī)集——她自己的由某知名出版社出版的詩(shī)集。先是在桌邊撕，然后爬到桌上，撕得仿佛很有快感，碎紙屑凌亂在桌上和桌邊。撕完了一本詩(shī)集，她躺倒在桌上。之前安排好的兩位藝術(shù)家在她身上撒下剪碎的花枝，里面醒目的有紅色玫瑰和紫橙菊花，還有樹葉。并在一枚的身體四周放置了一些石頭，又在長(zhǎng)桌周邊點(diǎn)上了六枚蠟燭。據(jù)一枚講，石頭和大部分花枝樹葉就來(lái)自于沙峪口（她今年駐館的上苑藝術(shù)館所在地），撒下的花枝樹葉中還添加了食用鹽。躺了幾分鐘后，她緩緩起身，祈禱，隨手撿起身邊的石子從身后拋出，石頭落到地面發(fā)出清脆空靈的響聲，然后她下了桌面，躬身施禮，示意“行為”結(jié)束。
一枚通過(guò)捧詩(shī)讀詩(shī)這一綜合性媒介，既顯示了詩(shī)在她生命中的位置或她的身份，又體現(xiàn)出詩(shī)在當(dāng)下的尷尬處境，詩(shī)的聽(tīng)眾諷喻地成為除人之外的萬(wàn)物，但因?yàn)橛^眾沒(méi)有被嚴(yán)格屏蔽，詩(shī)也明顯提升了人際關(guān)系（一枚與觀眾）的審美緯度，這是實(shí)際發(fā)生的。其實(shí)，她對(duì)著自己圖像作品讀詩(shī)，依然存在這種自己與已經(jīng)客觀化的作品或過(guò)去之間審美緯度——她渴望以一種詩(shī)化的方式面對(duì)自己的作品或過(guò)去的自己。正是因?yàn)檫@種詩(shī)化的對(duì)客觀關(guān)系的審美提升，所以后來(lái)“撕詩(shī)”的環(huán)節(jié)，也可以做多樣的審美化的理解。但它首先是一種告別，一種“看空”，詩(shī)本身（讀詩(shī)與寫詩(shī)）美化了我們的生活，但它的物質(zhì)成果所纏裹的精神內(nèi)容卻有很多名利欲求，而它們是束縛人的自由心性的，撕碎它，就是告別這一層古老的束縛，抵達(dá)“不假于物”、“不累于俗”的自由境界。“現(xiàn)在我可以枯萎而進(jìn)入真理”，“死亡”被一枚美化了。碎花細(xì)枝的美麗馨香（人間的祝福）消解了石頭（死亡）的堅(jiān)硬冰冷，鹽和光的美好寓意是對(duì)死者在世上曾做光做鹽的貼切象征。一枚用三個(gè)場(chǎng)景指喻了漫長(zhǎng)的一生，讀詩(shī)（指向她所有的作品），撕詩(shī)（藝術(shù)成果，比如詩(shī)集），死亡，這里面有個(gè)人的人生認(rèn)定和生命態(tài)度，它們通過(guò)對(duì)死亡場(chǎng)景的詩(shī)化描述反向地確認(rèn)藝術(shù)的意義和生命態(tài)度的正確性。“死亡”這一場(chǎng)景的功能，有點(diǎn)像塞尚那幅名作《圣維克多山》中的遠(yuǎn)景，因?yàn)橛羞h(yuǎn)景，近景變得更近了，更貼身（貼心）了，“向死而生”的重心是生，是生命的當(dāng)下此刻，是我們?nèi)粘；男兄埂Ｒ幻蹲髌分凶顒?dòng)人處即在標(biāo)舉我們?nèi)粘Ｉ畹纳袷バ浴ｉ_幕式行為作品仿佛以重生收尾，但那恰好是這一作品自然的收束。不必將其理解為重生，那只是結(jié)束了一件充滿個(gè)人態(tài)度的作品而平緩地回返到真切的日常生活中，這里無(wú)始無(wú)終，也隨時(shí)都是終始。（節(jié)選）
蘇豐雷 2019.9.3
Review of Yimei Solo Exhibition on 1.09.2019
Yimei Wang, like a mountain, stands without standing, observes without watching, touches upon the palpable but invisible testaments of our times. Our flux, the reality that changes under the influence of so many ideas, constructs, constrains but at the same time freedom that today more than ever can make us feeling lost in so many choices. Yimei Wang’s photography pieces and her performances are inseparable part of the whole, through playful but deeply meaningful interaction between now and then, alive and dead she encompasses the ends of both spectrum. The atmosphere and the depth of communication between objects and Yimei as a channel, allude in a way to "A thing in itself" from a Kantian philosophy. There is a great distance and respect towards everything that surrounds her, she is giving the autonomy of life to objects, ranging from a chair to a window, to a mountain of the world behind each frame, behind each poem.
Yimei Wang constructs and then tears apart just because she can! Her Oneness allows it, as it transports us to the atmosphere of the rarified air all mountain peaks possess, or maybe the air possesses all the mountain peaks, it is a question of interaction of realities Yimei constantly poses. At one end of the spectrum she freezes in time the moments that are condensed with meanings in her photography, at other times she makes the inanimate alive, unfreezes the static nature of objects by interacting with and reading poetry to them. The appearance and disappearance chase each other in the eternal game of life, our quest to understand the relations between things that surround us are carefully bound in the interdisciplinary nature of her work.
A sense of solitude but not loneliness is emphasized in her photography pieces in this exhibition, communicating a wide range of subjects and commenting upon the society, nature and our planet, ancient sites, contemporary life always in haste of finding the purposeful moment, while she carries a cross through those moments in different poses and circumstances of life.
Objects are not there to just serve, they are alive in their presence, that Yimei honors. She reads her poetry to them and then further freezes in time through her visual language in photography, finally to culminate the whole process with the performance art, which again gets frozen in time with video recording. The nature of a circle and a cross permeate throughout her work both in thematic body and external execution.
A performance, a moment in time, a statement, carefully elaborated, towards the world that heavily emphasizes on the impermanence of life, with use of highly symbolic elements, salt to purify (water), flowers and leaves (wood) to bring us back to nature that fluctuates all the time between living and dying, stones (earth) and candles (fire) to transform with the sound of the falling stones that give life to a vibration (sound) marking a beginning.
The sense of religiosity prevails in her artwork which is one of the strongest testaments that her work questions and goes deeply into the sense of being, penetrating all the way to the layers of nothingness where the circle closes and the Phoenix can rise from the Ashes yet again.
Religiosity is meant here not in a sense of any of the religions but rather the feeling of awe upon entering the Sacred Place.
Irina Ideas
