朱金石 《空中的手风琴》 2008年 活动装置 升降机、帆布、钢架 210x100x5000cm
鸣谢：艺术家本人和阿拉里奥北京
Zhu Jinshi Accordion in the Air 2008 Moveable installation Lift, canvas, steel frame 210x100x5000cm
Courtesy of the artist and Arario Beijing
朱金石
1954年生于北京；现生活、工作在北京
Zhu Jinshi
1954, Beijing; lives and works in Beijing
艺术家朱金石的自述：
我的作品涉及到偶发性、机遇性、反系统的议题。它们通过不同材料的组合建构起一个相互关联的有机体，表现出这样的艺术观念：以形式游戏深入社会现实和日常生活背后去挖掘各种隐藏的、潜在的和偶发的可能性；以形式游戏将想象力纳入其中，挑战性地重塑现实世界；以形式游戏对抗形式以外赋予思想内容的强制性约束；以形式游戏象征性表现难以用语言表达的自由。正是因为这样的形式游戏，才使艺术形式不断获得更新的动力。我的观念正是在形式游戏中超越形式的约束而获得自由——通过游戏将形式非形式化，通过游戏将形式加以解构。
Artist statement by Zhu Jinshi
My work involves sporadic, opportunistic, and anti-system issues. These comprise an interrelated organism by using a combination of different materials, which demonstrates the following art concepts: to unearth all kinds of hidden, potential, sporadic possibilities from the other side of social reality and daily life in the form of game to incorporate imaginations with the form of game in order to redefine the real world; to confront the mandatory bound in the form of game; by using a symbolized method to express the unspeakable freedom in the form of game. It is precisely due to this, the impetus of development of art is continually updated. My concept is to obtain freedom by breaking restraints in the form of game – to go beyond the traditional form in the form of game, to deconstruct form in the form of game.
Translated by Leah Zhang
策策展人黄笃的陈述：
朱金石：日常与异常
朱金石在其装置“空中手风琴”中的运用了一个独特的观念方法——从非艺术出发反思艺术的可能性，而这种艺术的可能性根本依赖的是偶然性、机遇性、不确定性。因此，他在日常与异常中发现、挪用和转化了物质的新的意义，从而建构了物质、形式、观念之间关联的有机体。他的作品“空中手风琴”包含了从日常经验、现成品、游戏性的转化过程和结果——移动的起降机被改造成由一种紫色帆布包装的折页状的风箱。这是一种“借力打力”的方法——以“日常经验”延异“异常视觉”，以“游戏形式”解构“艺术形式”，以“现成品经验”颠覆“现成品观念”。正是因为基于这样的观念和方法，艺术家才获得艺术创造的动力，从而摆脱艺术系统的约束进入表达自由的境界。
Curatorial statement by Huang Du
Zhu Jinshi: Daily and Abnormal
Huang Du
In Zhu Jinshi’s installation work Accordion in the Air, he has adopted a unique conceptual method, that is, to rethink possibilities of art from the perspective of non-art. But this possibility of art-making is dependent upon something sporadic, opportunistic and uncertain. Therefore, he discovered, appropriated and transcended new meanings of a material between daily and abnormal so as to construct an interrelated organism between material, form and concept. His work Accordion in the Air involves a transcendent process from daily experiences, ready-made and game-driven and an outcome, the moveable lift was reconstructed into a bellow accordion wrapped up by purple canvas. This is a method of “the pros and cons of leveraging”, that is, to use “daily experiences” to extend and differentiate “something abnormally visual”, to use “the form of game” to deconstruct “the form of art”; and to use “ready-made experiences” to subvert “ready-made concept”. It is precisely due to this concept and method that the artist has acquired the impetus of artistic innovation, thus gone beyond the constraint of an art system, and arrived at the freedom of expression.
Translated by Jin Hua
