王鲁炎 《W 快慢腕表: D-96-6》 1996年 布面丙烯 120x120cm
鸣谢：艺术家本人和阿拉里奥北京

Wang Luyan  W-Speed Wristwatch: D-96-6  1996  Acrylic on canvas  120x120cm
Courtesy of the artist and Arario Beijing

王鲁炎
1956年出生于北京；现生活、工作在北京

Wang Luyuan
1956, Beijing; lives and works in Beijing

艺术家王鲁炎的自述
《W国际腕表》
    齿轮逻辑的基本属性是：任一齿轮起动或停止，都将导致相邻齿轮起动或停止。任一齿轮的运作既是该齿轮自身的运作，又是对相邻齿轮的运作，同时又是被相邻齿轮所运作的运作。也就是说，在齿轮系统中，任何一个齿轮的运动既是它自身在运动，又是在驱动相邻齿轮运动，同时又在被相邻齿轮所驱动。齿轮运作的另一属性是，在齿轮系统的整体运作中，无法识别哪一齿轮先动，哪一齿轮后动。齿轮运作的共时性，酷似事物运作关系的共识性，没有时间层次的孰是孰非。腕表中的齿轮系统，意味着只要时间存在，齿轮就会运作，齿轮一旦运作，齿轮系统的整体联动将不可避免。

    《w国际腕表》中的齿轮运作关系，与国际关系、战争关系、社会关系、人与自然以及人与人之间的运作关系完全相同，是一种互为因果的逻辑关系。没有任何一种关系像腕表中的齿轮系统那样，能够精确、逻辑、视觉化地运作、演绎事物之间的复杂关系。

Artist statement by Wang Luyuan
W International Wristwatch
One of the basic principles of gear operation is that any movement of a gear will cause dynamic movement of the adjacent one. The movement not only has an effect upon operation of its own and its adjacency, but also in a result of movement of an adjacent gear. Being unable to recognize the priority in movement of a gear is another attribute in an overall operation of a gear system. The similarity of a gear system and the nature of a thing is simultaneity. The implication of the gear system in this "W International Wristwatch" is that as long as the existence of time, the gear operates and it is inevitable linked with the whole system.
The gear operation in "W International Wristwatch" is identical to international relations, war and social relations as well as the relationship between man and nature, man and man, a logic causal relationship as it is. There is nothing that can be this precise, logical, visual to deduce the complex relation between things like a gear system in a wristwatch does.
By Wang Luyan

Translated by Leah Zhang

策展人黄笃的陈述：
王鲁炎：社会观念艺术
    王鲁炎以社会观念为方法持续近20年的艺术创作，这种社会观念体现在他把个人经验延伸到图像之中，并以此为推论的依据，衡量和判断与人、思想、社会相关的问题。如果说德国艺术家博伊斯（Joseph Beuys）的艺术观念强调对社会的干预，美国艺术家苏•列维特（Sol  Lewitt）和科苏斯（Joseph Kosuth）主张观念与艺术本体的连接，那么中国艺术家王鲁炎则是以二者之间选择了一条道路，既强调语言的独立性，又坚持有距离的社会批判性。

    在“W国际腕表”作品中，王鲁炎把逻辑的齿轮表述为：“任一齿轮起动或停止，都将导致相邻齿轮起动或停止。任一齿轮的运作既是该齿轮自身的运作，又是对相邻齿轮的运作，同时又是被相邻齿轮所运作的运作。” 他正是在语言表述的基础上以制图方式把复杂的逻辑与悖论的观念图解化。对艺术家来说，国际、战争、社会、人与自然及人与人之间的关系都是一种互为因果的逻辑关系。这种关系在“腕表”以齿轮寓意了视觉化的矛盾与冲突。

Curatorial statement by Huang Du
Wang Luyan: Societal and Conceptual Art
Wang Luyan has used a societal concept as a method to do his art for almost two decades. This societal concept was reflected by extending his individualistic experiences onto his images, and was a reference of inferences to measure and judge issues in relation with people, thoughts and society. If to say that the German artist Joseph Beuys’ artistic concept emphasized on social intervention, that the American artists Sol Lewitt and Joseph Kosuth emphasized on combining concept with the nature of art, thus, the Chinese artist Wang Luyan has chosen a way between the two, both emphasizing on the independence of expression and insisting on societal criticism to some extent.
In his work titled W International Wristwatch, Wang Luyan has expressed his logic gear as such: “Any moment of a gear will cause dynamic movement of the adjacent one. The movement not only has an effect upon operation of its own and its adjacency, but also in a result of movement of an adjacent gear. Beijing unable to recognize the priority in movement of a gear is another attribute in an overall operation of a gear system”. Based on his expression, he has just formulated the complicated logics and the paradoxes of concepts by picture. To the artist, it is identical to international relations, war and social relations as well as the relationship between man and nature, man and man, a logic casual relationship as it is. A relationship as such shown through his wristwatch, a signifier of a gear presents the contradiction and conflict in a visual way.

Translated by Jin Hua