One Secret

Peng Yu

This exhibition only lasted one hour. What could be done in an hour? Sun Yuan was planning A Secret, and when he disclosed his plan, it was as follows: "Ask people to borrow eight cars and park them at the gallery for one hour, and the exhibition seems like a conceptual work of art that is easy to understand." However, this "easily understandable work of art" hides another plan, and this plan will be disclosed half a year later. For this, Sun Yuan borrowed a photo from his friend Zuoxiao Zuzhou, and this photo was a representative work of 1990s era Chinese Contemporary Art, titled To Raise the Anonymous Mountain by One Meter. After both entered into a formal donation contract, Sun Yuan cut this photo into 8 segments and coiled them into small paper tubes. In the limited time when the cars drove into the gallery, Sun Yuan slyly hid one paper tube in every truck. One hour later, the cars were returned to their owners. Half a year later, Sun Yuan started to look for the paper tubes. How many paper tubes could he find? Were those cars still owned by the same owners? Maybe some owners found the paper tubes that don't belong to them, or some paid no attention to them; or their hired help had thrown the paper tubes away, or all paper tubes were lost. Any result was possible. This was not a large work but it offered a kind of potential. Sun Yuan paid no attention to the "work" in people's minds. He even provided a conceptual piece to conceal his real plan. The angle and mode were not only special but also seemed very wasteful, because he not only wasted the use of 8 cars but also wasted a valuable photograph. Here, art became a game and camouflage for him to achieve another objective, which seemed unserious in the context of the art exhibition. However, this "unserious" mode provokes serious thoughts: what is the significance of art to the author and audience? What is the real value of art? If the value of art is not easy to distinguish like its price, how many people will pay attention to its real value? Essentially, those values, like common paper rolls in life, can be ignored and discarded.





这个展览只有一个小时,一个小时能做什么?孙原筹划着一个秘密。他公开 他的计划是:“请人借来八辆好车在画廊停放一个小时,它看起来是一件 很好理解的观念艺术作品。”
这个“看起来很好理解的观念艺术作品”却隐藏着另一个计划,而这个计划 在半年之后才公布出来:他向他的朋友左小祖咒要了一张照片,这张照片是 80 年代中国当代艺术中一个具有代表性的作品:无名山增高一米。两人 签署了正式的赠送合同这后,孙原将这张照片裁了八段,卷成很小的纸筒。 在汽车开进画廊的有限时间里,孙原偷偷的在每一辆汽车里藏了一个纸筒。 一个小时之后,汽车物归原主。
半年之后,孙原开始寻找这些东西,能找到多少?那些汽车还是不是属于 那些车主?也许汽车的主人发现了这个不属于他的东西,也许有的人完全 没有注意到,也许有清洁工打扫将这个纸筒扔掉,也许所有的都丢失了,总之, 任何情况都有可能发生,当然艺术家接受任何结果。 这不是一个很大型的作品,但是却提供了一种潜在的可能性,孙原不再 感兴趣制作符合人们概念中的“作品”,他甚至只是以一个概念作为作品 来为自己的计划做一个掩护。这个角度和方式不仅特别,并且显得十分的 “浪费”,他不仅浪费八辆汽车的使用,更浪费了一张有价值的照片。在此, 艺术显得象一种儿戏,成了他实现另一个目的的幌子,显得对艺术展览这个 方式的极其“不严肃”的态度。然而,这个“ 不严肃”的方式也许恰恰是 为了严肃的思考:艺术对作者和受众的意义到底在哪里?艺术真正的价值 有多少?如果艺术的价值不再像它的价格那样容易辨认,还有多少人会在意 那些真正的价值? 基本上,那些价值更像在你生活里的普通纸卷,可以 很容易地视而不见和丢弃。