前言
圆，但是不圆
我们去打猎吗?是。
我今天会睡觉吗?是。
生活有意义吗?否。
是否有来生?是。
幸福需要很多才可以获得吗?否。
我会碰到女朋友吗?
Anton会参军吗?
我的儿子会去一个破旧不堪的医院吗?
存在有意义吗?否。
我会去乐高乐园吗?
——引自《Yes/No Egg——叶卡捷琳堡》笔记本四，第109、110页
清影艺术空间荣幸的宣布将举办生活工作于柏林的艺术家(Bignia Wehrli)宾雅和廖文峰(Liao Wenfeng)的双人展《圆，但是不圆》。除了呈现各自的创作， 展览还将展现两个艺术家从2015年在俄罗斯开始的合作项目《Yes/No Egg》——一个用于回答问题的“工具”。
宾雅与廖文峰都擅长通过对日常细微的现象和逻辑的重构与超越，打破固有的思考逻辑和经验，追问表象之下的隐喻与象征。他们的创作方式折叠了影像、绘画与文本概念的多重领域，呈现出在运动的空间和时间中对周遭世界的观察和感受。
在宾雅的创作中，她常使用自制的仪器，来测量、捕捉和凝固转瞬即逝的痕迹。例如在她的摄影装置作品《太阳圆规》里，一个被改造成针孔照相机的打字机盒子，在河流中作线性漂流运动时用感光相纸纪录下了环形的太阳相对运动轨迹，它呈现出了恒定力量与偶发变量之间的矛盾与平衡。廖文峰则常截断并重设图像与常识的之间关联，将似是而非，似非而是的判断注入到对日常生活的凝视中。例如在他的录像作品《秒草》，一根草丛中的草被固定在钟的秒针轴上 , 从而使这根草按照秒钟的节奏作循环的圆周运动。
在《圆，但是不圆》中呈现的个人创作——不单展现了他们对悖论的兴趣，还有在日常及自然环境中对诗性的探寻。而他们的合作项目《Yes/No Egg》则通过偶发、克制的游戏规则与神性而荒诞的解答方式，追问理性轨迹之外的答案。它提供给观众的将是偶然性带来的惊喜，以及一种自省的契机。太阳圆规 – Töss河，从Turbenthal到Winterthur，2016.9.2
2016
七张照片(经太阳曝光的银盐感光相纸 30.5 x 40.5公分)，一个录像 (9分钟)，一个改装成针孔照相机的打字机盒子
7张照片中的每张都展现了一个由河流和阳光共同作用下书写的环形。沿着特斯河行走的时候，我有间隔地将针孔照相机放入河流中漂流。每一张图片的拍摄大概在5-20分钟左右的时间。设置在相机里的深色滤镜保证了只有太阳光能透过针孔并转化成光点。接触了太阳光点的相纸经过冲洗后成为了黑色的痕迹。在水面的水平和旋转运动，使阳光的痕迹转化为圆:在不同季节以及日期太阳高度角的陡或平，决定了圆圈大体的半径。相机纪录的线条显现了其随着河流流动与晃动的运动。在河流中每一次与石头的撞击都在环形的痕迹中显现出偏离圆环的弧线。
A Circle, But Not Round
Are we going hunting? Yes.
Will I sleep today? Yes.
Is there a meaning to life? No.
Is there life after death? Yes.
Does it take a lot to be happy? No.
Will I find a girlfriend?
Will Anton join the army?
Will my son be admitted to some decrepit old hospital?
Is there a meaning to existence? No.
Will I ever visit LegoLand?
— Yes/No Egg — Yekaterinburg Book 4,pp. 109, 110
The Inna Art Space is proud to announce the opening of the exhibition A circle, but not round — featuring works by Berlin based artists Bignia Wehrli and Liao Wenfeng. Aside from displaying individual artworks by both artists, the exhibition also presents a collaboration project the two began in Russia during the year 2015, Yes/No Egg — a question solving “tool” of sorts.
Bignia Wehrli and Liao Wenfeng are both artists adept in redeploying and exaggerating detailed aspects of the everyday to deconstruct and inquire deeper into the hardened understandings and mental logics which underpin these. Both address matters of image, painting and text in their work and present observations pertaining to our own, lived circumstances, manifesting in present, moving space and time.
Bignia Wehrli’s works often employ measuring devices of the artist’s making to capture and transform ephemeral traces. One example is the photographic installation Sonnenzirkel (Solar Circle), where a typewriter case is adapted to produce a pinhole camera. Floating down the river, the case recorded traces of the sun’s relative motions on the photographic paper within, making manifest both the paradoxes and correspondences that exist between consistency and fluctuation.
Addressing aspects of the everyday, Liao Wenfeng cuts and rearranges the bonds connecting image and our understanding of this with consistently intriguing results. An example of this can be found in the video work Second Grass, where the movements of one blade within a patch of grass are set to fit the motions of a clock’s second, it’s moving thus with this in kind.
The works in the exhibition.A circle, but not round not only manifest each artist’s fascination with paradox, but also their inquiries into the poetics of nature and the everyday.Aside from this, adopting an explicatory mode both mysterious and absurd, the collaborative work Yes/No Egg playfully embraces happenstance and stricture to pose questions transcending the borders of reason, thus providing the viewer with both the joy of chance occurrence and an opportunity for self-reflection.