解群个展- 抟女娲

女娲有体，孰匠制之？女娲的故事是属于旧世界秩序中集体女性群像的最有力量的神话，却被后期各个时代的社会规训裁剪成为一个阉割的样本，女娲造物者（创世神）在历史的话语中被反复塑造，我们不断削弱这个始祖母，给她以配偶伏羲平衡制约，她也逐渐在父权社会中节节退场，成为幻影，无头无尾，或许只剩下“抟黄土造人”的传说我们耳熟能详。她的原始“地气”似乎被禁忌在了数千年前遥远的新石器时代，这个孤雌母神的遥远时空，只能从斑驳的碎陶片中想象。上古神话在不同的时代被踩碎，真实早已面目全非，如同叠压在不同地层中的碎片难以拼合。此次展览是一个伪造的“女娲墓”考古现场，通过挖掘出土的【母系氏族】陶器的物质遗骸为线索，展开“她”湮没的痕迹。抟埴之术既是制作日常用具的技术，也是艺术最早的承载物之一。古老的陶器作为先民身体的外延，中空的器物内部能够容纳身心养料，也能将亡灵重新包裹，这样的通灵器物与之对应的是母性的土地子宫。女性身体是早期人类集体无意识活动中重要的仪式活动载体，她们的身体作为可孕育生命的创造性奇观，也曾经作为天地沟通的桥梁和传送者（即巫师），蛇作为最原始的图腾经常相伴于世界各地的母神左右，周期性的蜕皮总会和重生的意象关联，同时也是自我更新与解放。展厅中“文物”被她现实所处的语境所陈列，被高度文明的社会反过来“抟”出，这种阐释与解读往往带有当下主流意识形态的密集植入和捏造，与之平行是近现代社会中的性别塑造与权力关系。对古老神话的新编辑，是艺术家解群柔软而有力的内部体验与遭遇的外部社会结构性的困境绞合的产物。当骨、肉、血皆化为黄土泥料，回炉再造为陶，卡住的肉身是否能在层层叠叠破裂的蛇蜕中挣脱，是否能存在超越性的异响？除了默认在已有的版本中存在，我们应该带着批判性的智识去想象，想象这个世界有另一种叙事的可能。

Which craftsman created the body of Nuwa?

The story of Nuwa stands out as the most powerful one in the female group portraits in the old world order. However, her story was conditioned and slimmed down into an emasculated version by later societies throughout the ages. Nuwa, the creator, was remolded throughout history; the weight she, as the ancestor, carries was constantly diminished. She is coupled with Fuxi to balance her power, then steadily loses her ground in the patriarchal society. She vanished into a fragmented vision, with no head and no tail. Perhaps the only legacy people now recognize is her legend of "kneading clay into people." Her original

"liveliness" is a relic from the distant Neolithic age thousands of years ago; the only faint clue was the patchy pottery, where our imagination might run freely back to that distant time. Myths from remote ages were pulverized, reality altered beyond recognition, and are unable to be pieced together as if shattered in different strata. This exhibition presents a fake archeological site of Nuwa tomb, unfolding her obliterated traces through the discovered solid remains in the matrilineal pottery. Kneading clay is a technique both for making everyday utensils and as one of the earliest forms of artistic expression. The ancient pottery extends beyond the human body; the hollow part inside can hold nourishment for body and soul. Moreover, the pottery can serve as a vessel for wrapping the deceased. The counterpart for such a psychic artifact is the womb of the female. In the earliest moments of human history, the female body played a crucial role in ceremonies tied to collective unconscious events. As the creative wonder that can conceive life, female bodies have also served as a bridge and a teleport, the witch, for communication between the sky and the earth. Surrounded are the snakes, the primitive totem, whose shedding skins are associated with rebirth, as well as self-

renewal and liberation The "cultural relic" is presented in a contemporary context, "represented" in turn by a highly civilized society. Such interpretation and illustration are heavily planted with prevailing ideologies and fabrication, reflecting an interesting parallel to the gender influence and power dynamics in modern times. Editing ancient mythology is an elaboration of the artist Xie Qun's personal experience and the external structural plight of society. When the bone, flesh, and blood decompose into soil, when reformed into pottery, can the frozen body disengage the confined strata in its repeated shedding skins? Can there be an outlier sound? Apart from default narratives, we should adopt a critical mindset, imagining the potential for alternative ways of storytelling in this world.