WEIRONG WANG
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Silence brings us together
Till the sea faded
Seeking a Wild Tree
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2025/09Solo Exhibition：Silence bring us together
个展开幕：沉默使我们相聚Why must we "know" those "most familiar strangers"?
(In many cases, they are our parents.)
Why do we excavate suppressed or buried stories from their past—attempting to approach them through reconstructed histories—rather than fulfilling their expectations in daily life?
The latter might indicate avoidance.
Not escape, but a creator’s detached methodology: a slightly cold, formulaic subject-object dynamic. In the artist statement, Lao Wang uses "searching" to connect with the photographer of the crash images—his father, who remains physically near yet emotionally distant. Yet even in this search, avoidance persists: the father (as in past experiences) remains hidden beneath the surface of the work, while Lao Wang himself speaks, seated rigidly before the camera in an old uniform, paralleling rather than intersecting with his father’s trajectory.
This parallelism is safe: a solution that desires closeness while resisting it.
Does Lao Wang truly care about that distant air disaster? Or does he care whether his father, Wang Hui, cared about a tragedy that existed only within his memory?
I ask because I, too, have long engaged in this kind of "touching without reaching." Perhaps some audience members feel the same?
The work and its exhibition—floating in what Lao Wang emphasizes as a illusion of "truth and fiction"—require us to squint and trace the artist’s own footsteps before glimpsing his father’s figure. This seems characteristic of much art about family: we try to see clearly the back of Zhu Ziqing’s father, or mentally sketch the figure of Roland Barthes’ mother (though we might use AI now), yet we cannot pierce the new "haze" layered over words and images.
Those around him call him Lao Wang. I wonder how many called Wang Hui "Lao Wang" in his youth—"Hey, Lao Wang, the plane you photographed…" Friends or colleagues joked with him, just as (in the future) they might say to Wang Weirong: "Hey, Lao Wang, that plane series of yours…" A representative work, perhaps becoming a lifelong symbol. Mention planes, and one thinks of Lao Wang, or vice versa.
Beneath the symbol, who truly knows Wang Hui / Wang Weirong?
Right, Lao Wang?
He Bo
August 27, 2025
我的问题是：
为什么我们“必须”“认识”那些“最熟悉的陌生人”？（很多案例里，是我们的父母。）
为什么我们要刨出上一辈的历史里那些于各种缘由被压制、被埋藏的奇故事，试图以此靠近他们，而非在日常中释放他们期待的信号，做出某些他们想要看到的改变？
后面这种情形，也许意味着我们依然在回避。
回避，非逃避，而是以一种作为创作者更习惯的方式去“探索”他们——略冷漠且公式化的动宾关系。在作品阐述里，老王用了“找寻”一词来链接此次空难照片的拍摄者，那位近在咫尺的父亲。但即便开始找寻，在我看来，他依然在回避：父亲（似乎跟过往的经历一致，再次）隐于被呈现的作品表象之下，而开口讲话的是老王自己，他穿着旧制服正襟危坐于镜头前，试着与父亲的轨迹平行（而非相交）。
这样的平行很安全：想靠近，又不愿靠近的解法。
老王（真的）在乎那场遥远的空难吗？或者，对于其父王晖是否在乎那场“只”行进于其记忆中的空难这个问题，老王在乎吗？
我问这些，是因为我一直以来也如此这般地“触而不及”。或许有观众朋友亦然？
作品和展览呈现的一切，以及漂浮于其中的、被老王强调的“真实与虚构”的幻境，让我（等观者）在看到王父的身影之前，需要眯起眼睛先寻找老王自己的脚印——这似乎是很多关乎亲人的艺术创作共同享有的特质：我们尽量或假装看清了朱自清父亲的背影，或者强行在脑里描画罗兰·巴特（Roland Barthes）母亲的身形（当然我们可以用AI啦），但终究还是戳不开那些文字和影像涂抹在雾气上层新的“氤氲”（就不说什么灵不灵光的了）。
老王身边的人，叫他老王。不知年轻时候的王晖，被多少人唤作“老王”——“诶，老王，你拍的飞机……”挚友或者同事跟王晖打趣，就像（未来）这组作品之于王伟戎那般——“诶，老王，你的那组飞机作品……”代表作，或者成了一辈子的符号。说到飞机，就想到老王，或者反过来。
符号之下，谁真的认识王晖/王伟戎呢？
对吧，老王。
何博
2025.8.27
2025/06
中文播客：Silence bring us together创作故事
接触印相Contact Sheets播客链接🔗：
https://www.xiaoyuzhoufm.com/episode/680996c78aed253fa32c7d06?s=eyJ1IjoiNjMwNmUwZmRlZGNlNjcxMDRhYTk0ZDJjIiwiZCI6MX0%3D
2025/04
The Eleventh-Class Students: On Touching the Intangible
十一等生 : 当我们触及无形‘Dengsheng’ refers to the stage when a fetus has fully developed in the womb but has yet to be born. The character “等” (deng) here carries the meaning of “completeness” — a transitional state from the incomplete to the complete. At the same time, the term “ji deng sheng” (literally “nth-level students”) is often used in a tongue-in-cheek way to describe students who perform mediocrely or even poorly in competitions or exams.
When eleven photographers gathered at Photism, they carried with them the hope that many hands make light work, attempting to create an idealistic photographic utopia in Chengdu. This mirrors the image of “eleven dengsheng” striving for better grades — clumsy, slow, and unpolished, yet never blind in their pursuit.
The invisible shapes the visible. And what medium is better suited to express this than photography itself?
This exhibition aims to show how these eleven photographers understand and use photography — perhaps unintentionally building a new kind of strength through the process.
成都幻社 「 十一等生 : 当我们触及无形 」展覽將於4月19日開幕
“等生”指胎儿在母体内发育至身体各部分完全成形但尚未出生的阶段。“等”在此有“圆满”之意，即从不完备到完备的过渡状态。同时“几等生”又同时常被调侃比赛、考试等能力平庸甚至愚钝的学生。
当十一位摄影师相聚于幻社，怀抱这种众人拾柴火焰高的希望，试图在成都构成一个具有理想性的摄影乌托邦；这正如“十一等生”为取得好成绩奋斗的情景一般。吃力，愚钝，不讨好，却不盲目。
无形之物，决定有形之象。摄影不就是最适合的媒介和方式吗？本次展览意在展现这十一位摄影师是如何理解和使用摄影这种媒介，却可能在无意之中构筑了一种新的力量。
Only in the absence of paradigms can we begin to approach the infinite.
— Wang Weirong
没有范式，方能趋近于无穷。
—王偉戎
INFO
展覽信息‘The Eleventh-Class Students: On Touching the Intangible’
Artist
Amu，Chen Chen，Chen Shengyu，He Bo，Jiang Wenyi，KimYoung，Mao Ren，Wei Rui，Wang Weirong，Yu Shaoyan，Zhang Yining
Exhibition Period
April 19–28, 2025 (Close on Mondays)
Opening time
April 19, 2025 at 3:00 PM
Exhibition Venue
Photism，No. 63, Section 2, Shenxianshu South Road, Chengdu, Sichuan Province, China
十一等生 : 当我们触及无形
藝術家
阿木、陳塵、陳晟宇、何博、蔣文藝、KimYoung
貓仁、葳蕤、王偉戎、余少龑、張益寧
展覽週期
2025.4.19-4.28
开幕时间
2025.4.19 15:00
地點
幻社，四川省成都市神仙樹南路63附2號