Wang Youshen Solo Exhibition
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| Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp31 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp32 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp33 |
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| Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp28 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp29 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp30 |
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| Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp25 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp26 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp27 |
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Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp22 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp23 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp24 |
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Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp19 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp20 |
Wang Youshen Washing photo 37.5 x 56.5 cm 2003 wysp21 |
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与不少艺术家相反，王友身的作品反映出这位艺术家对极端个人化的情绪缺乏兴趣，他自己似乎也对人讲过：“人的自我感觉达到一定程度后就成一种孤影自怜，它的现实意义就很小了。“ 《清洗》：社会化的物理反应（1）--王友身 易时易地，以形象作为材料，用材料属性和技术流程，让事件成为事实，把事实还原成现场，完成社会化结构的物理性转化，其目的是还原事实的物证过程和呈现社会关系链的物理反应。 《清洗》：社会化的物理反应（2）--黄 专 在讨论公共问题时,王友身则选择了一种更为直接和敏感的媒介方式,他以他习惯的手法选用新闻图片和私人照相簿里的相片,经过成像和清洗两种截然相反的化学程序,使两组不同性质的图片之间呈现出一种共同的图像效果。“清洗”已成为王友身处理图像信息独特的观念主义手法。近年来他的作品涉及到一系列重大的、但性质各异的问题：从人的家族意识对人的社会身份性的影响到社会传媒方式对人的行为和心理的压迫性作用；从对战争的质询到对消费文化的清理。而在《清洗》中，信息和传媒时代对公共生活与私人生活的潜在伤害成为他作品新的主题，其极少主义色彩和过程主义的特征，使他表现的主题具有某种怀旧和伤感的色彩。
Socialized Physical Reaction 1
In another place, in another moment, taking the figures as the material, with material characteristics and technical process, make the event become the fact, while restore the face to the site, to complete the physical transformation of socialized structure. The purpose is to restore the physical evidence process of the fact and to present the physical reaction of social relationship chain.
--Wang Youshen
Socialized Physical Reaction 2
When discussing the public issues, Wang Youshen chooses a more direct and sensitive media. He selected the news pictures and private pictures in his regular style, and after the opposite chemical processing of imaging and development, the two groups of distinct pictures created a common effect. Development has become the unique conceptualistic means for him to process image information. Recently, his works have involved many different while critical issues, from the impact of family awareness on the social identification of individuals, from the questioning on war to the clearing of consumption culture. And in the work “Development”, the potential harm of the information and media age to both public and private lives becomes his new theme. The minimalist style and the processlistic features endow his theme with a sense of reminiscence and sentiment.
--Huang Zhuan