Installation View, Artworks ©时索飞 Sophie Schagerl
“它是头脑中浮现的一段只言片语，是对奇思妙想的一次视觉回应。”
Q：你曾在维也纳的翻译小组（Versatorium）工作，可以聊聊翻译工作者的这个身份对于你创作的影响吗?
A：与维也纳的Versatorium团队一起工作教会了我很多。这段经历让我懂得，任何阅读、回答和误解的瞬间都是一个翻译的过程。它也让我感受到，翻译无处不在，这并不局限于将一种语言转换成另一种语言这其中存在着不可能性与开放性，也深刻反映着生活本身的难以逆料和无常。
受到这些的想法启发，我开始思考将绘画视作为一种翻译的方式，它或许是头脑中浮现的一段只言片语，是对奇思妙想的一次视觉回应。
Q: You have worked with the translation group (Versatorium) inVienna. Can you talk about how this identity as a translator hasinfluenced your creation?
A: Translating together with Versatorium in Vienna has taughtme a lot. lt taught me that any process of reading, answeringand misunderstanding is a process of translation. lt taughtme that translation is everywhere and not bound to the very limiting idea of converting one language into anotherare impossibilities in translation, and openings, that very muchreflect the impossibilities and openings of life itself.
Being taken by these ideas on translation, of course l had to startto think about painting as a way of translation too, being a visualanswer to a thought, a sentence that comes to mind.
Installation View, Artworks ©时索飞 Sophie Schagerl
Q：可以聊聊目前的工作方法吗？
A：通常，我的绘画灵感来源于一些在阅读或交流中令我产生强烈共鸣的句子。我会把它们记下来，以免忘记，然后不断地回顾这些笔记，直到其中一个在我脑海中形成了一个我想要探索的意向。就是这样，我开始在画布上寻找这个内心臆想的场景。通常，我在画布上找到的东西并不是我最初预期或想象的，有时在翻译过程中会有很大的创造性损失。
Q: Can you talk about your current working method?
A: Usually the ideas for my paintings derive from sentenceshear or read that have a strong resonance with me. l note themdown so l won't forget them and then l return to these notes untisometimes, one of them leaves opens an image in my mind thatI want to paint. That's how l start to paint the scenes, with thismental image that l am looking for on the canvas. Usually, whatI can find on the canvas is not what l expected or imagined in thefirst place, there might be a big creative loss in translation.
Jialei rollt ein Geheimnis und will es in den Fluss werfen, 18 x 24cm, tempera, ink and oil on canvas 坦培拉, 布面油画, 墨水, 2024
Q：你的创作经历了哪些阶段，哪些作品可以被你视为具有里程碑意义的作品?
A：这是一个很难回答的问题。对于我来说，哪些画作是个人的里程碑可能只有在一些时间过去后才会显现出来。随着时间的推移，一些在绘画时无法觉察的方面变得更清晰了。
我知道在过去的三年里，我的绘画风格发生了很大的变化，但直到最近我才意识到这些变化。
也许我会附议将去年的一幅画作为里程碑。画完这幅画后，一些事情变得更容易了。它叫做“Fuori Addosso”，名字来源于一个误解或拼写错误。Fiori在意大利语中意为“花”，addosso意为“在(身体上)”，而 fuori 意为“外面”。
Q: What stages has your creation gone through, and which workscan be considered milestones for you?
A: That's a difficult question. Which painting is a personamilestone for me maybe only reveals itself after some time haspassed.With a certain distance, some aspects of a painting thathad been invisible at that time l painted it become clearer.l knowthat my painting has changed a lot in the last three years, but lwas not aware of the changes until very recently.
Maybe l would suggest one of last year's painting as a milestone.Something became easier after l painted this one. lt is called FuorAddosso, named after a misunderstanding or a spelling mistakethat caught my attention. "Fiori" means flowers in ltalian, "addosso" means "on (the body)", "fuori" means "outside".
Fuori Addosso, 50 x 60, oil on canvas 布面油画, 2023
Q：在你这次展览的作品中似乎都透露着一种隐秘的回避性，这是你想要传达的感受吗?
A：我并没有积极地传达任何秘密的感觉。但确实，我在北京的这段时间对躲藏的方式很感兴趣。我在北京看到了很多眼睛和栅栏，想在我的画中找到隐藏和窥视的方法。
Q: Your works in this exhibition seem to convey a sense of secrecy. Is this the feeling you want to convey?
A: l am not actively looking to transmit any feeling of secrecy. Butit is true that l was interested in ways of hiding during the timethat l spent in Beifing. l saw a lot of eyes and fences in Beiing andwanted to find ways to hide and peek in my paintings.
Coming back in Time, 110 x 135cm, tempera, ink and oil on canvas 坦培拉, 布面油画, 墨水, 2024
Q：你的作品中，形象的边缘都是模糊的，这种不确定性是由于你想保留不同叙事构建的可能么?
A：这听起来很不错，但根本上我认为这与优柔寡断和近视有关。这些模糊的边缘对我来说更自然，我会被太过税利的边缘吓到。比如在别人的意见中。
Q: In your works, the edges of the figures are blurred. ls thisuncertainty because you want to retain the possibility of differentnarrative constructions?
A: This sounds very nice, but fundamentally l think it has to withbeing indecisive and short-sighted. These blurred edges feel morenatural to me, l can get scared by edges that are too sharp. Also inother people's opinions, for example.
把旺夫痣吃掉, 110 x 135cm, oil on canvas 布面油画, 2024
Q：那么在展览中，你认为观众的这种对于作品叙事的构建的重要性大吗？(观众对于作品的多种解读)
A：展览的观众在画中看到的东西比我在画中看到的要重要得多。一些来参观 PIN 展览的人提出了一些我从未预料到的联想，部分原因是它们来自于非常不同的文化和地理环境。
如果我在维也纳展示这些北京的画作，反应会完全不同。我意识到这些画是难以琢磨的。有时我甚至觉得，作为画作的创作者，我并不能真正看到它们。
Q:In the exhibition, do you think the audience's interpretationsand associations with your work are important?
A: What the visitors of the exhibition see in the paintings is muchmore important than what l see in them. Some of the people whocame to see the exhibition at PlN had associations that l coulcnever have expected, partly because of them being very specificto the cultural and geographical environment.
If l had shown these Beifing paintings in Vienna, responses wouldhave been so different. These paintings are shape-shifters, realised, Sometimes l even think that as the one who painted, cannot really see them.
Installation View, Artworks ©时索飞 Sophie Schagerl
Q：好奇本次展览的名字，可以聊聊它的来历吗?
A：我尝试翻译的第一首中文诗有一个类似的标题，它是一个分段的片段所以我选择了这个中文标题，以此向这次邂逅致敬。
Q: l am curious about the name of this exhibition. Can you talkabout its origin?
A: One of the first poems l tried to translate from Chinese had asimilar title, it was a counted fragment.So l chose the Chinese titleas a homage to this encounter.
Installation View, Artworks ©时索飞 Sophie Schagerl
Q：最近最喜欢的艺术家?
A：最近，我无法停止观看李唐的松树。对于我来说这是一个新的发现。
Q: Who is your favorite artist recently?
A: At the moment l can't stop looking at Li Tang's pine trees. For me, this is a new discovery.
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