魏星
在80后的年轻艺术家群体中，石玩玩是比较善于思考和涉猎较广博的， 这就使得他的作品常常具有一些反思的色彩， 这些反思通常都是指向某种历史片段或者意识形态的表现形式，又或者是当下的社会现实的一个现象。这些当然也是很多当代艺术家所关注和思考的对象和课题， 但石玩玩的作品同时又呈现出轻松，诙谐，与温暖的色彩，非常具有个人化的印记和风格，带有一些年轻人特有的浪漫、调侃，没有过分沉重的文字和文本的注解，和所谓政治正确的负累与教条，这就让他与别的艺术家拉开了距离。在他的作品里很难找到清晰的对于某种主义的解读和倾向，他注重的似乎更是自由和独立的自我表达， 这似乎也是80后的一种集体表征。
在他即将于北京唐人举办的个展里， 一共将展出五件作品，都是装置和影像作品。其中《颜色革命》涉及到国旗与国家政治和时代变迁的关系，16面国旗几乎囊括了一个时代--一个被意识形态分割的时代。浓缩了从一种全球化“共产国际”到另一种全球化的过程。
《在艰苦的岁月里》来自80年代的小学教材。因此它构成了80后一代人的时代记忆和意识形态结构的一部分。在这部影像作品里，老人的形象从视觉中离去，留下来的只是小孩子的倾听和小孩子的诉说（耳机里的声音）。《自由引导人民》看上去更像是对法国政治的玩笑，红白蓝三色旗下所覆盖的是性感的女人体。但其实红白蓝三色象征着我们从一种"全球化"（共产国际）转移向另一种全球化（自由主义）的这种光谱移动的过程。当我们拉开三色旗，意味着正在解构这种历史意识的来源，而最终吸引你的目光的是女人的身体。在这里，诱惑既是引导， 而人民则永远将会被引导。
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魏星，策展人，原当代唐人艺术中心艺术总监
本文为石玩玩个展《非常久远的玩笑》前言
by Wei xin
Amongst the young artists of the post-80’s,Shi Wanwan is relatively more fond of thinking and is well-read which makes his artworks reflect sentiments of introspection, these introspections are often projected upon moments in history or related to expressions of ideology or the current status of the society. However, those topics are shared by many other artists, but Shi Wanwan’s artworks often shows light-heartedness, mockery illustrated with mild colours, his personal style shows the romanticism and a joking nature of the youth, without much literary explanation and burden of needing to be politically correct. That make his artworks stands out amongst others works. It is hard to find a clear manifestation or tendency towards a certain “ism” in his work, he attaches more relevance to the independent and freedom of self-expression which is probably the collective-feature of the post-80’s generation.
The five pieces shown in his up-coming solo exhibition in Tang Contemporary Beijing are all installation and video-works. “Colour Revolution” involves the relationship between the national flag and the transition of the political zeitgeist of the nation, the 16 flags represents almost an entire age, an age divided by ideology. The work condenses the entire historical phase - from the globalization of “Communist International”, to the globalization in our present times. Video installation piece “Gadfly” came from the artist’s personal reading experience where the father signs the death warrant of the son and the death-note the son left to his lover. Spirits are high and light-hearted. The water (tears) is the reminisces of those hurting in the society, or the reminisce of the society.
“Hard Times” came from primary school text books in the 80’s, making it an integral part of ideology and memory and of the post-80’s generation. In this video art-piece, the old man disappears from the image, leaving behind the telling and listening of child. (the sounds in the earphone)
“Freedom Leads the People” looks more like a satire of French politics, a flag of red, white and blue is covering the body of a sexy lady. Actually, these 3 colours signifies the transition of optical transition of one form of globalization (Communism) to another (Liberal Capitalism), telling us that as the audience analyzes the process of this transition, we will inevitably notice only the sexy lady. Here, temptation is what leads and the people will always be led.
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Wei Xing, Curator, former Art Director General of Tang Contemporary Art
This is a preface to Shi Wanwan’s personal exhibition A Very Long Joke