我第一次见到应歆珣的作品是在杭州半野艺舍的一次小型交流派对上。那是一件用纤维材料制作的平面立体作品，它一方面吸收了现代极简主义的经典样式，但却在另一方面巧妙地用几层纤维材质的混叠和缝纫，产生了一种有机的肉体感，一种抽象伤痕的残忍美。
通过几次拜访工作室，我对应歆珣的作品有了更进一步的了解。她和我谈了很多她对手术的理解和经验，以及在视觉下对病痛和人工治疗的感受，还包括出于美化的目的对肉体实施的物理干涉。从她的作品在肉体和人工性的对峙上我看到了一种对痛苦的承受和传达，还有肉体对于人工暴力的抵抗。在形式上肉体的呈现被设置在极简主义的样式中，符合欧洲早期抽象几何艺术的基本规则。如同我们所知，当时这一几何抽象源自于对于工业化新日常的再现，几何的抽象艺术本质上是工业时代的艺术。另一方面，纤维材料和缝纫手段却让人识别出了对肉体的残酷，隐含着打开、切割、钻孔的意象。人工性对肉体的压迫、规训、塑形本身就是一种现代性的症状。除了对于病变的表达，应歆珣也同样关注到了美容、塑形对于肉体的暴力，它构成了一种乌托邦式的对于肉体的围剿，无论它是出于男人对于女人的想象还是相反，都是一种强烈的机体物化。
在新的个展“Don't Worry”上，应歆珣持续地用纤维织物讨论着肉体和人工性的问题，但她把对肉体的拟像转向了对未知生物体和人工基因之间的关系的表现。高科技泛滥的今天，对于肉体的人工暴力已经从外在转移到了不可见的内在。转基因已经不只是停留在对动物或农作物的实验之上，而是已经逐渐进入对人类自身胚胎的改造。如同原子能技术一样，基因技术是在自然生态交换中无法发生的，它的人工性介入是一种对上帝职权的僭越。而这便是西方科学和神学所共有的特征—种肆无忌惮地对于绝对性的超越。
那已经不再是培根时期，即人工化对于肉体的外在异化，我们可以说这是一种现代性暴力的表现；在人工化进入基因改变的时代，也正是超现代（Hyper-modern）的今天，暴力成为了数码空间中不可见的东西，从肉体的内在生长上规定它。今天基因技术的实际操作是在虚拟的数码模拟上实现，数码空间构成了和我们的世界平行的另类场所，它不可见、抽象，如同是彼岸的那个世界。如同柏拉图主义所谓的，此岸的身体正被彼岸的序列所规定，它成为彼岸原理性的衍生复制。应歆珣的新作中出现了一些生物性的不规则造型，她强调了有机体自发的生长感，一种超级基于人工的超级异化体。
正是这样她才取了一个悖论性的展名“Don't Worry”（别怕），我们到底有什么值得担心的呢？我们在害怕什么呢？在日本福岛核危机发生前，人类也是充满了对于自己的核技术的信心，以及对于人工化进程加速度发展的欢欣鼓舞。高科技系统（这个抽象的彼岸）越来越发达，替代了传统自然系统的自我修复和新陈代谢的同时，也导致了灾难发生的强度和范围在另一个层面上不断提高和扩大。任何的细小错误将会在高速循环的系统关联性中被复制和迅速放大，成为灭顶之灾。
应歆珣个展“Don't Worry”处于黑暗空间中，作品在蓝光照射下发出刺眼的荧光色。这似乎是对著名基因改造的绿色荧光兔Alba的致敬，它耀眼的色彩在黑暗中成为最为清晰的警示—因为恐惧，所以“Don't Worry”！
姜俊
2016年

I first saw Ying’s artworks at a small-scale exchange party held at Bane Art Inn in Hangzhou. It was a plane three-dimensional work made by fiber materials. The artwork used classic design patterns from modern minimalism; however, the mix-and-match style and sewing different layers of fiber materials together helped create a human-body feel, or an abstract but cruel beauty.
I later paid several visits to Ying’s studio and was able to see more of Ying’s artworks. She has told me about her understanding and experiences of having a surgery, the sensory feeling on pain from the visual perspective and artificial treatment, as well as the physical interference on human bodies from the viewpoint of aesthetics. When taking a closer look at the tension between human bodies and artificial interference, I can see clearly the bearing of pain and the resistance of human body against artificial violence. The human bodies are manifested in the form of modern minimalism design, and we can see the composition of point, line and surface within a rectangular frame, which is consistent with abstract art of geometry in Euro pea. We all know that abstract art of geometry is meant to be an art of industrial age. On the other hand, the use of fiber materials and the mending techniques helps to create a sense of brutality on human bodies, implying something being opened, cut or drilled. The oppression, indoctrination and molding of artificial force on human bodies are indeed the very symptoms of modern diseases. Besides portraying the evolution of diseases, Ying has paid equal attention to beautification and the violence caused by molding on human bodies. In other words, it is a Utopia-like besiegment against human bodies, be it an ideal men have for women or vice versa, both are a clear form of materialization.
In Ying’s new “Don’t Worry” exhibition, Ying continues in using fiber to discuss the interaction between human bodies and artificial force, however, this time Ying goes much further, discussing the possible connection between unknown organisms and artificial genes. In the new era when advanced technologies prevail, the violence against human bodies has evolved, not from an external force, but an invisible force internally. Nowadays, genetically modified organisms not only stay in animals or agricultural plants, but have played a significant role of embryo transformation in our human bodies. Just like the nuclear engineering technology, genetic technology does not exist in a natural environment, that is to say, this kind of manual intervention is a deliberate attempt to play the role of God. This is exactly the common characteristic of western science and theology, the unscrupulously abuse of absoluteness.
It is no longer the time for Francis Bacon, a time when artificial forces distorted our bodies. We could say that it was the display of modern violence. However, we are now in the era when artificialization is characterized by genetically modified organisms, it is a hyper-modern time. Violence has become invisible in the cyber space, and we have to define it through the endogenetic growth of human bodies. The actual application of genetic technology now takes place in a computer stimulated environment, and the digital space has become an alternative space that is parallel with our world. This world is invisible and abstract, as if the another world. According to the Platonism theory, the bodies in the other world is controlled and defined by the sequences in the another world, and will duplicate by a fundamental principle. Some biological and irregular shapes appear in Ying’s new artworks, where she emphasizes the sense of growing of organisms, or an alienated entity whose survival is heavily based on artificial forces.
That is why she has deliberately chosen “Don’t Worry”, a paradoxical name for this solo exhibition. What exactly do we worry about? What are they? Prior to the happening of Fukashima nuclear crisis in Japan, human beings were so confidentabout our nuclear technologies and excited about the rapid growth of man-made technologies. However, when the high-tech system—the abstract paradise—becomes more advanced to a level that can replace the self-healing and metabolic functions of a traditional and natural system, the chances are the risk of having a large-scale disaster is much enhanced and multiplied. Any tiny mistake in this high-speed system will be copied and amplified, becoming a terrible catastrophe.
When Ying’s “Don’t worry” artworks are placed in a dark environment, the artworks will have a fluorescence colour under the exposure of a blue-ray bulb. To me it is a kind of homage to Alba, the famous genetically modified rabbit that glows in the dark. The dazzling color in the dark has become an ominous warning—When you are in fear please “Don’t worry”!
Jiang Jun
2016