明天文化

绵绵若存走岷江Ⅴ丨本期特邀:张震宇

发布时间:2017-08-18 12:08


“ 绵 绵 若 存 走 岷 江 ” 项 目 介 绍


当我们站在某一点观看一条河的时候,思想上很容易开始延伸,作为生命的一个类比,河流能帮助我们认识到生命长河在时间上延续的真实性。 这样,我们现有的生命便具有了回溯历史的可能性和伸向未来的潜在性。在任何一个现在的时间点上,我们都享受着一个时间上延展开的生命断面。我们与前人和子孙享有一个共同的生命,在意动力的驱使下整体流动着,从过去世代继承下来的生存意志通过我们又流向未来。       

      河流作为生命的根源,正如“绵绵若存”的解释一样,在创造繁衍的运动中不勤不惰,稳定持久并延绵不绝。岷江作为蜀地的一条重要河流,自松潘县岷山源起,自北向南,于宜宾注入长江。历史曾被认为是长江正源,流域包括  8个市、地、州的36个县,多个少数民族居住,人文、地理、历史、自然环境丰富多样。这使得这次艺术家驻留创作项目具有了一个整体的背景,我们将以成都的驻地为中心,向北溯源向南寻尽,以整个岷江流域发生的一切作为艺术家驻留创作的切入点。

—— 王澈


张 震 宇 部 分 过 往 作 品 


•   阅读人民日报2007 / 78×55cm×365张 / 2007

•   Reading People s daily 2007 / 78×55cm×365张 / 2007


•   阅读系列  '080504' / 120×90cm / 2008

•   Reading  '080504' / 120×90cm / 2008


2005年开始的“刮报纸”,我只是将报纸的信息内容简单抠除,无聊地重复这样的行为日复一日。

在笔记中我写道:“这样的时代,你学会了知识,学会了关注身边的和遥远的事件,学会了关注社会,学会了打开新闻台和阅读报纸,你会感到愤怒,莫名的愤怒……基于如上感受,引起我对报纸、杂志等媒体信息的虚伪、糟粕、谎言、强权话语等强烈不适,而这些正是很多人赖以获取所谓社会知识信息的重要媒介。

  ——张震宇


Starting to scrape the newspapers from 2005, I simply scraped off the contents of those newspapers, repeating such a boring activity day after day. 

As written in the notes, In such an age, you’ve learnt to get knowledge, pay attention to what’s happening here and there, care about the society, watch the news channel and read newspapers, and you would feel angry, unexplainably angry. based on such feelings as mentioned above, I started to feel uncomfortable with the hypocrisy, dross, lies and the discourse of authority delivered in newspapers and magazines, however, such media are essentially a major means for the vast majority of people to obtain the so-called knowledge and information of the society.

——Zhang Zhenyu



•   灰尘130708 / 布面灰尘 / 100×100cm / 2013

•   Dust130708 / Dust on canvas / 100×100cm / 2013


•   灰尘140621 / 布面灰尘 / 直径100cm / 2014

•   Dust140621 / Dust on canvas / Diameter100cm / 2014


•   灰尘150228 / 布面灰尘 / 直径160cm / 2015

•   Dust150228 / Dust on canvas / Diameter160cm / 2015

画面经过反复落灰、打磨、抛光,形成镜面效果。

Through gathering dust, burnish and polish repeatedly, the canvas showed a mirror effect.



•   无题 / 灰尘 / 尺寸可变 / 2016

•   Untitled / Dust / Variable Size / 2016


•   灰尘160224 / 布面灰尘 / 100×100cm / 2016

•   Dust160224 / Dust on canvas / 100×100cm / 2016


张震宇借用灰尘作为创作媒介,经过反复落灰打磨直至成为黑色镜面,形若混沌。时间、空间、宇宙、自我、他者等,一切已经显现、将要显现、永不显现的东西都蕴含在其中。在这个混沌的整体中,我们试图抽出观念加以推理解释的行为,其实都是对于一个片段的侧面呈现。张震宇对于事物的判断和观念的解读都无限地趋向混沌理论,所有理念的片面性,都无法成为他做判断的标准。正像他在以灰尘为媒介的创作上,只客观呈现灰尘本身所具有的属性,以及在打磨成镜面后对于他人提出的问题,对于问题的答案他根本也不关心。

当我们观看他的作品时灰尘成为唯一的判断媒介,这一媒介带给我们的思考关乎我们每个个体对于世界的感知结果,但这个结果一定又只是一个世界的侧面。就像我们的皮肤并非真的就是我们个体存在的边界一样,对于张震宇作品的边界判断也是相当困难,因为所有对于相似性的归纳在现实面前都是不完整的。

——王澈


Zhang Zhenyu applies the dust as the medium of his creation, by repeatedly polishing it so as to generate black mirror-like images, its presence seems somewhat like chaos in terms of form. Including time, space, universe, selfness, and otherness, things that have been manifested, will be manifested and never be manifested are all expressively included in his work. As a chaotic whole, the idea that we attempt to abstract the viewpoint of the work so as to analyze and interpret, in fact, is merely a part of its presence. Zhang Zhenyu’s assessment of things and interpretation of ideas are simply based on a perspective of Chaos Theory, in this way, all the fragmented ideas cannot be viewed as his criterion to assess things. In creating his work on a basis of dust as medium, just as he focuses on presenting the nature of dust itself and what questions may raise when people view the completion of mirror, the artist doesn’t engage himself with the answers at all.

When viewing his artworks, the dust is the only medium of our assessment,as individual,our reflection depending on such a medium needlessly has something to do with ourperception of the world, where as such a perception merely reflects a part of the world. Just as our body is by no means the boundary of individual existence,it’s not that easy to define the boundary of Zhang Zhenyu’s work,in fact,generalization of similarity unexceptionally remains incomplete when encountering with reality.     

——Wang Che



张 震 宇

毕业于中央美术学院油画系

现居北京

 

个展

■  2016

灰尘/ Richard Koh Fine Art/马来西亚吉隆坡

灰尘——张震宇个展 / 成都当代美术馆 / 成都

huèn ,张震宇个展/ 艺琅国际 / 北京

灰尘Ⅱ,张震宇个展/ YALLAY GALLERY/ 香港

■  2015

灰·尘,张震宇个展/ 艺琅国际 / 北京

■  2012

张震宇作品展/北京子桐画廊

■  2009

阅读和反阅读/香港汉雅轩画廊


群展 

■  2016

自然生长 / 大烟囱艺术中心 / 上海

抽象中国2016 / 上海明圆美术馆 / 上海

假园 / 今日美术馆 / 北京

■  2015

中国式书写的维度/波恩当代艺术馆/德国波恩

放大——后金融危机时代的中国新绘画/重庆

目光所及——后金融危机时代的中国新绘画/巴黎

■  2014

法国驻留创作,工作室开放展/La Non-Maison micro centre d'art/aix-     en-provence

世界砼/拾萬空间首展,北京草场地

目光所及—后金融危机时代的中国新绘画/北京保利艺术博物馆

乱展--一个不能把握整体的时代/北京上舍空间/北京798

湖南当代艺术生态(湖南前行艺术中心开幕展)/湖南长沙

气候—2014青年艺术家研究展/武汉美术馆

三界外—观念的绝对化/北京一号地5艺术中心

超象—痕迹与线性/北京798圣之空间

个命—走出经验的地带/北京798香港当代美术馆

■  2013

异动—湖南青年艺术提名展/湖南油画协会

@me能见度/石家庄美术馆

“洗牌”第二回/奥地利

第55届威尼斯双年展平行展—未曾呈现的声音/意大利威尼斯

■  2012

纸上.至上/北京玖层美术馆

慢活:当代艺术一种/北京“荔”空间

态度——与抽象艺术有关/上海苏州河艺术中心

@me/北京798香港当代美术馆

■  2011

词场-诗歌计划/深圳华美术馆

苏州美术馆年度邀请展/苏州美术馆

自选动作/北京“荔”空间

■  2010

青年湘军/上上美术馆

第六届宋庄文化艺术节/北京宋庄

阅读的自由/上海坤艺画廊

文字欲•文字狱/北京798映艺术中心

新鲜/北京798卓越艺术

■  2009

从读现成品/北京798尚视艺术空间

两湖潮流/广东美术馆

无语/北京“仁”艺术中心

中国情境重庆驿站/重庆501当代美术馆

■  2008

中德艺术交流展/德国柏林

幸福的旁边/北京宋庄小堡驿站艺术中心

媒体景色/北京“Art+”艺术空间

后场/北京别处空间

自我超越/北京“墙”美术馆 

■  2007

空白展 /上海 可 当代艺术中心

■  2006

歌颂我们美好的生活(宋庄文化艺术节)/北京宋庄

第四届湖南当代艺术展/湖南长沙

“C5Art”西五艺术中心开幕展/“C5Art”西五艺术中心

■  2003

全国青年美展 /今日美术馆

■  1999

“出走与反魅” /北京

 

Zhang Zhenyu 

Central Academy of Fine Art, Beijing, China

Now Living in beijing

 

Solo Exhibitions

■  2016

Dust, Richard Koh Fine Art, Kuala Lumpur, Malaysia

Dust, Museum of Contemporary Art Chengdu, China

Huèn, X Gallery, Beijing, China
Dust II, Yallay Gallery, Hong Kong

■  2015

Dust, X Gallery, Beijing, China

■  2012

Zhang Zhenyu’s Solo Exhibition, Xun Art Gallery, Beijing, China

■  2009

Reading and Not Reading, Hanart TZ Gallery, Hong Kong

 

Group Exhibitions

■  2016

Natural Growth, Chimney Art Center, Shanghai, China Art Beijing, Beijing, China

Abstract China 2016, Ming Yuan Art Museum, China

Artificial Garden, Today Art Museum, Beijing, China

■  2015

Post-Calligraphy in Chinese Contemporary Art, Kunstraum Villa Friede, Bonn, Germany

Within Sight—Chinese New Painting at Post-Financial Crisis Era,Fondation Taylor, Paris, France

Blow Up—Chinese New Painting at Post-Financial Crisis Era,Chongqing Changjiang Museum of Contemporary Art, Changjiang, China

■  2014

Residence, La Non-Maison micro centre d’art, Aix-en-Provence, France

Omnipresent Concrete, Hunsand Space, Beijing, China

Within Sight, Chinese New Painting at Post-Financial Crisis Era, Poly Art Museum, Beijing, China

Chaos--A Fragmental Era, Shone-Shou Gallery, Beijing, China

Ecology of Contemporary Arts, Hunan Report on Research of Young Artists, Hunan Changsha, China

Climate, Wuhan Art Museum, Wuhan, China Beijing 5 Art Center, Beijing, China

Out of image--Trace and linearity, SZ Art Center, Beijing, China

Self-Destiny Out of the Land of Experience,Hong Kong Contemporary Art Museum, Beijing, China

■  2013

Nomination to the Exhibition of Young Artists From Hunan, Hunan Oil Painting Society, Changsha,   China

@me - My own visibility, Shijiazhuang Art Museum, Shijiazhuang, China

The Spirit Realm, Food World Art Museum, Beijing, China

Voice Of The Unseen–Chinese Independent Art 1979 – today, Collateral Event of 55th Venice   Biennale, Venice, Italy

■  2012

On Paper–The Highest, Jiuceng Art Museum, Beijing, China

Slow Movement: A Kind of Contemporary Art, Li-Space, Beijing, China

Attitude About Abstract Art, Shanghai Suzhou River Art Center, Shanghai, China

@me, Hong Kong Contemporary Art Museum, Beijing, China

■  2011

Wordscape Poetry Project 2011, Oct Art and Design Gallery, Shenzhen, China

Suzhou Art Museum of Annual Exhibition, Suzhou Art Museum, Suzhou, China

Optional Exercise, Li-Space, Beijing, China 2010 Hunan Art, ShangShang Museum of Art, Beijing,    

China

The Sixth China Songzhuang Culture Art Festival, Songzhuang, Beijing, China

Liberty of Reading, KunArt, Shanghai, China

Innovation, Joyart, Beijing, China

■  2009

Reading From The Finished Products, Sunshine Art Base, Beijing, China

Trends in Hubei and Hunan, Guangdong Museum of Art, Guangzhou, China

Beyond Words, Yan Club Art Center, Beijing, China

The 1st International New Year Art Festival of Huangjueping, Chongqing, China 

■  2008

4 Berliner Treffen 8 Chinesen, Berlin, Germany

Happiness Side, Xiao Pu Station Art Center, SongZhuang, China
MediaScape, Art+Gallery, Beijing, China

Waiting in the Wings, Beyond Art Space, Beijing, China

Updating, Wall Art Museum, Beijing, China

■  2007

Blank (34 Artists), OCAT Shanghai, Shanghai, China

■  2006

Chanting Our Happy Life, The Second China Songzhuang Culture Art Festival, Songzhuang, Beijing,   

China

The 3rd Changsha Contemporary Art Exhibition, Hunan Changsha, China

C5Art Gallery Opening Exhibition, Beijing C5Art, Beijing, China

■  2003

Collection of 1st Works of Artistic Youth Exhibition, Today Art Museum, Beijing, China

■  1999

Leave and Return, Beijing, China



 主 办 方 介 绍 


明天文化   艺术投资管理有限公司作为中国西南地区最大的当代艺术收藏机构,旨在支持中国当代艺术的良性发展,建立与世界各地艺术家及艺术机构的交流渠道,为中国艺术家提供多元化平台。明天文化参与并赞助了多项艺术公益项目:赞助举办了威尼斯双年展有史以来规模最大的平行展“未曾呈现的声音”;与“ 芭莎艺术”“联合主办明天成就梦想——芭莎艺术校园行”、 “ 2013明天成就梦想——明天就去威尼斯 ”校园公益活动;作为尤伦斯当代美术馆理事并赞助尤伦斯2014秋季艺术大展 “ 洛杉矶计划 ”;在四川美院雕塑系设立明天当代雕塑奖等 。

艺琅国际   致力于探究全球语境下中国当代艺术的成就和发展方向,呈现中国当代艺术体系的发展进程。为了实现这一终极理念,艺琅国际不仅不遗余力地推动各种类型的优秀当代艺术,也致力于发掘具有崭新视觉和态度的当代艺术家们,探讨当下的艺术新媒介、新美学对当代中国艺术的影响。艺琅国际具备规范的组织架构、国际化当代艺术的运营模式、优秀的管理团队,权威的艺术专家顾问,并拥有完善的艺术展示空间以及国际化的艺术家驻留平台。


关 于 驻 留 考 察 项 目

此驻留创作项目由明天文化和艺琅国际共同出品,青年策展人王澈策划,驻地定为成都蓝顶艺术区一期14栋,每期选定两位艺术家考察驻留创作一个月。



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