Video:向雪山搬运一万平方米 

VICE中国    创想计划   陆冉  

简介:艺术家赵要完成了一件面积将近10000平方米的装置作品,从北京工厂运往青海玉树的摩耶寺。11月23日,当地100多名村民和喇嘛出动,经历一整天,共同把这个庞然大物抬到海拔5000米的雪山山顶,铺展开来。实施当天,我们和艺术家与作品一起坐在在大卡车里穿过长长的峡谷,来到雪山脚下,纪录下了这个作品的向山顶的搬运过程。

11月23日,我们在青海省玉树藏族自治州囊谦县的一处海拔5000米左右的山坡上看着对面:大约五、六十个藏民和喇嘛正喊着号子,向山顶一点一点搬运一条长长的蓝色画卷。一些小喇嘛先跑到高处,向空中分撒印着经文的“风马”,彩色的纸片在阳光下亮闪闪的,像是白天里的星星。那条画卷看起来真的很沉,经过了大概四、五个小时,才沿着45度的山坡被抬到了计划的位置。但从对面飘来的藏语听起来,人们还是很兴奋。我们的导演和摄影师 Kaiwen 问我,你有没有看过赫尔佐格的《陆上行舟》?我说没有,他说你应该看看,画面太像了。 这是艺术家赵要的项目“精神高于一切”(Spirit above all)。今年9月,他在北京找到一个工厂制作了一个面积接近10000平方米的画卷,一路用卡车运到青海,打算在当地法会期间,像晒佛仪式一样把它从山顶上铺展下来。“晒佛”通常是把巨大的唐卡卷轴从山顶上铺展下来,对藏地居民来说是一件神圣的事情,可是赵要的图案没有任何意义,那只是他从一本益智游戏书本上随意选取的一幅画面。他的解释也有点像开玩笑:这一个毫无意义的东西,在法会现场经过了一百多个仁波切的加持,又在艰苦的环境下经过了一个冬天,它是不是就具有了某种意义? 当天清早,一辆“大力神”卡车装载着作品、赵要、我们和其他几位朋友,沿着峡谷一路颠簸到实施地点。经过“观看”一整天的搬运和铺展,我们就差点因为高原反应和不小心掉进溪水而倒下,至今我也无法想象藏民和喇嘛是如何把这个3吨多重的东西弄到山顶固定好的。而这些困难似乎就是赵要想要的:一定得是巨大的、偏远的,然后人们就会调动自己的经验,赋予这件作品以精神性。他是创造了意义还是消除了意义?这是一个好问题。 Details »

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Video: 他为什么要把机场做成地毯?现成品与抽象的艺术

刻画

整个人类历史,有一场巨大的抽象

赵要在金盏乡的工作室是典型的厂房,有一千平米左右。他有两个关于艺术的观念非常吸引人:第一,对现成品的运用不再是杜尚式的对现成物质的语境置换,例如大家熟悉的把小便池置换到美术馆,而是对现成思维的置换语境,也就是对教育习惯,审美习惯等精神习惯的重新审视和调离原岗位;第二,抽象艺术对他来说,不仅仅是形式的抽象,例如康定斯基的色块和波洛克的泼洒,而可以是对人类集体无意识的再现式抽象。

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伟大表演截屏13

Great Performance

伟大的表演

The 2ndCAFAM Biennale/第二届CAFAM双年展  2014/2/28—4/20

This work is derived from the two media images above. The images are photographed again with the built-in kaleidoscope special effects filter of the Apple iPad camera software, and the new distorted image is printed onto synthetic leather. Elements of revelry, riot, rally, and game convene and constitute this piece. A myriad of relationships involving form and content, image and narrative, as well as image and meaning are present within this performance. By liberating an image from a discourse and reinserting it back into discourse, the multiplicity of visual culture within contemporary society is discussed. “Great Performance” is another focused attempt on the relationship between form and content where content interferes with form and form is used to reflect upon content. Great performances are therefore not a specified narrative response, but rather a humanistic practice with form and content. Details »

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“Archipelago” group exhibition

群岛

15 September – 6 October 2013


V-Art Center and Art-Ba-Ba Mobile Space is proud to announce “Archipelago”, an group exhibition academic guidanced by Liu Xinghua consisting of six individual artists; He An, Zhao Yao, Ding Li, Zhang Jiebai,Lu Pingyuan and Liao Guohe presenting their newest works at V-Art Center. Archipelago is by definition a cluster or collection of islands. Based partially in Beijing and Shanghai they have come together as a set of islands forming an archipelago for the audience to explore. “Archipelago” is a condition a state of mind, together they share the same values acting as a dispersed force. As with today’s society, where we emphasize individality, separating, sometimes even isolating, ourselves from the idea as an collective. What “Archipelago” is about is that although in the midst of today’s society where an individual may seem as an isolated islands, we’re actually a part of something larger. If we’re willing to step outside our own islands, there’s more to discover in our near surroundings. In a lot of senses we need to take our environment into account. Therefore “Archipelago” is not a theme, there’s no hidden agenda but rather a condition of these five artist’s at the same time refecting today’s society.

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“China China”, a group show of Chinese artists

18 May 2013 – 6 October 2013
PinchukArtCentre presents “China China”, a major group exhibition including eleven Chinese artists of different generations, focusing on the tension between individuality and collective thinking – a subject, which not only defined Chinese history and continuously shapes contemporary society but equally gains importance in the West.

The exhibition includes the works of Ai Weiwei, Cao Fei, Chen Zhen, Sun Xun, Sun Yuan & Peng Yu, Xu Zhen, Yan Xing, Yang Fudong, Zhang Huan, Zhao Yao, Zhao Zhao.

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Video:短路—赵要访谈

LeCODE Project | 2012-01-14

和赵要见面之前,从北京公社的个展《我是你的黑夜》和作品的形式语言本身,我进入了自我既有的语境:“在中国当代艺术的严肃主体气质中,赵要的作品有很少见到的幽默。他的艺术浓烈轻松,准确淋漓,带来清新的审美气息;作品自信而平实,富有张力,却没有紧张感。赵要足够冷静,否则难以拿捏形式与表达的平衡。无论是装置还是绘画,线条少了直白,多了圆浑,时间从容地铺陈于空间。艺术家的气质解构了这个时代典型的紧张与焦躁,一种稳定,舒服,活泼的距离感带来对当下时代的审美体验。”

这个判断有误吗? 无论如何,艺术家质朴,幽默甚至聪明,灵活的平和确实打动了我。实际上,赵要通过展览和大家做了一个形式的游戏。这个游戏以新趣味的形式出发,把观众带进来,当大家以惯有的当代艺术感知分析评判的思维进行对接时,却发现无接可对。人们预期并相信这个有意思的形式背后一定有丰富的思考,等待去挖掘,期待品味一杯从没喝过的鸡尾酒,却发现里面什么都没有。思维顿时失却了延展的素材和空间,让人无所适从,一个可能的对话遭遇了空洞,造成了认识的短路,却成功造就了一个体验,那就是:请不要依赖你的经验和惯性来思考。这个体验也许会受益于我们如何看待世界。 Details »

ZhaoYao: I Am Your Night

中文 October 12 , 2011 | LEAP | Reviews Date: 2011.06.12-2011.07.31 

The phrase “I am your night” could essentially be interpreted as a blunt statement aimed at the audience, and especially at the artists, or socalled experts, who showed up to Zhao Yao’s latest solo show. And if this audience adopt this rather poetic phrase for their own rhetorical needs—by turning it into one of those stock phrases used when responding to an exhibition—then they’ve unfortunately missed the joke. For in comparison to the work featured in the exhibition, the title seems to be reserved for those in the know.

I first encountered Zhao Yao’s work at his solo exhibition in the 51m2 series at Taikang Space in 2010. This time, at Beijing Commune, Zhao’s intention seems to be to push his practice even further towards its fundamental purpose. At last year’s solo show, he used a pencil to meticulously color in the banknotes of various nations, leaving only the smiling face of their leaders. Although not a particularly refreshing idea, this piece did succeed in raising a smile in those who shared with the artist an appreciation for simple logic and subtle transmutation. However, it could very well be this empathic event that engendered greater suspicion among the audience present this time around.
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taiyang

I Love Beijing 999

我爱北京 999

November 2008 – December 2009Single channel video
40’00”

“This is a long-term project full of fun. Starting from the winter of 2008, I went out almost everyday when the sun was out. What I did is to ride in a bus for its whole trip and take snapshots of the sun, placing it right in the center of the frame. After taking hundreds of sun pictures, I displayed them in the speed of 9 frames per second. What you see is me passively chasing the sun. The sun that’s always in the center of the image echoed with the capital city—the sun in Chinese people’s mind. The whole project was completed in November 2009, by then I had gone through nine-hundred and ninety-nine bus lines in Beijing.”

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