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他为什么要把机场做成地毯?现成品与抽象的艺术

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。

对现成思维的语境置换体现在很多作品中,比如赵要的系列绘画作品:《很有想法的绘画》。他的原理就是将非常常见的丙烯颜料在画面上堆积出厚厚的质感,然后将其慢慢打磨,出现一种塑料的感觉,整个画面完全不再是通常审美习惯中的丙烯绘画的平面感,而会给人一种塑料玩具的感受。再比如他在行为作品《伟大的表演》中设计的道具,就是在两块毛茸茸的假动物皮上,打印出两张新闻图片。这两张含有警察、围观群众、治安纠纷的新闻图片被抽象成一种万花筒般的图案,从远处完全感受不到现实和新闻的压力,而是一种被抽象和陌生化的美感。再由演员披挂上这两张动物皮进行萨满巫师一样的游走,给现实、潜意识、审美和宗教,都提出了一个充满魅力却无法解答的问题。把抽象转移到历史政治层面,则是赵要提出的一个革命性的概念。这个概念罕见地得到了西方抽象艺术史的承认。尽管中国传统的抽象完全自有其源深博大,西方的现当代抽象艺术却有一种血统性的傲慢,作为当代艺术的游戏规则制定者而一直很难接受其他文化的抽象艺术。
赵要曾经作入选了英国著名公共艺术机构白教堂画廊举办的“黑色方块的历险:抽象艺术与社会,1915-2015”的历史性展览。其中的重要原因,就是他对“抽象”这个概念本身的革命性解释。最典型的在工作室可以看到的例子是他对武汉天河机场的抽象改造。赵要把谷歌地图上搜到的天河机场卫星实拍图,通过数码打印出来,再找到山东一家地毯厂按照这个打印图,用不同色彩的纤维尽量真实地把卫星图编织出来,然后将地毯进行不规则剪裁,继而竖立起来,完全彻底地陌生化,使观者在看到这个竖立的纪念碑式的作品时,完全无法找到其现实根源,但非常迅速地感受到一种跟时空相关的伟大。因为机场集结了上千人之智慧,动用上万人之劳力,是人类遗留在地球上的痕迹。直接运用机场这样的人类社会的集体劳作来进行抽象化,是一种智慧的做法。赵要最新的大课题是寻找人类集体遗留的抽象形式跟自然和社会历史的关系。所以在他的工作室里,我们看到巨大的帆布上沾满砂砾的软雕塑作品,灵感来自带着洞穴的假山石。还有同时跟哈佛智力测试和山体相关的其他织物作品,将要经历宗教的漫长朝圣旅途。如果问赵要他是否是一个宗教信仰者,他会告诉你不是,他是一个抽象表达的信仰者,而最巨大的抽象,关于人类经验和历史的抽象,难道不是跟宗教殊途同归的吗?

2016-09-20 艺术家工作室 刻画

2010-7-25-广州

Great Performance/伟大的表演

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

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.

作品从以上两张图片出发,使用iPad万花筒翻拍之后打印在人造皮革上。把狂欢,暴动,集会,游戏中的各种元素集合在一起构成此次表演。涉及形式与内容,图像与叙事,图像与意义的多重关系。把图像从话语中解放出来,并又回到话语中去。讨论视觉文化在当代社会里面的多重性。《伟大的表演》是作者对形式内容两者关系的又一次集中尝试。利用内容干扰形式并又利用形式消解内容。所以伟大的表演不是针对具体叙事的回应。而是一场面对形式与内容的人文实践

2010-07-25

 广州近一批包括80后年轻人在内的近三千民众,星期天聚集在江南西路地铁站外,他们的口号是“齐撑广州,齐撑粤语”,反对广东电视台以普通话取代粤语播音。当局出动大批公安驱散人群。自由亚洲电台特约记者乔龙的采访报道
In Guangzhou, a group of nearly three thousand citizens, including those born after the 1980’s, gathered outside Jiangnanxilu subway station and shouted the slogan “We support Guangzhou, we support Cantonese” to protest against Mandarin Chinese replacing Cantonese Chinese on Guangdong television stations. A large number of the police force was dispatched to break up the crowd. Reported by Qiao Long of Radio Free Asia (RFA)

 

示威者在伊斯坦布尔的塔克西姆广场2013611日的冲突在路障爆炸后的反应。/路透社
Protesters react after an explosion on a barricade during clashes in Istanbul’s Taksim square June 11, 2013.
Photo: Yannis Behrakis/ Reuters

 

照片4

“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.

视界艺术中心即将推出由 ART-BA-BA流动空间 策划,陆兴华 为学术指导的当代艺术展——“群岛”。 “群岛”由 何岸,丁力,廖国核,陆平原,赵要,张洁白六位活跃的艺术家最新的作品组成。他们分别用绘画,装置,表演等各自熟悉的媒介展现最新的探索。“群岛”是一种群集的岛屿类型,也是一种观看视角。这六位各自不同的艺术家因为“群岛”这个展览汇聚。这正像今天的社会一样,我们的创作有时候像是处在岛屿之中,岛屿有着独立的生态系统,但岛屿之间又相互关联并构成一个更大的生态。其中强调着个人的追求,也无法忽视外部的环境和共同要面对的局面。因此,“群岛”既是一次观看的探险,也是一种展示的姿态。

 

china_china

“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.

Watch the photo gallery of the exhibition

Watch the video gallery of the exhibition

ZHAO YAO: YOU CAN’T SEE ME, YOU CAN’T SEE ME/中文

Post in: Reviews | October 18 , 2012 | Tag in: LEAP 16 | Reviews Date: 2012.06.12-2012.08.12 | Reviews Venues: Beijing Commune

Zhao Yao’s latest solo exhibition, “You Can’t See Me, You Can’t See Me,” is an almost total replication of last year’s “I Am Your Night.” It would be easy to take this exhibition as one-time-only event, a disposable strategy; such an opinion would not be baseless. “You Can’t See Me” is a direct attack on the exhibition system and contemporary art production. It is not particularly fresh, nor is it difficult to comprehend. Its effectiveness is closely related to the present environment. The exhibition can be seen as an active response to the sluggish, pressurized status quo, pronouncing a warning without breaking the rules. Zhao puts a variety of questions on the table, from the issue of newness in contemporary art to the significance of duplication, serving as starting points for deeper discussions. Upon closer inspection, Zhao’s courage lies not in his grievances with the exhibition mechanism, or in the risk of raising doubts and conspiracy theories—well-trained audiences are unlikely to be moved, and anyway, perceptible, surface-level “newness” is not a necessary condition of contemporary art discussions—but in the bold, inward-looking move of putting himself on a point of no return: where can one go from there? This easy escape serves as the starting point for a more challenging artistic journey.

View of “You Can’t See Me, You Can’t See Me,” 2012 Beijing Commune

Of course, no exhibition is truly a matter of life and death, and artists should not imprison themselves within a single logic. Here, the artistic practice of GUEST, a small collective of artists including Zhao Yao, must be considered. As a group, GUEST has been able to conduct many experiments with a certain kind of openness, allowing Zhao to move forward with his own ideas within a dynamic, vigorous process of unceasing action and feedback. But when “action” itself becomes a kind of affirmation, those within it must ask themselves if active participation alone can satisfy their curiosity and conscience. Whether it is the staging of artistic happenings or the production of new ideas, the original “aspirations” often fade away in the name of “action.”

It is worth remembering that “You Can’t See Me, You Can’t See Me” is not a complete reproduction of “I Am Your Night.” Although Zhao Yao has emphasized that the minute differences between individual works are not of great importance, it cannot be denied that the artist has made some small-scale revisions. As always, form—dimension, material, and texture— is important here. After the initial wave of doubts, debates, and arguments wrought by different stances and intellectual games has faded, we can observe with cool heads the transformations of the objects within the gallery. (Upon closer examination, we discover that the transformations are not as minor as we initially believed.) Rewinding to a year earlier, we can consider the artist’s original intentions in positioning these forms within the same exhibition space (as well as the consequent reactions and judgments). We may also weigh the messages concealed within this iteration of the objects—even if whether or not the changes are complete is a topic for discussion in itself. If this exhibition is nothing more than a standalone conceptual experiment, why make formal changes to the objects?

This sense of irresolution may be the most intriguing aspect of the exhibition, which turns out not to be a completely pure and dry conceptual exercise. Zhao Yao’s attitude is not as rigid and unwavering as it seems. Still struggling with whether his work has achieved full formal completion—while producing exhibitions, Zhao has not completely given up on producing artworks—he seems unable to escape the contradiction that arises from the combination of the roles of artist and curator. From another perspective, the legitimate status and respect accorded to the objects in the exhibition space remain inescapable to both curator and artist.

 

Guo Juan (Translated by Daniel Nieh) 

ZHAO YAO: I AM YOUR NIGHT/中文

Post in: Reviews | October 12 , 2011 | Tag in: LEAP 10 | Reviews Date: 2011.06.12-2011.07.31 | Reviews Venues: Beijing Commune

View of “I Am Your Night” 2011 Beijing Commune

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.

Details »

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.”

这是一个长期而有趣的计划。从2008年的冬天开始,在未来一年的时间里,通过乘坐北京大约999条线路的公交车在城市里追逐太阳。用相机尽可能的抓拍下太阳在照片正中心的影像。然后把这些成千上万的照片以每秒9帧的速度播放展示。被动追逐的太阳。永远在影像正中心的太阳与北京这个人民心中的太阳相辉映。在大街小巷穿行踏遍整个城市,体验和感受北京与太阳的春夏秋冬。到2009年11月完成整个计划。

 

 

《短路》—赵要访谈

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。

这个展览更多针对的是艺术界人群,当我们在一个圈子里工作生活,这种惯性的认知就会很强大。赵要的思路已经明确地打开,他会在更大的范围内就“认知与惯性”与观众展开游戏。如果他的游戏让你兴味盎然而来,怅然若失其中,若有所得之后,那么这个艺术实践就成立了。在既有的认知逻辑关系之间建立一种新联系,制造一种新的体验和感觉,从而达到另外一种认识。

赵要在构建这个游戏的时候,是善意的“给”,他一直思考艺术如何对社会有一定的触动作用,他不满足于给观众一个结实窝窝头的效果,也不愿重复再说“吸烟有害健康”。表达一个态度不如给观众一个经验,通过体验达到可能的认识转变。他很看重艺术通过实践的方式,通过构建,引入,游戏的过程,对你产生了怎样的影响,这个影响是否有助于解放思想,跨越障碍,摆脱困境,开放包容地看待这个世界,从而影响行动。

我仍要说,赵要是位出色的形式构建者。初次面对他的展览时,我的兴趣和经验就被激发了,社会与生活的视觉体验和作品碰撞:我感受到时代的焦灼,念头交织成粘稠的欲望,声音琐屑混为热气腾腾的喧嚣,如喷薄的岩浆,浊重四溢,嗡矒垂涎,妖娆而虚无,丰满而不足,都市的霓虹弥漫着春药的气息,鼓胀虚妄滥情的蓬勃。华丽的仪式感后,一片荒谬的苍凉。 Details »

Wa-00428

Ten Thousand Times/一万次

Medium: Video | Singlechannel

Time: 6 minutes 56 seconds

2009

 

For 14 hours, the hand-held camera, kept in a fixed position, tries to focus on the letter “+” composed of four rice grains,continuously shooting 10000 photos, which are played in order with a speed of 24 frames per second. In this video, we can find each small error and displacement among the photos that are seemingly the same. The errors derive from the subtle changes occured in the repetitive action.

在持续的14个小时里,手持相机对准四粒米排放成的一个小十字。尽量保持在同一个位置连续拍摄一万张照片。然后把这些照片一每秒24帧的速度按顺序播放。通过视频把看似一模一样的照片的每个误差依次展示出来。这个误差来自人和人体力的逐渐变化。照相机对焦的“十字”和由生活必须品米组成的“十字”在相互重合与对准的过程里透支着我的体力,最终也就造就了这个作品所需要的这种误差。