Cosmos Black is Spinning Around

Cosmos Black is Spinning Around | 宇宙在黑在旋

金属漆,铝板,太阳能双轴跟踪器,金属支架
metallic paint, aluminum, dual-axis solar tracker, metal stand
尺寸可变 | size variable
起始时间:2016.6.5
一块覆盖了“宇宙黑”的黑色方块被安放在全自动的双轴太阳能跟踪器上面。从此它将仰望苍穹永远追随着太阳运动。宇宙⿊黑是奔驰汽车的191#颜色

A piece of the “Cosmo Black” square was placed on top of the automatic dual-axis solar tracker. From now on it will look to the dome of the blue sky above, always following the movement of the sun. Cosmo black is Mercedes car standard color 191.

 

resized-exhibitions-a-beautiful-disorder-zhao-yao-final-install-2016_07_19_zhao_yao_sculpture_of_thought_010_web-exlg

《很有想法的雕塑》2016/A Sculpture of Thought

A Beautiful Disorder/Jul 3rd – Nov 6th
CASS SCULPTURE FOUNDATION
与《很有想法的绘画》一样从立体形态的角度思考一些艺术的本质问题。雕塑造型同样选自游戏书里面的一个现成图形。这里一切都是现成的——现成的图像,现成的颜色,现成的结构。各种可见的视觉元素和不可见的抽象思维作为创作的基本要素,融汇在一起。通过调动理性经验,材料质感,视觉认知等身体与思想全部的感知方式,形成一种对意义追求的瞬间获得感。 利用儿童滑梯的PVC塑料,把这个图形放大制作成6米高的立体的雕塑置现实的社会环境里面。作品采用模块组合方式组装,把真正儿童玩具的塑料光泽赋予作品,成为作品神圣的光晕。同时以一种轻松又严肃的方式呼应日常生活经验中塑料制品上处处闪烁的这种时代性高光。通过调动艺术经验审美的方式升华游戏的崇高感,而游戏又以一种世俗的直接的感官和趣味的逻辑性对经验的审美认知进行重新审视。
Similar to the A Painting of Thought series, the work contemplates issues essential to art from a three-dimensional perspective. Therefore A Sculpture of Thought and A Painting of Thought have a parallel relationship. The form of the sculpture also adopts directly from brain-teaser puzzles, everything is ready – images, colours, structure. All kinds of apparent visual elements combined with hidden abstract concepts are of essence to the creation of this piece. Through the manoeuvring of rational experience, texture of the material, visual recognition and all aspects of physical + mental sensations, the work forms a sudden satisfaction in pursuit of meaning. The material PVC plastic is widely used in the manufacturing of children’s slides, and the form of the sculpture is blown to 6 meters tall and placed in the reality of our social environment. The installation method also mimics construction toys, further lightens the sculpture with the plastic shine that’s apparent on actual children’s toys – a divine aura of the sculpture. A playful yet serious way of responding to the daily experience of plastic goods and their sparkles as the highlight of their times. The methods of evaluating / appreciating art elevates the position of gaming, yet at the same time the mundaneness and straightforwardness of gaming from both sensual and logical perspectives re-evaluates our aesthetic habits.
A Sculpture of Thought I-192
很有想法的雕塑I-192
Materials: aluminum alloy/铝合金、塑料
plasticSize: 407x116x583cm
2015-2016

III-188a

PAINTING OF THOUGHT/很有想法的繪畫

2015.01.15 – 02.26 | PACE HONG KONG

Written by Zhao Yao

 

Painting of Thought is a very apt and fitting title for these works. The two books that provided the source images for these paintings say the following on their covers:

 

  1. A magical book full of challenging wisdom, geniuses around the world are playing 1000 Thinking Games. Why are Japanese people so smart? An American had a sudden realization that thinking is built through play. (A must read for the never-surrendering Chinese. Nanhai Press, 2005.)

 

  1. Top international thinking games to rapidly unlock your mind’s potential. The 600 thinking games played by all the top students in the world will help you grasp effective methods for enhancing cognitive abilities, heightening powers of observation, analysis, logic, deduction, judgment, imagination, creativity, memory, thinking and action. The more you play, the smarter and more successful you will become. (600 Thinking Games from a century of Harvard students. Huawen Press, 2009.)

 

From the first painting, Painting of Thought has a sense of mission. How do we look at a painting? How do we understand a painting? How do we create a painting? This series approaches fundamental questions of art from the perspective of painting, particularly abstract painting. Unlike conceptual art in the general sense, this series is not expressing certain criticisms or concepts but instead practicing criticisms or concepts. First, everything here is readymade. Readymade images, readymade colors, readymade fabric, and a readymade understanding of painting. Furthermore, these readymade understandings and concepts of painting are produced by these readymade images, forms and materials. This also includes the understanding and ways of thinking about painting produced by existing art history education and artistic experience. The various visible visual elements and invisible abstract thoughts serve as the fundamental elements of creation, just like the colors and brushstrokes of painting, and they are combined together according to an internal logic and order.

Painting of Thought, being constructed atop a purely logical foundation, is both serious and playful. The removal of the playful aspects of the images, and the use of stacked layers of acrylic to build up an aura out of the glossy sheen, are not intended to produce that sacred aura of traditional painting but instead to imitate the radiant sheen of plastic children’s toys. The artist is playing with the sacred aura not to make the profound superficial but instead to use this process to bring the sparkling sheen of plastic, which permeates the everyday experience of contemporary society, into the painting and to elevate it. This, together with thickness and sheen, are integrated and materialized by a purely abstract logic. The aura that busts forth from this is the aura of ideals and abstraction. Meanwhile, this materialized aura is also a form of resistance and balancing against the criticality created by pure reason and abstract logic. These works use this resistance and balancing to transcend painting and criticism, and to return to a more metaphysical level to discuss and practice more fundamental issues regarding art and culture. The relationship that emerges here between criticism and resistance is the dialectic relationship between form and content.

Created using a method akin to a television series, Painting of Thought is a forerunner to the 2013 exhibition Spirit Above All. It marks my earliest creative practice to explore the dialectic relationship between form and content. Painting of Thought is sometimes treated as a series of abstract installations inserted into the system of painting. Just as my other series are constantly created and enriched, this series applies a reverse logic to constantly expand and enrich their meaning and content as it grows continuously.

《很有想法的繪畫》能叫“很有想法”是名副其實,理直氣壯的。這些繪畫圖形主要來源的那兩本書的封面上寫著:

 

1)一本富有智慧和挑戰的、風靡全球的奇書,全世界聰明人都在做的《1000個思維遊戲》。為什麼日本人那麼聰明?美國人恍然大悟,思維是玩出來的。(不認輸的中國人不可不讀,南海出版社,2005)

 

2)國際頂級思維遊戲,迅速開發大腦潛能。全世界優等生都在做的600個思維遊戲,幫你快速掌握提高思維能力的有效方法,全面提升觀察力、分析力、邏輯力、推理力、判斷力、想象力、創造力、記憶力、思考力、行動力,讓你越玩越聰明,越玩越成功。(百年哈佛學生做的600個思維遊戲,華文出版社,2009)

 

《很有想法的繪畫》從第一張開始就是帶著使命而來的。如何看待一張繪畫,如何理解一張繪畫,如何創作一張繪畫。以繪畫特別是抽象畫的角度思考一些藝術的本質問題。它與一般意義上的觀念創作不同,它不只是表述一種批判或者觀念,而是去實踐一種批判或者觀念。首先在這裡一切都是現成的——現成的圖像,現成的顏色,現成的織布,以及現成的對繪畫認識的理解觀念 &更進一步說,這些現成的繪畫認識和理解觀念就是從這些現成的圖像、形式和材料裡面產生出來的。同時還包含了在現有藝術史教育和藝術經驗下產生的對繪畫對藝術的理解和思考方式。各種可見的視覺元素和不可見的抽象思維作為創作的基本要素,就像繪畫裡面的顏色和筆觸一樣,然後按照一定的內在邏輯和秩序集成在一起。

在純粹邏輯基礎上建立的《很有想法的繪畫》既是嚴肅的又是遊戲的。除去圖形本身的遊戲性,用丙烯顏料厚厚堆積起來的光滑表面產生出的光暈,並不是在制造傳統繪畫上那種神聖光暈(aura)而是效法兒童塑料玩具高光部分散發出的那種光澤。把神聖化的光暈遊戲化並不是要把深邃的思想淺薄化。而是通過這個過程,把當代社會日常經驗裏到處閃爍著的這種塑料光暈帶入畫面並使其昇華。這個和厚度和光澤是純粹抽象邏輯集成到一定程度並物質化後爆發出來的光暈,是理想與抽象的aura。同時這個物質化的光暈是對純粹理性和抽象邏輯組建的那些批判性的抵抗和平衡。通過這個抵抗和平衡來超越繪畫和批判,回到更加形而上的層面討論和實踐藝術與文化裡面更本質的問題。此時批評和抵抗展現的關係,就是形式和內容的辯證關係。

作為像電視連續劇一樣的創作方式。《很有想法的繪畫》系列還是2013年《精神高於一切》那個展覽的前身。是探討形式與內容辯證關係最初的創作實踐。《很有想法的繪畫》還被當作一個放入繪畫系統裡面抽象化了的裝置。在其他系列不斷的創作和豐富下,從一種反向逆生邏輯對其意義和內容不斷擴充和豐富,不斷地生長著。

 

万物有形

The Armory Show /纽约军械库艺术博览会 2014

 Private View: Wednesday, 5 March 2014, 2pm to 5pm (by invitation only)
Vernissage: Wednesday, 5 March 2014, 5pm to 8pm (by invitation only)
Public Days: 6-9 March 2014

Zhao Yao’s diverse practice incorporates installation,painting, video, photography, and other media. With a conceptual rigor, wry wit, and critical imperative uncommon for an artist his age, Zhao’s artwork reects on and deconstructs modalities of production and dissemination within contemporary art.

For Armory Focus: China, Beijing Commune will present a set of new works from Zhao’s series “A Painting of Thought”along with a new installation piece The Form of the Ten Thousand Things . “A Painting of Thought” appropriates the visual language of brainteasers to form quasi-modernist painting installations on found fabric. A more direct translation of the series’s title is “Very Clever Painting,”hinting that the artist is not merely interested in the abstract aesthetics of mental puzzles, but also in the individual and cultural constructions of meaning, by both artist and viewer, that mediate the experience of art. The tongue-in-cheek name of the series may refer to the tendency among audiences to “decode” and reduce artworks into packaged, easily digestible messages.

Zhao’s new installation piece The Form of the Ten Thousand Things inspires its title from renowned East Asian art historian Lothar Ledderose’s book Ten Thousand Things. The book describes modular systems of cultural production in ancient China, that is, the production of objects and cultural systems out of standardized parts. For his piece, Zhao takes as his medium die-cutting molds used in printing. The artist is interested in the metaphorical implications of these molds, which embody a peculiar conceptual duality of form and formlessness, abstract concept and physical product.The plating of the metal and imitation monumental appearance of the work imply a sense of reverence, though not without skepticism.

北京公社诚邀您莅临我们在2014军械库艺术博览会 “军械库焦点:中国” 单元的548展位。此次军械库艺术博览会,我们为大家呈现艺术家赵要的最新作品。  赵要的创作涵盖了装置、绘画、录像及摄影等多种媒介,富于观念的思辨性。赵要有着丰富的视觉及信息储备,他对于这些知识的判断和处理能力部分体现为其自觉性反思。在一个包罗万象、信息迅速传递和冲撞的世界当代艺术的环境中,赵要的作品用充满机智和幽默感的方式对艺术的展示及创作机制展开了一场内省的、反思的实践。在此次的“军械库焦点:中国” 单元中,北京公社将呈现赵要《很有想法的绘画》系列作品的新作及由此延展出来的新的装置作品《万物有形》。《很有想法的绘画》系列作品表现赵要对于观众在艺术的形式、美感经验、观念与认知的探索。艺术家给作品提供一定的线索,同时又不直接表态,为这个对话带来一个开放的平台。在这系列的绘画中,赵要以带有几何花纹的现成纺织布料作为画布,撷取智力训练书籍中的图案为画面内容,以这种是似而非的“抽象”的形式试探和挑衅着观众的视觉经验并以此引发观众对自身审美认识形成过程的反思。他用强烈的画面吸引观众,希望借由形成画面的元素(各种不同目的和功能的现成图案)诱导观众到达绘画形式背后的观念。

赵要的最新装置作品《万物有形》的名字来源于雷德侯的书《万物》。该著作从各个角度讲述中国古代社会的模块化的结构组成,呼应了艺术家一贯爱用的用现成“结构”(或“样式”)为形式的创作以及这种实践中暗含了对某种现有机制的反思。赵要选用印刷上会使用的刀模为媒材,在形式上艺术家看重的是刀模在有形与无形、抽象与商品之间这种具体和抽离的关系。“刀”是一种带有心里和直观感受的体验形式,而“模”则是一种高度抽象化的一个形式概念理解。模具现成品的部分镀金与作品仿照纪念碑式样的外观都暗示着一种崇高性。赵要将它看做是一个利用审美形式来处理人与形式、形式与社会属性之间关系的探索过程。

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。

 

A Painting of Thought I - 171

A Painting of Thought I -171
acrylic on found fabric
148 x 130 cm
2013

A Painting of Thought series/很有想法的绘画

2011 – ongoing

This series of paintings is about the practice of painting. Flat geometric shapes are painted onto found fabric; its absolute and contrasting colors allow one to associate the painting with typical abstractions. These paintings are not derived from any set of aesthetics nor are they explorations of certain ideology. Instead, they serve as a disruption to this form of understanding. The graphics that seem to have some sort of meaning are borrowed from logic or math challenge diagrams in puzzle books. Only colors are added to the graphics to produce paintings that circulates into the system of paintings.

这是一组关于绘画的绘画。在各种现成的的纺织布上,平涂抽象的几何图形,通过色块纯度较高、对比强烈的外观让个人先验地将作品与常规意义上的抽象绘画联系起来。但是它绝非来源于自我的美学趣味或对形式语言的探索,而是对上述创作和解读方式的破坏。这些看似颇具意味和情节暗示的图形来自一本名叫《全世界聪明人都在做的1000个思维游戏》系列丛书。随机抽取了里面关于数学题或逻辑的思维训练题中的图示,并按照原样绘制涂色,没有对这些题做任何修改。整个系列绘画被当着装置置入绘画系统之中。

 

Details »

Zhao Yao:Spirit Above All/精神高于一切

Feb 12, 2013 – Mar 16, 2013

6-10 Lexington Street, London, W1F 0LB

12 February – 16 March 2013

Opening: Monday, 11 February 2013, 6 – 8 p.m.

Pace London is pleased to present Spirit Above All, the first solo exhibition in the UK by the conceptual Chinese artist Zhao Yao. Spirit Above All will be on view at 6-10 Lexington Street from 12 February to 16 March 2013. The exhibition is a collaborative project between Pace London and Beijing Commune. Spirit Above All features seven new works created by Zhao Yao in 2012 and marks the first time that he has contextualised his paintings with photographic backdrops in a gallery. The exhibition features abstract geometric compositions painted in black, white, and grey on pieces of denim, a material that is recognised for its durability. Once completed, the artist brought the artworks to Tibet to be blessed by a “Living Buddha”, a reincarnation of a previous Buddha according to the Buddhist religious doctrine. Zhao Yao documented this process through photographs of the Tibetan landscape, which not only provide backdrops in the gallery but will also be presented in albums for visitors to look at while seated on the straw mats that form part of the installation.

Details »

Zhao Yao: You Can’t See Me, You Can’t See Me /赵要:你看不见我,你看不见我

June 12 – August 20, 2012 | Beijing Commune, Beijing, China

“You Can’t See Me, You Can’t See Me” is a continuation of Zhao Yao’s solo exhibition from 2011, which opened on the same day in the same month this year. The paintings and installations showcased are reflections of time and space through a déjà-vu-esque approach re-examining the validity and meaning of an exhibition. This show features reproductions, enlargements, and scaled-down versions of works from the previous year. In addition, few pieces from the prior show are borrowed back from collectors to be included in the 2012 show. Zhao deliberately intertwines the relationship and roles of artists, viewers, gallerist, and collectors by presenting these works
together in this show.

2012年6月12日开幕赵要个展“你看不见我,你看不见我”,这是继他去年同日在公社首次亮相之后的第二次展览,将展出其最新的绘画和装置作品。同一时间、同一地点、同一个人,但相隔整整一年——这段距离意味着什么?诸多细节提示观众这是一个针对“展览”的展览:它由时间、空间的呼应重叠,似曾相识的布展方式,包括具有视觉侵略性的作品所共同构成。不同于常规展览对结果的展示,“你看不见我,你看不见我”的出发点在于重新审视展览的意义和有效性,破坏艺术家与观众之间通过一次次展览而建立的简单的对应关系。赵要试图让观众彻底放弃对展览的想象,以便让艺术家从观众的欲望需求中逃离出来;彻底解放自我创作,并且更加不受约束。对一个已知展览的“再次制作”是一种态度或价值观,在这一过程中必须克制强烈的、按捺不住的创造力,它像是黑洞或漩涡一般试图将艺术家的工作卷入其中;用赵要自己的话来说,即“创作的动力常常只是在欲望的惯性当中滑行”。但他同时也对所谓的“创造力”、以及整个社会对其不切实际的追求持怀疑态度。这种矛盾的姿态往往隐藏着对自我的否定。此次展览中的作品主要来源有四:一是将“我是你的黑夜”(北京公社,2011)中展出的作品换一种材质翻制;二是把作品在其原有基础上等比放大数倍、或不等比压缩;三是从藏家处协议借回作品参展;四是直接使用原作品。艺术家、观众、画廊和藏家被这四种方式重新拽回并纠缠在一起,在现实意义上完成了对去年展览的再消费,也同时开启了今年展览的观念之门;此次呈现不仅仅是上一次的提升和延续,更是一个完结。在形式不做过多变动的前提之下,赵要很有耐心地试探观众的反应:你们是否能仍获得新鲜感?是否仍能体会到创造力的存在?在这里,观众并不是被动地与作品相遇,而是与艺术家共同经历和改造记忆。

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。

 

 

Zhao Yao: I am Your Night赵要:我是你的黑夜

June 12 – August 20, 2011 | Beijing Commune, Beijing, China

Beijing Commune is pleased to announce the opening of Zhao Yao’s solo exhibition “I Am Your Night” on June 12, 2011. The show will last until July 31, 2011. The first solo exhibition of Zhao Yao at Beijing Commune, the artist is showing a series of installations and paintings lately produced.

This exhibition differentiates itself from today’s common idea about the exhibition system. Taking the viewers response as a part of his strategy, the artist explores into the forming and communicating of a concept in a seemingly ridiculous way. It can be regarded as a question or the starter of a discussion: in an exhibition system composed of a series of established concepts, does “interpretation” serve, in fact, as an access to the information or the barrier? 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。

 

 

Smile-01

51㎡:3# 赵要

2009.12.12 – 2009.12.26

策展人:唐昕,苏文祥

 赵要在他的到目前为止并不算长的艺术经历中,曾一度沉迷于摄影。那是一门将物质和形象如何留驻的技艺,通过对它们的定格以及曝光和显影,得到人们关切的图像。不过,从艺术家开始留意平板扫描技术起,就注定了他并不能成为一个老实的摄影家,他通过摆弄静物随扫描头一起运动,最终创造出那些静中兼有运动痕迹的作品。正是这一探索过程给于自己超越传统关注的鼓励,赵要逐渐开始扩大了自己的兴趣范围。在一系列新的装置作品中,他不再关注像摄影术那样如何显现一个形象,而是让它们如何在作品中沉默,或者退隐,甚至消逝。那些被打磨的发亮的硬币,在去除得以标立国别与价值的形式之后,只留下更本质的基础的形状;花花绿绿的纸币上除了微笑的人物形象,其它区域一律被铅笔涂成死黑;如此,如硬币上抹除了图案只留有形象的对比,这些人物仿佛共处在一个更加公平安静的平台。还有将每天接触到的数字信息用彩色记号笔书写在长长地布条上,每一段长度的色彩即是对生活的丈量。而另一个,间或跳动的时间机器据艺术家说其规律来自网络聊天室,分秒的停顿背后饱含了大量的话语与倾诉的愿望,只是主体不在,仅剩有空洞的数字。