赵要:它就是对“崇高”进行解压缩的一次过程

2016年11月23日,一幅长116米宽86米大型画布从青海省玉树藏族自治区州囊谦县白扎乡的摩耶寺山脚下开始了一段“爬坡”的征程。作为赵要2012-2013年曾在佩斯伦敦展出的同名项目“精神高于一切”的延展,这次的“晒布仪式”是艺术家从城市经验出发,对“精神性”和“崇高性”的一次再探索。而把地点放在了海拔近5000米高的山顶无人区,通过仁波切和当地200多人的共同协作将这一尺寸接近于巨型唐卡的“画”在荒芜的山坡表面缓慢铺开,赵要认为这是一种做作品的反向过程,不再是将所有的探索浓缩在一个作品里,而是像把压缩包一个个打开,把里面的各种意义、想法在过程中呈现在眼前。

2017年1月4日,曾尔尕山,多尕喇嘛在察看作品

ArtWorld: 能否先从这次的项目出发,谈谈“精神高于一切”这个名字与之前项目的关系?

赵要:2016年开始的《精神高于一切》项目本是那场2012-2013年在伦敦“精神高于一切”展览的延伸和发展。当时展出的作品主要也是《很有想法的绘画》,但之后我想改变一下这些绘画的体验感,所以就想到了跟宗教进行结合。宗教这个东西就是你可以怀疑它,但不能完全否定它。所以,我就把那批同样现成游戏的图案,用黑白丙烯画在了牛仔布上,大概有6、7件的样子,然后运到了青海玉树囊谦的寺庙那里。那是在2012年的冬天,当时玉树也地震完,用卡车运过去的过程比较艰苦。当时一套完整的作品其实包括有墙上的黑白寺庙照片,它们很能符合我们对于精神性的想象,而画就挂在了照片上。这是一个影集,是按时间排序展示慢慢一路过去的场景。这三样东西东西合成了一件完整的作品。

那时候是比较小型的一次展示,是对于绘画具体理解的一种表现方式,为它注入一种“崇高性”的能量。我觉得藏传佛教的加持比所谓的开光,更包容一些。

ArtWorld:那到了2016年准备做《精神高于一切》的时候,是怎么选定摩耶寺作为实施的地点?之前有做了哪些考察工作吗?

赵要:主要是有几个方面的原因。一方面我和当地的关系比较熟,所以方便和他们说我的想法。同时,摩耶寺本身有一幅很大的120米 x 80米的唐卡,所以我就参考了唐卡的尺寸,做了一个差不多大小的作品(出于对宗教信仰的尊敬,稍微尺寸小了一点点),而摆放的地方就选在了摩耶寺附近的山顶无人区。第二是在实施方面,因为当地村民都有晒唐卡的经验,所以中间过程中该怎么做,如何固定、照顾画布,就完全利用他们的现有的经验在实施。这个项目本来就和囊谦当地的人文历史背景有关,所以他们也可以作为一种元素加入进来。

ArtWorld: 在这几个月里,你和当地村民的沟通是怎样的?需要做什么特别的解释吗?

赵要:我是真实的想法告诉了仁波切,包括我怎么想的、怎么认为的,然后由他再告诉村民们如何帮我实施这个事情。我并不觉得这件作品本身是要讨论宗教或是西藏什么的想法,更多的是关于我们当代艺术自身、关于我们长时间生活在城市里的人是怎么去看一件作品,怎么理解一件作品,怎么看一件作品里面的崇高性。通过城市里的人与宗教的这种远距离所产生的神秘感,成为了一种元素加入到里面来,对我们形成的影响。

而对于当地人,他们就知道我做了一个很大的布的东西,要放在他们的无人区雪山顶上,时间是在16年冬天的11月到第二年,这正好也是他们没有农活儿干的时候。村民一般在这个时候也会去念经、修行或者步行去拉萨,在山上闭关等。当时比较巧的是,作品运过去的时候囊谦县城一个寺庙正在举行大法会,大概有十几万人参加。大法会也会请周围很多仁波切来那里和囊谦的喇嘛集体念经。当时,我就用这个机会把我的布也运过去请他们念个经,也顺便加持了我的作品。正因为有了这个加持,当地人觉得它被赋予了宗教力量,因此就更看重我的作品了,说着说着就把它当成了真的唐卡来对待。

2016年10月26日,作品《精神高于一切》运抵卡则村

ArtWorld: 从这次“精神高于一切”项目的视频片段来看,对于没去过青海的人来说,那些地貌特征、村民在搬运画布的人类活动和周边大片渺无人烟的荒凉地所形成的对比,确实将一种远方的神秘感调动了起来。

赵要:这件作品主要是从一个以城市经验为主的人的角度来看,是如何想象它的。我把画放在那里,是接受了宗教和大自然的双重加持。实际上当时的情况是,这块布放在海拔大约4800米的雪山山顶无人区,而它一定是要放在一个大斜坡上。当时是在冬天,所以必须要放在向阳面,而它周围的石头就和月球表面一样坑坑洼洼。西北的“沧桑感”、“荒凉感”,这种不自觉会感觉到的东西,就会在那里出现。然后它所在的环境是一个长长的峡谷,大概有十几、二十公里长,从山下开车上到山顶至少要40多分钟。

山的对面正好就是摩耶寺,寺庙据说已经有1000多年历史,但现在留下来的建筑大多是新修建的。上山的路上有一条是以前老的茶马古道,所以人们当时会在山上刻一些经文,现在看到的有一些隐隐约约的是老的经文,有一些彩色的就是新刻上的。快到寺庙的时候,那里还有三个很大很大的白塔,中间还有一些旧了的经幡。所以要穿过这样一个既有自然又有人文景观的峡谷才能到山顶看到这幅画。而且画上那条白线的位置,在它的下面则正好有一条河流过。这实际上是个很综合的考虑,也很巧。大自然那种荒漠的情绪,会点燃久居城市里的人的某种情绪,潜藏在内心深处。无论是由教育还是其他经历所得,都会埋进你的心里面。

ArtWorld: 对于你自己来说,这样一个项目做下来自己会有什么不一样的体验吗?和以前不同的感受?

赵要:我最大的感觉就是城市现代文明随着逐步往山里走,就是在逐步减弱的感觉;而如果你从山里往外走,就有一种不断增强、逐步世俗化的过程。从囊谦到玉树(玉树已经有飞机场了)再到西宁,然后飞到西安再到北京。这样一路飞,你就能感觉到空间上的一种差异感。整个过程里面,你会发现在囊谦那边,他们所在意的东西和城市里面的人所在意的东西完全不一样。

我觉得比较明显的感受就是在城市里,我们不断在强调自己的自我性,包括很多艺术创作都会从自我中出发,产生很多视觉上的语言或者其他什么的,但在他们那边这种自我性被减弱到令我很惊讶的地步,这种物质层面的要求性也会降得很低。如果你去村民家看的话,那里可能连一个沙发都没有,可能县城有些不同,但村里就是这样的环境。这样的感受并不是只有做作品才能必然获得的,也许你只是通过观察也能获得。这个项目本身就是反映城市经验的创作,所以在实施时我也更带有目的地去观察和创作。

ArtWorld:去年5月的时候,这幅画就从囊谦收回来了,然后你也会在城市里找个地方把作品再“晒”一次吗?

赵要:对,因为我觉得这幅画经历过这些后,像是在一个山里修行闭关完后重新出来了,而它就具有了某种所谓的神秘性和崇高感。我希望的是这幅画能在一个很繁华的、世俗的城市背景下,然后找一天铺开让城市里面的人围观。毕竟在经过那种几个月的风霜雨雪后,这幅画的整个颜色开始褪去,就很漂亮。实际上我认为这种漂亮,是绝大部分城市里的人会认为的一种很柔和、带有时间感的那种漂亮,比如红色已经变成了粉红色。

ArtWorld:所以这幅画在城市展出的时候,你会保留所有那些自然在这幅画上的作用,以运回来时候的原始状态出现?

赵要:对,基本上是保留了,但有些破的地方他们收下来的时候都已经帮我缝好了。因为实际上在他们的意识里面,这个被加持过的布是不能破破烂烂的,要把它给修好才行。而我们认为那种破破烂烂,好像是带有了一种沧桑感和精神感。我觉得在这个作品里面一直有个很大的挑战,处处都充满诱惑,会容易把你就诱惑到不知道一个什么地方,而这个时候你就要面临怎么去选择。如果纯粹从一个城市人的角度来讲,你应该保留这些破掉的部分, 但如果抽开我们日常习惯性的思路来说,在当地村民眼里个东西就不该是破破烂烂的。

后来我仔细想,如果要简单归结这个作品的一个依据,它其实就更像是一个解压缩的过程。有时候,创作作品更像是我们要把很多东西浓缩到一个作品里,像压缩包一样把所有东西打包。但是这件作品我觉得它恰恰更像是反过来的。因为它一开始就像一张白纸,上面画着游戏图案,很虚无的一个东西。随着它不断经历这个过程,就不断地衍生出各种意义、想法。所以,它就像对精神这个词,或者说“崇高”这个东西进行解压的过程。解压后,你点到这个文件夹里面看,发现原来里面有那么多各种元素和内容,慢慢浮现在眼前。

2016年11月23日,曾尔尕山顶,作品《精神高于一切》展开现场

ArtWorld: 在这之前,你自己本身对西北有一个什么想象和预设吗?

赵要:其实我对西北本身没有一个太大的想象。我本身出生在四川,也在那里上大学,所以跟藏区一直有一种很近的关系,也去过很多次,感觉就像邻居一样。而且从身边的人聊天、生活习惯等等,或多或少都对那里有些了解。我在2007年的时候就去过摩耶寺一个月,认识了现在的仁波切。他当时有一个坐床仪式,举行了一个规模很大的法会。 当时没有想过要做作品,但随着了解越来越多,后来慢慢发展出来了一个个实施的过程。

其实我觉得自己创作里面有一个特点或是说一个方法。我不太强调个人的特殊性和特殊经验,而是可能更愿意从一个普通的角度找到一个集体性、一种共性,通过把这些共性组合起来,在最大程度上产生一个共同的反应。比如说所有人对西北的这种想象,我觉得应该都是差不多的,像是看到山上石头的那种荒芜感等等。而我觉得作为普通人的一个基准,他的反应也是差不多的,对西藏的这种想象和感受也是差不多的。我尽量找的是最普遍性的东西,然后把它们全部组合在一起产生一种体验。我觉得只有在这种角度下产生的这种体验感、这种穿透力或者感受力可能才会更强烈一些。

ArtWorld: 这件作品之后,你还有创作一些类似相关作品的想法吗?把这种“寻找”继续下去。

赵要:应该会的。因为在实施的过程中认识了很多人,也因为它的缘故跟很多人也更熟悉了。我觉得(之后的作品)不光是晒画、晒布,应该是和整个这种仪式感和想象都是相关的。比如说像这次在OCAT上海馆的那个展览上,我放了一块石头。我们现在已经把很多东西进行了图像化,所有看到那块石头、对西藏有所了解的人第一反应都应该是玛尼石。但实际上它并不是。我是请那边刻玛尼石的师傅用他们的石头和方法把“精神高于一切”几个字翻译成藏文,然后直接刻在上面。所以说那个藏文翻译出来的意思也是“精神高于一切”。

但实际上这句话不管有没有错误,至少听上去都特空洞。我觉得这很适合给一个没有信仰的人,把它拿回家放在家里。玛尼石本身它也有分祝福的,有诅咒的,你也不能随便拿,很多人拿完心里还有负担,觉得这个东西能不能放家里。或者说我并不是一个信佛之人,我能不能放一个藏传佛教的东西在家里。但实际上如果我通过这种方式做一个改变,好像它就能适合所有人。而且最关键的前提是我们实际上已经把很多东西图像化了,没有人会仔细去看文字的意义。

《艺术世界》谭昉莹|采访整理

2018年3月  327期

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COSMIC WONDER

Zhao Yao, The Power of Nature, 2016–18. The Workers’ Stadium, Beijing. Photo: UCCA.

EARLIER THIS MONTH, the artist Zhao Yao experienced what it’s like to be a pop star, preparing for a one-show-only event at the Workers’ Stadium in Beijing. Built on the tenth anniversary of the new China in 1959, the stadium has been a cultural and sports center for the past six decades, accommodating various activities, but mostly football games and pop music concerts in recent years. It’s also surrounded by the most popular nightclubs in Beijing.

To the stadium, Zhao brought his 108,000-square-foot painting, The Power of Nature. Think of it as a massive rug made of cloth and fabric, on which are abstract patterns that are typical to Zhao’s long-term painting practice. (He’s known for appropriating colorful but intricate pictures from brain-teaser books in his paintings.) At 6 AM on May 18th, Zhao and some fifty people from his team loaded the rolled work in and unraveled it in the football field.

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Three leading artists explore the complex notion of a multi-ethnic national identity in post-globalization China
BY COLIN CHINNERY

While I was writing this article, in February 2018, the artist Zhao Yao received permission to rent the iconic Workers’ Stadium in north-eastern Beijing for one day in May. His intention was to show an abstract composition on fabric, measuring 116 × 86 m, which was produced in 2016 and initially displayed 5,000 m above sea level on a mountainside in Qinghai province on the Tibetan Plateau. Independently, last October, Zhao Zhao brought a camel and its keeper from the far western region of Xinjiang to Tang Contemporary Art in Beijing. His exhibition, ‘Desert Camel’, was a coda to the major work Project Taklamakan (2015–16), for which the artist transported a functioning refrigerator to the middle of the Taklamakan Desert. Zhuang Hui, meanwhile, has been visiting the Qilian Mountains in Gansu province for the past seven years,  exploring the geography and culture of the region through photography, video and installation. All three artists live and work in Beijing, yet have spent years working on  projects relating to the far west of China, a region loaded with historical and political contention.Gansu, Qinghai, Tibet and Xinjiang collectively form the great western flank of modern China. Consisting largely of impassable mountains and inhospitable deserts, these vast regions represent about 40 percent of the country’s landmass but house only four percent of its population. Areas of vital strategic importance to modern China, they are also home to peoples with their own ethnic and cultural identities, which frequently clash with Beijing’s objectives. Consequently, it has been an important part of modern Chinese politics to develop the notion of a multi-ethnic national consciousness.

Zhao Yao, Spirit Above All, 2016–17, project documentation, Nangqian County. Courtesy: the artist

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PLAY

LU PINGYUAN, SHANG LIANG, ZHAO YAO

2018.05.12 to 2018.06.23MadeIn Gallery, No 106, 2879 Longteng Avenue, Shanghai

“Man plays only, where he in the full meaning of the word is man,
and he is only there fully man, where he plays.”

—— Friedrich Schiller

MadeIn Gallery is pleased to present “Play” an exhibition showcasing new paintings and sculptures by Lu Pingyuan, Shang Liang and Zhao Yao. In this exhibition, three artists’ works commonly share a spirit of lightness and playfulness, bringing aesthetics, concepts and art into the field of game. As a method for the observation of art, game arises in the gallery space.

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The Power of Nature:

A Ten Thousand Square Meter Painting in Beijing

自然的力量:一万平米作品在北京

2018.5.18

工人体育场

Workers’ Stadium

 

尤伦斯当代艺术中心(UCCA)携手艺术家赵要,于2018年5月18日在北京工人体育场呈现艺术项目“自然的力量:一万平米作品在北京”。此次项目将呈现艺术家历时三年完成的10, 000平米大型装置作品:艺术家将这件长116米、宽 86米的大型装置作品置于人迹罕至的自然环境中,经历半年的风吹日晒后撤下并回收展示。这是作品撤回至城市后的首次展示,是作品最重要的发展和全新的延续。

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赵要:它就是对“崇高”进行解压缩的一次过程

2016年11月23日,一幅长116米宽86米大型画布从青海省玉树藏族自治区州囊谦县白扎乡的摩耶寺山脚下开始了一段“爬坡”的征程。作为赵要2012-2013年曾在佩斯伦敦展出的同名项目“精神高于一切”的延展,这次的“晒布仪式”是艺术家从城市经验出发,对“精神性”和“崇高性”的一次再探索。而把地点放在了海拔近5000米高的山顶无人区,通过仁波切和当地200多人的共同协作将这一尺寸接近于巨型唐卡的“画”在荒芜的山坡表面缓慢铺开,赵要认为这是一种做作品的反向过程,不再是将所有的探索浓缩在一个作品里,而是像把压缩包一个个打开,把里面的各种意义、想法在过程中呈现在眼前。

2017年1月4日,曾尔尕山,多尕喇嘛在察看作品

ArtWorld: 能否先从这次的项目出发,谈谈“精神高于一切”这个名字与之前项目的关系?

赵要:2016年开始的《精神高于一切》项目本是那场2012-2013年在伦敦“精神高于一切”展览的延伸和发展。当时展出的作品主要也是《很有想法的绘画》,但之后我想改变一下这些绘画的体验感,所以就想到了跟宗教进行结合。宗教这个东西就是你可以怀疑它,但不能完全否定它。所以,我就把那批同样现成游戏的图案,用黑白丙烯画在了牛仔布上,大概有6、7件的样子,然后运到了青海玉树囊谦的寺庙那里。那是在2012年的冬天,当时玉树也地震完,用卡车运过去的过程比较艰苦。当时一套完整的作品其实包括有墙上的黑白寺庙照片,它们很能符合我们对于精神性的想象,而画就挂在了照片上。这是一个影集,是按时间排序展示慢慢一路过去的场景。这三样东西东西合成了一件完整的作品。

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A Painting of Thought I-542 | 很有想法的绘画 I-542

A Painting of Thought I-542 is a work that is composed of three paintings. As a further step in the development of A Painting of Thought, brand-new texture and pattern are added into color blocks of high-purity acrylic, which triggers reactions to “the marbled” as a collective aestheticism on different cultural and cognitive levels. The reactions are then taken into the work as a part of the experience. The mass-produced, ready-made fabric and patterns in the same batch but in different colors are used repeatedly in the work, which demonstrates the “systematization” in industrial products that is transformed into an aesthetic move. The pattern of “thinking puzzle” duplicates itself for multiple times on the fabric and is applied to the fabric in the same way. The “undifferentiated” aestheticism presented by the “systematization” of mass production is carried into the experience of the work. The halo of the thick acrylic colors imitates the gloss of the highlight of children’s plastic toys, through which process the gloss of plastic products in the everyday experience of contemporary society is put into the painting and is transcended. A Painting of Thought is both serious and playful.
 
A Painting of Thought I-542
Each 180 x 200 x 8 cm, 4 paintings in total
Material: Acrylic on found fabric

简介: 全球青年文化之声 | www.vice.cn | 微博@VICE中国 |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。

向雪山搬运一万平方米

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【预告】赵要最新10000m²大型装置”精神高于一切”11月23日即将呈现

2016.11.23 Spirit Above All

10, 000-square-meters work

Will be on display here

On November 23, 2016, Zhao Yao’s latest large-scale art work, Spirit Above All, will be carried out at Moye Temple in Baizha at Nangqian County, Yushu autonomous prefecture, Qinghai province. The 116-meter-wide-and-86-meter-long work is the continuation and development of Zhao Yao’s 2012 work of the same name, Spirit Above All. After more than two years’ preparation and production, the work has been successfully transported to the mountain of Moye Temple at the end of October. With the assistance and support of the temple and Chakme Rinpoche , the work will be carried to the snowy summit by more than 100 local villagers and then unfolded there, almost 5000 meters high above sea level. Selecting patterns of thinking puzzles from the series A Painting of Thought and employing large-scale Tibetan Thang-ga cloth sticker technique, the new Spirit Above All is produced according to the size of Thang-ga at Moye Temple (120×80 meters). The 10, 000-square-meters work will be installed at the mountain top, alongside the existing Buddhist sutra streamers, white pagoda, and cliffside murals in the valley, echoing the local natural and cultural environment. The work will be exposed to natural environment for a whole winter and then be collected and displayed. The project aims to establish multiple cultural projects via local cooperation under the theme of “drying painting”. Meanwhile, various changes of the work will be monitored and recorded, throughout which process the work will accept and welcome visitors continuously.

Please stay tuned! Details »

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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。
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赵要 |最后一个鸡蛋  ZhaoYao |The last egg

赵要谈最后一个鸡蛋

现居北京的观念艺术家赵要一直关注艺术形式背后起决定作用的诸多因素本文中赵要讲述了此次在北京公社最新个展最后一个鸡蛋的整体构想以及艺术在当代社会中如何通过对信息的调度和再处理成为捕捉和改变集体意识的有效载体展览将持续到108

我一直觉得在我的创作里没有什么个性可言所谓的特点个性其实是通过分析集体意识里的现象我称之为信息再对其进行重新加工再造而形成的而这种特点也是外部集体对所有这些东西重新审视之后产生的认识具体到这次展览我们花了大半年的时间制作一种人造蛋壳涂料试验了很多次最后在一名树脂化工专业的教授帮助下确定了现在的这个配方蛋壳涂料涂在第一个展厅的四面墙上但有特定的图案”。这些图案实际取自各行各业用来做数据分析的曲线图我选了波动比较大的7-8张图拼成一圈从形式上看这些锯齿状的起伏线很像剥开的蛋壳加上涂料的颜色一进门就会改变观众对白色墙体的印象让原来展厅的白墙看上去很有营养像鸡蛋的蛋白整个展览强调的也是这种调度关系作为生命和营养象征的蛋壳与作为理性分析工具的曲线图结合在一起能够引导出我们内部的很多情结无论是对自然的潜意识欲望还是对理性的依赖这跟我最近在四方美术馆展出的作品宇宙黑在旋转》(2016)有一定联系作品中铝板上涂的黑色颜料是奔驰汽车的一款喷漆这么工业化的原料却被叫做宇宙黑”。不光是奔驰所有国产车进口车都有类似的颜色命名系统我觉得这在某种程度上揭示了我们内心对大自然或风景的一种潜意识欲望或抽象认识那件作品比较有意思的一点是,“宇宙黑这个名字跟天空以及整个装置仰望天空跟随太阳的动作之间永远处于某种循环关系中这次的作品同样如此一方面我们需要用曲线图这种理性工具去总结过去分析未来获得某种可控性而另一方面蛋壳的易碎特质永远是不可控的就像用这种涂料涂墙你不可能控制得了最终呈现的效果总有意外发生墙面总在不断剥落

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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.

 

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《很有想法的雕塑》2016/A Sculpture of Thought

A Beautiful Disorder/Jul 3rd – Nov 6th
CASS SCULPTURE FOUNDATION
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.
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邱文宝 /Voon Pow Bartlett    翻译:姚青

原文载于: Yishu典藏国际版July/August 2015, volume 14, number 4. P28-43.

黑色方块的冒险:抽象艺术与社会1915-2015,于2015年1月15日在伦敦白教堂美术馆(Whitechapel Gallery)对公众开放。白教堂美术馆的新闻通稿称其为“一场意义重大的新展览,梳理着从1915年至今一个世纪抽象艺术的脉络……”1展览的目的在于“重新审视”艺术、社会和政治之间的关系,给几何抽象艺术之进化带来新认识。展览的一百多件作品来自80位现当代艺术家,其中一些艺术家更是享有跨国甚至洲际知名度,例如俄罗斯的卡西米尔·马列维奇(Kasimir Malevich)——这在他著名画作黑与白至上主义组合(Black and White Suprematist Composition, 1915)诞生一百周年之际也就不足为奇了。其他如雷贯耳的大名还有:亚历山大·罗德琴科(Alexander Rodchenko),卡尔·安德烈(Carl Andre),丹·弗拉文(Dan Flavin),罗斯玛丽·特洛科尔(Rosemarie Trockel),特奥·凡·度斯堡(Theo Van Doesburg),皮埃·蒙德里安(Piet Mondrian)。展览使用了美术馆两层楼的绝大部分空间。为我们展现了结构主义艺术从兴起之初在俄罗斯与欧洲作为先锋艺术的革命性开始,到2015年遍布世界各地的漫漫过程。其中包括了中国、中东和南美。

对馆长伊娃娜·布雷兹维克(Iwona Blazwick)来说,抽象艺术是“是进步地平线上的岬角。它在研究上的空白意味着令人兴奋的未知元素和充满想象空间的多重可能”2在早期几何抽象艺术提议与“新型社会组织”建立联系的基础上。新闻通稿说明了本次展览的四个主题归纳如下:1)“乌托邦”,想象了一个新的超越等级和阶级的理想社会;2)“建筑学”,展现了抽象艺术如何加强社会转型的空间;3)“传播”,观察了抽象艺术调动彻底改革的可能性;4)“日常生活”,追寻了抽象艺术如何渗透到视觉艺术的各个层面,从公司标识到纺织品设计。

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Absolute Collection Guideline

绝对收藏指南

2015.98-10.8

Sifang Art Museum is pleased to present its first collection exhibition titled “Absolute Collection Guideline”, on view from June 8th – August 8th, 2015 at 9 Zhenqi Road, Nanjing. Based on the museum’s permanent collection, the exhibition will have a strong focus on recently acquired works from over twenty Chinese and international contemporary artists. This marks the first time for the museum collection to be open to public. The show will explore the various forms of expressions through a range of medias practiced by contemporary artists today. As it’s a loosely curated collection show, viewers can spend more time to reconnect the various points of ideas that exist between artworks, as well as to rediscover the power of individual works of art. Significant works from the prestigious Hugo Boss Prize winner Paul Chan and Danh Vo will be presented alongside a large scale venetian blind installation by acclaimed South Korean artist Haegue Yang. Major portion of the show consists of Chinese artists of both established and up-coming nature such as Wang Xinwei, Qui Xiaofei, Li Ming, Zhao Yao etc, as Chinese contemporary art still makes up most of the museum’s permanent collection. Japanese artists Takashi Murakami, Yayoi Kusama and Yoshitomo Nara are also part of the collection and are selected to be exhibited this time. Details »

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昨天深夜Y先生和大艺术家们【在三里屯跳大神】

2015-09-15 18:26  Ymedia(Y先生)

昨天凌晨两点钟,Y先生在三里屯太古里漆黑的某家店里亲眼目击了一件非常可怕的事,天了噜!好像看见衣服成精了……

关于这件非常诡异的事,Y先生还寻找到了一段故事:

鬼 剪

从前有个裁缝,被个满脸是毛,长着五条腿的鬼爪了,鬼说他小姨子的小孩满月,他需要一件华丽,与众不同的衣服,叫裁缝做出来,如果做好了,送他件宝物;做的不好,就把他拿去喂虫。那个虫屁股上有根刺,背上像液晶大屏幕一样全部都是人的脸,应该是那些被它吃掉的人,身上花纹随着呼吸会动。裁缝只能答应。鬼给他一把剪刀,这把剪刀能剪很多东西:剪山,剪河,剪季节,还能剪时间和光。凭借着自己的才华,加上这把剪刀,经过好久终于把衣服做出来了。鬼也说话算话,把剪刀送给了他。很多年过去了,这把剪刀今天在哪谁也不知道…

好了!Y先生不犯中二病了,昨天夜里也没看见鬼。Y先生只是昨天夜里两点围观了一下三位大艺术家何岸、陆平原、赵要以及UCCA的尤馆长一起在三里屯太古里的JNBY美丽旗舰店里布了一个展。而前面那段鬼故事,正是其中一位大艺术家陆平原为这个展览写的。

没有错!尊贵的B神清场看卢浮宫,屌丝就只能排队2小时入场。谁要在今天和一大帮媒体抢开幕新闻,Y先生就是要尊贵的独家报导昨天晚上布展时候的大抓马啊。

还是别跟LOW货聊艺术了【因为他们都是这样看展的】

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About Painting Too

与绘画的动作有关

2015/08/22-2015/11/01

“About Painting Too” is the second in a series of exhibitions that each addresses a topical issue within art today, and with particular reference to art in China. This year, young curator Pu Hong was invited to present a topic of his choice. Continuing the critical engagement with painting that was explored in the first exhibition in the series, “About Painting” in the spring of 2014, Pu Hong again takes painting as his subject. Through the work of eight artists, he selects a range of older and more recent works, each of which is distinctive of the style and approach for which each of the artists are known. Several, including Xu Zhen/MadeIn, Zhang Enli and Ding Yi, are very well known indeed and have, in recent years, been the subject of a series of large-scale solo exhibitions in China and abroad. In their especial way, Wang Chuan, Yang Shu and Xu Hongming have each made a significant contribution to the language of abstract painting in China, while the younger artists included here, Wang Guangle and Zhao Yao, bring the distinct energy of their generation to the art they produce.

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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. Details »

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Adventures of the Black Square/黑色方块的历险

Abstract Art and Society 1915–2015

Whitechapel Gallery

Opening on 15 January, this epic show takes Kazimir Malevich’s radical painting of a black square – first shown in Russia 100 years ago – as the emblem of a new art and a new society. The exhibition features over 100 artists who took up its legacy, from Buenos Aires to Tehran, London to Berlin, New York to Tel Aviv. Their paintings, photographs and sculptures symbolise Modernism’s utopian aspirations and breakdowns.

Presented chronologically the show follows four themes:

‘Utopia’ is expressed through Malevich’s black square, the progenitor of new aesthetic and political horizons, seized by artists from Vladimir Tatlin to Hélio Oiticica.

‘Architectonics’ presents floating geometries that propose new social spaces as imagined by Lyubov Popova or Piet Mondrian and Liam Gillick.

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INSIDE CHINA

L’Intérieur du Géant

20/10/2014 – 11/01/2015

With : Renaud JEREZ, LI Gang, Edwin LO, NADAR, Aude PARISET, WU Hao, YU Ji, ZHAO Yao, CHENG Ran

In the context of its international mission, the Palais de Tokyo chose curator Jo-ey Tang to travel to China and Southeast Asia. After a year of prospection, Inside China presents a selection of five Chinese artists in dialogue with three French artists including the renowned Nadar.

ZHAO YAOINSIDE CHINA : L’INTÉRIEUR DU GÉANT

 20/10/2014 – 11/01/2015

奇迹 美兰机场 小

HARMONIOUS SOCIETY/天下无事

27 SEPTEMBER – 23 NOVEMBER 2014

 

Zhao Yao

Wonder, 2014

奇迹

Zhao Yao has created contoured carpets featuring aerial views of Chinese airports undergoing development and expansion, reflective of the country’s rapid urbanization. Visitors are invited to walk across the carpets, like the travellers who pass through these airports, and when the exhibition is finished, they will bear the traces of those who have passed by.

HARMONIOUS SOCIETY/天下无事

Responding to the Asia Triennial Manchester 14 (ATM14) theme of ‘conflict and compassion’, this exhibition will be seen from an international perspective, re-examining the ‘conflicts’ as well as the ‘harmony’ of China, or indeed, the Greater China, and that of Asia and the world.

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Vitrines sur l’Art  at Galeries Lafayette/东京宫巴黎老佛爷展览项目

 Exhibition period: 07.07.2014-.7.30.2014

Zhao Yao’s works “Now” and “Great Performance No.4” will be shown at Galeries Lafayette in Paris. In Vitrines surl’Art of the Galeries Lafayette, in the framework of the partnership with K11 Art Foundation and the Modules-Foundation Pierre Bergé – Yves Saint Lauren hors les murs.

Vitrines surl’Art:
For the 6th consecutive year, Galeries Lafayette presents the event “Vitrines sur l’Art” from the 7th to the 30th July 2014 in Paris. Museums and arts centres are invited to sponsor window displays at the Haussmann store. This year, each institution teams up with one artist who makes one (or several) previously unseen installations for the windows. Through the works of the artists on display, visitors will have a panoramic vision of creation and design today and the cultural offerings of their city.
“Vitrines sur l’Art” forms part of Galeries Lafayette’s commitment connecting it with creation and design. Founded to democratize fashion and make the beautiful accessible to all, Galeries Lafayette puts its trust in artists to enlighten us on the future and open our eyes to the world of possibilities before us.
Curator Jo-ey Tang selected Zhao Yao as the artist of 2014. This is also the first time that Palais de Tokyo works with Chinese artist on the “Vitrines sur l’Art” project.
 

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Focus Beijing – De Heus-Zomer Collection

聚焦北京:德赫斯-佐莫收藏展

荷兰鹿特丹波伊曼斯·范伯宁恩美术馆
2014.06.14 – 2014.09.21

Zhao Yao, I am your night nr 9, 2011, Collection De Heus-Zomer

This summer Museum Boijmans Van Beuningen is showing a selection of contemporary Chinese art from the collection of Henk and Victoria de Heus-Zomer. Acquaint yourself with two generations of Chinese artists in the galleries around the Bodon Gallery. The exhibition provides a broad survey of developments in contemporary art in Beijing. The works are being publicly exhibited for the first time.

The exhibition ‘Focus Beijing’ features the work of two generations of prominent artists from Beijing. The first generation grew up in the 1950s and 1960s. They include Zhang Dali (Harbin, 1963), Zhang Xiaogang (Kunming, 1958), Hai Bo (Changchun, 1962) and Ai Weiwei (Beijing, 1957). Their work shows a strong sense of political engagement, referring to China’s traumatic history and the social and cultural revolutions of recent decades. The second generation grew up in the 1970s and 1980s: the period of China’s Open Door Policy. Artists such as Qiu Xiaofei (Hoerbin, 1977), Wang Guangle (Fujian, 1976) and Liang Yuanwei (Xi’an, 1977) were born in a period in which Chinese society became more oriented towards the West, a period of massive economic growth and new markets. Individuality and intuition are key to their artistic practice. They are informed better about international art developments than their Western counterparts are about current developments in Chinese art. The exhibition highlights the different standpoints of each artist, presenting a broad view of contemporary art developments in Beijing, with Shanghai, as the capital of Chinese Art.

 

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.

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