Something in the Air

有一团神气

This artwork is an inflatable model of a stone, engraved with the Tibetan words བསམ་བློའི་མཐོ་ཚད་ཀུན་གྱི་མཆོག (精神高于一切), or“Spirit Above All.” It has been magnified one milliontimes. The original stone was specially produced by a local Marnyi stone artisan for the “SpiritAbove All”series, for which Zhao carved the phrase onto manyrocks of different sizes. As part of the project, in 2016,Zhaounfurled an abstract cloth installation 116 meterstall by 86 meters wide in a mountainous area of Tibet,exposing it to the elementsfor half a year beforepresenting it in Beijing Peoples’ Stadium on 18 May 2018.Using Marnyi stones as inspiration, the artist hasnowcreated his newest artwork, Something in the Air, a “hugebut hollow” inflatable Marnyi stone. Perched betweensky and sea,the air inside seems to be charged with acertain energy. The artwork seems to ask: how does ourknowledge—cultural, political,or religious—influenceour perceptions of art? Details »

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

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。

2016年至2017年实施的此项目是艺术家赵要2013年于伦敦佩斯画廊举办的个展“精神高于一切”的延续和发展。这件巨幅的大型装置作品图形选自《很有想法的绘画》作品中相同的思维游戏图案,经过北京工厂一年多的准备和制作后于2016 年 10月运抵实施地。2016年11月,150多位当地村民一起用一整天的时间,将其固定在海拔近5, 000米的无人区雪山山顶,将代表都市与现代化审美的抽象几何图案暴露在人迹罕至的环境里,在漫长冬季的恶劣自然中接受大风大雪的浸染和日月星辰的照耀。经过近半年的风吹日晒,浮华尽去,色彩渐褪,自然与人文的种种痕迹完整地留在了作品的表面。约翰·沃尔夫冈·冯·歌德在其作品《少年维特之烦恼》中写道:“只有自然,才是无穷丰富,只有自然才能造就大艺术家。”2017年5月,作品顺利撤下并运回至北京,自此开始在城市中的巡回。2018年5月18日,这块蕴含丰富经历、保留诸多痕迹的大型装置作品被带到位于繁华都市中心的北京工人体育场,第一次完全展开呈现。此前的自然与人文经历被注入新的展示空间中,使现代性和都市化的丰富历史文化认知与记忆在此汇聚。艺术家期望以此触发久居在现代化都市里的人们心中对自然精神的向往和对坚韧意志的追求。 Details »

A Painting of Thought I-542, Each 180 x 200 x 8 cm, 4 paintings in total Material: Acrylic on found fabric, 2016 © Zhao Yao

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, 2016 © Zhao Yao

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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Zhao Yao Spirit Above All, 2016

【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!

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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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赵要 |最后一个鸡蛋  ZhaoYao |The last egg

赵要谈最后一个鸡蛋

采访:杜可柯 | Artforum 中文

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 

宇宙在黑在旋

起始时间:2016.6.5A 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.

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

Cosmos Black is Spinning Around © Zhao Yao

Cosmos Black is Spinning Around © Zhao Yao

Cosmos Black is Spinning Around © Zhao Yao

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

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A Sculpture of Thought

《很有想法的雕塑》

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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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.)
  2. 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.

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奇迹 美兰机场 小

Harmonious Society

天下无事 | Asia Triennial Manchester

27 SEPTEMBER – 23 NOVEMBER 2014
 

Wonder ©Zhao Yao 赵要

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.

Wonder ©Zhao Yao 赵要

Wonder ©Zhao Yao 赵要

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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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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“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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Zhao Yao: Spirit Above All

Voon Pow Bartlett | Yishu Volume 12, Number 4, July/August 2013

According to Pace London Gallery press release, the artworks for Spirit Above Allwere brought to Tibet to be blessed by a “Living Buddha.”[1] This is documented through mural photographs of the Tibetan landscape that provided the backdrop on the walls of the gallery upon which the paintings are hung. The press release also informs us that the artist is “fascinated by the relationship between art and its audience,” creating an “on-going cycle of self-assessment, and reconstruction of the old to produce the new, a process the artist describes as ‘self-consumption’.”[2] Zhao Yao expresses the wish to challenge how art is perceived, that ‘‘the attention should never be on the paintings themselves, which I deliberately repeat in different series to deconstruct their visual power, but the concept behind the forms. I am interested in the way we look at exhibitions and how our pre-existing knowledge, whether cultural, religious, or political, affects our perception of art. I like to provide context for my works, but not to disclose my own opinion so the discussion can remain open. In the same way that the puzzles I use aim at training one’s brain to think logically, I want my exhibitions to challenge people’s conventional way of looking at art.”[3]

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