展覽：無語
參展藝術(shù)家：蔡志松，施勇，薛松，張震宇
策展人：杰瑞米
展覽時(shí)間：2009年3月20號至5月1號
地點(diǎn)：仁藝術(shù)中心
開放時(shí)間：每天上午11時(shí)至下午6時(shí)
網(wǎng)址：www.yanclub.com
電子郵件：gallery@yanclub.com
近些年，媒體之軀迅速膨脹。越來越多來自媒體的廣告、觀點(diǎn)、出版物和商業(yè)言論等大量信息簇?fù)砬皝恚涑獠⒂俜e于人們的日常生活。漸漸，“信息”已非反應(yīng)、理解現(xiàn)象的關(guān)鍵所在，而是被畸化為一支日益泛濫的濁流，眾多事件無所謂輕重地交織其中，令人困惑和無從辨讀。
面對這股濁流，我們抑或沉默無言。但作為藝術(shù)實(shí)踐的一個(gè)重要組成部分，藝術(shù)家會(huì)運(yùn)用清除、簡化和整合等手段重構(gòu)一個(gè)現(xiàn)實(shí)表象之下的真實(shí)。Robert Raushenberg曾消抹De Kooning的繪畫以尋求一種極少主義（作為一種現(xiàn)代藝術(shù)流派，極少主義出現(xiàn)并流行于20世紀(jì)50--60年代，主要表現(xiàn)于繪畫領(lǐng)域。極少主義主張把繪畫語言削減至僅僅是色與形的關(guān)系，主張用極少的色彩和極少的形象去簡化畫面，摒棄一切干擾主體的不必要的東西。）的歸宿，其作品隨著消抹的工時(shí)被“削減”，最終呈現(xiàn)出的主體接近于事實(shí)的本真狀態(tài)。這種思維一直存在于藝術(shù)之中。
莊子的觀點(diǎn)給了我們更多關(guān)于這種思維必要性的中國式啟示。他指出了語言的矛盾性——語言可以去塑造事物，但無力于全部事物的再現(xiàn)，而只能辨證性地反映出事物的部分。
藝術(shù)家們通過其作品的“空白”展現(xiàn)了他們所做的思考。事物表象消逝的同時(shí)，主體隱隱浮現(xiàn)，這就為觀眾的個(gè)體詮釋打開一扇門和一條通往更深層思考的通道，也是一種對無所謂在場的空洞的語言之存在意義的反詰。
如莊子云：“言者所以在意，得意而忘”。藝術(shù)家正是在展露一種超越語言或者說表象的創(chuàng)作源點(diǎn)。
張震宇，來自湖南。他運(yùn)用特殊方法將報(bào)紙或書籍轉(zhuǎn)變?yōu)榧垵{，然后將紙漿重塑于畫布。通過重塑剝離先前各種表征使之呈現(xiàn)出最初的單一物質(zhì)屬性。報(bào)紙仍是報(bào)紙，但被消除了時(shí)效性，書籍成了只剩實(shí)體和形狀的無言書。藝術(shù)家持續(xù)一年的時(shí)間，每天細(xì)致地刮擦掉人民日報(bào)首頁的文字和圖像信息。
薛松，來自安徽。他將各種紙上出版物以燃燒的方式進(jìn)行“消解”，使原本富含“意義”的話語載體變成殘片和灰燼，藝術(shù)家以此作為繪畫材料使作品包含多種沖突與消解。
施勇的VIDEO作品以自己家里的書柜照片為創(chuàng)作基點(diǎn)，敘述了自己多年的閱讀及個(gè)人體驗(yàn)。畫面里的標(biāo)題和顏色隨著時(shí)間的流逝慢慢褪去，最后只剩下黑白色調(diào)的客觀物象，令每位觀者對其心生關(guān)聯(lián)并產(chǎn)生思考。
蔡志松的雕塑基于對中國傳統(tǒng)事物的介質(zhì)以及形態(tài)的轉(zhuǎn)換，通過這種轉(zhuǎn)換重新解讀其精神內(nèi)在。比如用鉛金屬塑成傳統(tǒng)的宣紙軸，雕塑本身的厚重感改變了我們對傳統(tǒng)事物的記憶形態(tài)。
Exhibition: Beyond Words -
Participating Artists: Cai Zhisong, Shi Yong, Xue Song, Zhang Zhen Yu.
Curator Jeremie Thircuir
Exhibition Dates: March 20th – May 1st 2009
Location: Yan club Arts Center
Opening hours: Open everyday from 11am to 6pm
Website: www.yanclub.com
Email: gallery@yanclub.com
The recent decades saw a multiplication of discourses and media relating them, more publications, more opinions from a more and more decentralized media sphere, more advertisement and commercial discourses.... Information is not anymore a key of understanding and reflection but became a confused flux of unhierarchized facts that one can hardly filter and decode.
Facing and maybe sinking in front of this logorrhea of contents, artists need to erase, to simplify, and unify these discourses as an important part of their practice. From Robert Raushenberg erasing De Kooning’s drawing to the labor of time slowly erasing artifacts from the past, erasing has always been present in art.
The necessity of this erasing can be enlighten in a more Chinese perspective by the words of Zhuangzi pointing out contradictions that the language can create and the incapacity of the language to represent a global reality but only partial and contradictory truths.
From the void of their artworks, their thought can start to express. From the disappearing obvious the New can reveal himself, subjects can start to appear giving the audience an open door to their own interpretation and understanding, a way to go further, a revelation of the meaning from sterile appearances of a vacuous language.
As In Zhaungzi “Words exists because of meaning; once you’ve got the meaning you can forget the words.”. The artists exhibited are now working beyond the words, beyond the obvious.
言者所 以在意，得意而忘
Zhang Zhenyu is an Artist from Hunan. His unique technique employs newspaper or books that he turns into a paste. He applies this paste on the canvas and then carves it to reshape it to look like its original material empty of all these previous characteristics. The newspaper is still a newspaper but its temporality is gone. The books are void from words but just the material and the shape remains. In “renminribao”, for one year the artists has been meticulously erasing the content of the first page of the main Chinese newspaper.
Xue Song is from Anhui, his collage art works uses fire and newspaper whose significancy is erased. He will turn hundreds of meaningful information selected from various publications into a more simple artwork. The artists is using the elements to take-over the profusion of meaning.
Shi Yong video starts from a photograph of his home’s bookcase. Compilation of years of reading and personal experiences, within the time of the video, the titles as well as the colors will slowly be erased by the artist, turning the artist personal bookcase into a back and white impersonal/universal photograph where everyone can relate with.
Cai Zhisong’s sculptures are based on a distortion of the medium. His sculptures will reinterpret Chinese artifacts by modifying the material and playing with its density. The traditional rice paper scroll is now made out of lead. The heaviness of the sculpture making us change our perception of our memories through the object.