huèn - 张震宇个展-卓克展览频道

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huèn  - 张震宇个展
  • 展览时间:2016/4/29 - 2016/6/5
  • 展览城市:北京
  • 展览地点:北京市朝阳区草场地艺术区328-C
  • 策展人:王澈
  • 主办单位:
  • 协办单位:

展会介绍

写在前面的话
 
本次展览以“huèn”为主题,更为鲜明的呈现了张震宇的创作角度。“huèn”的来源是张震宇将灰尘二字的汉语拼音拼接而成,而“huèn”的读音同“hun”,意指混沌。混沌(浑沌)一词在中国文化中的用法并不像在其他文化中那样常常只有贬义。相反,中国人常把混沌作为褒义词使用,用以表达某种深厚的美学境界或绝圣弃智的精神状态。即是人们常说的万物始于混沌,归于混沌。
张震宇借用灰尘作为创作媒介,经过反复落灰打磨直至成为黑色镜面,形若混沌。时间、空间、宇宙、自我、他者等,一切已经显现、将要显现、永不显现的东西都蕴含在其中。在这个混沌的整体中,我们试图抽出观念加以推理解释的行为,其实都是对于一个片段的侧面呈现。张震宇对于事物的判断和观念的解读都无限地趋向混沌理论,所有理念的片面性,都无法成为他做判断的标准。正像他在以灰尘为媒介的创作上,只客观呈现灰尘本身所具有的属性,以及在打磨成镜面后对于他人提出的问题,对于问题的答案他根本也不关心。
但混沌又是要被分割才有意义,就像人从自然中分割出来一样,虽然这种分割带来了很多弊端,但被感知归纳形成概念后,加以解释又存在一定意义。人所感知到的世界和动物所感知到的世界是否一致?人和人之间所感知的世界是否一样?人类在面对这个混沌世界时所感知的结果,得到的结论又不一样,但恰恰正是这么多的感知来推动生命的延续和宇宙的变化。张震宇将灰尘从混沌中分离出来,创作成作品已然是割裂的结果,他并不在自身创作的作品上建立概念则是为了避免再次分割。
当我们观看他的作品时灰尘成为唯一的判断媒介,这一媒介带给我们的思考关乎我们每个个体对于世界的感知结果,但这个结果一定又只是一个世界的侧面。就像我们的皮肤并非真的就是我们个体存在的边界一样,对于张震宇作品的边界判断也是相当困难,因为所有对于相似性的归纳在现实面前都是不完整的。
 
2016年4月16日
王澈
 
 
Foreword 
Based on the theme “huèn”, the present exhibition aims at acutely showcasing the perspective of Zhang Zhenyu’s creation in a more concise way. “Huèn” originates from the initial and final of Chinese pinyin “hui chen” (灰尘, dust in English) and is pronounced the same as “hun” which means chaos in English. However, unlike its general use in other cultures, the word doesn’t manifest a sense of disapproval in Chinese culture. In fact, Chinese people widely use the word as an approving term, expressing a profound level of aesthetics or a state of mind free from being sage and wise. In a sense, it explains the idea that everything originates from chaos and ends with chaos.
  Zhang Zhenyu applies the dust as the medium of his creation, by repeatedly polishing it so as to generate black mirror-like images, its presence seems somewhat like chaos in terms of form. Including time, space, universe, selfness, and otherness, things that have been manifested, will be manifested and never be manifested are all expressively included in his work. As a chaotic whole, the idea that we attempt to abstract the viewpoint of the work so as to analyze and interpret, in fact, is merely a part of its presence. Zhang Zhenyu’s assessment of things and interpretation of ideas are simply based on a perspective of Chaos Theory, in this way, all the fragmented ideas cannot be viewed as his criterion to assess things. In creating his work on a basis of dust as medium, just as he focuses on presenting the nature of dust itself and what questions may raise when people view the completion of mirror, the artist doesn’t engage himself with the answers at all.
  Chaos, however, doesn’t make any sense unless it is segmented, just as there is a dividing line between human and nature. Whereas such a division gives rise to drawbacks, as long as the perception is inducted as idea, in terms of interpretation, such segmentation somehow makes sense again. Therefore, is the world human perceives same as animal does? Is the world one individual perceives same as another does? In contact with the chaotic cosmos, what people perceive and apprehend differ from one another, however, such a variety of perception helps push human life and evolution of the universe through. Separating the dust from chaos in creating the artwork, such a process turns out to be a result of segmentation, in this way, without introducing any extra concept in his creation, he actually intends to prevent it from deconstructing again.          
  When viewing his artworks, the dust is the only medium of our assessment, as individual, our reflection depending on such a medium needlessly has something to do with our perception of the world, whereas such a perception merely reflects a part of the world. Just as our body is by no means the boundary of individual existence, it’s not that easy to define the boundary of Zhang Zhenyu’s work, in fact, generalization of similarity unexceptionally remains incomplete when encountering with reality.     
 
April, 16, 2016 
Wang Che 
[Translated by Yahia Ma] 
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