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ZhangDing张鼎ShanghARTZHANGDing毫不避讳的,张鼎的录象装置"撬"(2005-还未完成)探索着观看者和被观者、尊与卑、开拓者和被开发区域之间的关系.
得益于已定命运的异常敏感和无审判的忠实,分享了差异的共同特性,这作品最后得以完成.
这些差异分别从性别上,宗教上和政治上显示,对于主角来说常常有着严谨地收尾.
这个装置作品,也包括了属于社会意识纪录影像传统的照片.
其中最让人动容和思索的,是一个老年易装癖者的故事,也包括了他作为一个同性恋的种种逸事,有时极端,有时是体验.
他的故事显示了一个也许会被社会称之为堕落的生命.
但是,张鼎把他表现成了一个拥有着所有喜悦和痛苦的生命,通过这些个性鲜明的角色叙述着自我,并且没有用老套或是高调的态度地去解说.
对抗着异样的眼光,努力保持自己的自尊和自重,在调动观众对这些人的短暂的一瞥之中,张鼎的意图已经达到了.
不同的录象在调子上有着轻微的差异,有些比起别的更为自省.
但所有被访者都有一个特性,那就是他们已经被打上烙印的身份,而录象作为一个平台,则让他们终于有地方可以发表出自己的声音,平等的和人群中的大多数进行对话.
这个系列作品一共包含了七个录象,现在已经有三个完成.
张鼎对于无名个体的个人故事的兴趣可以在他对缺失的人的那好像档案般的作品计划里看出来.
通过影象,他把这些缺失人群视觉化,他拍摄那些在附近公共场合随处可见的标记.
在通过第二陈述的对失去的人们找到形象证明的过程中,他非常强调不确定性.
这种档案般的精密展示了对于记忆,迷失和个人叙事的兴趣.
张鼎,1980年生于甘肃,居住并工作在上海.
他2003年毕业于西北民族大学油画系.
2003-2004在中国美术学院学习新媒体艺术.
近期的展览包括:很多灰-比翼艺术中心,上海(2005);第一届中国当代艺术双年展:MC1,蒙彼利埃,法国(2005).
ShanghARTZHANGDingUnapologeticallyvoyeuristic,ZhangDing'sfilminstallation"Pry"(2005-ongoing)explorestherelationshipbetweentheviewerandtheviewed,superiorityandinferiority,exploiterandexploited.
Thisisdonewithraresensitivityandnon-judgmentalloyaltytowardsfeatureddestinies,allofwhichshareacommondenominatorofdifference.
Thesedifferencesaremanifestedsexually,religiouslyandpolitically,andoftenwithsevereconsequencestotheprotagonists.
Theinstallation,whichalsoincorporatesphotographs,belongstothetraditionofsociallyconsciousdocumentaryfilm.
Mosttouchingandthoughtprovokingisthestoryofamiddle-agedtransvestiteincludingburlesqueanecdotesabouthishomoerotic,attimesexcessive,experiences.
Hisstoryrevealsalifethatsocietywouldcriticizeasdegenerate.
Yet,ZhangDingpresentsitasalifelivedwithbothjoyandpain.
Thefeaturedcharacters'narrativesspeakforthemselveswithoutresortingtostereotypicalorcondescendingcommentary.
ZhangDing'sintentionisalmostcelebratoryinallowingtheaudiencearareglimpseintolivesofhumanbeingsthathave,againstallodds,managedtomaintaintheirprideandself-respect.
Thetoneofthedifferentfilmsdiffersslightly;somearemoreintrospectivethanothers.
Theonetraitallintervieweesshareistheirstigmatizedidentityandbeinginafilmthatservesasavenueforthemtofinallyhaveavoiceequaltospeakoutagainstthevastmajority.
Theserieswilleventuallyconsistofsevenfilms.
Sofar,threehavebeencompleted.
ZhangDing'sinterestinthepersonalstoriesofanonymousindividualscanbeseeninhisarchivalprojectonmissingpersons.
Here,heappropriatesthevisualimageryofmissingpeoplebyphotographingmissingpersonflyers,oftenspottedinnearbypublicspaces.
Heparadoxicallystressestheuncertaintywhilemanifestingtheimageofthelostpersonthroughasecondrepresentation.
Itisanarchivalimpulsethatrevealsaninterestinmemory,lossandpersonalnarratives.
ZhangDingwasbornin1980inGansu.
HeresidesandworksinShanghai.
HegraduatedfromNorthWestMinorityUniversity,OilPaintingDepartmentin2003.
HestudiedatChinaAcademyofFineArts,NewMediaArtfrom2003to2004.
RecentexhibitionsincludeBigCityandALotofAsh–ALotofDust,BizArtCenter(Shanghai,2005)andFirstInternationalBiennaleofContemporaryChineseArt:MC1(Montpellier,2005).
装置作品InstallationWorksShanghARTZHANGDing开幕装置OpeningInstallation2011ShanghARTZHANGDing开幕4-平衡木原木,铸铁雕塑Opening4-HalancingbeamRawwood,castironsculpture150.
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0cmQ:听说这次个展的实施过程中你把展览名称都改了,现在展览名称是什么呢张:叫《开幕》,就是一个开幕.
开幕的当天大概从3点开始会有一个表演,想做一个像夜场的party.
或者说就是一个party,反正4、5天之后这个展览才真正开始.
Q:Iheardthatyouhavechangedthenameofthisexhibition,sowhat'sthenamenowZhang:It'scalled'Opening',whichisanopening(ceremony).
Therewillbeashowfromabout3pmontheopeningday,morelikeanighttimeparty,orjustaparty,sotospeak.
Anyway,theexhibitionstarts4to5daysafteropening.
Q:那这不是一个常规的个展了吧张:再怎么不常规,它还是一个展览嘛.
只不过我们预期它,也控制它稍微不像一个展览而已.
其实我们应该把展览这个事情淡化掉,就是把它做得有意思点.
这次个展中"体操"、"古典主义的美感"和"party的气氛"将是进入展厅,能比较直观感受到的东西.
Q:Sothisisnotconsideredanormalsoloexhibition,isitZhang:Whetherit'snormalornot,itisanexhibitionafterall.
Butweanticipateandtrytocontrolitnottobeanormalone.
Actuallywemightmakeitmoreinterestinginsteadoffocusingontheexhibitionitself.
Audiencewilldirectlyfeeltheelementsof'gymnastics','aestheticsofclassism'and'partyatmosphere'whenenteringtheexhibitionroom.
Q:怎么想做夜场party的气氛呢张:可能是现代生活中的娱乐方式让我感兴趣.
你看现在什么事情都有开幕.
运动会是典型的活动,当然还有其他很多,总之只要是个活动就要开幕;而且很多东西都是以娱乐化的方式来做,开幕也是.
Q:HowdidyouhavetheideaofmakingnighttimepartyZhang:MaybeIaminterestedintheformsofentertainmentinmodernlife.
Youseenoweveryeventdoeshaveopening,amongwhichsportsmeetingisthetypicalone;ofcoursetherearemanymore.
Inaword,aslongasthereisanevent,thereisanopening,andmanyeventsareheldintheformsofentertainment,sodoopenings.
Q:你的创作与"体操"有关张:应该是跟"体操"的发源有关,在古希腊"体操"就是裸体的意思,并不是竞技体育,它跟形体美的标准相关,是有意识地塑造形体美.
我有时候看自由体操,美是挺美的,但又总觉哪里得不对劲.
所以,这个展览可能跟"美的标准"有关系.
作品里能看到的体操,以及这些体育器械都是我们的一种参考对象,它们都是美的标准的物化.
我们把一些体育器械改造得面目全非,有些形体被保留,但实用性是完全没有了.
ShanghARTZHANGDingQ:Doyourcreationsrelateto'gymnastics'Zhang:Theymightberelatedtotheoriginofgymnastics.
GymnasticsreferstonakedbodyinancientGreece,whichisthestandardofbodyfigureinsteadofsports,consciouslyshapingbodyfigure.
SometimeswhenIwatchgymnastics,itlooksbeautiful,butIjustfeelsomethingwrong.
Sothisexhibitionmightberelatedtothe'standardofbeauty'.
Gymnasticsandsportsequipmentfromtheworksareallthereferencethatisthematerializationofstandardofbeauty.
Wehavechangedsomesportsequipmentbeyondrecognition,somebodyshapesarekeptwhilepracticabilityislost.
Q:"改造"和"保留"的规则是什么呢张:有的时候就是控制一个节奏吧.
对于我来说形体的建造、以及视觉的基础都跟意图相关,这决定了我们最后要用什么样的尺寸和表现形式.
Q:Whataretherulesof'modify'and'keep'Zhang:Sometimesitisallaboutcontrolofrhythm.
Tometheshapeofbodyandthefoundationofvisionarebothrelatedtointention,whichdeterminesthesizeandformsofmedia.
Q:打比方说,上一次个展《定律》中那件大装置,是怎样的意图让你创作了这样的形式张:那个可能跟人整个的比例有关系.
因为比例分配的存在,在装置中,我们打破人在高度、倾斜的坡度与人动作方面的协调性,制造障碍.
Q:Forexample,what'syourintentionofcreatingsuchformasthebiginstallationintheLawExhibitionZhang:Thismightberelatedtotheproportionofhumanbody.
Duetotheexistenceofproportion,webroketheheight,steepgradeandcompatibilityofhumanactionssoastomakeobstacles.
Q:关于这次个展的作品呢张:这次个展的装置,我们有很多也是与人的身体比例相关.
你知道,体育器械就是按照人体臂长、腿长,比例和力量等等来设计的.
然后,在改装一个高低杠的时候,我们其实是在根据人在高低杠上旋转运动的距离轨迹定的尺寸;把一些点连接起来,做成基座的形式;然后我们再控制角度,在美感的表现上推敲.
在《开幕》现场,这件装置就是一个酒柜.
Q:WhatabouttheworksinthisexhibitionZhang:Manyofourinstallationsarerelatedtohumanproportioninthisexhibition.
Asyouknowsportsequipmentisdesignedaccordingtothelengthofhumanarms,legs,proportionandstrength.
Andtheninthemodificationofunevenbars,weactuallysetthesizeaccordingtothetrajectoryofhumanrotationontheunevenbars.
Weconnectsomepointstoformthebaseandthencontroltheanglestodisplayaesthetically.
Inthe'Opening',thisinstallationisawinechest.
Q:你说着说着就画起了示意图来,这是你的工作习惯吗张:我其实一点都不理性,还是在用非常感性的方式在工作.
这个大概画出来,看就行了:我想说什么;当然,最后是什么效果、有没有意外,还得看实际的现场.
像我现在回想以前的创作,有些没有做好,我非常清楚的知道是哪里没有做好.
现在我更清楚,我擅于感性地表达一些事情,当然也会有一些理性的成分在.
当我确信"这个感觉很好,它能给别人带来怎样的一种感觉",就会按照这个方向去做,过程中逻辑比较弱,大概有一些模糊的思路在,但我在视觉呈现上可以做得比较清晰:我很清楚这么做会产生什么效果、发生什么事情.
开幕3-鞍马镀钛金属,镀镍金属,灯球,混音设备Opening3-VaultingHorseTitanizedmetal,nickeledmetal,lightball,audiomixer170.
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0cmShanghARTZHANGDingQ:Iseeyoudrawingthesketchwhilespeaking,isthatyourhabitZhang:ActuallyIamnotarationalpersonbutworkemotionally.
ThiscanbedrawnandseewhatIwanttosay.
Ofcourse,thefinalresults,whetherthereisanaccidentornotalldependonthefacts.
Recallingmypreviousworks,Iamveryclearaboutwhatneedstobedonebetter.
IamnowmorecertainthatIamgoodatexpressingemotionalthings;ofcoursetherewillbesomerationalelementsinit.
WhenIbelieve'thisfeelsgoodandhowitinfluencesothers',Iwillfollowthisdirection.
Logicwillbeweakintheprocessbecausetherearesomevaguethoughts,butIcanpresentclearlyinvision:Iamcertainwhateffectswillbeandwhatwillhappen.
Q:你怎样看待艺术家的创作、观看和被阐释张:艺术家都非常简单,可能就能说他是怎么做的.
其实作品提供了很多的信息:材料、形体、结构等等,这些东西掺和在一起是可以有一些有观看者自己感觉和认知的东西的.
我觉得除非是很观念的作品,用语言描述可能是作品的一部分,作品最重要的还是要去看去感受.
Q:Howdoyouseethecreationofartists,watchandbeinginterpretationZhang:Artistsaresimple;maybeyoucansayhowhedoesit.
Actuallyworksprovidemuchinformation:material,shapesandstructures.
Allofthoseblendingtogethercanhavecognitivefeelingstoviewers.
Ithinkunlesstheworkistooconceptualthatdescriptionmightbepartofthework,themostimportantthingisstilltowatchandfeelthework.
Q:跟《工具》、《定律》比较你这次做个展的状态是怎么样的张:《工具》还是比较例外的,当时有很迫切的表达欲,说话的欲望比较强.
那个和现在不太一样,现在就比较平和了.
今年我们就做这次《开幕》个展,然后我们还有一个做现场演出的计划.
Q:Comparedwith'Tools'and'Law',what'syourstateofmindforthissoloexhibitionZhang:'Tools'isexceptionalwithstrongdesireofexpressionatthetimeincontrarytothepeacefulmindnow.
ThisyearwehavethesoloexhibitionofOpeningandwehaveaplanofperformancelater.
Q:演出啊、现场都不是一般的娱乐,它们很煽动,这你想要的吧张:我是挺希望做一个煽动的现场的.
但我这人不怎么煽动得起来.
下一个现场具体怎么做,现在还在画草图,我想做些特别重型的东西,噪音金属什么的,又想做得含蓄点.
我们的装置也可以做得很"文学性"嘛.
Q:Performanceandliveshowarenotlikegeneralentertainment;insteadtheyareinflammatory,isthatthewayyouwantZhang:IreallyhopethatIcanmakeaninflammatoryliveshow.
ButIamnotthateasilystirredup.
Iamstilldrawingthedraftonhowtodothenextlive.
Iwanttodosomethingheavy,likenoiseandmetalaswellassomethingmild.
Ourinstillationscanbemademuchofliterature.
Q:音乐对于你的影响是怎样的听起来从你的《开幕》到你接下来的计划,很跨界.
张:没有没有,我一点都不跨界,还是照常在做东西.
不能说是音乐对我有多大影响吧,一直在听在关注嘛,它让我觉得好玩.
我可能有摇滚明星的梦想,也不是明星的梦想,我的基础比较差、乐感也比较差.
总之音乐让我觉得非常棒,强烈的煽动性是其中的一方面.
Q:What'stheinfluenceofmusiconyouSoundslike'Opening'andnextplansareverycross-over.
Zhang:No,notatall.
Iamstillcreatinglikebefore.
Ican'tsayhowbiginfluenceofmusiconme,butIamalwayslisteningandpayingattentiontoitwhichmakesmuchfuntome.
Imighthavedreamofbecomingarockstar,butthisisnotrealstardreamformyfoundationandsenseofmusicareweak.
However,musicmakesmefeelgreatandinflammatoryelementisoneoftheaspectsIlikemusic.
Q:你以前的作品像《大时代》、《雅布莱之梦》其中有一些是对边缘群体的关注,这次个展似乎转向另外一端,夜场、party是不是时尚、喧嚣的暗示.
张:没有啊,我觉得我以前也挺时髦的,现在这么做更酷了吧.
Q:Thereisfocusonthemarginalgroupsreflectedinyourworkslike'GreatEra'and'TheDreamofYabulai',butthistimethesoloexhibitiondirectsanotherextreme,sodoesithaveanysuggestionoffashionandnoiseoneveningshowandpartyZhang:No.
IthinkIusedtofollowthetrendaswell,nowwhatIamdoingisjustcooler.
Q:"快递展"上,你《丢了……上海》的那件作品就挺"边缘"的.
张:你不觉得特别浪漫吗呵呵,其实刚毕业的时候,根本不知道做什么.
Q:Inthe'DIAL',yourworkof'Lost…Shanghai'seemsverymarginal.
Zhang:Don'tyouthinkit'sromanticActuallyIdidn'tknowwhattodoatallatthetimeIgraduated.
Q:"快递展"是你刚毕业的时候参加的展览张:对啊,是2004年嘛.
当时也学了很多东西,但还没什么具体的创作方法和方向.
那就这么做了《丢了……上海》,觉得它可能像一个作品.
在一个刚毕业的状态,没有那种创作的运气,你知道,就是那种一下子找到你想做的东西的运气.
Q:Was'DIAL'theexhibitionyouparticipatedinwhenyoujustgraduatedZhang:Right,itwas2004.
Ilearntmanythingsatthetime,butnoconcretecreationmethodsanddirectionyet.
UndersuchcircumstanceIcreated'Lost…Shanghai',whichismorelikeawork.
Underthestateoffreshgraduationwithoutanyluckofcreation,youknow,theluckofsuddenlyfindingwhatyouliketodo.
Q:所以你现在这么看你以前的创作张:对啊,没什么好坏,就是习作.
其实像现在做的也是习作.
Q:SonowyouseeyourpreviousworksinsuchwayZhang:Right,nothinggoodorbad,justpractices.
ActuallywhatIamdoingnowispracticeaswell.
Q:当代艺术里可能没有习作和作品的概念了,怎么样作品感都很强.
张:不,不,全都是习作.
我没有溜到或者成熟到那种程度,现在还在找,怎么做更好,怎么表达更自由.
Q:Theremightbenoconceptsofpracticeandwork,thefeelingofworksisstrong.
Zhang:No,no,theyareallpractices.
Iamnotthatproficientyet,stilllookingforhowtodobetterandhowtoexpressmorefreely.
ShanghARTZHANGDing下一个装置桌子,铝柱,人体模型,带有摄像头和液晶显示器的皮帽,皮夹克,牛仔裤,皮鞋,鸽子标本,功放,mp3NextInstallationTable,alumilumcolum,mannequin,leatherjacket,leathercapwithcameraandscreen,leathershoes,dovespecimen,mp3,Amplifier300.
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3冒险行为遵循时间和空间的维度,冒险所获得微弱信息的综合,即是我们看到得景色,呈现在眼前的风景仅仅是时空本身的自然编码的局部.
装置包含改装电子设备系统、自制服装、颜料、沙、螺旋、台面、尖锥石、莳绘钢笔、鸽子、纸本、电线.
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Adventureabidesbythedimensionsoftimeandspace,thetotalityoffeebleinformationgainedthroughadventure,isactuallytheviewwesaw.
Thisviewshowninfrontofusisonlypartofnaturalcodeoftimeandspacethemselves.
Installationconsistsreloadedelectricalequipmentsystem,homemadecostume,pigment,sand,spiral,table,hardconestone,paintedpen,dove,notebook,wire…ShanghARTZHANGDingShanghARTZHANGDing下一个1摄影下一个2摄影Next1Photo/C-Print100.
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0cmShanghARTZHANGDing方向不明的游戏装置老松木,老地板,花瓶,水,椅子,地毯,太湖石,鹅卵石,泡沫胶,雪粉,塑料袋GamewithdirectionunknowInstallationOldPine,Oldfloors,Vases,Water,Chairs,Carpets,Taihustone,Pebbles,Foam,Snowpowder,Plasticbags800.
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0cm2009张鼎在一个离地1米多的大型台面上构建了四组景观:孔雀标本、太湖石、发泡材料和花瓶组成的喷泉系统;描画着图形的地毯;嵌牢在地板里的船和椅子;用雪粉模拟的滑雪场雪道,雪道底部深入地板,露出了一段雕塑的躯干.
这些现成物以异于现实的方式排列组合,斑驳的旧木地板使这四个场景浑然成整体,具有边缘、危险而崇高的美感.
《方向不明的游戏》的场景不仅在于还原或再现,也是观看和被观看的体验.
这是一个神秘游乐场,时空在喷泉的水循环系统里滞留,又在木船与地板的缝隙中向前,观众在装置上游走即进入了张鼎设计的节奏,观众的停顿、移动,思考和表情都关乎这整个场景,有如一出出表演.
于是,这也是一个大舞台,它底部的灯光设计让这个舞台更加壮观,观众在外部看不到木地板上的细节,但却看到了同样充满这件作品气质的即时演出.
《方向不明的游戏》于2009年9月10日"当代艺术展在松江——资产阶级化的无产阶级"中首次展出.
GameofUnclearDirectionsisalargestageraisedatmorethanameterabovethefloor,composedoffourmainsettings:astuffedpeacock,azen-stylerock,afountainmadeofavaseandfoams;acarpetfeaturingasymbol;aboatwithchairssunkeninthewoodenfloor;asnowyslopewithhalfofabodyatitsbottom.
Alltheseobjectsextractedfromrealityarecombinedtogetherintoadecorthatpossessesanunusual,awe-inspiringbeauty.
Itisn'tmerelyascenebutalsoan'observing'and'beingobserved'experience.
Itconstitutesamysteriousplaygroundwheretimeandspacerepeatthemselvesinacycleasdoesthewaterofthefountainorassymbolizedonthecarpet.
Viewersareinvitedtocreatetheirowndreamsandstories:inthisbackgrounddesignedbytheartist,theyaretheimprovisedactorsofanunclearplay.
GameofUnclearDirectionswasshownforthefirsttimeonSeptember10th,2009in"BourgeoisifiedProletariat–SongjiangContemporaryArtExhibition".
ShanghARTZHANGDingShanghARTZHANGDing定律装置LawInstallation2009ShanghARTZHANGDing定律1装置/木料,沥青,灯泡,电,水瓶,水Law1Installation/Wood,Asphalt,LightBulbs,Electricity,WaterBottle,Water700.
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0cm《定律》是一架大型木结构的几何形装置.
它的前半部分是一个大型半球体,后半部分是陡峭的梯子和有坡度的平台,平台上伸出来来两块如同平衡木一般的木条,大型的半球体只能在登上5米高处时,才可以看到球体是凹陷下去的,里面缀满七百多个发光灯泡,如同倒置的宫殿华丽的穹顶,光芒逼人.
在半球体的上方,静静悬挂着一只生理盐水瓶.
《定律》似乎在通过特定的尺度来表现一种矛盾的平衡,这种平衡有时会因破坏边界或是改变尺度而打破.
由此可以看到,定律只是在某些特定的情况下事物之间的吻合.
好比生活中,人们已经形成了一种思维定式,这是经验与习惯在人的头脑中树立的框架,或许当人们跳出这个框架,定律也便失效了.
2009年,张鼎个展《定律》在香格纳画廊北京空间展出.
"Law"isaninstallationcomposedofageometricwoodstructure.
Onepartisconstitutedbyahalf-spherewhileanotherpartconsistsinanabruptladderwithaslopingpatformandtwolateralboards.
Atfivemetershigh,thehalf-sphererevealsahollowfilledwithmorethansevenhundredslightbulbs,asaninvertedpalace'sdome,shiningandgripping.
Ontopofit,issuspendedabottleofwater,still.
Atacertainscale,"Law"almostrepresentsacontradictorybalance,thatdestroyslimitsormodifiesmeasures.
Onlyundercertaincircumstances,lawbecomesacoincidencebetweenthingsandobjects.
Inlife,peopledevelopedacertainwayofthinking,ashelfintheirheadwiththeirexperiencesandhabits,perhapsthatwhenthisshelfisabandoned,lawbecomesineffective.
"Law,ZhangDing'ssoloexhibition"washeldinShanghArtBeijingin2009.
ShanghARTZHANGDing定律2装置/木料,金属,传送带,电机,电磁铁,锤子,灯泡Law2Installation/Wood,Metal,ConveyorBelt,ElectricMotor,Electromagnet,Hammer,LightBulbs854.
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0cmShanghARTZHANGDing雕塑1装置/发泡剂雕塑2装置/发泡剂,圆木桌雕塑3装置/发泡剂,油桶,松香,沥青Sculpture1Installation/Foam70.
0*70.
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0cmSculpture2Installation/Foam,Roundwoodentable100.
0*100.
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0cmSculpture3Installation/Foam,OilDrum,Rosin,Asphalt80.
0*80.
0*155.
0cmShanghARTZHANGDing雅布莱之梦装置TheDreamofYabulaiInstallation2008Measurement,theorem,focus,resources,energy,poem,worship,rivalry,theseareallthegreatelementsoftheconstructionofHistory.
YabulaiisthenameofaplaceinInnerMongolia,intheGobidesert.
Thisworkiscomposedofawoodstructureandninevideos.
Theinstallationisanindividualunderstandingofthesociety'ssystemandHistory.
Seenfromthetop,thestructuredepict8peopleholdingeachother'shands.
8ofthevideosfeaturevariouscharacterswhilethe9thvideopresentthesameeightcharactersandamonkey,assigningtaskstoeachofthem.
4ofthevideoshavesoundswhichcomeoutfrom4containers.
Blackboardswithphysicsformulasaredisplayedintheinstallation.
Theseformulasareawrittenformofthespace.
测量、定理、焦点、资源、能量、诗歌、崇拜、对抗,这些是构建历史的伟大因素.
雅布赖是内蒙古戈壁沙漠里的一个地名.
这件作品由一个木架结构和九个视频组成.
此装置是个人对社会体系和历史的理解.
从作品上方观看,木质结构描绘了八个人手牵手的场景.
八个视频呈现了八个不同的人物角色,第九个视频将这八个人聚集在一起,由一只猴子给他们分配任务.
四个视频的声音由4个不同的音箱输出.
装置还展示了一个写满物理公式的黑板,这些公式是宇宙的物理书写形式.
ShanghARTZHANGDing雅布莱之梦装置/木材,九频录像装置TheDreamofYabulaiInstallation/woodconstruction,9-channelvideoinstallation385.
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0cmShanghARTZHANGDing工具装置ToolsInstallation2007《工具》是张鼎为这个边缘世界所创造的一个寓言幻境.
仙人球在这里成为了主要的道具/工具,似隐喻低贱而顽强的生命.
这种植物处处可见,多刺令人只可远观.
张鼎反其道而行,试图寻找能与此生命沟通的途径:暴力抑或对话.
无论是怵心的拳击,还是冰冷的利器切割,对仙人球来说,最具破坏力的则是看上去最唯美的水.
十条水柱从上倾泻而下,划出道道抛物线,浇落于仙人球盆栽上,花泥飞溅、水泻满地.
与仙人球系列相对的是一组非自然的工业产物,24台暗绿色的老式电冰箱内挤满了老式高音喇叭,加上一个老式的引爆器可以人为激发震耳发聩的爆炸声,让你恍然间如身置"恶之花"的世界之中.
"Tools"isanallegoricalfairylandcreatedbyZhangDingtorespondtothismarginalworld.
Cactusherebecomethemainprops/tools,metaphorofanideringanddoggedlyresistantlife.
Wecanseethisplantanywhere,buttheirmultiplethornsdon'tallowustoapproachthem.
ZhangDingfightsagainstthat,tryingtofindthepossiblewaysofcommunicationwiththislife,usingviolenceordialogCruelbeatingandfrozencuttingdon'tdestroycactusasmuchaswater,eventhoughgentleandbeautiful.
Waterpoursfromtenwateringpots,liningoutparabolasandhosingacactus.
Mudsplattersaroundwhiletheliquidspreadsalloverthefloor.
Besidethisseriesofcactusisdisplayedagroupofunnaturalindustrialproducts:24olivegreenrefrigeratorsfilledwithloud-hailers,andanoldstyledetonatorwhichcantriggeradeafeningexplosionnoise,givingyouasuddenfeelingthatyouareintheworldofthe"FlowersofEvil".
ShanghARTZHANGDing工具-1装置/24台电冰箱,3台功放(1500瓦),一个程序工具-2装置/12个花洒,12根钢管(高410cm,直径246cm)工具-3装置/96个仙人球,放大的手术刀(封钢),花土Tools-1Mixed-mediainstallation/24Fridges,3PowerAmplifiers(1500W),1programmeTools-2Mixed-mediainstallation/12WateringCans,12SteelTubes(Height410cm,Diameter246cm)12SteelWires,1Cactus,1WoodBox(55x55x51cm)410.
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0cmTools-3Mixed-mediainstallation/296Cactus,EnlargedScalpels,FlowerSoilBoxofSteelStructure210.
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0cmShanghARTZHANGDing无题装置UntitledInstallation2006ShanghARTZHANGDing无题-抽屉2装置/家具,灯箱无题装置/老家具,灯箱无题-抽屉1装置/家具,灯箱Untitled-Drawer2Installation/furniture,lightbox100.
5*54.
0*100.
0cmUntitledInstallation/Oldfurniture,lightbox90.
0*50.
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0cmUntitled-Drawer1Installation/furniture,lightbox120.
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0cmShanghARTZHANGDing向西n公里装置NkilometerstowardsthewestInstallation2006Soundinstallation,16sounds,diameter165cm,ballcoverwithwoolblanket,dvdplayers.
声音装置,16声道,直径165cm,球面为羊毛毯覆盖,DVD播放器.
ShanghARTZHANGDing第57个民族装置The57thEthnyInstallation2005视频作品VideoWorksShanghARTZHANGDing60瓦特视频60WVideo20087minutesEd.
107分钟里,张鼎亲手击灭了一百多个60W的灯泡.
Within7minutes,ZHANGDinghimselfbrokemorethanonehundred60wbulbs.
ShanghARTZHANGDingShanghARTZHANGDing大时代视频GreatEraVideo2007"大时代"是一部以上海作为舞台背景的超现实主义费里尼式的短片.
主角在背景音乐的陪伴下,独自骑着他的马头自行车游走.
"GreatEra"isasurrealisticFellini-inspiredvoyageusingShanghaiasitstheatricalbackdrop.
Theprotagonistridesalongstagedtableauswithhisbike(disguisedasahorse)inscenesperfectlysynchronizedwiththefilm'ssoundscore.
14minutesEd.
10ShanghARTZHANGDing拳击1&2视频Boxing1&2Video20073minutesEd.
52channelvideo张鼎的双屏影像装置拳击(共2部)记录了一种美丽而残酷的经历.
艺术家身着白色背心,处于一个完全黑暗的场所,他面对的只有一个用三个长满尖刺的仙人球组成的沙袋.
暴力和热情,拳手徒劳无功地与另一种脆弱的物种抗衡,这是一场他永远都无法胜利的竞赛.
ZhangDing'sdouble-channelvideoinstallationBoxingI&II(2007)isabeautifullycruelexperiencetoendure.
Thetwofilmsdepictayoungmandressedinalucidt-shirt–theartisthimself–inadarkspace,confrontedonlybyapunchingbagcomposedofthreeroundcactiwithsharpspikythorns.
Thefirstfilmconsistsofclose-upsoftheboxer'sclenchedfistsashehitsthecuttingcactus,increasinglyhurtinghimselfuntilhisfistsareintenselybleeding,whilethecactusisstillintactandun-defeated.
Inthesecondfilmthespacehaswidened,andtheartist'sbodyandthesharppunchingbagisemphasizedwithchiaroscuroeffectsinadramaticlight-darknesstableau.
Theboxerisseenstrikingandhittingthecuttingthornswithquickpainfulpunchesinanever-endingloopedfight.
Violentandvehement,theboxerfightsinvainagainstanotherwisefragilespecies-it'sacontesthecanneverovercome.
ShanghARTZHANGDing疯汉视频FengHanVideo2006该片的主人公是中国西北小城的一个疯汉.
半夜,他在一篇空地上旁若无人的做鬼脸、唱歌、玩弄周围的东西.
路人看到都嘲笑他.
没有人的时候,他就打太极,自说自话.
这些属于他自己的语言和动作是单纯的,丝毫不做作,也没有任何表演的成分.
他只是将他脑中所想无所顾忌地表现出来.
Thisvideofeaturesaman,inatownofNorthwestChina,lostinhisinsanity.
Onapublicsquare,inthemiddleofthenight,hisbehavioreerilyappearsasanartisticperformance:makingdisturbingandcomicalfaces,singing,playingwithobjectssurroundinghim.
Passers-bylaughastheyseethiscurioscharacter.
Whenalone,heplayswithhisshadow,openingadialoguewithhimself.
Theselanguageandactsofhisownarespontaneous,natural,asa"theaterical"scenewithoutanyacting…Hisunconstrainedbobymovingwithfluidityreflectshisliberatedmind.
ShanghARTZHANGDing窥探-z视频装置Pry-zVideoInstall2005在"窥探"(2005年,待续)这部短片中,张鼎探索了观众与被观者,优越感与自卑感,剥削阶级与被剥削者之间的关系.
这也许源于一种"认命"的态度.
片中人物在性别,宗教及政治派别等方面的差异最终导致他们一系列命运的殊途.
In"Pry"(2005-ongoing)ZhangDingexplorestherelationshipbetweentheviewerandtheviewed,superiorityandinferiority,exploiterandexploited.
Thisisdonewithraresensitivityandnon-judgmentalloyaltytowardsfeatureddestinies,allofwhichshareacommondenominatorofdifference.
Thesedifferencesaremanifestedsexually,religiouslyandpolitically,andoftenwithsevereconsequencestotheprotagonists.
视频装置18minutes42secondsVideoInstall/OngoingmultichannelvideoinstallationvariousmediaShanghARTZHANGDing撬-a视频装置Pry-aVideoInstall2005视频装置29minutes54secondsVideoInstall/Ongoingmultichannelvideoinstallationvariousmedia摄影作品PhotoWorksShanghARTZHANGDing大时代摄影GreatEraPhoto2007大时代1GreatEra1102.
0*153.
0cmEd.
10ShanghARTZHANGDing大时代2GreatEra2102.
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10ShanghARTZHANGDing大时代3GreatEra3102.
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10ShanghARTZHANGDing大时代4GreatEra4102.
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10ShanghARTZHANGDing他们在一起的乐园摄影TheyaretogetherintheamusementparkPhoto2004ShanghARTZHANGDing他们在一起的乐园TheyaretogetherintheamusementparkC-Print49piecesEd.
4ShanghARTZHANGDing大城市摄影BigCityPhoto200457.
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0cm*10Pieces相关文字textShanghARTZHANGDing张鼎的氛围舞台张鼎的艺术很迷人,但作品完成以后他总轻轻一笑,说那些都"没有意义".
他承认自己的作品应该唤起一种"强烈的感觉",可这种感觉究竟是什么,他却从不说破.
和其他地方一样,在中国,艺术家也总是避免阐释自己的作品,故意一派单纯,以便保护他们的想法.
即使在这种集体拒绝叙述的大背景下,张鼎也似乎往前多走了一步.
他提出的问题很尖锐:究竟什么是阐释工作,尤其是批评家在开始纯粹臆断之前究竟能变得多么无耻.
到目前为止,他的创作与其说是靠数量取胜,不如说是靠一致性动人,让任何想要讨论他作品的人感觉无处下嘴:如果他只是做些好玩儿的艺术品给公众看,为当代沙皇献上几个法贝热彩蛋,我们是否就不应感到失望另一方面,如果我们怀疑其中隐藏深意,那就必须一心一意去完成孤独的开掘.
张鼎1980年出生于甘肃省张掖,2003年毕业于西北民族大学油画系,然后搬到杭州,进入中国美术学院就读,实际变成一个城际移民.
到杭州之后,他开始拍片.
2004年,他去了上海,在那里工作生活至今.
张鼎早期作品形式上接近于纪录片,主要关注边缘群体——少数民族、城市移民、同性恋和流浪汉.
这条线索很快发展为一系列更加复杂丰富的多媒体装置,包括半剧院式的布景、扩音器、多屏录像等,从整体上审视了艺术作品与其所在空间之间的关系,以及观众在其中是主动参与还是被动参与的问题.
2005年,他在比翼艺术中心举办了首场较大规模的个展"大城市",但真正的突破还是2007年在上海莫干山路50号香格纳画廊的展览"工具".
在这次展览上,张鼎首先对仙人球的隐喻和物理性质进行了一系列思考.
这种充满矛盾的植物如此锐利,又如此柔弱.
被切掉一半的柱状体构造里码放了许多仙人球,上方安装一排用来切割仙人球的巨大钢刀.
另一件作品用莲蓬状花洒将一颗悬在半空的仙人球浇死,而带动花洒的正是植物本身的重量,类似某种酷刑.
最后是一段三分钟长的双屏录像,画面上,艺术家把几个绑在一起的仙人球当作拳击袋练习拳击.
整个过程令人不忍卒视——每一拳都打得毫无保留,尽管张鼎努力想保证每次都击打在同一个位置.
展览另一部分由一堆老式电冰箱组成,冰箱里装满扩音器,前面放着一台按压式引爆器.
当观众按下引爆器时,所有喇叭便会发出震耳欲聋的巨响.
上述两部分都涉及循环系统,即吃掉自己尾巴的贪食蛇.
然而,虽然解读这些作品的渠道千千万万,身处展场之中的观众仍然摸不清张鼎的艺术游戏到底为何目的.
2008年,张鼎受邀去维也纳参加了由知名当代艺术画廊KrinzingerProjekte支持的驻地项目,最终成果就是一场名为"风"的展览,当时的主题在去年香格纳北京空间的个展"定律"上又再次出现.
张鼎最近的作品开始关注重复和提炼.
他的创作缓慢而精准,通过实践不断反思过去走过的路.
"风"展示了一段简单的木制坡道,两边安装着一对跳板.
斜坡尽头,大幅宝丽来照片七零八落地占满房间的后半部,仿佛是被展览名字里的"风"给吹过去的一样.
照片上有站在湖水中的双腿,有山上的树,还有蓝天白云等等,而被这些图片包围在中间的是一棵真正的枞树.
现场使用人工照明,画廊空间狭窄而拥挤,虽然有色调明亮的风景照片在,整体气氛仍然令人感到压抑.
我们看到的是游乐场和剧院的结合,是正在变得戏剧化的空间.
通过观看,我们登上了舞台.
对照张鼎2007年的短片《大时代》,我们可以更清楚地看到这一点.
艺术家在这部片子里再度回到移民主题.
这是一首献给城市移民的诗歌,主题是那些从农村到城市的人们的梦想,同时也是向意大利电影导演费里尼的一次致敬.
影片开头和结尾都用了厚重的红色幕布.
一名衣着整齐的男子骑着一辆马头自行车逡巡于夜上海街头.
然后他加入了一场老式的公共舞会,接着在一个简陋的街边摊坐下吃饭.
突然镜头一转,男子赤身裸体地出现在一家肮脏的澡堂,这次他在一个浅水池里拼命往前蹬车,自行车轮淹没在水下.
影片最后又回到舞台和红色幕布,StageofZHANGDing'sAtmosphereZhangDing'sartisveryattractive,buteverytimehefinishedhiswork,healwayssaiditwas'meaningless',withacasualsmile.
Headmittedthathisworksshouldevokea'strongsense',butwhatonearthwasthissense,heneverexplained.
Asinotherplaces,inChina,artistsavoidelucidatingtheirsworks,trytoprotecttheirideasbyintentionalinnocence.
Evenunderthisgeneralanti-narrationbackground,ZhangDingseemstohavemovedmoreforward.
Hisquestionisacrimonious:WhatiselucidationEspeciallyhowshamelesscanacriticbe,beforeheapplieshisabsoluteassumption.
Tillnow,hiscreationisimpressivebecauseofitsconsistencyratherthanitsquantity.
Anyonewhowantstotalkabouthisworksdoesn'tknowwheretobegin:ifhejustmakessomeludicartobjectsforpublic,andoffersthecontemporaryTsarafewFabergéeggs,thenweshouldhavebeensatisfiedOntheotherhand,ifwedoubttheimplicitmeaningofhisworks,thenwehavetoexplorethatattentivelyonourown.
Bornin1980inGansu,Zhangye,ZhangDinggraduatedfromNorthWestMinorityUniversity,OilPaintingDepartmentin2003.
Afterthat,hemovedtoHangzhouandstudiedatChinaAcademyofFineArts.
Heactuallybecameaninter-citymigrant.
InHangzhou,hebeganfilmshooting.
In2004,hewenttoShanghaiandresidedandworkedtheresincethen.
TheearlyworksofZHANGDingwereclosetodocumentary,mainlyaboutmarginalgroups-ethnicminority,citymigrant,homosexualandhomelesspeople.
Soonafter,thiscluedevelopedintoaseriesofmorecomplicatedanddiversifiedmediainstallations,includingsemi-theatricalsetting,amplifier,multi-screen,etc.
,whichexaminedtherelationbetweenartworkandthespaceinwhichitwasdisplayedasawhole,aswellasthequestionofspectators'activeorpassiveparticipation.
In2005,hehadhisfirstbigexhibition'BigCity'inBiyiartcenter.
Buthisrealbreakthroughwastheexhibition'Tools'inShanghartGalleryonNo.
50MoganshanRoadShanghaiin2007.
Firstofall,hedidaseriesofreflectionaboutthemetaphorandphysicalqualityofcactus.
Thisfull-of-contradictionplantwasthornybutalsofragile.
Alotofcactuswereplacedinsideahalf-cylindercontainer,abovewhichwasarowofhugebladesforcuttingthecactus.
Anotherworkincludedawateringcaninformofalotusroot,whichwasusedtodrownacactushungintheair.
Thewateringcanwasdrivenbytheweightofplant,inwhichsense,itwaslikeasortoftorture.
Finallytherewasadouble-screenvideofor3minutes.
Theartisttookagroupoflied-togethercactusasaboxingbagandwaspracticingonit.
Thewholeprocesswasunbearabletowatch-everyhitwaswithfullstrength,thoughZhangDingtriedasmuchaspossibletohitonthesameposition.
Theotherpartoftheexhibitionconsistedapileofoldstylerefrigerators,whichwerefilledwithamplifiers,infrontwasapush-typeexplosioninitiator.
Whenthespectatorspushedthebutton,allthespeakerwillproduceathunderoussound.
Bothofthesetwopartsmentionedaboveinvolvedcirculatorysystem,asagreedysnakewhoateitsowntail.
However,eventhoughtherewerethousandsofwaystointerpret,thespectatorspresentedstillcan'tgetaclearsenseofZhangDing'sartgame.
文/墨虎凯CHRISMOORE《艺术界》2010/11/19Text/CHRISMOORE《Leap》2010/11/19ShanghARTZHANGDing呈现了对观众存在的自觉意识.
当被问及哪些人曾给他的创作带来影响,张鼎列出了张培力、耿建翌、飞苹果和小刘韡.
我建议他名单范围应该更大,不仅要包括艺术家,还应有像费里尼和希区柯克这样的大导演.
但张鼎纠正了我的说法,指出这几个艺术家怎样在工作中展开他们的思想.
所以张鼎吸收的不是美学方面的营养,而是一种比较泛化的方法论或工作过程.
但这一结论仍然无助于我们进一步理解他创作的意义.
张鼎接下来的一个大项目是《雅布莱之梦》.
这件作品在2009年的上海艺术博览会上首次展出,主体由一个巨大的八角形木头框架构成,每条边都通过辐条与中央轴相连,整个构架上安装了九个屏幕,播放九段不同的录像.
放在中心位置的录像显示了一只猴子像先知一样给八名演员分配角色,接着,这八名演员便开始通过饰演各自的角色描绘了人类历史发展中的若干关键时刻,例如发明测绘、发现能源、艺术、宗教和战争.
表现"科学"的画面是一只置于放大镜下的鸡蛋.
细看你会发现这只鸡蛋正在放大镜聚集的热量之下慢慢变熟,意识到这一点后,整个场景开始显得令人不安,就像之前发出巨响的冰箱和击打仙人球的行为一样,给观众带来强烈的情感冲击.
前不久,《雅布莱之梦》经过重新制作,参加了上海JamesCohan画廊的群展"泄密的心".
新版装置比原来小了很多,而且这次还专门为猴戏录像准备了单独的展示台,仿佛给这段布莱希特式的开场白赋予了一个在真实美术馆中的位置.
艺术家通过这样的布景质疑了艺术究竟从何处开始.
去年是张鼎最忙的一年.
他参加香格纳"黑板"展的微型影像装置给人留下了深刻印象.
影片记录了张鼎拿锤子砸烂安装在黑板上的一片发光的灯泡,随着行为进行,玻璃破碎的声音不协调地回响在整个展厅空间.
这之后他举办了个展"定律",并参加上海艺博会期间艺术家自发组织的"资产阶级化了的无产阶级"群展.
"定律"分成两部分,第一部分是一台可怕的流水作业机器,让人联想到卓别林著名的喜剧电影《摩登时代》.
但"定律"的基调更黑暗.
张鼎的机器最终指向不断的自我伤害;安装的机关把传送带上发光的灯泡挨个击碎.
第二部分则是"风"的进一步发挥.
这一次,坡道把观众带到一片被枞树环绕、类似罗马凉廊的风景前.
整个高台的形状有点像十字架,站在台上的观众再次面临恐怖的抉择:要么是左右两边延伸至虚无的跳板,要么沿着略微向上倾斜的坡度继续前行.
坡度给人带来一种紧张感,走到平台边缘后往下看,眼前是一个内部装满灯泡的巨大半球,不可避免地让人感到一种冒险的诱惑.
为了突显这一点,半球上方还悬挂着一个装满水的瓶子,俨然一个福柯摆,时刻都有掉下来砸碎灯泡造成短路的危险.
从安排给观众的位置来看,我们就像天使,几乎可以达到上帝全知全能的视角,即所谓的"定律",但代价必须是以生命做赌注:毫无疑问,我们终将掉到灯泡上,摔得支离破碎,受利刃和电流的折磨.
张鼎参加"资产阶级化了的无产阶级"的作品《方向不明的游戏》与之前的创作稍微有些不同.
艺术家在展场搭建了一个高约一米的木头舞台,上下打光.
整件作品由许多让人感觉莫名其妙的小道具组成:梯子、斜坡、盐、传统中国花园、孔雀、地毯、嵌入舞台中的小船.
观众可以爬上舞台,但没有任何提示告诉他们拿台上的道具干什么.
现场就像一个赤裸裸暴露于大众之前的梦,观众在其中完全处于无助状态.
这些作品的共同点在于对观察和参与状态的关注.
张鼎制造的"强烈气氛"只是障眼法,真正目的是为接下来的实验做准备.
在这个公共舞台令人不安的聚光灯下,我们必须回答的问题是:谁在表演不明就里的参与者无法立即意识到他们已经进入另一个世界,从全知的位置滑入了梦境.
无论是拳击仙人球还是某些作品中的暴露感,制造震惊效果的目的都是唤醒甜梦中的人们,让他们重新回到现实,这个现实不一定可以全知(全知的视角不过是另一个幻觉).
但这并不是柏拉图囚徒说的又一次翻版.
艺术家以举重若轻的方式表达了他的意图:扰乱我们对现实的稳定认知,达到这一目标的手段则是把我们扔到另一个有关现实的认知里去,后者可以来自另一位观众的个人视角,也可以来自一名流浪艺人,或者"定律"和"工具"中的物理概念以及《大时代》、《雅布莱之梦》中的戏剧场景.
当然这种做法类似博伊斯的创作——打破战后德国、中产阶级和保守主义者们整体上过于良好的自我感觉,让观众直面他们身上的自满情绪.
最后,张鼎的作品也许可以被看作一系列经过解构的舞台布景.
风景的错置造成精神的错置,让我们与自己不完美的视野面对面,让我们看到自身知觉认识里的陷阱和瑕疵.
艺术不在张鼎使用的道具里,而在意识到这一点的瞬间,在于这个混合了狂喜与恐惧的时刻.
我们不小心走上舞台,就像童话里误入密林深处的小孩无法找到回去的路,直到遭遇我们的女巫,此处也就是我们自己的另一种反思.
In2008,ZhangDingwasinvitedtoafieldprojectinVienna,sponsoredbythefamouscontemporaryartgalleryKrinzingerProjekte,thefinalresultwasanexhibitionnamed'Wind',whosethemereappearedinthesoloexhibition'Law'inShanghartBeijinglastyear.
Recently,ZhangDing'sworksshowmoreattentiontorepetitionandrefinement.
Hiscreationisslowandprecise.
Bypracticing,hekeepsreflectingaboutthepast.
'Wind'presentedasimplewoodenslope,apairofspringboardwereinstalledonbothsides.
Intheendoftheslope,largePolaroidphotographswerescatteredeverywhereinthebackoftheroom,asifthe'Wind'ofthisexhibitionjustblewover.
Therewerephotographsoffeetstandinginthelakewater,oftreesinthemountain,ofblueskyandwhitecloud,etc;amongthesephotographswasarealfir.
Artificialilluminationwasusedonexhibitionsite,gallerywasnarrowandcrowded.
Despiteofthebright-coloredlandscapephotographs,thewholeatmospherewasstilldepressing.
Whatwesawwasacombinationofamusementparkandtheater,aspaceintheprocessofbecomingtheatrical.
Throughwatching,wewentontothestage.
Comparedwiththeshortvideo'GreatEra'in2007,wecanfeelthispointmoreclearly.
Inthisvideo,artistreturnedtothemigranttheme.
Thiswasapoemdedicatedtothecitymigrants,abouttheirdreamsinthecity,andalsoarespectpaidtoItaliandirectorFellini.
Heavyredcurtainwasusedbothinthebeginningandattheend.
Awell-dressedmanwascruisingintheShanghainightstreetonhisbicycledecoratedwithahorseheadinthefront.
Thenhesatforeatinginastreetstall,afterhavingparticipatedanoldstylepublicball.
Withasuddenchangeofscene,themanappearednakedinashabbybathhouse.
Thistime,hepedaledhisbicyclewithallhisstrengthinashallowbasin,thewheelswerecoveredbywater.
Attheend,thescenewentbacktothestageandtheredcurtain,whichshowedartist'sconsciousnessofspectators'existence.
Whenbeingaskedpeoplewhohadinfluenceonhiscreation,ZhangDinglistedZhangPeili,GengJianxin,FeiPingguoandLiuWeitheyounger.
Isuggestedheshouldhavealongerlist,whichcontainednotonlyartists,butalsogreatdirectorslikeFelliniandHitchcock.
ButZhangDingcorrectedme,pointingouthowtheseartistsdevelopedtheirideasbyworking.
ThereforewhatZhangDingabsorbedwasnotaestheticnutrition,butageneralmethodologyorworkingprocess.
Butthisconclusiondidn'tcontributemuchtoourfurtherunderstandingofthemeaningofhiscreation.
ZhangDing'snextbigprojectwas'TheDreamofYabulai',firstexhibitedinShanghaiContemporaryArtFairin2009.
Themainpartwascomposedofanoctagonalwoodenstructure,eachbranchwasconnectedwithaxisbyspoke.
9screenswereinstalledonthisstructure,playing9differentvideos.
Theoneinthecentreshowedamonkeydistributingcharactersto8actorslikeaprophet.
Thenthroughacting,these8actorsdepictedseveralessentialmomentsofhumanhistorydevelopment,forexample,inventionofmeasurement,discoveryofenergy,art,religionandwar.
'Science'wasrepresentedbyaneggplacedunderamagnifier.
Withattentiveobservation,yourealizedthatthiseggwascookedbytheheatassembledbythemagnifier,thentheentiresettingbecamedisturbing,likewhathedidbeforewiththerefrigeratorwhomadethunderoussoundandthecactus-hittingperformance.
Allofthesebroughtthespectatorsastrongemotionalimpact.
Notlongbefore,'TheDreamofYabulai',afterrebuilt,participatedthecollectiveexhibition'TheTell-Tale'sHeart'inJamesCohanGalleryShanghai.
Newinstallationwasmuchsmallerthantheoriginal.
Aseparateddisplaystagewasalsosetforthemonkeyscenethistime,asifapositioninarealmuseumwasattributedtothisBrechtianprologue.
Artistquestionedtheoriginofartbysuchsetting.
LastyearwasthebusiestyearforZhangDing.
HisminiaturevideoinstallationforShanghartGallery'sexhibition'Blackboard'wasveryimpressive.
Thevideorecordedhisactionofdestroyingwithhammer,alargeamountofilluminatedbulbsinstalledonblackboard,alongwithwhich,thesoundofsmashingglassechoeddiscordantlyinsidethewholeexhibitionarea.
Afterthis,hehadhissoloShanghARTZHANGDingexhibition'Law'andparticipatedthecollectiveexhibition'TheCapitalizedProletariat'heldbyartiststhemselvesduringShanghaiContemporaryArtFair.
'Law'hadtwoparts,onewasanawfulflow-shopmachine,whichassociatedustoChaplin'sfamouscomicmovie'Moderntimes',but'Law''smaintonewasdarker.
Eventually,hismachinepointedunceasinglytoself-harm;anintriguebrokethebulbsonthedeliveringbeltonebyone.
Thesecondpartwasafurtherdevelopmentof'Wind'.
Thistime,theslopebroughtthespectatorstoaRomanpavilionsurroundedbyfirs.
Thewholeplatformhadaformsimilartoacross,spectatorsonthiswereputtofaceahorriblechoice:thespringboardsonbothsidewhichextendedtonothingness;orwalkingbyfollowingtheslightlyupwardslope.
Slopegaveatensity,tolookedownattherimoftheplatform,therewasahugehemispherefilledwithbulbs,whichinevitablyemittedadangerousattraction.
Inordertohighlightthis,abottlefilledwithwaterwashungabovethehemisphere,asifaFoucaultpendulum,whichriskedfallingandbreakingthebulbstocauseshortcircuit.
Fromthepositiondistributedtospectators,wewerelikeangels,withagodomnipotentperspective,whichwas'Law',butthepriceforthatwaslife:undoubtedly,eventuallywewillfallonthebulbs,smashedintopiecesandtorturedbypointedbladeandelectriccurrent.
ZhangDing'swork'Gamewithunknowndirection'intheexhibition'TheCapitalizedProletariat'wasalittlebitdifferentfromhisformercreation.
Awoodenstagewasinstalledintheexhibitionareaandilluminatedfromthetopandthebottom.
Thewholeworkwascomposedofafewinexplicableobjects:ladder,slope,salt,traditionalchinesegarden,peacock,carpet,smallboatembeddedontothestage.
Thespectatorscanclimbuptothestage,butnoinstructiontoexplainthefunctionoftheobjects.
Thescenewaslikeadreamcompletelyexposedtothepublic,spectatorsinsideitfelttotallyhelpless.
Thesimilarityoftheseworkswastheconcernsaboutobservationandparticipationcondition.
The'intenseatmosphere'createdbyZhangDingwasonlycamouflage,therealobjectwastoprepareforthefollowingexperiments.
Underthisdisturbingspotlightofpublicstage,thequestionwehadtoanswerwas:'Whoisperforming'Theuninformedparticipantscouldn'trealizeimmediatalythattheyhadalrealyenteredintoanotherworld,fromanomniscientpositionintoadreamscene.
Nomatterthecactus-hittingortheexposuresensefromsomeworks,thepurposeofmakingashockingeffectwastowakeuppeoplefromtheirsweetdreamsandletthemreturntoreality,whichmaynotbeomniscient(omniscientperspectivewasjustanotherillusion).
ThiswasnotjustacopyofPlato'sprisonerism.
Artistexpressedhiscomplicatedintentioninasimpleway:disturbingourstablecognitionofrealitybythrowingusintoanothercognitionrelatingtoreality.
Thelattercancomefromanotherspectator'spersonalperspectiveorfromahomelessartist,evenfromthephysicsconceptsof'Law'and'Tools',orfromthetheatricalscenesof'GreatEra'and'Thedreamof'Yabulai'.
Ofcourse,thiswassimilartoBeuys'creation-smashthegeneralself-overestimationofmiddleclassandconservativesinpostwarGermany,andletthespectatorsfacetheirowncomplacency.
Eventually,ZhangDing'sworksmaybeconsideredasaseriesofdeconstructedstagesettings.
Thedislocationofviewscausesthedislocationofmind,whichmakesusfaceourownimperfectionandrealizethedefectsandflawsinourperceptualcognition.
Artdoesn'tlieintheobjectsusedbyZhangDing,butinthemomentwhenwerealizethispoint,themomentofecstacyandhorror.
Wegetonthestageaccidentally,asthechildinthefairytale,lostandtrappedintheheartofaforest.
Tilltheencounterwithourwitch,thenit'sthetimeforanotherreflection.
简历BiographyShanghARTZHANGDing基本资料1980生于甘肃教育2003中国美术学院1998西北民族大学油画系个展2011开幕,张鼎个展,香格纳H空间,上海2009定律,张鼎个展,香格纳北京2008张鼎,风,KRINZINGERPROJEKTE,维也纳,奥地利2007工具,香格纳画廊,上海向西N公里,2006,香格纳F空间,上海2006我的摄影展,张鼎个展,上海2005大城市,比翼艺术中心,上海群展2011香格纳桃浦展库,香格纳桃浦展库,上海一堆热情,香格纳画廊主空间,上海来自画廊仓库的东西3,黄奎&张鼎,香格纳H空间,上海怎么办恒庐美术馆,杭州2010一个接一个,香格纳画廊群展,香格纳画廊主空间,上海游园,当代艺术展,杭州中国发电站-第四站,PINACOTECAAGNELLI,都灵,意大利肖像,香格纳画廊主空间,上海童话,VANGUARD画廊,上海丛林:中国当代艺术生态管窥,站台中国,北京泄密的心,JAMESCOHAN画廊,上海2009资产阶级化了的无产阶级,当代艺术展在松江,松江创意工房,上海上海滩1979-2009,局门路436号,上海热身,民生现代美术馆,上海年轻的肖像,J&Z画廊,深圳SHANGHAIKINO,SHANGHAIKINO,伯尔尼美术馆,瑞士黑板,香格纳H空间,上海另一个现场——艺术的计划、概念与想法,香格纳H空间,上海20082008上海艺术博览会国际当代艺术展,惊喜的发现&户外项目,艺术博览会上海展览中心,上海"失眠"摄影展,比翼艺术中心,上海违章建筑Ⅱ,长征空间,北京2007中国发电站:第二部分,ASTRUPFEARNLEY现代美术馆,奥斯陆,挪威个人的态度2,录像、照片与装置展,香格纳H空间,上海中国发电站-第三站,国家美术馆,卢森堡没LOST,丢失ING,杭州2006没事,当代艺术展,胡庆余堂中药博物馆,杭州很多灰2,香格纳H空间,上海个展,2577创意大院,上海电影城,布莱顿电影节,布莱顿,英国无休无止,摄影与新媒体艺术,上海当代艺术馆,上海2005第二届广州三年展自我组织单元,比翼艺术中心:如何将广州变成上海,信义国际会馆分展场,广州出事了!
南山路柳浪闻莺公园枫杨林,杭州很多灰,影像艺术展,比翼艺术中心,上海200462761232(快递展),当代艺术展,比翼艺术中心,上海影展20082008SHADOWS中国独立电影节,蓬皮杜艺术中心,巴黎,法国2007ARTISSIMA电影节:假上海!
,从黎明至黄昏的都市肖像,MIRAFIORIMOTOR,都灵,意大利项目2010登喜路(并木)翠鸟钢笔之旅,登喜路上海陈列展示活动,上海ShanghARTZHANGDingBasic1980BorninGansuEducation2003ChinaAcademyofArt1998NorthWestMinorityUniversity,OilPaintingDepartmentSoloExhibitions2011Opening,ZhangDingSoloExhibition,ShanghARTH-Space,Shanghai2009Law,ZhangDingSoloExhibition,ShanghARTBeijing2008ZhangDing,Wind,KrinzingerProjecte,Vienna,Austria2007Tools,ShanghART,ShanghaiNKilometersTowardstheWest,2006,ShanghARTF-Space,Shanghai2006MyPhotographsExhibition,ZhangDing'sSoloExhibition,Shanghai2005BigCity,BizArtArtCenter,ShanghaiGroupExhibitions2011ShanghartTaopu,ShanghARTTaopu,ShanghaiAPileofPassion,ShanghARTGallery,ShanghaiThingsFromtheGalleryWarehouse3,HuangKui&ZhangDing,ShanghARTH-Space,ShanghaiHowwetodoHengLuArtMuseum,Hangzhou2010Onebyone,ShanghARTGroupShow,ShanghARTGallery,ShanghaiIntheGarden,ContemporaryArtExhibition,HangzhouChinaPowerStation-part4,PinacotecaAgnelli,Torino,ItalyPortrait,ShanghARTGallery,ShanghaiFairyTale,Vanguardgallery,ShanghaiJungle:AClose-UpFocusonChineseContemporaryArtTrends,PlatformChina,BeijingTheTell-TaleHeart,JamesCohanGalleryShanghai2009BourgeoisifiedProletariat,ContemporaryArtExhibitioninSongjiang,ShanghaiSongjiangCreativeStudio,ShanghaiShanghaiHistoryinMakingfrom1979till2009,436JumenRd.
,ShanghaiWarmUp,MinshengArtMuseum,ShanghaiPortraitoftheYouth,J&ZGallery,ShenzhenShanghaiKino,ShanghaiKino,KUNSTHALLEBERN,SwitzerlandBlackboard,ShanghARTH-Space,ShanghaiAnotherscene-artists'projects,conceptsandideas,ShanghARTH-Space,Shanghai2008ShContemporary08,ShiYongatBestofDiscovery;ZhangDingatOutdoorprojects,ArtFairsShanghaiExhibitionCenter,ShanghaiInsomniaPhotographsExhibition,BizartArtCenter,ShanghaiBuildingCodeViolationsⅡ,LongMarchSpace,Beijing2007ChinaPowerStation:PartII,AstrupFearnleyMuseumofModernArt,Oslo,NorwayIndividualPosition2,Video,Photo,andInstallation,ShanghARTH-Space,ShanghaiChinaPowerStation-part3,NationalArtMuseum,LuxembourgNoLost,Losting,Hangzhou2006It'sAllRight,ContemporaryArtExhibition,HuQingTangMuseumofTraditionalChineseMedicine,HangzhouAlotofDust2,ShanghARTH-Space,ShanghaiSoloExhibition,2577CreativeGarden,ShanghaiCineCity,TheBrightonFilmFestival,Brighton,UKRestless,PhotographyandNewMedia,MoCA,Shanghai2005TheSecondGuangzhouTriennialSelfOrganisation,BizART:HowtoTurnGuangzhouintoShanghai,XinyiInternationalClub,GuangzhouSomethingisHappening!
,Maple-poplarWoods-InOriolesSingingintheWillowsPark,HangzhouALotofAsh-ALotofDust,Videos&Performance,BizART,Shanghai2004Dial62761232(ExpressDeliveryExhibition),ContemporaryArtExhibition,BizArt,ShanghaiFilmFestivals2008FestivalShadows2008ChineseIndependentcinema,CentrePompidou,Paris,France2007ArtissimaCinema,Shanghype!
,PortraitoftheCityfromDawntoDusk,MirafioriMotorVillage,Turin,ItalyProjects2010AlfredDunhill'sNamikiJourneyWindow,AlfredDunhillArtistCollaborationProject,Shanghai香格纳画廊&H空间ShanghART&H-Space上海市莫干山路50号16号&18号楼,20006050MoganshanRoad,Bldg16&18,Shanghai200060T:+8621-63593923F:+8621-63594570www.
shanghartgallery.
cominfo@shanghartgallery.
com香格纳画廊北京空间ShanghARTBeijing北京市朝阳区机场辅路草场地261号,100015No.
261Caochangdi,OldAirportRoad,ChaoyangDistrict,Beijing100015T:+86-1064323202F:+86-1064324395www.
shanghartgallery.
cominfobj@shanghartgallery.
com香格纳展库ShanghARTTaopuWarehouse上海市武威东路18号(近祁连山路),200433Bldg8,No.
18WuweiRoad(nearQilianshanRoad),Shanghai200433T:+8621-63593923,+8621-36322097www.
shanghartgallery.
cominfo@shanghartgallery.
com