郑宏昌 个展 “ 非影非像 ”
发起人:郑宏昌  回复数:1   浏览数:390   最后更新:2017/04/17 19:15:17 by 佐罗潘
[楼主] 郑宏昌 2017-04-17 17:48:53

郑宏昌 个展 “ 非影非像

时间:2017年4月7日——5月3日

策展人:艾艾

学术主持:海杰

地点:北京市朝阳区草场地327号

   进行时空间



















 无效劳作的微缩景观


   文/海杰


   在英剧《黑镜》里,穿着运动服的那些显得有些具体的大众,生活在四周都是屏幕的空间里,他们只会接收到三种节目:色情片、达人秀和广告,并且只能靠不断蹬自行车来积攒虚拟的点数,以换取基本的生存和娱乐,本质上,这样的劳作是无效的。这个看上去似乎没有主体的媒介,正在通过无意义的消耗来达到对人的控制,这出以社会批判和媒介批判著称的系列剧,直指屏幕带给我们的残酷现实。

仅就“无效的劳作”这一点,我们可以就郑宏昌的作品与其进行准确的勾连:一尊肥胖的肉身迟缓地奔跑在一辆坦克不断滚动的履带之上,如同在健身房的跑步机上,永不停歇。当然这是艺术家将微型坦克装置和全息投影影像巧妙进行视觉对接而形成的运动场景。但这一场景促使我们假设:如果他停下来,会怎么样?问题的根本在于,这个假设是无效的,因为不可能停下来。那群在《黑镜》里蹬自行车的人也停不下来。从视觉逻辑上来讲,如果奔跑停下,意味着肉身遭到碾压。

   在他的作品里,经过严格切割打磨的展示平台上,放置着一系列我们熟悉的物件:微型坦克链轨、天平、玻璃器皿、以及金属螃蟹。这些物件日常却具有不可回避的力量属性。而据此系列物件的行动特征排演的影像经过全息影像技术进行展示,与对应的物件构成了既错位又恰到好处的镜像关系。在曾参加过威尼斯双年展的法国艺术家pierrick sorin那里,这样的方式也被频繁使用。

郑宏昌通过调节这些设备,试图在触摸屏幕生存这个媒介之于我们的运行和控制机制。他的创作看上去似乎要成为科学的一部分,精密、计算,不露声色,甚至有些幽默。我们同时发现资本的运作也同时在使用这套逻辑。

   除了屏幕议题之外,我们也会发现,他通过全息影像与投影技术和装置的结合来触碰资本与政治双重控制下的人的状况。在这个大的语境下,他启用一些具有强烈符号指涉的装置来展开表述,比如他的玻璃器皿之于狭小空间对于人的约束与规训,微型坦克装置不断循环的机制里,人没有尽头的奔命,这与其说是对战争的隐喻,不如说是今天我们表现出的种种日常境遇来得准确:不停的劳作与奴役。甚至与以人的数量为考量基准的天平,他在这里也试图提出一个问题,关于大众与个体,多数与少数的问题。

   促使我们去观看郑宏昌作品的动力,一方面来自于其机械和影像联合构成的游戏性,还有赖于那个不断奔跑、被挤压、被权衡的肉身。在他所有的影像装置中,我们都能看到这样一个肉身符号:肥胖、慵懒、努力、迟钝、消耗,疏于抵抗或失去抵抗意识。他们似乎是独立存在,没有干扰,也不受控制。但由坦克、天平、玻璃器皿等物件投射的镜像,却恰到好处地成为那些肉身的语境,看似错位,不构成直接的操控,但却无法回避隐形的操控逻辑,那些物件变成了一个个无形的手。 这些装置没有强烈的情感置入,也没有明显的批判刀锋,冰冷、幽默,甚至格局狭小,但却构造了资本机制运作的微缩景观。

也就是说,艺术家通过这样的一些吸引我们的游戏互动装置的设定与结合,试图去触碰我们业已沉陷其中的消费社会穹顶之下的运行机制。


2016年11月1日北京







An Epitome of Futile Labor

By Hai Jie


In British TV series Black Mirror, the masses, dressed in sportswear which makes them seem to be concrete, live in cubicles with walls entirely taken up by screens. They can only receive 3 programs: sex shows, talent shows and advertisements, and have to peddle to earn merits in exchange for subsistence and entertainment. Their labor is futile in nature. The media seemingly masterless is manipulating people through meaningless consumption. This TV series, known for its criticism of society and media, cut open the cruel reality of the screen to us.

We could match Zheng Hongchang’s works with Black Mirror on the exact point of “futile labor. In Zheng’s work, a fleshy body runs slowly on the continuous rolling track of a tank like running on a treadmill incessantly. Of course, it is a motion scene created by artist through ingenious visual synthesis of miniature tank and holographic images. It is, however, thought-provoking: what if he stops? The question is, this assumption does not stand, for that he cannot stop, nor can those bicycle-peddlers in the TV. Visual-logically speaking, if the running stops, the body will be crushed.

In his works, on the duly cut and polished display counter lie a series of familiar objects, such as miniature tank caterpillar, scale, glassware and metal crabs. These daily items possess unavoidable power. The images based on the action features of the items coupled with holographic techniques have formed a mirror-image relationship with corresponding objects that is both displaced and proper.This way of expression is frequently used by French artist Pierrick Sorin, who has participated the Venice Biennale.

Through regulating these devices, Zheng has attempted to figure out the operational and manipulative mechanism of the medium of screens on human beings. His works seem to becoming a part of science, precise, calculating, undemonstrative, and even a bit humorous. Meanwhile, it can be discovered that the operation of capital also employs the same logic.

Besides the screen issue, we could also find that, he explores the human conditions under the dual control of capital and politics through holographic projection on devices. Under this big context, he starts using devices with strong symbolism to express himself, for example, glassware symbolizing the constraint and confinement of small space to man; the endless running for life in constant cycles of the miniature tank device, which is a portrayal of our daily encounters other than a metaphor of war: the incessant labor and enslavement. He even goes as far as pointing to the scale of evaluation based on the number of people, and tries to put up a question of the masses to individual and the majority to minority.

What has motivated us to view Zheng Hongchang’s works is, on one hand, the game generated by the machines coupled with images; on the other hand, the body that is constantly running, getting crushed and weighed. In all his image devices, we can find a symbol of body: obese, languid, arduous, dull, consumed, lack or unconscious of resistance. They appear to exist independently, not interfered nor controlled. But the images projected from the objects such as the tank, the scale, and the glassware become the exact context of the bodies, seemingly displaced not under direct control but manipulated by unavoidable logic, thus those objects turn into “invisible hands”. These devices are not embedded with strong emotion, nor with obvious criticism, they are cold, humorous and even small in layout, but they constitute the epitome of capital operation mechanism.

In other words, through the setting and combination of interactive gaming devices appealing to the public, artists attempt to fathom the operating mechanism under the dome of a consumer society where we are all deeply trapped.



Written in Beijing on November 1st, 2016


[沙发:1楼] 佐罗潘 2017-04-17 19:15:17
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