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张如怡,狠

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展览名称：我所不能了解的事
参展艺术家：张如怡
策划：高远
主办：香瓜侠公社
时间：2011年9月17日~22日 开幕：9月17日17:00
地点：上海市虹口区山阴路132号（近鲁迅故居）。

Things that I don’t understand
Artists: Zhang ruyi
Curator: Gao yuan
Duration: September 17~22, 2011
Opening: September 17, 2011,17:00
Adress: No.132, Shanyin Rd. Hongkou district, Shanghai (near the former residence of lu xun).


展览前言：

抵抗的身体

高 远

对于我们经验范围之内的事物的体察与感受，可以被称为“了解”。我们日常经验内的事物即是我们已经了解或者即将被了解的对象，但是，如果仅仅关注日常经验内的寻常事物，就有陷入平庸的危险，而“当代艺术家”这个身份似乎总代表着不甘于平庸之辈，多拥有格格不入的的潜质，他们本能地拒斥着庸常事物和各种传言。

在这里，水泥成了隔断坊间寻常之声的屏障，它可以被看作一种抵抗的姿态，唐突地出现于日常的居室中。它看似与我们生活无关，其实不然，我们每个人几乎都生存于水泥混凝土的楼房之中，但水泥被各种装修掩盖，成了我们难以“体察”，却时刻置身其中“感受”的事物。在张如怡的作品中，水泥作为从日常生活经验当中抽取的非日常因素，我们有了重新感受它的温度与质感的机会，这种“感受”在于和肉体相联系的神经系统，它从属于“身体”。

如果有人认为，“感受”与“抵抗”有可能构成相互对立的范畴，那么在这里，这两者通过“身体”而融为一体。通过身体，被感受的事物成了抵抗的武器。换句话说，这种“身体”的感受正是艺术家对于“陈辞滥调”做出的一种“抵抗”方式，“感受”即是“抵抗”。张如怡即在这种独特“感受”的经验基础之上，抵抗着来自民间的陈辞滥调，试图呈现她“所不能了解的事”。

这次个展延续了张如怡之前的作品偏重人的细腻感受与对充满隐喻的异质材料的把握，也强调了对于人云亦云事物的怀疑甚至否定的态度，这即是“抵抗”的态度，是艺术家回避惯常思维方式的策略，但是张如怡没有运用这种策略来做文章，而是把这种策略本身当作作品，跳过了观念转化的环节，使作品呈现得更加质朴而强烈。

The Resistant body

Gao Yuan

Understanding and feeling about things within the scope of our experience can be called "comprehension". The things within our daily experience is the objects that we already know or about to know. But if we only concern about the ordinary things within common sense, there is the danger of falling into mediocrity, however, the identify of “contemporary artist" always seems to represent the people who are unwilling to be mundane, and most of them have incompatible potential, they instinctively reject the trivial things and all kinds of rumors.

Here, the cement has become the barrier of cutting off the ordinary sound; it can be seen as a gesture of resistance, abruptly appearing in the daily living room. It appears to have nothing to do with our lives, but in fact that is not true, almost every one of us lives in the concrete buildings, but the cement was covered by a variety of decoration. It has become the objects which are difficult for us to "understand" while can always be felt since we are. In Zhang Ruyi’s works, cement as an uncommon element drawn from daily experiences, we have an opportunity to re-experience its temperature and texture, this kind of "feeling" is linked to the nervous system related to body and belongs to "body".

If someone believes that "feeling" and "resistance" may constitute into conflicting areas, while at here, these two are integrated into one through "body". The objects being felt have become a weapon of resistance through the body. In other words, this kind of "body" experience is the artist’s way of "resistance" for "cliché". Zhang Ruyi is resisting the hackneyed remarks from the people and trying to show "the things she cannot understand" based on that this unique experience of "feeling".

The solo exhibition not only continues the features of Zhang Ruyi’s former works, emphasizing on people's delicate feelings and dealing with unusual material which filled with metaphors, but also highlights the skeptical and even negative attitude towards the parrot things, which is an attitude of "resistant", is the strategy of artist avoiding usual way of thinking, but Zhang Ruyi does not use this strategy as the subject matter, but to make the works itself a strategy and skip the part of idea transformation, making the works more simple and strong.

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