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[楼主] 郑宏昌 2017-10-04 08:29:53

循环迁移 | 郑宏昌个展

策展人 | 祁震

艺术家| 郑宏昌

主办 |泛空间

协办 | 凤凰含章艺术中心

展览时间 |2017.10.01-10.13

展览地址 | 798艺术区707街红石广场泛空间

循环迁移——郑宏昌个展

文/祁震

郑宏昌此次个展延续了他上一个展览中作品的创作路线，即以一种游戏化的视觉机器呈现出一种具有幻象特质的影像存在，然而在此次展览作品中，郑宏昌并没有持续把精力放在将影像与物体拼合成一个关联的装置上，这次他则是将关注点放在了制造纯粹的“影”上面。如果说郑宏昌之前的作品还有很多法国艺术家Pierrick Sorin的影子，并对这一套影像装置的制作方法已经熟练地掌握了，那从这次展览中的主要作品中可以看出来他在有意识地让自己脱离“舒适之地”。

▲ 展览现场左起 / 艺术家陈志泽、策展人祁震、艺术家郑宏昌、艺术家唐龙

▲ 展览现场左起 / 艺术家郑宏昌、策展人，越后妻有大地艺术节中国推广人孙倩

这次展览的作品中，郑宏昌把搜集到的一些老旧手风琴的贝斯部件连接到马达上，他将自己的身体通过3D扫描后打印出来，再与手风琴的部件连接起来。这种看似不相干的两种“物体”的“相遇”有些生硬，但通过剧场式灯光的照射，投射在墙面上的黑色暗影将两种不同的“物体”统一在了一起，即作者身体与手风琴部件的影子融合在了一起。郑宏昌选择3D打印出来的“人偶”来替代他自己的肉身，这些3D人偶动作各异，也都是来自他之前的影像作品，身体机械的运动与马达带动机械部件的运动刚好暗合。灯光照射后，物体遮挡光线产生的影子远大于物体本身，这种奇幻的戏剧化的舞台效果为作品乃至整个展览空间都增添很多神秘感。

▲ 展览现场左起 / 著名制片人李振平、艺术家郑宏昌

▲ 展览现场左起 / 艺术家郑宏昌、艺术家何云昌、艺术家张竹筠

郑宏昌希望观众在观看他的作品时能够成为“双重旁观者”，正如苏珊·桑塔格所认为的那样，观众作为“旁观者”对影像的观看都是“双重”的，第一次旁观是观看微缩的艺术家的3D身体，而第二次旁观则是对3D身体的所指代的人的观看。郑宏昌通过机械运动下的身体，以及与机械运动下的物体之关联，试图正确认识自己，认清自我存在中的种种物化和异化，在循环往复与迁移运动中自省生命中的能指和本我的不可能。

▲ 展览现场左起 / 艺术家张竹筠、艺术家郑宏昌、艺术家乔治

▲ 展览现场右起 / 艺术家朱久洋、艺术家郑宏昌及友人尤洁

Motion in Repetition

- Preface for Zheng Hongchang’s 798 Solo Exhibition

In the upcoming solo exhibition, the artist Zheng Hongchang continues along the same creative path as his previous one which evolves around the presence of phantom-like images created through a game-like visual mechanism, however, the focus in the artworks exhibited this time have shifted away from the idea of placing projected images and materialistic objects into the same installation piece, instead, the artist the new focal emphasis is upon the creation of "pure image".

▲ 展览现场策展人祁震接受媒体采访

▲ 展览现场右起 / 艺术家张竹筠、艺术家郑宏昌、策展人祁震、艺术家唐龙

If one were to say that the artist's previous works carried much influence of French artist Pierrick Sorin, and that Zheng Hongchnag can fully translate the methods that Sorin applied, then the key works in this exhibition can also be said that Zheng had veered away from his "comfort zone". The works of this exhibition shows the mechanical parts of the bass section of an old accordion being attached to a motor, the artist made 3D-scans of his body and printed out in 3D puppets of his body, which he connects to the mechanical parts. The seemingly forced "connection" of these two "materials" may look ridged at first, but it is the light casted from theater lamps that transposes their dark shadows on the wall, that makes the two "objects" "become one", where the 3D-printed "puppets" stands in replacement of the artist's body. The puppets stand in different poses, and they come from Zheng Hongchang’s previous arrangements, movements of the mechanical bodies coincide with the motor-driven movements of the accordion parts. The shadows created through lighting are much bigger in size than the actual objects from which they originate, the theatrical effect produced brings a sense to mystique to not only the artworks but the entire exhibition space as well.

▲ 展览现场左起 / 友人母元珑

▲ 展览现场左起 / 艺术家高才、艺术家郑宏昌、艺术家张竹筠、艺术家宋晓静

▲ 展览现场左起 / 艺术家欧阳泉、艺术家螺丝刀、艺术家郑宏昌

▲ 展览现场左起 / 艺术家郑宏昌、艺术家于艾君

The artist asks the audience to maintain their "dual-spectatorship" when viewing his artwork, just as Susan Sontag’s notion states that the viewing of the audience is of dual-spectatorship nature. In the first spectatorship, the audience views the miniaturized puppets of the artist's body, and in the second spectatorship, the audience views the person to which the 3D-bodied puppets refer. Through the connection of the mechanical movements of the body and the mechanical movements of the objects, the artist tries to self-perceive, as well as the materializations and dissimilation within the self. Through the looped repetition and the movements of relocation, the artist tries to realize the signification in life and the impossibility of self-id.

Qi Zhen

September 2017