张翔

 

当代艺术家；四川美术学院雕塑系教师

1982年生于四川省达州市

2007年毕业于四川美术学院雕塑系，获学士学位

2009年前往荷兰海牙自由视觉艺术学院交换留学

2010年毕业于四川美术学院雕塑系，获硕士学位

2010年至2013年入驻坦克库•重庆当代艺术中心

2014年留校任教于四川美术学院雕塑系

现工作生活于重庆

 

Zhang Xiang

a contemporary artist and a teacher of sculpture department of Sichuan Fine Arts Institute in China.

1982 Born in Dazhou city, Sichuan province, China.

2007 Graduated from the bachelor program, sculpture department of Sichuan Fine Arts Institute.
2009 Exchange study in the Free Academy of Visual Arts The Hague.

2010 Graduated from the master program, sculpture department of Sichuan Fine Arts Institute.

2010 -2013 Working in Tank loft· Chongqing Contemporary Art Center.

Since 2014 Teaching in sculpturedepartment of Sichuan Fine Arts Institute.

Currently living and working inChongqing.

 

《密林》    拖把、钢管    可变尺寸   2014

Drak Woods mop     steel pipe     Variable-sized     2014

《世界》    藤椅    200x200x70cm    2014

The World     cane chair     200x200x70cm     2014

 

现成品是日常化的产物，从某种意义说，它象征着日常生活的平庸和重复。其实，我并没有做多少，就是在这些物件上动了动手脚，让它一瞬之间变成非常态的东西，这样的改变对于日常来说是畸形的，但这种畸形所呈现出的形态或许会触动人的某根神经，偶尔兴奋一下，也试图让人感受到日常化背后的神秘。在改变的此时此刻，或许会获得片刻的自由和感激，抛除一切，你不再是你，我不再是我，只静静地让时间流走。

Readymade is the day-to-day product. In one sense, it symbolizes the mediocrity and repetition of daily life. In fact, I did not do much work. I just make the stuff different and let it become a abnormal shape thing in the twinkling of an eye. The change is monstrous for everyday, but this malformation perhaps can touch a nerve of people to excited  occasionally. And it also try to let people feel the mystery behind the daily. Maybe we can get a little of freedom and gratitude at this moment. Put aside everything, you are no longer yourself, I am no longer myself, just let the time flow away quietly.

微访谈······Interview

 

兰：王玖刚给我说，要做个“两室一厅”的活动。刚刚问他，何处来的兴致？他说：为了我们还是艺术家的身份。

张：挺好，他们以手工的修行出发，以艺术的道心引路，探索艺术与生活，艺术与设计之关系。你怎么看这样的展览？

L: Wang Jiu just told me,he will arrange an exhibition name Two-Room Apartment, and I ask him ‘how this come to you’, he said that because we are artist.

Z: I think it’s good, they start with the experience of handcraft, and guide by the art, explore the relationship of art and life, art and design. What do you think about it?

 

兰：现在不了解这是一个什么样的展览和做法。一年前，在他们工作室，其实讲到一个有趣的展览，那时候叫“一个勺子的展览”，当时给我印象深刻的是，这不是一个陈列作品的展览，而是一个关于方法论的展览。当然，这是闲话了。现在还不了解“两室一厅”是通过怎样的操作产生思考或者产生乐趣，但其实和一年前那个“一个勺子的展览”相似的是：这个展览，他们愿意用艺术家的角度，用展览的方式表达思考。这个出发点，其实很私人，容易露短，但也由此显得真诚。

张：听你的描述，虽然我没有看到“一个勺子”展览的现场，但我仍然能感觉得到他们做为艺术家的自觉。这也许是一种信仰或者习惯。因为在大多数人看来，艺术总是扮演着神秘的神圣角色。而设计被定义为一种更为平实的存在，就像生活中的用品，我们只负责使用，甚至会忽略它们。他们似乎不甘于这样一种人为的平庸，所以我觉得他们在尝试用品之余存在的可能性。

 

L:  I’m not very clear about this exhibition yet. One year ago, in theirstudio, actually we mentioned an interesting exhibition, at that time we call it An Exhibition For A Spoon, it lefta deep expression to me, that is not an exhibition which just exhibit works,but is an exhibition about methodology. I’m not very sure about this exhibition yet, I mean, in which way they create the fun or the thoughts convey, but I think there have some similar parts with An Exhibition For A Spoon, in this new exhibition, they willing to from anartist’s perspective, and considerate through an exhibition way. This startingpoint, I think it is very personal, and maybe it will show some shortcomeing,but also it shows their honest.

Z: From your description, although I was notthere, I mean An Exhibition For A Spoon, but I still can feel their self-conscious as an artist. Or maybe it is a beliefor habit. Cause from normal people’s view, art is always a mysterious role, andcompare with art, design will be more natural and simple, just like the daily objects, we just need to think how to use them, even ignore them. It seems that they’re not accept mediocrity which set by people, so I would say that they’re trying to explore another possibilities out the usage.

 

兰：在生活中改变大众的，还是深谙日常之道的设计。

张：所以在这类潜移默化的改变中，我们都想改变那些被改变的。

L:  It is design which change the mass people in the life, because it know the daily most.

Z: So all of us want to change the thing which already changed in these subtle changes.

 

兰：只是可能在这个艺术院校的平台上，设计终究不会放在凌驾艺术创作或者与艺术创作并置的高度上。对于这种放弃创作选择产品的，多少被认为是一种退步或者妥协（事实上可能也成立）但总归生活之道是小众之外的大流，“艺术院校”不能成为一叶障目的那片叶子。

张：模糊记得有个评论家推测：设计是艺术的终点。所以，在你看来，艺术是否逃不了“小众”的命运？

 

L: It could be just because of the platform of academy, design cannot be put the position which higher or even the same with art. For these action which give up create but choose product, in some degree is considered to be a set back or a compromise (it could be establish somehow). However, the way of life is always the mass rive outside minority, the arts academy cannot be the leaf which interrupt the view.

Z: I not remembered it very well, there were an critic conjecture, design will be the end of art. So from your perspective, art cannot get rid of the fate of minority?

 

兰：我不会太想这样的问题。艺术不是条河，有方向，而是片湖，可能是河流的起点也可能是河流的终点。说回来，还没有朋友跟我介绍这个展览的细节。

张：如果很简单来说，我们用“两室一厅”这个概念把原来已有的艺术家的作品融合到了一起。既是居家用品又不是，现场应该是一个很奇特的现场。

兰：乍看之下很寻常，但暗藏意外。

张：一来就意外！

L: I will not consider this kinda question. Art is not a river, art have its own direction, it’s a lake. It could be the starting point or the end of the river. Btw, I’m still not very clear about the details of this exhibition.

Z: Yas, If we say it simple, we use two-room apartment this idea to organize all the art work together in this exhibition. It can be seen as furniture but also can be seen as others, the exhibition should be very special.

L: At first sight it would be very common, but the unexpected hidden inside.

Z: The unexpected follow with coming!

赵建成

 

1988年生于河南济源市

2015年四川美术学院雕塑系研究生毕业

2015-2016年度四川美院青年驻留艺术家

生活、工作于重庆

Zhao Jiancheng

1988 born in Jiyuan, Henan, China

2015 MA Sculpture, Sichuan Fine Arts Institute

2015-2016 Youth Artist Residency, Sichuan Fine Arts Institute

live and work in Chongqing

 

(以往作品)《碎片》   木   2013-2015年

（Works）Fragments       wood  2013-2015

 

作品《碎片》选择了房梁木作为材料，由于木材本身有榫卯结构留下的孔洞，还有大小不一的裂纹，根据材料的特点，有的从裂纹入手，有的从空洞入手，在没有拼接木料的情况下更加需要想办法克服材料的体量的局限和很多而然因素。

Fragments choose the wood for roof ream as the material, the wood itself has holes which left by the tenon structure, and various size cracks as well. According to the characteristics of the materials, some of them start from the crack, some of them start from the hole, in the case lack of mosaic wood, I need to consider more about the material volume limitations and other natural factors.

 

（以往作品）《小屋1》   123125208cm    木、现成品  2014年

（Works）Small Room 1     123125208cm    wood/readymade    2014

 

（以往作品）《小屋2》  1698269cm   木、现成品   2015年

(Works)    Small Room 2     1698269cm    wood/readymade   2015

 

作品《小屋》是木雕和现成品的结合，化熟悉为陌生。现成品是被精心破坏的失去了实用功能的现成品，木雕是在木头梯子和桌子上进行的雕刻，然后把这些组合成一个房间的场景，每个物品都特意安排了属于他的“合理”位置。

Small Room is the combination of wood carving and the readymades, let the familiar objects become unfamiliar. Readymades is carefully destroyed which already lost function, wood carving is carve on the wood ladder and table, and then organize these become a room scene, each work arranged a “reasonable” place.

 

微访谈·Interview

 

问：你为什么这样做作品？

赵：小时候哭闹了能得到别人的回应，现在越来越有“大喊一声，无声。大哭一场，如常”的无奈感，自言自语的几句话反而可以疗伤。开始破坏生活用品的时候，觉得自己可以改变一些东西，浑身的力量终于有地方用了，内心的破坏欲开始释放，总想去破坏更多东西，破坏眼前的常规，然后小心翼翼再把他们安放在“合理”的位置。

 

Q: Why you create these works?

Z: When I was a little boy, People always response to me if I cry, but through the time the feeling of helplessness getting stronger, it just like “you shout, but silence, you cry, but nothing chenge”, It can heal automatically through talk to myself. When I begin to destroy daily objects, I feel that I change something, all my energy kind of find a place to work with, and the desire of destruction start to release, thus I always want to destroy more. Destroy the rules, and then put them in a “reasonable” place.

问：这一段时间好像没做什么东西，为什么停下来了。 

赵：但是回头看看，这些当时觉得死去活来地破坏，还是微不足道的，小到想破坏自己，大到改变公共的东西，都是无能为力的。想挣钱又下不去手，给兔子做了很大的笼子却不愿意关他们进去，养的母鸡好不容易下了蛋又不忍心吃鸡蛋了，开始反思是哪里出了问题，所以停下来了。

 

Q: So recently you seems not continue to create, why?

Z: You know, when I look back, these huge destructions I made before, actually it was powerless. From I destroyed myself to make some change to the public space, all of them is powerless you know. I want to earn money but I cannot do it, it’s like I made a cage for rabbits but I don’t want to let them in, the hen lays eggs which put much effort, but I don’t want to eat the egg in the end. I started to reflect where is the problem comes from, so I paused.

马俊

 

四川美术学院雕塑系（本科）
 

群展：

2016，贵州茅台杨柳湾美术馆“重塑”开馆展

2016，四川美术学院毕业展，获“学院奖”

2016，十一届全国高校毕业生优秀雕塑作品展“优秀奖,

2016，曾竹韶雕塑艺术奖学金展

 

Ma Jun

BA Sculpture, Sichuan Fine Arts Institute

Exhibition and Award

2016

Reconstruction: the open exhibition of Guizhou Maotai Yangliuwan Museum

Academy Award of Graduation Exhibition of Sichuan Fine Arts Institute

Excellent Award of the 11^th National Graduates’ outstanding Sculpture Exhibition

Zeng Zhushao Sculpture Art Scholarship Exhibition

 

（以往作品）《等到风景都看透》/竹子、电机/2015年

（Works）  Until All the Scenery Has Been Seen Through / Bamboo, Television/2015

把竹子作为基本材料，制造了一个完全闭合的“水循环”，再造了一个有趣的充满禅意的小世界。小竹筒随水的循环有规律的敲击大竹筒，声音清脆干净，呈现一个动态的、有声音的效果,展现出竹和水之间的交融关系，颇有东方古典精神的意境。

Using bamboo as the basic material, creating a completely closed "water cycle", recreated an interesting little world which full of Zen. Small bamboo bucket with the water cycle knock large bamboo regularly, the sound is crisp and clear, presents a dynamic effect, showing the interactive relationship between bamboo and water, like theartistic conception of eastern classical spirit.

微访谈······Interview

 

问：怎么会把竹子和水联系起来做作品？

马：家乡就多水多竹子，从小喜欢用竹子做些小玩意儿。这个作品是在翔哥的课程中完成，当时转校园发现好多竹子，就勾起一个想法：能不能用竹子做些作品？川美竹子多，种类也多，就动手做起来了。对于我来讲，竹子和水，就好像黄油面包、豆浆油条、咸菜稀饭一样，“竹水相生”自然而然。

 

Q: How to connect bamboo and water to create artworks？

M: In my hometown, there has a large source of water and lots of bamboo, I like to use bamboo to create several little things. This work was completed in Xiang’s course, when I walking in the campus, I found there are a lot of bamboo, then it brings up an idea: What it could be if I use bamboo to create some artworks? There are various of bamboo and I try to start to create. For me, bamboo and water, just like bread and butter, soy milk and youtiao (Chinese fried dough), porridge and Chinese pickles, the relationship of water and bamboo is also like them.

 

问：在竹子里装酒有什么意义吗？

马：有次展览，一个朋友问我那酒可以喝么？我愣了下，为什么不能喝呢？结果她真去喝了。这样作品就直接和观者产生了联系，也淡化了“作品”和“物品”的界限，何尝不可呢？保持一个玩的状态，贴近生活，怎么好玩都可以的。

 

Q: What's the meaning of using bamboo to loaded alcohol?

M: There was an exhibition, a friend asked me that if she can drink the alcohol which in the bamboo? This question shocked me, why can’t drink it? She just went ahead. Thus this work
had a relationship with spectators directly, also blurred the boundary of work and object. Why not? Maintain a state of play, close to life, as long as it’s fun.