邹 操 | “无不碍有” 展览现场

邹 操 | 无不碍有

Zou Cao | Being through Nothing

2018.07.21 - 09.01

本次展览《无不碍有》，是邹操将中国传统文化观念与当代科技手段相结合的又一次大胆尝试。“无不碍有”的思想来源于中国传统文化中的禅宗观念，其探讨的是有与无，色与空的辩证关系。邹操利用当代高科技与视频等新媒体手段对这一观念进行了不同维度、不同视角的多重阐释，从而构建出某种全新的视觉形式与感知体验。

The exhibition Being through Nothing is a bold attempt of Zou Cao to combine traditional Chinese cultural concepts and modern technology. The idea of Being through Nothing originates from Zen of traditional Chinese culture, which is concerned about the dialectic relationship between Being and Nothing, and Visibility and Invisibility. With new media technologies such as high-tech and videos, Zou explains the concept from different perspectives and viewpoints and builds up some brand-new visual forms and experience. 

▌非有非无

Nonexistence and Non-inexistence

非有非无  展览现场

Nonexistence and Non-inexistence

雷达扫描仪，ThinkPad，亚克力水槽，电子感应器，毛笔

Radar Scanner, ThinkPad, AcrylicWater Tank, Electronic Sensor, Writing Brush

尺寸可变 dimension variable  2015

《非有非无》互动装置通过与联想ThinkPad合作引进新媒体技术，艺术家将中国传统哲学中的“空无”观念推进到了一个更为广阔的层面。作品的主体是一个装满清水的水槽，旁边放置毛笔，可供在水中书写，通过装在水槽底部的传感器和旁边的电脑，原本在清水中书写所无法存留的那些痕迹最终会经过软件处理在水槽边的电脑上形成一个二维码，用手机扫描二维码，即可收到之前所书写或描画的图像内容，这是一件邀请观众参与的开放性作品，每个人可以自己在水槽中书写或图画，然后获取自己的图像。作品的创作初衷是艺术家试图将精神世界中主观存在的图像转化为客观存在的图像，但同时又包含了禅宗思想中“色”与“空”之间的辩证关系，通过采用当代科技手段和观众互动，艺术家将原本不可能同时存在的“色”与“空”同时呈现了出来，从而也以艺术的方式进一步推进了对于艺术中“有”和“无”之间关系的思考，这也是艺术家按照自己的艺术逻辑循着“文化转译”和“文化反思”的线索进一步进行的“文化推进”的探索。

In this work, the artist pushes forward the concept of emptiness in traditional Chinese philosophy to a vaster level through cooperation with ThinkPad. Main body of the work is a water tank full of clean water, beside which there is a writing brush to be used for writing in water. Through the sensor installed on the bottom of the water tank and the laptop beside the water tank, those contents written in water, which are not supposed to be retained, can be stored and processed by a software and a two-dimensional code can be formed in the laptop. If the code is scanned by a smartphone, images of contents previously written or painted can be received by the phone. This is an open work inviting participation of audience and everyone can write and paint in the water tank and receive images created by himself or herself through aphone. Original intention of this work is that the artist attempts to transform images of subjective existence in spiritual world into objective images. Meanwhile, this piece of work also contains dialectical relationship between form and emptinessin Zen Buddhism. Through interaction with audience, the artist succeeds in presentingboth form and emptiness at the same moment, and coexistence of them is supposed to be impossible, based on which the artist takes a further step in thinking about the relationship between existence and nonexistence inart in an artistic way. This work also represents further exploration of the artist on cultural advancement through following the clues of culturaltranslation and cultural reflection.

▌看见思考的光

'Think' Creates Possibilities in Life

看见思考的光

'Think' Creates Possibilities in Life 

ThinkPad, 电子装置，综合材料

ThinkPad, Mixed media 

145x100x75cmx3  2015

看见思考的光 局部-1

'Think' Creates Possibilities in Life  detail-1

看见思考的光 局部- 2

Think' Creates Possibilities in Life  detail-2

艺术家以“看见思考的光”为题，创作了一组装置艺术作品，以三个可以开合的大脑，分别展现从思考之初到产生艺术的过程。中医认为，一颗完整的人类大脑上有很多穴位。这件装置用ThinkPad呼吸灯替代了穴位，其内置感应可识别距离，当你触摸大脑上的穴位，呼吸灯便会发出光芒。如同思想，在大脑皮层跃动出辉煌。打开成90°的大脑，左右两边各有一台ThinkPad S1 Yoga，通过激光的放射与反射，来制造并表现信息传递中大脑产生的电波。随着电波的传递，信息在大脑中被加工，生成命令身体的指示。当你在打开成120°的大脑右侧(内嵌ThinkPadS1 Yoga)写下此时的思考，左侧便会生成二维码。手机扫描后，会出现一个经过大数据算法运算得出，专属于你独一无二的画作。通过“看见思考的光”这组装置，是将无形的思考通过有形的画面表现出来。艺术家邹操站在当今时代最具特征的潮流上，回望整个艺术发展史看到，每件传世之作，都被时代刻下深深的烙印，而当今时代的烙印，便是大数据。但无论怎么样，只有思想才是独一无二的，数据也必须为思想服务，才有存在的价值。由此，便有了这组装置作品。“看见思考的光”这组装置作品也代表着艺术家邹操对于大数据和自媒体时代的一种思考，五年前没有微信，也更没有自媒体了，五年前的计算机也不能像今天这样运算，这些科技和信息技术的进步革新，都是这个时代的这种特征，这种特征被艺术家邹操捕捉到，并通过思考和作品表达出来。

看见思考的光 展览现场 installation view

The artist has created aset of installation works titled “Seeing the Light for Ideas”, which containsthree foldable brain models, showing the process from the birth of ideas toart. According to traditional Chinese medicine, a human brain has lots of “acuoints”.This installation uses ThinkPad breathing LED at “acupoints” where theinstalled sensor can tell the distance. When you touch the “acupoints” of the brain,the LED is turned on just like ideas are shining in the cerebral cortex. If youopen the two parts of the brain that are placed at the degree of 90, on eachside there is a ThinkPad S1 Yoga, which is used to produce and express thewaves created by the brain in the transmission of information through theradiation and reflection of laser. With the transmission of waves, theinformation is processed in the brain and creates an order for the body. Whenyou open the right part of the brain that is placed at the degree of 120, theleft side will create a QR code. When you scan it with your mobile phone, thereis a unique picture exclusively belonging to you that is created by thecalculation of big data. The installation of “Seeing the Light for Ideas”expresses intangible ideas through tangible pictures. Standing along the mostdistinctive wave of the times, Artist Zou Cao takes a retrospection of thehistory of art and notices that every masterpiece is stamped with the times,and the stamp of today is big data. However, ideas are unique and data servesideas so as to survive. Hence the creation of the installation. “Seeing theLights for Ideas” also represents Zou’s thoughts for the era of big data and wemedia. Five years ago there was no WeChat or we media, and the computers backthen could not calculate like today. The contemporary era features the progressof science and information technology, which are captured by the artist andexpressed through ideas and works.

▌空书画

Empty Painting and Calligraphy

空书画- 色即是空

Empty Painting and Calligraphy

显示器,宣纸,影像,镜框 Display, Xuan Paper, Video, Mirror Frame

330x50x8cm x3   2015

空书画  展览现场 installation view

这件作品中包含了艺术家创作的两个子作品。一件是艺术家临摹了元代画家黄公望的一部分《富春山居图》，伴随着艺术家一遍遍地临摹，纸上原本清晰的《富春山居图》逐渐变淡直至最后完全消失不见；另一件是艺术家以清水为墨在宣纸上创作《山水非有象》的过程，艺术家一边作画，纸上留下的“墨痕”也在不断地随时间流逝而变干和消失，当艺术家创作完成之后，之前画过的地方都已经变得了无痕迹，而最终展出的作品，则是看上去空空如也的白色宣纸。作品的灵感一方面源自传统中国山水画中所蕴含的道家哲学思想，即关于“大象无形”的思想，而另一方面也包含了禅宗所言的空无世界的观念，即禅宗所探讨的“色不异空，空不异色”以及“非有非无”的思想，而这种“色”和“空”之间的关系实际上也与传统中国画所表现的山水意境发生着对应关系。通过这件作品，艺术家以一种不同于以往的当代视觉方式，重新探讨了“空无”与“存在”之间的关系。

This work contains two pieces ofsub-work created by the artist. One is a partial copy of Dwelling inthe Fuchun Mountains created by Huang Gongwang, apainter in the Yuan Dynasty. With one time of copying after another by theartist, the clear painting is fading away gradually and disappearsfinally. The other one is the creating process of Nonexistence of Shapein Landscape by the artist with clean water as ink on a piece of Xuanpaper, in which ink traces left on the paper become dry anddisappears finally with the passing of time during the process of painting bythe artist. After completion of painting, all previous traces disappear, forwhich the work on exhibition appears to be a piece of white Xuan paper withnothing on it. On the one hand, inspiration for the work originates from Taoistphilosophy contained in traditional Chinese landscape paintings, namelythat grand things have no fixed form. On the other hand, thiswork also contains the concept of emptiness in Zen Buddhism, namelythat there is no difference between form and emptiness aswell as the concept of nonexistence and non-inexistence. Infact, the relationship between form and emptiness correspondsto artistic conception of landscape in traditional Chinese paintings.The artist re-discusses the relationship between emptiness and existence incontemporary visual approach different from the approaches usedin the past.

 

▌山水自去来

Transformation of Mountain and Water in Landscape

山水自去来

Transformation of Mountain and Water in Landscape

冰墨,生宣纸,镜面展台,影像,图片,背景音乐

Iced Ink, Raw Xuan paper,Mirror-surface Exhibition Stand, Video, Picture and Background Music

495x87x120cm  2011

山水自去来 展览现场

installation view

山水自去来 局部-1

Transformation of Mountain and Water in Landscape detail-1

山水自去来 局部-2

Transformation of Mountain and Water in Landscape detail-2

《山水自去来》，艺术家首先用深浅不同的墨汁冷冻成水墨冰山，将若干层生宣纸平铺在一个有镜面的展台上，然后将水墨冰山按照预设好的构图不同层次、不同阶段地摆放至这个宣纸叠层上。随着时间的推移冰墨会渐渐地融化并在宣纸的叠层的立面产生一幅倒影的山水图像，而宣纸叠层下面的镜面又将这幅倒置的山水反射成一幅正面的山水。作品的出发点一方面源自道家对水的理解，在中国传统文化中对水的认识是无声、无相、无形，还包含了“上善若水”的哲学意味；另一方面，在中国传统山水画中对于水的处理往往都是采用外化的处理方式，而没有真正做到相由心生。但是在这件作品中经过了三个阶段：将水转化成山（墨汁冷冻成冰山），山转化成水（冰墨融化为墨水），而水再转化为山水（融化的墨水形成山水图像），最终所形成的图像并非是客观的图像，而是主观创作出来的图像。而在此过程中，这三重转化又对应着禅宗的思想，即从“见山是山，见水是水”，转化为“见山不是山，见水不是水”，最终再转化为“见山还是山，见水还是水”的三重境界。

山水自去来 影像

Transformation of Mountain and Water in Landscape

video 3'54''  2011

In this work, the artist made an inkiceberg with ink in different light and deep colors. After this, several layersof raw Xuan paper were spread on an exhibition stand with a mirror and inkiceberg was put on those layers of Xuan paper based on different layers andphases according to the preset composition. With thepassing of time, iced ink will thaw and create aninverted landscape painting on the facade formed by layersof Xuan paper, while the mirror below those layers of Xuan paper will create anormal landscape through reflection. Starting point of this piece of workoriginates from understanding of water in Taoist philosophy. In traditionalChinese culture, water is deemed as soundless, formless and shapeless,which contains the philosophical meaning that the greatest kindnessshould have the disposition of water. On the other hand, wateris always externalized in traditional Chinese landscape paintings and theconcept of external state being the reflection of internal state is notrealized. However, this piece of work experiences three stages: Water istransformed into mountain (ink is frozen into iceberg); mountain is transformedinto water (iced ink thaws and becomes ink); and water is transformed intolandscape (melted ink forms a landscape image). The final image is not anobjective image but an image created in a subjective way. In this process,these three times of transformation correspond to a concept in Zen Buddhism, namely three states starting from the state that mountains and riversare reflected in one’s heart as their original appearances, which is transformed into the state that reflection of mountains and rivers inone’s heart is distorted by his or her experiences and frame of mind, whichis finally transformed into the state that mountains and rivers arereflected in one’s heart as their original natures again.

▌云山戏墨Cloudy Mountain in Ink Play

云山戏墨 Cloudy Mountain in Ink Play

宣纸, 冰墨 Xuan Paper, Iced Ink

800x20x42cm 尺寸可变dimension variable  2015

云山戏墨 局部-1 Cloudy Mountain in Ink Play detail-1

云山戏墨 局部-1 Cloudy Mountain in Ink Play detail-1

《云山戏墨》是艺术家根据中国古代山水的造型方式以多层宣纸交叠组合制作的一件装置作品，与传统山水构成方式不同的是，艺术家转化了传统中国画中纸作为平面图像载体的功能，探索了纸和墨不同于以往的空间造型表现力。通过这种方式，艺术家将“云山”从一种带有哲学象征意味的平面图像符号，转化成了一个空间中可感可触的物品，实现了传统抽象视觉图像在当代艺术视觉逻辑之中的不同呈现。

Cloudy Mountain in Ink Play is aninstallation work created with multiple overlapped pieces of Xuanpaper by the artist based on modeling method of ancient landscape of China.Difference between forming method used in this work and way of formation fortraditional landscape lies in that the artist transformed the function of paperas the carrier of two-dimensional image in traditional Chinese paintings andexplored the expression of spatial formation through paper and ink, which isdifferent from that in the past. In this way, the artist succeeds intransforming cloudy mountain, a two-dimensional symbolwith philosophical symbolisminto an object that can be felt andtouched and realizing a different representationof traditionalabstract visual image in visual logic of contemporary art.

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