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第16届里昂当代艺术双年展 | 张如怡

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东画廊非常高兴地宣布,我们的艺术家张如怡携其最新的展览项目 《装修:空地》,参与今年第十六届里昂当代艺术双年展,展览将从2022年9月14日持续至12月31日。展出地点位于里昂市吉美博物馆和富维耶宗教艺术博物馆。


本届双年展由策展人组合Sam Bardaouil和Till Fellrath担纲策划,在主题“脆弱宣言”之下,脆弱被置于一种生成的抵抗形式的核心。人们对不稳定的共同认知,加剧了如下论断:“我们的脆弱性或许是为数不多的普遍感受到的真理”。而更关键的是,如若这种脆弱性是不可避免的,那么,艺术家们又应如何将其作为自身赋权的基础,回应当下并为未来做好准备?

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Don Gallery is delighted to announce the participation of our artist ZHANG Ruyi with her latest project Renovation: Vacant Lot at the 16th Lyon Biennale of Contemporary Art, which is running from 14 September to 31 December 2022. Ruyi’s project is showing at The Guimet Museum and The Religious Art Museum of Fouviere in Lyon.


This year’s Biennale is curated by the curatorial duo Sam Bardaouil and Till Fellrath. Under the theme Manifesto of Fragility, fragility is placed at the heart of a generative form of resistance. The common awareness of the shared precariousness reinforces the assertion that 'our fragility is perhaps one of few universally felt truths in our divided world'. More crucially, if this fragility is inevitable, how can artists harness it as a foundation for empowerment while also addressing the here and now and planning for the future?


第16届里昂当代艺术双年展 | 张如怡 崇真艺客

View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Guimet Museum, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 里昂市吉美博物馆, 法国里昂. Photo Courtesy of Artist and Don gallery ©Blaise Adilon


张如怡敏锐地捕捉到了主题之下的张力:“它暗含着脆弱的隐秘和个体的离散,在充满矛盾的现实生活中滋长、发酵、过滤,生成为一种态度,传递出一种声音。” 艺术家延续其一贯的创作母题——个体、物料和场所之间的关联与层次,结合了上海城市静默与隔离期间的禁锢经历,将它们融汇于此次特定场域的装置与实践当中。并进一步借由吉美博物馆曾经繁荣又被废弃的历史背景,让作品如同访客一般进行会面,构建作品中脆弱和抵抗的对话感。

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“It alludes to the concealed mystery of vulnerability and individual dispersion, which evolves, ferments, and filters in the conflicting reality of existence, giving birth to a voice and an attitude”, according to ZHANG Ruyi, who deftly catches the tension beneath the subject matter. Incorporating her experience of confinement during Shanghai's lockdown and isolation into this site-specific installation and practice, the artist continues to explore the hierarchical interactions between individuals, materials and place. Additionally, she makes use of the unique historical context of the once-thriving and now-defunct Guimet Museum, allowing the works to interact as if they were visitors and creating a dialogue between fragility and resistance.


第16届里昂当代艺术双年展 | 张如怡 崇真艺客

View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Guimet Museum, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 里昂市吉美博物馆, 法国里昂. Photo Courtesy of Artist and Don gallery ©Blaise Adilon


从吉美博物馆巨大幽深的黑暗大厅中步入展厅,明亮整齐的瓷砖贴面、大面积的木板与锡纸、裸露着粗糙肌理的白墙,在冷白色日光灯的映衬下展现出与外部空间鲜明不同的工业感和秩序感。还未来得及辨明所处环境之时,人们已经被声音作品《室内荒原》(2020)中传来的夸张尖锐的电钻声和轰鸣声所惊醒——这是艺术家收集自城市建设和拆迁工地中劳作的声音,沉重却无形地介入现场,令人无法回避。

近观之下,墙面上的家用锡纸经过反复的折叠与展开留下了密集的网格状痕迹,延伸成为空间与时代的背景,很难不令人联想到在紧急状态中向所有人张开的无形的秩序之网,时刻提醒着观众现实生活中严密的压制逻辑。锡纸对于艺术家而言,是兼具脆弱和耐热两面性的金属材料,同时指向家庭日常生活中的进餐与交流。在此种语境下,锡纸的隐喻与略微刺耳的城市重音形成了一种内与外、居家与周遭之间的辉映,并在剧烈的反差和体验的互动中,暴露出平静之下的脆弱性。

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The bright and orderly tiled surfaces, sizable wood panels and tinfoil, and the bare and rough white walls are set against cool fluorescent lights as we enter ZHANG's space from the vast and dark Grand Hall of the Guimet Museum, revealing a distinctly industrial and orderly feel from the outside environment. The sounds of electric drills and pounding from the installation Domestic Wasteland (2020), a heavy but invisible intervention in the space that the artist gathered from the city's construction and demolition sites, awakens us even before we can recognise the surroundings.


It is difficult to help but think of a web of order that opens up to everyone in a state of emergency when large areas of family-use tinfoil are repeatedly folded and unfolded, leaving a dense grid-like trail that extends into a spatial and era backdrop. For the artist, tinfoil is a metallic material that is both fragile and heat-resistant, and also refers to the meals and conversations that take place in the daily life of the family. In this context, the metaphor of tinfoil and the slightly harsh urban sounds form a dramatic contrast and interaction between inside and outside, between home and surroundings, laying bare the fragility beneath the calmness.


第16届里昂当代艺术双年展 | 张如怡 崇真艺客

View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Guimet Museum, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 里昂市吉美博物馆, 法国里昂. Photo Courtesy of Artist and Don gallery ©Blaise Adilon


第16届里昂当代艺术双年展 | 张如怡 崇真艺客View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Guimet Museum, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 里昂市吉美博物馆, 法国里昂. Photo Courtesy of ZHANG Ruyi

地面放置的作品《废物》(2020)也在此次的空间中被赋予了新的诠释。锡纸被轻盈地悬挂在现代化拆旧翻新过程中掉落的碎石钢筋上,其线条温和地隐匿着过去的粗粝。锡纸上转印的是一张荒芜境地里攀附簇拥的仙人掌的群像,在灼热的烈日下与岩石混淆在一起,并再度映衬在基底和周围环境中的锡纸之下,仿佛在拼贴着一系列由温度、环境、室内空间等所引发的想象碎片。这一人工的 “现代化石” 也暗喻着一种被裹挟在建筑(时代形态)与垃圾(剩余之物)背后的权力变动关系,赋予了“废物”作为“废弃的景物”之意。

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The Waste (2020), a floor-mounted work, has also been given a fresh interpretation in this project. The tinfoil is softly suspended from the rebar of building rubble that has fallen during the modern demolition process, the lines of which gently conceal the coarseness of the past. The image on the tinfoil is a transfer of a cluster of cacti growing in a barren setting, confused with rocks in the hot sun, and again reflected in the base and surroundings beneath the tinfoil, as if collaging a series of imaginary fragments triggered by temperature, surroundings, interior space, etc. This artificial "modern fossil" also alludes to a shifting power dynamic enmeshed in architecture (the form of the era) and garbage (the leftovers), lending "The Waste" the connotation of a "discarded landscape."



第16届里昂当代艺术双年展 | 张如怡 崇真艺客

View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Guimet Museum, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 里昂市吉美博物馆, 法国里昂. Photo Courtesy of Artist and Don gallery ©Blaise Adilon

艺术家对矛盾性材料和关系的着迷同样体现在《种植物-7》(2022)中。一块来自真实拆迁环境的建筑碎石上种着涂了褐色甲油的仙人掌刺,宛若巨型建筑的崩塌物上生长着被遗忘的枯草。自然与人工的相互嫁接于此处形成和谐平衡——钢筋因自然演变留下锈迹,从真实自然物中剔出的刺,其表面涂着用于人体修饰的甲油,刺的尖锐和指尖间接地得到一种触感。整件作品以恰到好处的尺寸嵌入璧龛,也嵌入吉美作为曾经的历史博物馆的语境。

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ZHANG Ruyi's fascination with contradictory materials and relationships is also evident in Planter-7 (2022). A piece of rubble was planted with cactus spines painted in brownish nail polish, resembling dead grass growing on the collapse of a giant building. The natural and the artificial elements are harmoniously blended together here - the rusting of the steel fragment is the consequence of natural growth, the cactus spines were taken from real nature, while the nail varnish is an industrial product for human grooming – as if the sharpness of the spines is extremely close to the touch of the fingertips. The whole piece is embedded in the niche at just the right size, also in the context of Guimet’s former role as a historical museum.



第16届里昂当代艺术双年展 | 张如怡 崇真艺客

Folded Sorrow (Excerpt) 折叠悲伤 (片段), ZHANG Ruyi 张如怡, 2021-2022. Single channel video 单频影像, 7 minutes 7 分钟

紧接着,穿过现成品门《关于空间的梦游》(2021-2022),进入到空间高度降低的“室内”。两件间隔十年创作的影像作品,反映了艺术家创作意趣和手法的更迭。早期的影像《利器》(2012)中,艺术家用手持DV的长镜头记录下了高跟鞋的鞋跟不断原地踏碎镜子的过程,直至镜面照映着周围高楼林宇的逐渐破碎。彼时,艺术家更侧重于其个人情绪的表达和消耗,镜头最终也摇晃模糊在一片灰蓝色的碎片中。

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Next, through the ready-made door piece of Sleepwalking in Space (2021-2022), we enter the 'interior' where the space is reduced in height. Two video works, created ten years apart, reflect a change in the artist's creative intentions and approach. In the early work Tool (2012), the artist uses a handheld DV to record the process of the high heels stepping in place and breaking the mirror till it reflects the gradual shattering of the surrounding skyscrapers and buildings. Back then, the artist focused more on the expression of her personal emotions, and the shots eventually shake and blur into a greyish shard.


第16届里昂当代艺术双年展 | 张如怡 崇真艺客

View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Guimet Museum, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 里昂市吉美博物馆, 法国里昂. Photo Courtesy of Artist and Don gallery ©Blaise Adilon

与之对应的《折叠悲伤》(2021-2022)将艺术家平日里近距离观察和收集的碎片进行了拼贴:静止的铜片、缓慢转动的风扇,漂浮在植物刺尖上的蛛网、偶遇繁忙的施工现场… 在镜头的串联中,静止和流动并峙,自然的形态与个体的劳作交织与杂糅。如果说《室外荒原》与《利器》是外向的、粗旷的宣泄,《折叠悲伤》则是向内的自我抑制。尤其是凝结在仙人掌的尖刺之间、随着空气飘动的蜘蛛网,在这一自然造物般的编织中,脆弱和力量达到了微妙的平衡与共存。相比较于作品中出现的拆迁挖掘机单刀直入的壮观镜头,它滋生出太多不可言说及无处可放的思绪,被现实一次次地冲刷,直到被折叠、存放在口袋里。

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On the contrary, Folded Sorrow (2021-2022) is a collage of fragments that ZHANG usually observes and collects up close: a static piece of copper, a slowly rotating fan, a spider's web floating on the spikes of a cactus, and occasionally encounters with busy construction sites... In the sequence of images, stillness and flow are confronted, and the forms of nature and individual labour are interwoven and mingled. In comparison, Folded Sorrow is more inwardly self-repressed than the Domestic Wasteland and Tool, which are extroverted and violent expressions. Particularly in this natural creation-like weaving, the cobwebs that float in the air between the spikes indicate a delicate balance and cohabitation of fragility and strength. In contrast to the video's stunning pictures of excavators, it breeds way too many thoughts that can only be folded up and kept momentarily in pockets since they have nowhere to start and nowhere to proceed.



第16届里昂当代艺术双年展 | 张如怡 崇真艺客

View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Guimet Museum, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 里昂市吉美博物馆, 法国里昂. Photo Courtesy of Artist and Don gallery ©Blaise Adilon

人们很难忽略的是,整个现场的重新“装修”中大面积使用的瓷砖和木板,都是亚洲城市生活中常用的建筑材料。因其功能上便于清洁和廉价的特性,不但常见于家庭和私人空间,而且广泛使用于洗车场、大型垃圾场等公共场所。瓷砖和木板铺设的环境有许多指向和含义,对艺术家来说,它强调的是个体与复杂多元环境的张力。特别值得一提的是最后一个房间,四周密布着光洁瓷砖的墙壁分明预示着一个更为私密的空间的展开,矛盾性材料的转化、空间层次的调度也在这里得到了充分呈现。

作品《低声细语-3》(2022)第一次尝试了让大尺寸的穿插着刺的薄膜自然地吸附在瓷砖墙面上的呈现方式。塑料薄膜也是装修中常用的防尘材料,既廉价又清透。而收集自不同种类仙人掌植物的刺,则作为一种更贴近个体及身体的意象在这个房间中延伸开来,如毛毛细雨般 “缝补”在薄膜上,也被紧紧地锁定在光滑的瓷砖面上。曾经出现在碎石上的刺的轻柔感与此处穿入薄膜中的尖锐感进行了精妙的置换。向左望去,错置在墙面中心的地漏,又像是对刺的另一种解读与想象,它消解为一种面对周遭现实所带来的压制和困惑的自我消化。

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It is difficult to miss the fact that the site was thoroughly renovated with tiles and wood panels, both of which are typical construction materials in most Asian cities. They are frequently utilised in both private families and public settings, including car washes and large landfills, because of their practicality, affordability, and ease of cleaning. The tiled and panel setting has many allusions and allegories, but for ZHANG, it is more about the tension between individuals and the varied context of real life. Particularly noteworthy is the last room, whose glossy tiles encircle the walls and immediately suggest the unfolding of a more intimate space. Here, the contradictory transformations in materials and the dispatching of spatial layers are fully present. 

In the work Speak Softly-3 (2022), the artist experimented for the first time with the presentation of a large interspersed thorny film that naturally adheres to the tiled wall. Plastic film, a common dustproofing material used in renovation, is both cheap and transparent. The spines, collected from different species of cactus plants, extend through the room as a more personal and body-related imagery, "stitched" onto the film like a light rain, and are also locked tightly onto the smooth tiled surface. Its tenderness that formerly bloomed on the rubble is delicately replaced with the sharpness that pierces penetrating through the film here. Looking to the left, the floor drain, misplaced in the centre of the wall, is another interpretation and imagining of the spines, dissolving into a self-digestion in the face of the oppression and confusion of the surrounding reality.


第16届里昂当代艺术双年展 | 张如怡 崇真艺客

View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Guimet Museum, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 里昂市吉美博物馆, 法国里昂. Photo Courtesy of Artist and Don gallery ©Blaise Adilon

可以说,在城市面貌快速流变的过程中,在“建设”与“拆毁”的周期性循环中,脆弱与抵抗反复出现。个体与现实的互动与张力成为萦绕在每个人心头的永恒命题。回到此次展览的主题“装修:空地”,在张如怡的解读中,“空地”扮演着堆叠废墟和空无一物的一体两面—— “空地”既是城市生活物理空间上的名词,又是心理空间上的形容词。在周而复始的城市“装修”中,无时无刻都充斥着那些被遗忘的空地、那些被等待改造的空地、那些在内心被缺位的空地,它们彰显着它们自身脆弱的力量。也正如双年展主题宣言中所阐述的:“真正的力量不是为了征服新的疆域,而是为了继续向内心的家园迈进”。

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The perpetual cycle of "construction" and "demolition" and the rapidly evolving urban landscape can be considered to be replete with fragility and resistance. The interaction and confrontation between the individual and reality become a constant proposition that haunts everyone. Reverting to the exhibition's theme, Renovation: Vacant Lot, in ZHANG Ruyi's interpretation, the piles of debris and the void represent two sides of the same coin. A vacant lot can refer to both the psychological space and the physical space of urban life. There are always vacant areas in the city's weekly "renovation" that are left unfilled, that are awaiting transformation, that are absent in the heart, showing their own fragile power. Just as the Biennale's Manifesto states, "true power moves not to conquer new frontiers but rather to continue on a march towards a home that is carried within".




第16届里昂当代艺术双年展 | 张如怡 崇真艺客
View of “the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility”, 2022. The Religious Art Museum of Fouviere, Lyon, France “第 16 届里昂当代艺术双年展:脆弱宣言” 展览现场, 2022. 富维耶宗教艺术博物馆, 法国里昂. Photo Courtesy of ZHANG Ruyi




艺术家项目

- 法国里昂双年展-

- Biennale de Lyon-


第16届里昂当代艺术双年展 | 张如怡 崇真艺客



艺术博览会

弗里兹伦敦艺博会 -

- Frieze London -


第16届里昂当代艺术双年展 | 张如怡 崇真艺客





第16届里昂当代艺术双年展 | 张如怡 崇真艺客


空间升级改造,敬请期待。

Don Gallery space is under upgrading and renovation. We look forward to welcoming you to our gallery space very soon.


地址 | Address

上海市徐汇滨江龙腾大道2555-9号

2555-9 Longteng Avenue, West Bund, Shanghai


联系方式 | Contact

T: +86 21 6473 1533

E: info@dongallery.com.cn

ins: dongallery

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