展览前言

 Preface to Exhibition


文:青年策展人 王缦曼

Writer, Emerging Curator Manman Wang


     张潇月,一直致力于研究可以映射生活的行为和雕塑作品,以水,火,植物等元素进行转换。她将周围空间赋予某种意义。驻留重庆期间,她眼前所见的碧绿嘉陵江和褐黄长江激流汇聚,其势如野马分鬃,漩涡滚滚,清浊分明,成夹马瞬观。《两江游》由此得来。《两江游》取长江,嘉陵江及两江交汇间的三个点,以水为媒介,为寻两江游缘去究,行之虚无,对抗之顷刻永恒。张潇月将这涉下清浊挪现于穹顶之上,取长江水,嘉陵江水及两江交汇间的三点江水,舀一瓢浊化清,再还一瓢清入浊,浮浮沉沉,浸流而下水画痕,许是浊似墨遇水,寓生命荟生溃散?视世物因缘归途?正是她欲引观者移步换景之意,许低腰许仰面,躲不过泥水骚于一身,浑已亲临交汇之磅礴,随迫行履匆匆,恐来不及推敲,此为过往痕因?或将来未知?待观者思绪。

     Yiy Zhang is dedicated to express life through performance and sculpture works, using water, fire, plants and so on as transform elements to give meaning to surrounding space. She transforms water, fire, plants and so on to express life. 

     During her stay in Chongqing, she saw the dark green Jialing River and the yellow Yangtze River flowing together like wild horses with parting manes. The works "Two Rivers Tour" was created where the water fuses and the pure and turbid distinct.

     "Two Rivers Tour" takes three points at the junction of the Yangtze River and the Jialing River. Using water as the medium to find the origin of the rivers, to walk into the void and to find the instant eternity. Yiy Zhang took the water from both the Yangtze River and the Jialing River and the confluence of the two rivers, scooped up a ladle of turbid water and pour into clear water, and then clear into turbid. It leaves trace floating and sinking like ink dissolving in water, implying the collapses in life. How to understand life in world? Yiy Zhang leads the viewers to experience different perspectives. No matter what position, one can never avoid mud splash. It is like being there watching the great view of junction of the two rivers but is compelled to hurry and leave everything unquestioned. Why? We do not have an answer, or to say, the answer is in viewer’s mind.



“两江游”

"Two rivers tour" 

文:艺术家 张潇月

Writer, Artist Yiy Zhang

     初夏仲秋,碧绿的嘉陵江与褐黄的长江激流撞击,其势如野马分鬃,漩涡滚滚,清浊分明,成夹马水。如此相汇,注入东海。

     “两江游”取长江,嘉陵江及两江交汇间的三个点,带着观者移步换景。以水为媒介,将游为观线。取一瓢浊化清,再还一瓢清入浊。是精卫填海的填,也是愚公移山的愚。用一个虚无的行为来去对抗这缥缈的永恒。

     两”不为两,代指繁多;“江”不为江,代指生命;“游”不为游,代指活着。

     During early summer and mid autumn, the green Jialing River and the yellow Yangtze River strike fiercely, where is like the mane of a wild horse. Whirlpool rolls and forms an imposing view where clear and turbid distinct and flows into the East Sea.

     Yiy Zhang took the water from both the Yangtze River and the Jialing River and the confluence of the two rivers, scooped up a ladle of turbid water and pour into clear water, and then clear into turbid. Using an act of nothingness to against the ethereal eternity, it is an determined as well as fool act. 

      "Two" does not mean two but many; "river" does not mean river but life; "tour" does not mean tour but live.




     1990年生于陕西榆林,现生活工作于德国杜塞尔多夫和中国北京。

     2013年毕业于中央美术学院雕塑系,获学士学位。于2019年于德国杜塞尔多夫美院取得大师生学位。

     ”show a simple thing, tell a story, hide the story”(“陈述故事,再隐藏故事)她的作品经常以一种退后的方式,去呈现一个凝视般的沉静的现场。

     其作品在达卡艺术现场(2019,达卡,孟加拉国);伊萨卡(2018,蒙特普奇亚诺,意大利);壳(2018,BigCi,悉尼,澳大利亚);文化之夜(2018,门兴格拉德巴赫,德国)等地展出。

     Yiy (Xiaoyue) ZHANG, (b.1990) was born in Shaanxi, China. She graduated from Central Academy of Fine Arts in Beijing with Bachelor degree (2013) and then studied at Ecole nationale superieure des beaux-arts de Paris (France), Akademie der Bildenden Kunste Munich  (Germany) , and from Düsseldorf Kunstakadmie (Germany) with Meisterschulerin (Prof.Gregor Schneider) in 2019.

     She currently lives and works in Düsseldorf , Germany.

     “Show a simple thing, tell a story, hide the story”. Yiy Zhang’s works demonstrate profound humanistic concerns with a calm and dignified gesture, and her reflections on the current era and history. Her recent project includes : “Dhaka live artbiennale”(2019,Dhaka,Bangladesh) ,“Ithaka”(2018, Montepulciano, Italia) ,”The  shell” (2018,Bilpin, Australia).”Kultur Nacht”(2018,Monchengladbach, Germany).


教育背景︱Educational Background

2016-2019 杜塞尔多夫美术学院,杜塞尔多夫,德国

2014-2017 慕尼克美术学院,慕尼克,德国

2010-2011 巴黎高等美术学院,巴黎,法国

2008-2013 中央美术学院,北京,中国

Born in Shaanxi (22.10.1990),China

Lives and works in Beijing China and Düsseldorf Germany

2016-2019(sculpture,Fine Arts) Kunst Akademie Düsseldorf,Düsseldorf,Germany 

2014-2017 (Sculpture,Fine Arts) Akademie der Bildenden Künste München,Munich,Germany

2010-2011 (Sculpture,Fine Arts)Ecole nationale superieure des beaux-arts,Paris,France

2008-2013 (Sculpture,Fine Arts)Central Academy of Fine Arts,Beijing,China


展览经历︱Exhibitions

2019

08.11 Alber画廊,科隆,德国

02.11-01.12 艺术工厂,Kaiser&Dicke 工厂,伍珀塔尔,德国

22.09-22.10 复归倡议,重庆,中国

29.06-12.09 万营畅想,万营美术馆,石家庄,中国

16.06-30.06 春晓,p8,长沙,中国

01.06-15.06 Ep.20190615/20190601 三尚美术馆,杭州,中国

08.03-13.04 Yellow Reflection, Liusa Wang画廊,巴黎,法国

02.02-05.02 达卡现场艺术双年展,达卡,孟加拉国

2018

13.09-15.09.2018 艺术实验室,蒙特普奇亚诺,义大利

08.09-29.09.2018 波恩当代艺术美术馆,波恩,德国

13.08.2018 BigCi工作室开放日,悉尼,澳大利亚

29.07-01.08.2018 嘉德艺术中心,青年100,北京,中国

26.05.2018 艺术之夜,门兴格拉德巴赫,德国

10.04-15.06.2018 约翰摩尔艺术奖,民生美术馆,上海,中国

31.01-04.02.2018 年展,杜塞尔多夫美术学院,杜塞尔多夫,德国

07.01-28.02.2018 碰撞,基业艺术馆,苏州,中国

2017

31.12.2017-31.01.2018 新星星艺术奖,德基美术馆,南京,中国

24.12-25.02.2017 空间诗学,今日美术馆找朋友橱窗专案,北京,中国

18.11-19.11.2017 PostPOST,邮政艺术空间,杜塞尔多夫,德国

10.10-15.10.2017 Zimmer Frei,Mariandl酒店艺术专案,慕尼克,德国

25.05-28.06.2017 Art MUC艺术博览会,慕尼克,德国

14.04-17.04.2017 ABC艺术书展 2017,南京艺术学院美术馆,南京,中国

14.02.2017 11小时,Filmwerkstatt,杜塞尔多夫,德国

13.02-19.02.2017 年展,杜塞尔多夫艺术学院,杜塞尔多夫,德国

17.01-17.02.2017 共振,巴黎Horizon画廊,巴黎,法国

2016

09.11.2016-08.01.2017 第三届CAFAM双年展“空间协商”:没想到你是这样的,中央美术学院美术馆,北京,中国

13.09-13.10.2016 极限频率,南京艺术学院美术馆,南京,中国

25.08-11.09.2016 故乡,Hall 50,Domagk Ateliers,慕尼克,德国

19.08-21.08.2016 2016艺术书展,上海21世纪民生美术馆,上海,中国

16.07-24.07.2016 年展,慕尼克美术学院,慕尼克,德国

02.06-19.06.2016 Notel prinzregent, Prinzregent酒店,慕尼克,德国

10.01-10.02.2016 韧度的临界,段祺瑞旧府,北京,中国

2019

08.11 Galerie Alber, Köln , Germany

02.11-01.12 Fabric of Art, Fabrik Kaiser & Dicke, Wuppertal, Germany

22.09-22.10 Revival 2019, Chongqing, China29.06-12.09 Wanying Young oreams, Wanying Museum, Shijiazhuang, China

15.06-30.06 Dawn of Spring, Pyra Festival, P8, Changsha, China

01.06-15.06 Ep.20190615/20190601 Sanshang Art Museum, Hangzhou, China

08.03-13.04 Yellow Reflection , Galerie liusa Wang, Paris, France 

02-05.02.2019 Dhaka live art biennale, Dhaka,Bangladesh 

2018

13.09-15.09.2018 Labor der Kunst, Montepulciano,Italian

08.09-29.09.2018 Kunstraum villa friede,Bonn,Germany

13.08.2018 BigCi Open Studio,Sydney,Austria

29.07-01.08.2018 Yes or no,Art nova 100,Jiade art centre,Beijing,China

26.05.2018 Nachtaktiv,Kunstverein Mönchengladbach,Mönchengladbach,Germany

10.04-15.06.2018 John Moores Prize,Minsheng Art Museum,Shanghai,China

31.01-04.02.2018 Rundgang 2018,Dusseldorf Kunstakademie,Dusseldorf,Germany

07.01-28.02.2018 Collision,Jiye Art Foundation,Suzhou,China

2017

31.12-31.01.2018 New Star,New Star Museum/Deji Museum,Nanjing,China

24.12-25.02.2018 The Poetics of space,Today Art Museum,Beijing,China

18.11-19.11.2018 PostPOST Final,PostPOST Grand Central,Düsseldorf,Germany

10.10-15.10.2018 Zimmer frei,Hotel Mariandl,München,Germany

25.05-28.05.2018 ARTMUC,München,Germany

14.04-17.04.2018 ABC Art Book in China 2017 Nanjing,NUA Museum,Nanjing,China

14.02.2018 11Stunden,Filmwerkstatt,Düsseldorf,Germany

13.02-19.02.2018 Rundgang der Kunstakademie Düsseldorf,Düsseldorf,Germany

17.01-17.02.2018 GalerieParisHorizon,Paris,France

2016

09.11.2016-08.01.2017 3rd CAFAM Biennial”Negotiating Space:I never thought you were like that”,CAFA Art Museum,Beijing,China

13.09-13.10.2016 Threshold Frequency, NUA Museum,Nanjing,China

25.08-11.09.2016 Hei'mat ,Domagk Ateliers Hall 50,Munich,Germany

19.08-21.08.2016 Art Book in China 2016,Shanghai 21st Minsheng Art Museum,Shanghai,China

16.07-24.07.2016 Jahrsausstellung2016,Akademie der Bildenden Kunst München,Munich,Germany

02.06-19.06.2016 Notel Prinzregent,Hotel Prinzregent,Munich,Germany

10.01-10.02.2016 Puptere-Before&Beyond,No.3 Mansion Art Space,The Old DuanQirui Mansion,Beijing,China







《巴别/掌中生命线》,墙面画,尺寸可变,

2014 “Babel/Lifeline in the Palm”,wall painting, variable size,2014


     从14年起,整整之后的三年我一直在做一根线,掌中生命线,颤颤巍巍,而又绵延,微弱欲断,又极富韧度。源于询问,出于探寻,从而不达,循环往复,归于无解。命名为《巴别》。

     Since 2014, I’ve been producing a line. It is about a lifeline in one’s palm, trembling and quivering, seemingly feeble yet resilient. It originates from an query and exploration; follows the trend with no terminal; repeats itself like a perpetual circle and ends up with nothing. Named Babel.


《巴别/生命的光》,玻璃,光,尺寸可变,2015

 “Babel/Light of life”, glass, light, variable size,2015


     那一年世界似乎并不太平,恐怖组织,侵略,爆炸,袭击等等充斥着这个身披灰烬的世界。但有黑暗的地方光明就显得更加明确,15年,在墙上不断重复画生命线的行为变成了透过缝隙穿过玻璃的光。

     That year the world was not peaceful. The ash-covered world was flooded with terrorism organizations, invasions, bombs and attacks. However, in darkness, silver lining is more eye-catching. In 2015, the act of drawing a continuous lifeline became a beam of light going through the gap and then a piece of glass.



《巴别/蚁迹》,蚂蚁,亚克力,200*20,2016

“Babel/Trail of Ants”, ants, acrylic, 200*20,2016


     16 年这根线变得借物拟人。介入生态系统中的蚂蚁,让蚂蚁协助完成了这根线。都市中人,劳碌无为,零件些些,砖墙每每。每个人变成了任何人,也变成了没有人,变成了最重要的人,也变成了最无关紧要的人。

     In 2016, the line was personified. I borrowed ants from ecosystem to help finish the line. Commonplace citizens can be bustling about with nothing much achieved, like millions of obscure components and bricks. Everybody can become anybody, or nobody or the most important one or someone with no relevance at all.


《无名氏之死》,叶岩,史书,尺寸可变,2017

 “Death of Nobodies”, shale, history book, variable size,2017


     “在历史的长河中,那些在建立中被摧毁,在灿烂中被焚为灰烬的无名氏之死: 难道有更好的命运?或许有更好的命运”。17 年伊始,我的“表演艺术家”蚂蚁们去世在亚克力盒内。悔愧之外我将话锋转向历史进程中被摧毁,被遗忘的生命的墓志铭。我用一页页史书填补了一块块叶岩,这便是《无名氏之死》的由来。

     “In the long river of history, for those nobodies destroyed in the process and burned to ashes in glory, is there a better destiny? Maybe there is.” At the beginning of 2017, my “performing artists”ants died in the acrylic box. I felt quite guilty. Then the idea of building epitaphs for the destroyed and the forgotten lives occurred to me. I filled pieces of shale with pages of history books. This is how “Death of Nobodies” came into being.


《囊》,铜,桃树,尺寸可变,2013-2016 

 “Nothing”, copper, peach tree, variable size, 2013-2016


     再早期,13年,到《囊》。

     外公在世的时候在很高的山顶上种了一株桃树,每日爬山的这个过程像极某种宗教仪式,外公过世后,无人再去周折照料,13年的夏天我再爬上这座山再遇见这株桃树,春夏秋冬,它独自开花,其华夭夭,再结果,其果累累,淩冬而致,桃子的桃皮空空宛如囊,干皱在桃核上,零落枝丫。我几欲落泪,捡了包裹着桃皮的桃核,回工作室把它铸成了铜。

     Tracing back to 2013, I made “Nothing”.

     Long time ago, my grandfather once planted a peach tree on the top of a high mountain. Since then he would climb the mountain everyday to take care of the tree— like some kind of ritual. After he passed away, no one ever did so. In the summer of 2013, I went to the mountain and again encountered the peach tree. I can imagine the tree witnessed four seasons alone year after year--bloomed alone, fruited alone, and then withered alone in the chilly winter. The peaches were empty as if nothing had been there, and the skin of peaches dried on the pits and scattered on the branches. Holding back my tears, I picked up many pits with wrinkled skin and cast into copper pits.



山上有桃

其华夭夭

豹从之潺兮

慕其醨醪

宛其囊兮

歌也啸啸

以策远人兮

铜心摇摇 

山上有桃

其华袅袅

豹从之湲兮

仰其醨醥 

若其囊兮

歌也憔憔

以速远人兮

铜心绞绞

On the mountain stands a peach tree 

Brilliant are its flowers

Melancholy lingers under is leopard

Yearning for wine in peach flavor

Once the peaches are left with nothing but skin

Loud music sounds sentimental

Spurring the far offAnd shaking the copper peach pits

On the mountain stands a peach tree

Fragrant are its flowers

Melancholy wanders under is a leopard

Longing for wine in peach flavor

Once the peaches are left with nothing but skin

Cheerful music sounds disturbing

Flying to the far off

And shocking the copper peach pits


《囊》山之有桃 家乡外公亲植的桃树

 “Nothing” , a peach tree on the hill, planted by my grandpa


     潺,流水的样子,豹是速度和力度的意向,形容豹子的恋慕之情,徜徉徘徊的情态。豹为拟物,将主人公比拟为豹,刚毅的豹在桃树下有了柔情。

     Chan in Chinese describes the flowing of water; while a leopard normally symbolizes speed and dynamics. When using Chan to depict a intrepid leopard, the leopard seems to become tender and gentle that can melancholy lingers/wanders under the tree. Here is the use of zoosemy—the protagonist is compared to a leopard.

     山顶有株桃树,其果实可食。但当春华已逝,而无人问津。望其皮包着核,空空宛如囊,我的心理非常的忧伤。勿思念远去的人啊,这样令人铜心绞绞。

     On the top of the mountain stands a peach tree that bears edible fruits. As time passes by, no one cares about the tree anymore. Looking at the pits covered with wrinkled skin, I stand with great sorrow, missing my grandfather. Don’t bother to miss the deceased, the grief can even shock the copper peach pits.

     从《囊》,到《巴别》,再到《无名者之死》,微观而言的个体生命关系, 宏观人类经历上的离散,心理上,地域上,边缘政治文化上的关切与我作品的形成密不可少。

     From “Nothing” to “Babel” to “The Death of Nobodies”, the themes of my works vary from the relations of micro individual lives to the macro history—the departure of human being, to psychological, geographical and marginal politics.

     此时四月伊始,德国春的夜在雨中显得格外清冷。艺术对我而言应该是个自我询问的命题,而答案或许需要一生去慢慢解答。

     At this time in April, nights in Germany seems to be extremely quiet in the rain. For me, Art is a self-questioning proposition which takes a lifetime to find the answers.





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