CLC Gallery Venture | 张淼个展HALO将在5.16周六下午4点开幕
HALO
张淼个展
开幕时间：2020.05.16, 16:00 - 20:00
2020.05.16 – 06.30
一直以来你我都在看得见的线索中颤颤巍巍地向前，顺着清晰可见的丰碑，人群中有人感慨小草的野生姿态，有人乘凉在大树底下，我们都望向远处的地平线，偶然回头看一眼。
我坚信我所坚信的，我怀疑我所怀疑的，我怀疑我所坚信的，我坚信我所怀疑的。人们并不能肯定和否定我所坚信和怀疑的。所以我愈发的坚信和怀疑。这在我的逻辑里。
在地平线那儿，我穿了过去，从地底也是从天空我望向过去，却成为了未来。过去与未来一起成为了现在。
张淼一直试图把绘画当成一个门类来看犹如把蝴蝶当成昆虫来看，而忽略蝴蝶的种类和色泽。此时面对作品的时候就成为了“什么使绘画成为绘画”，在这个To be的问题上，他把自己的创作称为 “The still life with brush that is install on the wall”,（张淼总是使用英语去定义是因为相对于中文，英文逻辑更顺利表述，可以大概理解为“带着涂抹痕迹的相对静止的静物或活物占据了空间”）所以当面对绘画不是面对一张绘画而是绘画整体时，它有着叙事的功能却没有在传递叙事，有着笔墨的痕迹却没有作者的态度和立场。艺术家更在意的是作品与观众所产生的思维上的空间，当观众失焦去寻求链接时所产生的空间是自由和有生命力的。
现代主义至今的建筑师都给了艺术家以旁观者的角色在实践中去解决复杂和矛盾并置问题时的经验。把 “什么使绘画成为绘画” 和 “什么使建筑成为建筑” 组装、拼贴、融化在一起（All in one），是一种观看方式和维度的改变，形成了艺术家所说的 “时间的坍塌”，这种坍塌感在海杜克的纸上建筑和诗句里出现，在布莱希特戏剧中的间离出现，在库布里克的电影里出现，在约翰・凯奇的音乐里出现，在把媒介本身当作主体看待并进行创作时，艺术家是创作者也是旁观者，并没有将观众置于确定所以是强加的语境中。在“Halo”中，绘画、雕塑、建筑的All in one是问题和答案的坍塌。
我好像明白了什么，却仍然一无所知但又无限广阔，我在慌乱不安中却心安理得，我无法移开我的眼睛，贪婪地注视着，它已被光芒吞没。
孙士娴
关于艺术家：
张淼出生于北京，他于2004年考入中央美术学院油画系，于2008年本科毕业。2010年的画廊个人首展《至自己》开启了他的职业生涯。Halo是他自2010年以来的第六次个人项目。
HALO
Zhang Miao
Opening：2020.05.16, 16:00 - 20:00
2020.05.16 – 06.30
As always, you and I have been faltering forward on a visible path, towards an apparent monument. Some people in the crowd lament at the wildness of grass; others rest in the shade under a tree. We lookout for the distant horizon, and from time to time, at the path behind us.
I firmly believe what I believe, I doubt what I doubt, I doubt what I firmly believe, and I believe what I doubt. People cannot affirm and reject what I believe and doubt. So, I am becoming increasingly resolute and skeptical. These constitute my logic.
I am passing through the horizon. Either from underground or over the sky, I look into the past, which has become the future. Past and future have become the present.
Zhang Miao has always tried to consider painting as a discipline, like treating the butterfly as an insect, while overlooking the butterfly’s type and color. Hence, his relationship to his practice becomes, “What makes a painting?" To answer this fundamental question, he calls his practice, "The still life done with a brush and installed on the wall”. (Zhang Miao uses English to define his practice because he considers the linguistic logic more appropriate to his expression, that can be generally understood as “still-life with traces of paint that’s relatively unanimated or live, occupying a space”). Hence, when one faces a painting in its entirety that doesn't convey a narrative despite its capacity for narration, it displays traces of the brush without the artist's attitude and position. What interests the artist is the intellectual dimension a work of art would engender with its viewers, and this induced space is free and vital as the viewer loses the focus to make associations.
Modernist and post-modernist architects have adopted the role of the observer in approaching complex and contradictory juxtapositions in their practice (as architects need to consider the functionality and practicality of architecture). These experiences are what the artist has drawn. Once the questions of "what makes a painting painting” and “what makes an architecture architecture”, are put together, patched and integrated as “all in one”, they transform the way and dimension of looking and become what the artist calls "the collapse of time”. This collapse happened on John Hejduk's architecture on paper and poetry, between the acts of Brecht's plays, in Kubrick's films, and John Cage's music. When the medium becomes the subject of one's practice, the artist is a practitioner and an observer who does not override the viewer. "What makes a painting painting?” is both the question and its answer. Which, does not place the viewer in a definitive, or imposing context. In “Halo”, as painting, sculpture and architecture integrated into an “all-in-one” entity, it becomes the collapse of question and answers.
I seem to understand something, but still cluelessly openminded, I am flustered while feeling at ease, I cannot look away, but to stare voraciously, at something that has been devoured by radiance.
Sun Shixian
About the artist:
Zhang Miao, born in Beijing, had been enrolled in the oil painting department at the Central Academy of Fine Arts in 2004 and graduated with a BFA degree in 2008. His first solo exhibition presented at the gallery in 2010, "To Self," launched his professional career. "Halo" marks his sixth solo project since 2010.
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CLC Gallery Venture关注媒介的深度探索和重新发明，这一现今最令人兴奋的艺术思潮。画廊将通过定期举办展览，国际合作，参与国内与国际艺术博览会的方式支持早期发展阶段的艺术家，在国际范围推广他们的作品。为了实现这一目标，CLC画廊将支持并推介他们参加各类国内外的艺术活动，并定期邀请来自国外的艺术家在画廊做展览项目。
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