【展讯】钟雨哲个展——景观的消融｜厦门
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钟雨哲个展——景观的消融
艺术家：钟雨哲
策展人：肖瑞昀
艺术总监：滕青云
主办：三影堂厦门摄影艺术中心
展期：2021年12月18日-2022年1月16日
开幕：2021年12月18日 15:00
地点：厦门市集美区杏林湾商务营运中心二号裙楼三层
钟雨哲作品不同于人们使用相机捕捉转瞬即逝的瞬间，他展现的是时间的痕迹。时间并非完全消逝，而是融合在其画面的空间之内。
《动物园》系列拍摄的是上海、北京和纽约的动物园，画面上却不见动物的踪迹。在相机快门持续开启的过程中，钟雨哲帮助动物们完成了“逃亡计划”，只留下一个个空旷的动物生存图景。视觉画面中呈现出动物的“幽灵”状态，这种不在场让观众将关注点放在了这些动物的生活环境上，特别是多处人类强行植入的场景。作品呈现出人们对于动物的想象，讨论诸多人与动物之间的伦理与冲突问题。
这组作品以大尺幅画面再现其景观空间，这种近似全景视角的方式，印证了福柯在《规训与惩罚》中讨论的社会权力关系1。与此对应的《人物园》系列，由一幅大尺幅影像和一组雕塑组成。影像作品参照人类看动物的角度，以镜像的思维来反思看待人类自身。雕塑扭曲的形态，更凸显了在内卷的社会中对于人类本身的异化。
作品《远去的熟知》，钟雨哲将上海的16处城市景观进行多重曝光。作品模糊了时间属性，显现更为纯粹的历史或现代空间；《空城祭》透过长曝光的方式将日常拥挤的上海城市街道，变成空无一人的街景，并且融入声音延展了照片的时空情境。
钟雨哲着迷于时间的延绵。《迷忆》将视角转向微小的私人景观——儿时的物件，拍摄画面层层叠加，如同时间累积的灰尘。作品一部分翻拍自熟悉的家庭照片，那是我们对于家庭生活的初始记忆，模糊的肖像在一定程度上获得了情感上的共感。另一层时光的追忆则拍摄了书信、玩具、相机等成长时期的物件，以近似拓片的视觉形式呈现，时间的纵深感愈加延长。
钟雨哲借用不同于肉眼的相机观看身边所处的景观，并对时间的进程进行了处理，作品用另一种方式使得时间变得可以感知。与此同时，他不断反思人与自然、社会的边界，以及控制和异化等关系问题。景观空间转化成了时间的容器，诸多讨论穿行于作品的时空之中。
注：《规训与惩罚》（1975），法国哲学家米歇尔·福柯著，书中采用了圆形监狱的模式，描述监狱中的全景式监视，讨论观看与地点之间的权力关系。
关于艺术家
Preface
Text/Xiao Ruiyun
Unlike fleeting moments captured with a camera, Zhong Yuzhe's works reveal the mark of time. Time does not disappear completely but is integrated within the space of his images.
The Zoo series captures the zoos in Shanghai, Beijing and New York. The animals, however, are nowhere to be found in the photographs. As the camera shutter remains open, Zhong helps the animals to complete their 'escape plan', leaving behind an empty landscape of their existence. The visual representation of the "ghostly" state of the animals and their absence allow the audience to focus on the environment in which they live, especially those scenes where human beings have forced their way in. Zhong's works present the human imagination of animals and address various ethical issues and conflicts between humans and animals.
The Zoo series
This series reproduces the space of the landscape in large scale images, an almost panoramic view that confirms the social power dynamics discussed in Foucault's Discipline and Punish.1 The corresponding series, Human Zoo consists of a large-scale image and a group of sculptures. The visual works refer to the perspective of humans looking at animals, reflecting on humans themselves in a mirroring way of thinking. The distorted forms of the sculptures further highlight the alienation of humanity itself in an involuted society.
In the work Alienation and Acquaintance, Zhong treated 16 urban landscapes of Shanghai with multiple exposures. His work blurs the attributes of time to reveal a space that is purely historical and modern; A Commemoration for the Empty City transforms the every day crowded city streets of Shanghai into empty scenes through long exposures, and incorporates sound, extending the temporal and spatial context of the photographs.
Zhong is fascinated by the continuous stretch of time. In Ambivalent Distance, he turns his attention to small and intimate personal landscapes - objects from his childhood - and layers them on top of each other, like the accumulated dust of time. Part of the work is taken from familiar family photographs, which are our initial memories of family life. The blurred portraits acquire a certain degree of emotional empathy. The other layer of time reminiscence is taken from letters, toys, cameras, and other objects from his formative years, which are presented in a visual form similar to topography, prolonging the depth of time.
Zhong employs a camera different from the naked eye to view the landscape around him and manipulate the process of time, making it perceptible in a different way. At the same time, he constantly reflects on the boundaries among man, and nature, society, and the relationship between domination and alienation. The space of the landscape is transformed into a vessel of time where ongoing conversations travel through the space and time of his work.
Note: Discipline and Punish (1975), the work of the French philosopher Michel Foucault who talks about the panoptic surveillance in prisons with the Panopticon model and the power dynamics between viewing and place.
In 2013, he graduated from East China Normal University School of Design with a Bachelor of Arts in Art and Design (Visual Communication)；in 2016, he graduated from East China Normal University School of Design with a Master of Fine Arts in Design (Public Art, Photography Concentration)；in 2018, he graduated from Pratt Institute Fine Arts Department with a Master of Fine Arts (Photography Concentration). Recent exhibitions include Go to the Maze（Alter Gallery, Shanghai, 2020）；Chinese New Painting（Yellow Box Museum, Qingdao，2020）；Everlasting Portrait（Shanghai, 2020）；Yellow Box Open Art Exhibition（ Yellow Box Museum, Qingdao, 2021）
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