HOW 新展预告 | 我与博伊斯·张羽：摁压触发
我与博伊斯 · 张羽：
展期：2021年10月22日- 2022年02月20日
艺术家：张羽
策展人：杜曦云
地址：昊美术馆（上海）二楼特别项目展厅
主办：昊美术馆
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昊美术馆荣幸地宣布，持续性项目“我与博伊斯”的第六个展览，将于2021年10月22日在昊美术馆（上海）2层展厅开展，此项目每4个月邀请一位艺术家，用作品的形式与馆藏的博伊斯展览进行对话，并在博伊斯展区以“展中展”的形式展出。项目由策展人杜曦云主持。
我与博伊斯·张羽：摁压触发
文/杜曦云
《点苔》，2005
《指印20210715-1021》，2021
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杜曦云 | Du Xiyun
1978年生，2000年于陕西师范大学美术学院油画系，获学士学位。2006年于四川美术学院美术史系，获硕士学位。曾任上海昊美术馆副馆长、上海喜玛拉雅美术馆副馆长。
他的艺术观点著述于各类杂志和出版物，并曾创办和主编《艺术时代》等刊物。他曾策划多个展览和项目，近期包括：我与博伊斯 · 王广义：人脸识别－寻找鞑靼人后裔，2021；武汉·赵半狄的小窝，武汉美术馆，2021；确实中的冲击：上海首届全球 NFT 加密艺术展，上海西岸·油罐艺术公园1号罐，2021年；我与博伊斯·尹秀珍，上海昊美术馆，2021；我与博伊斯·赵半狄的小窝，上海昊美术馆，2020；联合构筑，苏州金鸡湖美术馆，2020；我与博伊斯·杨振中，上海昊美术馆，2020；我与博伊斯·周啸虎，上海昊美术馆，2019；上海文件：匀速运动，上海喜玛拉雅美术馆，2019年；蒙塔达斯：亚洲礼仪，三影堂摄影艺术中心，2018年；今日之往昔：首届安仁双年展，2017年；走向未来：马德里·北京音乐潮，塞万提斯学院，2017年；萧条与供给：第三届南京国际美展，百家湖美术馆，2016年；北京·798诞生纪（2002-2006），宋庄美术馆，2016年。
Me & Beuys · Zhang Yu
Press and TriggerDuration: 2021.10.22-2022.02.20Artist: Zhang YuCurator: Du XiyunVenue: Special Project Space, F2, HOW Art Museum (Shanghai)Organizer: HOW Art Museum
Me and Beuys·Zhang Yu
Press and Trigger
Du Xiyun
The infinite openness embedded in contemporary art makes it possible for every individual to draw on the richness and profundity of the art history from his/her own perspective and form his/her own signature style. To involve cutting-edge scientific technology represents one popular direction for artistic innovation in the contemporary context. And to integrate existing concepts, methods and languages in art history and inspire new verve from within the very fundamental of art represents another.
Zhang Yu starts his journey in the art world with writing brush, rice paper, water and ink. A profound sense of energy could be perceived from his insights into the custom, the local, the traditional and the historical. The more and deeper he digs into it, the more intoxicated and absorbed he becomes. The process for him to gradually and steadily open up his vision is a process of constant learning and transcending. He tries every means to express the authentic existence of the “self” lying in time, and has constantly been refreshing the patterns and forms in his art.
According to the artist, the creativity of art lies somewhere beyond art; and art is an escape made by “rebels” of the existing art system. The fundamental value of art lies in how artists express their perception of the authenticity of time and space. In practice, Zhang Yu manages to integrate such instinctive impulse harmoniously with sense and sensibility to make progress in a steady and orderly manner.
Through techniques such as “finger-printing” and “moss-dotting”, Zhang Yu finds a way for his body and physical actions to directly “enter” the work. In Chinese there’s a saying that goes like: the nerves of the ten fingers are intricately linked with the heart. Each time by pressing fingerprints onto different materials, the body is given an opportunity to experience a moment of subtle sensitivity, flowing moods and changing thoughts. And in the meantime, the fingers have left some solid imprints in the work. However, when dipped in water with no color, the fingers leave only transparent and uneven finger marks on the soft surfaces such as paper; and on hard materials, the traces they leave are barely visible. When pressing and shaping the soil, the fingers leave their imprints in the soil, shaping the soil in a natural and yet unprecedented way. These works are presented primarily in a still-life manner. However, the concession of so-called form and space gives room for time, the invisible element, to come to the fore.
During the process to feel as directly and subtly as possible through fingers, forms coming into being are reminiscent of abstract painting, sculpture and performance art emerge. But what Zhang Yu pursues is always the “essence” rather than the “form”. As far as he’s concerned, these are neither paintings nor sculptures. And neither are they abstract or performative. It represents a kind of “in-between” state of integrated art.
To Zhang Yu, what matters is not the final form to be presented. Instead, it is the authentic existence of the “self” lying in time and the perception of the authenticity of time and space that matter. It would be difficult to explain the form and state of such authentic existence of the “self” and the perception of the authenticity in specific words, but he tries. In his description, “artistic creation is a process to find oneself, to make connections between work and creation, fiction and expression, objects and human beings (the creator), humanity and spirituality, spirituality and divinity through artistic expression and expressing methods.” … “The process of practice is like being immersed in the kind of ritual that is enlightening, devout and shimmering with the light of religion. It seems as if the encounter between man’s soul and some kind of mystic moment gives rise to a sense of bitter pleasure, arousing echoes in the depth of mind and raising inquiries into the sacred world…”“Senses of serenity, loftiness, mysteriousness and cohesion are integrated, constantly creating, expanding and inspiring among the space made from ink and water. Taking a distance from the secular world, reflecting upon the inner world and even death, imaging freely and contemplating deeply the cosmic as well as the terrestrial … such a scenario is what we strive for, representing the ultimate quest into life.”
Such outlook and methodology on art, in a way, coincide with primitive art, and intersect with the diversity and profundity lying in Beuys. The so-called “work” is, in a sense, a prop for artists of different times to take actions in their own time and space. The physical experience of the body is ephemeral, hard to explain and yet irreplaceable. Only the “props” are to be left, quietly inspiring people to think. So-called “putting oneself in the artist’s position”, “empathy” and “thinking from a different perspective” from the viewers’ side are actually all hypothetical if without firsthand physical experience.
For this exhibition, Zhang Yu presents a work made of soil, in which imprints made by the pressing of fingers are retained. In the meantime, the artist welcomes all the visitors to press the work with their fingers, letting the body to take a moment to feel and reflect.
ABOUT ARTIST
Zhang Yu
Zhang Yu (courtesy name Yuren and art name Shiyu). Artist, curator, senior editor, one of the pioneer initiators of “Experimental Ink Art” in China.
Zhang Yu was born in Tianjin, China, in 1959. In 1970, he was sent to a rural village in Jinghai County of Tianjin together with his parents to receive re-education from the poor and lower middle peasants. In 1979 he was admitted by Yangliuqing Painting Society and hence returned to the city of Tianjin. He served as director and senior editor of the Editorial Department of World of Chinese Traditional Painting, a publication launched by Yangliuqing Painting Society. In 1992, he initiated a book series project entitled Art Trend at End of 20th Century Chinese Contemporary Ink Painting and took the role as editor in chief. He worked at Tianjin Transportation Technical College as associate professor in 2002 and guest professor at New Media Department of Beijing Film Academy in 2004. He moved to Beijing in 2005 to start his career as professional artist. In2016, he took the role as guest professor at the Art College of Jiangxi Normal University. He stayed as resident artist at the College of Fine Arts and Creative Design of Tunghai University in 2017.
Solo Exhibitions: (2020)Fingerprint – Traces of Water, Yuan Art Museum, Beijing, China; (2019)Serving Tea, The 7th Art Basel in Hong Kong, Hong Kong Conventions and Exhibition Center, HK, China; (2016)Water Feeding- Mount Wutai, Shanxi, China; Zhang Yu: (2014)The Form of Notion, Guangdong Museum of Art, Guangzhou, China; (2014)Fundamental: Zhang Yu’s Visual Darwinism, Sanshang Contemporary Art Museum, Hangzhou; (2013)Cultivation Practice: Zhang Yu's Fingerprint Works 1991-2013, Gwangju Museum of Art, Gwangju, Korea; (2013)Occurrence: Drinking a Toasting at Martell-Ink and Wash at the Martell Chateau, Cognac, France; (2011)Cultivation Practice: Zhang Yu's FingerprintWorks 1991-2011, Today Art Museum, Beijing, China; (2009)Fingerprint Traces of Zhang Yu's Cultivation Practice, Kuandu Museum of Fine Arts, Taipei
Group Exhibitions: (2021)Ink Dreams: Selections from The Foundation Ink Collection, Los Angeles County Museum of Art, LA, USA; (2020)The Allure of Matter: Material Art from China Travelling Exhibition, Smart Museum of Art, University of Chicago, Chicago, USA; (2020)Longing for Nature: Reading Landscapes in Chinese Art, Museum Rietberg, Zurich, Switzerland; (2019)Landscapes: Being Suppressed Nature, Lee Ungno Art Museum, Daejeon, Korea; (2015)The end of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei, Taiwan, China; (2013)Ink Art: Past as Present in Contemporary China, The Metropolitan Museum of Art, New York, USA; (2013)The Original Way - New Concepts in Chinese Contemporary Art, Hong Kong Museum of Art, Hong Kong, China; (2011)The Great Celestial Abstraction: Chinese Art in the 21th century, Macro Testaccio Contemporary Art Museum of Rome, Rome, Italy; (2011)New Realm: Chinese Contemporary Art Exhibition, National Gallery of Australia, Canberra, Australia; (1998)Inside Out: New Chinese Art Exhibition, MoMA P.S.1, Henry Art Gallery, New York, San Francisco, CA, Seattle, USA
He is the author of Black and White, Art Makes Me, We Are Wrong About the Experimental Ink And Wash and Awareness & Transfinite.
ABOUT CURATOR
Du Xiyun
Curator, Born in 1978. He received his bachelor's degree in oil painting from the school of fine arts in 2000 and his master's degree in fine arts history from Sichuan Academy of Fine Arts in 2006. He was deputy director of HOW Art Museum, deputy director of Shanghai Himalayas Museum.
His artistic views have been published in various magazines and publications, and he used to work as the chief editor of ARTTIME. He has been involved in organizing and planning several exhibitions and projects, most recently: (2021)Me & Beuys · Wang Guangyi： Face Recognition- Find Descendants of Tatars; (2021）Wuhan·Zhao Bandi's Hut, Wuhan Art Museum, Wuhan; (2021)Me&Beuys·Yin Xiuzhen:Braking, HOW Art Museum, Shanghai; (2020)Me&Beuys·Zhao Bandi's Hut - A Noah's Ark in the Post-Pandemic Era, HOW Art Museum, Shanghai; (2020)Me&Beuys·Yang Zhenzhong, HOW Art Museum, Shanghai; (2020)Co-constructing, Jinji Lake Art Museum, Suzhou; (2019)Me&Beuys·Zhou Xiaohu, HOW Art Museum, Shanghai; (2018)Muntadas: Asia Protocols, Three Shadows Photography Art Centre, Beijing; (2017)The future is here: Musical frenzy from Madrid to Beijing, Instituto Cervantes of Beijing; Today’s Yesterday: The 1st Anren Biennale, Anren; (2016)Historicode: Scarcity&Supply/ The 3rd Nanjing International Art Festival, Baijia Lake Museum, Nanjing; BEIJING 798 GENESIS(2002-2006), Museum of Song Zhuang, Beijing.
*图片致谢艺术家
*Courtesy of the artist
文 Text／杜曦云 Du Xiyun
编辑 Edit／Zack
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昊美术馆（上海） HOW ART MUSEUM (SHANGHAI)
昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，共有三层展览和活动空间，总面积约7000平方米，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间为周二至周五中午12点至夜间8点30分，周末及节假日开放时间为上午10点至夜间8点30分。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。
开馆时间周二至周五开放时间为 12:00-20:30（每周一闭馆）周末及节假日开放时间为 10:00-20:30
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昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间至夜间10点，目前特殊时期开放时间为下午1点至夜间8点（周二至周日）。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。
特殊时期开馆时间周二至周日 13:00-20:00（每周一闭馆）
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