作品介绍 About the works｜张业鸿个展：天空签名 Sky-Writing
作品介绍
About the works
尽管保密性一直是空中书写的一个重要因素——即使在今天，这个行业也像白宫的新闻秘书一样，努力掩盖和隐藏有关其运作的一切线索——但令人惊讶的是，在这门技术发展的早期，人们竟一度认为飞机所使用的烟油是异国巫术酿造的。
这很难让人不想起在电影《绿野仙踪》里，骑着扫把在天空写下“投降吧，桃乐丝”的邪恶女巫。虽然把《绿野仙踪》里的情节当成空中书写的起源有些滑稽，但并不完全荒诞。一些消息称，有一位名为赫尔曼·迪贝尔的中士飞行员曾经用斯图卡飞机在苏联部队和后来的南斯拉夫游击队上空写下了投降的呼吁。或许是因为惊叹于如此高超的技术能力，导致当时确实产生了一些叛逃的士兵。
天空写作简史，8分55秒，单频录像，2021
A brief history of sky-writing, 8min55s, single-chanel vedio, 2021
意味不明的云象征危险。有一种众所周知的当代阴谋论，即把持久的飞机云与政府向天空喷洒化学或生物制剂联系起来，用于管理太阳辐射和调控天气等目的。尽管科学界驳斥了这种猜疑，解释说这种持久可见的尾迹只是在某些特定大气条件下留下的。
这种危险还可以追溯到第一次世界大战初期，当时皇家飞行队的杰克·萨维奇少校开发了一种技术，从飞机的排气管中抽出油性烟幕，以帮助隐匿于海上的船只。战后，萨维奇的朋友和同僚西里尔·特纳改装了一架S.E.5a战斗机，延续了他的烟雾梦想。通过利用萨维奇的概念，将空中书写变成了现实。
关于飞行的图集，多个尺寸，艺术微喷、飞机模型、墙纸、书籍、相框，2021
Atlas of flying, Serveal Szies, Digital print, plane model, Wallpaper, book, photo frame, 2021
灰色的起源并不影响资本将目光投向它。与任何潜在的信息传递方式一样，它很快就被广告业接受。战后，空中书写作为一种广告媒介，在1922年德比赛马日（Derby Day）首次出现在英国著名的叶森赛马场上空。另一位前空军飞行员西里尔·特纳使用萨维奇的技术，在数万名困惑的赌徒和贵族的头顶上写下《每日邮报》的字样。就如每种技术在诞生之始，都会用一声最简洁的问候向世界宣布自己的存在，空中写作的第一声自我介绍——“HELLO USA”也于次年出现在曼哈顿的天空上。
邮票绘画：hello 50x40cm，布面丙烯，2021
Stamp painting: hello 50x40cm, Arcylic on canvas, 2021
空中写作开始变得如此流行。最初，这种能力被用来广播个人信息：生日祝福和求婚，或者只是用来发布愚蠢的短语和问候——相当于1920年代的Twitter。天空，这块自我刷新的透明画布，承载着人们无休止的絮语和欲望。20世纪20年代中期，城市居民只要听到飞机的声音就会冲到窗前，一个简单的低空飞过就能召唤出数以万计的观众。只是，由于价格高得惊人，它只是属于少数人的奢侈品。杰克·萨维奇看到了其中的商机，最终拥有了英国最大的空中书写机队。他将这些飞机派往世界各地，特纳是他的首席飞行员。特纳最初的空中书写飞机，S.E.5a G-EBIA，至今仍然作为著名的沙特尔¬沃思收藏馆的财产在役飞行，尽管它恢复了战时的橄榄色涂装方案。
邮票绘画：），40x30cm，布面丙烯，2021
Stamp painting : ), 40x30cm, Arcylic on canvas, 2021
邮票绘画：（永远）爱（天空写作），90x120cm，布面丙烯，2021
Stamp painting: LOVE(sky-writing forever), 90x120cm, Arcylic on canvas, 2021
如果涂色的更替提醒人们这个令人着迷的表演装置有着残酷的战争机器的前身，那么我们完全可以像诗人兼评论家本杰明·德·卡塞雷斯在《纽约时报》的一篇文章中那样想象："在喜马拉雅山、阿尔卑斯山和埃菲尔铁塔的上空，将出现肥皂、香烟和泡菜广告......对天空的竞争有朝一日可能变得异常激烈，我们完全可以想象相互敌对的广告公司进行毁灭性的空中激战。泡菜机和肥皂机之间的战斗……"
哈哈！很有趣的想法。1940年的《纽约客》漫画就描绘了一个穿着可口可乐衬衫的防空炮组瞄准百事可乐的空中写手。当时，在激烈的可乐战争中，百事可乐本来名不见经传——直到百事可乐公司雇用了空中写手安迪·斯蒂尼斯和他经典的D4D双翼飞机来传播其标语，在各个城市上空写下“畅饮百事可乐”，一天八次。最终，百事可乐公司雇佣了一个由14架空中书写机组成的机队，成为世界上最重要、或许也是最成功的空中书写用户。
天空上密密麻麻布满了名字，70x250cm，收藏级艺术微喷，2021
The sky is densely marinated with names, 70x250cm, Collection-grade digital print, 2021
卡塞雷斯在某种程度上戏谑地预见了看似无害甚至有趣的空中书写本身的暗面，但他也许没有想到，德国人将空中书写视为规避《凡尔赛条约》的另一种手段——该条约禁止他们的国家发展任何形式的军用航空。因此，除了通过体育滑翔俱乐部训练飞行员和将未来的轰炸机配置成客机外，德国人还组建了几个宣传广告中队。这些单位表面上从事商业性的空中书写工作，实际上则为了练习标记目标和开展侦察任务。在许多最初被训练成空中写手的飞行员中，有未来的战斗机将军阿道夫·加兰德，而“宣传广告中队”实际上成为了新组建的德国空军的第一个作战单位。
1953年，电视广告将空中书写从最酷的广告形式一瞬间变成了一个小众行业。雷达的轰鸣声不再让人们争先恐后地跑到窗边。广告商们突然意识到，把一个昂贵的香烟广告扔在那儿，即使有数十万的人看到，他们中多数人可能根本就不吸烟，还不如找个一天抽一包的中年人看的电视节目，直接买下节目空档。自此，天空书写暂时退出时代舞台。
王牌飞行员，15x10cm 每张，明信片，2021
Flying ace, 15x10cm each, Post card, 2021
真正让它重新粉墨登场的是1973年的“怀旧热”。百事公司在其公司飞行员之一——杰克·斯特雷尔的鼓励下，决定重启空中书写业务。斯特雷尔找到了安迪·斯蒂尼的原始旅行飞机，而百事公司最终买下了它，将电视的力量与空中书写的怀旧魅力相结合，创造了一个经典的电视广告：斯特雷尔围着围巾、戴着眼镜，驾驶着旅行飞机从农场的田野上起飞，红白蓝百事可乐涂装的飞机飞过一个农场上空，在男孩和他的女友的头顶上写下了“嫁给我吧，苏”。
巧合的是，另一位“苏”在9年后出现了。1980年，由于需要一名助手，斯特雷尔登广告寻找一名空中书写飞行员。虽然寻人未果，但找到了时年23岁的商业飞行员和飞行教官——“天才少女”苏珊娜·阿斯伯里——后者是有史以来仅有的两位女性职业空中写手之一，也是唯一一位目前仍在从业的人。在几周内，她奇迹般地顺利学会了空中书写，然后在斯特雷尔去世后，成为百事可乐的首席空中飞行员，直至百事公司在2000年宣布永远地退出了空中书写业务，在那段光辉岁月里，苏珊娜每年有9个月的时间都在飞往全国各地的路上。
邮票绘画：心，120x90cm，布面丙烯，2021
Stamp painting: heart, 120x90cm, Arcylic on canvas, 2021
在1947年某个夏日午后，19岁的伊夫·克莱因坐在法国南部尼斯的一个海滩上，懒洋洋地躺着凝视群青色的蓝天。一个突如其来的想法诞生在他的脑海——在蓝天上签下自己的名字。正如他后来向世人宣称那样，“蓝天是我的第一件作品。”并在随后的一生中，致力探索这个颜色中蕴含的深邃与无限，继而创造了一种以他的名字为命名的蓝色——“国际克莱因蓝”。
也许，在许多人的记忆里，天空上也曾经存在过一抹“百事可乐蓝”。而颇为讽刺的是，在多年以后，那片被称为“第一件作品”蓝天中，已经密密麻麻地布满了签名。而那些书写下信息的人，也像飞机尾部排出的云朵，慢慢消散在20世纪50年代的历史迷雾中，被天空所遗忘。
一次对痕迹的描摹，多个尺寸，霓虹灯、单频录像，2021
A trace of traces，Serveal szies，Neon、Single-channel Vedio，2021
While secrecy has always been an important factor in sky writing, even today, the industry, like the White House press secretary, strives to cover up and hide all clues about its operations.it is surprising that in the early days of the development of this technology, skywriters used to insist smoke oil was an exotic witch’s brew.
It's hard not to think of the Wicked Witch, who wrote "Surrender, Dorothy" on a broomstick in the sky in the film The Wizard of Oz. Although it's a bit funny to think of the plot of The Wizard of Oz as the origin of sky writing, it's not entirely absurd!Some sources claim that, Hermann Dibbel, a Junkers Ju-87 sergeant pilot, used his Stuka to spell out surrender appeals above Soviet units and, later, Yugoslav partisans. Perhaps because they were amazed by such displays of technical prowess, some troops would indeed flee the front lines.
一次对痕迹的描摹，多个尺寸，霓虹灯、单频录像，2021
A trace of traces, Serveal szies, Neon, Single-channel Vedio, 2021
Clouds of uncertain meaning symbolise danger.There’s a well-known conspiracy theory that associates long-lasting contrails, labelled chemtrails, with the government spraying chemical or biological agents to the sky for purposes such as solar radiation management and weather management.
The scientific community has dismissed such allegations saying that the long-lasting visible trails are left behind under certain atmospheric conditions.This kind of danger can be traced back to the beginning of World War I, when Royal Flying Corps Major John “Jack” Savage developed a mechanism to pump an oily smokescreen out of an airplane’s exhaust pipe to help hide ships at sea.After the war, Savage’s friend and fellow officer Cyril Turner modified a Royal Aircraft Factory S.E.5a fighter to make use of Savage’s concept for skywriting.
邮票绘画：post，30x40cm，布面丙烯，2021
Stamp painting: post, 30x40cm, Arcylic on canvas, 2021
The grey origins did not deter capital from setting its sights on it.As with any potential method of messaging, it was quickly embraced by the advertising industry.After the War, skywriting as an advertising medium had its debut above the famous English racetrack Epson Downs, on Derby Day in 1922.Another former Air Force pilot, Cyril Turner, used Savage's technique to write the “DAILY MAIL” on the heads of tens of thousands of bemused bettors and most of the country’s peerage.
Just as every technology begins by announcing its presence to the world with a simple greeting, so the first introduction to air writing - "HELLO USA" - appeared in the skies over Manhattan the following year.
邮票绘画：Hi，40x50cm，布面丙烯，2021
Stamp painting: Hi, 40x50cm, Arcylic on canvas, 2021
Skywriting was becoming extremely popular.Initially, the technology was used to broadcast personal messages: birthday wishes and marriage proposals, or simply to post silly phrases and greetings—a kind of 1920s Twitter.The sky, a transparent canvas that refreshes itself, holds the endless ramblings and desires of people.In the mid-1920s, city-dwellers would rush to a window at the mere sound of an airplane, and a simple low-altitude fly-by could summon an audience easily in the tens of thousands.
Unfortunately, due to incredibly high prices, skywriting has remained a luxury for a select few.Jack Savage ended up owning the largest fleet of skywriting aircraft in Britain, and he sent them all over the world with Turner as his chief pilot.Turner’s original skywriting airplane, the S.E.5a G-EBIA, still flies as part of the famous Shuttleworth Collection, though restored in its original wartime olive-drab paint scheme.
王牌飞行员，15x10cm 每张，明信片，2021
Flying ace, 15x10cm each, Post card, 2021
If the alternation of painted colours is a reminder that this fascinating performance installation has a brutal war machine antecedent,then we can well imagine, as poet and critic Benjamin de Caceres did in an article in the New York Times:“Above the Himalyas, the Alps and the Eiffel Tower will be soap, cigarette and pickle ads…the competition for airspace may become so keen someday that I can quite conceive of devastating aerial battles between rival advertising concerns. A war between the pickle planes and soap Capronis….”
Haha! It’s a very interesting idea.A 1940 New Yorker cartoon depicts an antiaircraft gun crew in Coca-Cola shirts taking aim at a Pepsi skywriter—Pepsi hired skywriter Andy Stinis and his classic 1929 Travel Air D4D biplane to spread its message, and Stinis would limn DRINK PEPSI-COLA often eight times a day over various cities.
王牌飞行员，15x10cm 每张，明信片，2021
Flying ace, 15x10cm each, Post card, 2021
Caceres somehow playfully foresaw the dark side of the seemingly innocuous and even amusing aerial writing itself, but it may not have occurred to him that the Germans saw skywriting as another means to circumvent the Versailles Treaty, which forbade their country to develop any form of military aviation.So besides training its pilots through sport-gliding clubs and configuring future bombers as airliners, the Germans formed several Reklamestaffeln, or “publicity and advertising” squadrons.
These specialized units did commercial skywriting work that screened what was in fact practice for target-marking and reconnaissance missions.Among the many pilots initially trained as skywriters was future general of fighters Adolf Galland, and the Reklamestaffeln actually became the first operational tactical units of the newly constituted Luftwaffe.
展览折页，a4纸（飞机形态）
Exhibition Folder, a4 paper (Plane shape)
This continued until 1953, when TV advertising turned skywriting from the coolest form of advertising into a niche industry whose time had come and gone.No longer did the drone of a radial bring people racing to the nearest window,and Madison Avenue was learning the lessons of audience-directed advertising: Don’t just throw an expensive cigarette ad out there for a hundred thousand people to see even though most of them don’t smoke, buy a time slot on a TV show watched by middle-aged pack-a-day guys.
Since then, skywriting has temporarily retired from the stage of the times.It was the "nostalgia fever" of 1973 that really brought it back into the limelight.In that year PepsiCo decided to get back into the skywriting business, encouraged by one of its corporate pilots, “Smilin’” Jack Strayer.Strayer located Andy Stinis’ original Travel Air, and Pepsi bought it. Pepsi combined the might of television with the nostalgic appeal of skywriting to create a classic TV commercial. A scarfed-and-goggled Strayer takes off from a farm field in the Travel Air, resplendent in its swoopy red-white-and-blue Pepsi livery, and writes MARRY ME SUE far above the heads of a farmboy and his girlfriend.
展厅外景
outside view of the exhibition
Coincidentally, another 'Sue' appeared nine years later.In 1980, needing an assistant, Strayer advertised for a skywriting pilot and found none.But he did find a 23-year-old commercial pilot and flight instructor, Suzanne Asbury. the latter of whom is one of only two female professional sky- writers ever, and the only one still practicing.
and within a year, Asbury (today Asbury-Oliver) was Pepsi’s chief skywriting pilot, following Strayer’s death from pneumonia. PepsiCola got out of the skywriting business for good in 2000. During the fat years, Suzanne was on the road for nine months every year, skywriting for Pepsi several times a week.
一次对痕迹的描摹，多个尺寸，霓虹灯、单频录像，2021
A trace of traces, Serveal szies, Neon, Single-channel Vedio, 2021
One summer afternoon in 1947, 19-year-old Yves Klein was sitting on a beach in Nice in the south of France, lounging and staring at the ultramarine blue sky.An idea came to him out of the blue - to sign his name on the blue sky.
As he later declared to the world, "The blue sky was my first work." And for the rest of his life, he devoted himself to exploring the depths and infinities of this colour, before creating a blue that bears his name, the "International Klein Blue".
Perhaps there was once a "Pepsi Blue" in the sky that many people remember.Ironically, years later, that blue sky, known as the "first piece of work", was thickly covered with signatures.And the people who wrote the message down slowly faded into the mists of 1950s history like clouds from the tail of a plane, forgotten by the sky.
张业鸿
1993年出生于广东广州，2015年毕业于中国美术学院，现隐居于粤港澳大湾区，是一位艺术家、策展人和艺术品牌“联合杂货”的创办者。
他擅长运用项目式的叙事方法连结起某个特定的主题，常常以网络或现实中的拾得图像/名词为起点，在不同的事物间建立起超距的关联。通过挪用、戏仿、反讽等手段，继而对日常经验和传统审美经验中的自动化进行反思和拆解，揭露埋藏在诗意表象背后的感知断层和意识形态。
他曾获得2019年现代汽车文化中心第三届“Hyundai Blue Prize年度艺术大奖”，入围2017年上海当代艺术博物馆PSA青年策展人奖，并担任第五届泼先生奖联合策划人。个展和个人项目包括：天空签名，拟像空间，北京（2021）；Me memes，无际空间，深圳（2021）；第二自然，SHU GALLERY，深圳（2021）；西湖没有普利欧，三尚当代艺术馆，杭州（2020）；日落笔记，要空间，上海（2019）；金色 绿色 春风沉醉，希帕画廊，北京（2018）；世界尽头协会，样当代艺术空间，厦门（2018）;杉本博司的噩梦，五五画廊，上海（2017）；何处无竹柏，十方艺术中心，重庆（2015）; 创造一个花园，共同体艺术空间，杭州（2014）。策划和联合策划展览包括：狼、猞猁和蚁群的游戏社会，现代汽车文化中心，北京（2020）；Playbar 游戏吧，象山艺术公社，杭州（2019）；皮埃尔·梅纳尔学院，E空间，上海（2017）；虚拟中的精神游戏，江虹艺术馆，杭州（2017）；重写百科全书，三尚当代艺术馆，杭州（2016）；隐喻：一种图像性的修辞，西湖当代美术馆，杭州（2015）。
同时，他也以写作和运营艺术平台，寻找展览之外的行动方式。散文和艺术评论见于《飞地》、《Soft》、《艺术当代》等期刊和独立出版物以及线上平台，他主理的“联合杂货”关注艺术在日常行动中的跨越性潜能，并尝试联合不同的力量，在文化叙事中发掘创意的可能性，致力通过分享、策划、出版、售卖，形成一个别样的生态和通道。
Zhang Yehong was born in Guangzhou, Guangdong in 1993. He graduated from the China Academy of Art in 2015 and now lives in seclusion in the Guangdong-Hong Kong-Macao Greater Bay Area. He is an artist, curator and founder of the art brand "United Grocery".
He specialises in using project-based narrative methods to connect a particular theme, often using found images/nouns from the internet or reality as a starting point to establish a hyper-distance connection between different things. By means of appropriation, parody and irony, he then reflects on and dismantles the automatons of everyday experience and traditional aesthetic experience, exposing the perceptual fault lines and ideologies buried behind poetic appearances.
He has won the third "Hyundai Blue Prize of the Year Art Award" of the Hyundai Motorstudio Beijing in 2019, was shortlisted for the Emerging Curators Project of Power Station of Art in 2017, and served as the co-curator of the fifth Pulsasir Prize. His currently solo exhibitions and personal projects include: Sky-writing, Simulated Space, Beijing（2021）; Me memes, LANIAKEA, Shenzhen (2021); Second Nature, SHU GALLERY, Shenzhen (2021); West Lake without Perlo, Sanshang Contemporary Art Museum, Hangzhou (2020); Sunset Notes, YELL Space, Shanghai (2019); Golden green charm in spring, Cipa Gallery, Beijing (2018); The Worlds End Association, Modea Contemporary Art Space, Xiamen (2018); The Nightmare of Hiroshi Sugimoto, 55 Gallery, Shanghai (2017); Where There Is No Bamboo and Cypress, Ten Art Centre, Chongqing (2015); Create a Garden, Community Art Space, Hangzhou (2014). Curated and co-curated exhibitions include: Play Society：Wolf, Lynx and Ants, Hyundai Motorstudio, Beijing (2020); Playbar Game Bar, Xiangshan Art Commune, Hangzhou (2019); Pierre Menard Institute, E Space, Shanghai (2017); Spiritual Games in the Virtual, Jiang Hong Art Museum, Hangzhou (2017); Rewriting the Encyclopedia, Sanshang Contemporary Art Museum, Hangzhou (2016); Metaphor: A Rhetoric of Pictoriality, West Lake Contemporary Art Museum, Hangzhou (2015).
He also writes and runs art platforms to find ways to act beyond exhibitions. His essays and art reviews have appeared in journals and independent publications such as Enclave, Soft and Art Contemporary, as well as online platforms. Through sharing, curating, publishing and selling, it aims to form a different kind of ecology and channel.