评论 Critique | 四散的相聚，他异的书写

Exhibition View

与门口自然摄入的微橙色光线所呼应的，是稍加管理的配线和拧成文图的灯带所发出的冷光。这些光出现在「无光展厅」视线的上，中，甚至下方。最后再由门厅中央的半卧式的屏幕捕获，为整个展厅标注。原来在这里的每束光（《一次对痕迹的描摹》）都脱胎于对屏幕里冒险的一次摹写，更是张业鸿的一次签名。

Echoing the natural intake of faint orange light at the entrance is the cool light emitted by the twisted light bands and slightly managed wiring. These lights appear above, in the middle, and even below the "Lightless Gallery" line of sight. And finally, they are captured by a semi-horizontal screen in the center of the foyer, marking the entire gallery. It turns out that each beam of light here (A Trace of Traces) is a copy of an adventure on the screen, but also a signature of Zhang Yehong.

展览题目《天空签名》取译自“sky writing”，即“天空书写”，但同时又完成了对原意的扩写。轻微提示它作为过去式的表达，又在重复中强调和保留这片天空仅仅作为书写媒介的，可触的具象机理，和作为传播媒介的诗性意向。

The exhibition's title is translated from "Skywriting," but at the same time completes the expansion of the original meaning. It slightly hints at its expression as a past tense, while emphasizing and preserving the tangible mechanism of the sky as a mere writing medium and its poetic intention as a medium of communication in its repetition.

Exhibition View

在这么一场没有前言的展览中，大量的修饰文本以模糊的姿态出现在作品甚至文献及视频字幕中。这种从描述中诞生的微妙文献性溶解在口传般轻巧的叙事碎片里，再显像为不同媒介的作品散落在展厅各处。犹如咒语和法阵，将那个曾经在欧美家喻户晓，却在中国缺席的“幽灵”召回。张业鸿通过这种对文本/书写的委任，将焦点交给叙事，又一次成功地从展览中“逃逸”。

In such an exhibition without a prologue, a large number of modified texts appear in an ambiguous manner in the works and even in the documentation and video subtitles. This subtle documentary nature born from description dissolves into light narrative fragments like oral transmission and then manifests itself as works in different media scattered throughout the gallery. It recalls the "ghost" that was once familiar in Europe and America but absented in China like a spell and a phalanx. Through this appointment of text/writing, Zhang Yehong focuses on the narrative and successfully "flees" from the exhibition once again.

Exhibition View

在“云彩体”展题的背后，挑高七米的「明亮展厅」给了地图和影像以充分的想象力，一张及其“反直觉”的巨大电子飞行地图截图和明信片分别放置和悬挂在入口的视野弧线里，无法忽略的巨大存在感和几乎宣言的展陈底板，包围甚至夺取了以作品为中心的展览主体性规则。这种可见的失踪让每件作品（绘画，装置甚至拼贴和明信片）从主角失格为背景板，甚至成为文献的陪衬。在《天空上密密麻麻布满了名字》中，10张规格一致的ps摘抄照片，煞有其事的拼凑出一段段蓝白相间的涂鸦，肆意地沾满画面，偶尔构成句子。他们在框体的边界相互连接，这使得作为边界的画框显得苍白无效，却又在诗意的错位下成为了窗户的边线。暗示着一种可信：我们正在看的只是窗户外无限苍蓝的一隅罢了。

Behind the "Cloud typeface" title of the exhibition, the six-meter-high "Bright Gallery" gives full imagination to the map and image：a substantial counter-intuitive digital flight map screenshot and a postcard are placed and hung in the arc of the entrance view, respectively. The enormous presence and almost declarative backdrop of the installation, which cannot be ignored, surrounds and even takes away the subjective rule of the exhibition centering on the works. This visible disappearance relegates each work (paintings, installations, collages, and postcards) from a protagonist to a background panel or even to the accompaniment of the documentation. In "The Sky is Densely Marinated with Names," ten Photoshopped excerpts of photographs with identical specifications are feverishly pieced together to create a segment of blue and white graffiti, recklessly staining the frame and occasionally forming sentences. They are interconnected at the boundaries of the frame, which makes the frame as a border seem pale and ineffective, yet becomes the borderline of the window in a poetic dislocation. It suggests a kind of credibility: we are looking at just a corner of the infinite pale blue outside the window.

Exhibition View

与此相对的，是「明亮展厅」中央的悬挂明信片上，两张《邮票绘画》彼此诉说的乖巧。他们不偏不倚的被安排在明信片的右上角，恰如其分地为展示的意图辩解。而在画面的充分且必要前，邮票系列则完成了张业鸿同时作为艺术家和策展人的嘱托。图本和文本，在立面和平面的嵌套、重叠、并列，即是策展调度更是作品呈现，让原本所见即所得的邮票绘画模糊了原本的读图秩序，成为了捕捉感性的可能。

In contrast, on the postcards hanging in the center of the "Bright Gallery," the two "Stamp Paintings" gently speak to each other. They are placed impartially in the upper right corner of the postcard to justify the intention of the display. Moreover, before the adequacy and necessity of the picture, the stamp series fulfills Zhang Yehong's mandate as both artist and curator. The nesting, overlapping, and juxtaposition of text and image, in both elevation and plane, is a curatorial dispatch and a presentation of works, allowing the original stamp painting, which is otherwise "what you see is what you get," to blur the original order of visual reading and become a possibility for capturing sensibility.

从展题到作品，武断地看，张业鸿用近乎直觉地戏拟。简单却不单调地重复着，对另一种“云端经验”的，并非转译的复写和形容。他也如同网络世界的飞行员，在信息迷因中建立航线。这种离奇链接的背后，是互联网技术语境下的非身体性旅行。像正在书写天空的飞行员一般，触摸“复杂”的方式竟如此轻盈灵巧。仿佛当你本能地掌握一种技术。一种匿名性驱使着的快感也在“操作”和“观看”间同时发生；一气呵成，最后消失在视野，直至声音也渐渐远去。

From the exhibition's title to the works, arbitrarily, Zhang Yehong uses an almost intuitive playful formulation. He repeats the non-translated rewriting and description of another "cloud experience" simply but not monotonously. He also acts as a pilot in the cyber world, establishing a route amidst the information memes. Behind this strange link is the non-physical travel in the context of Internet technology. Like a pilot writing on the sky, the way of touching "complexity" can be so light and dexterous. It is as if you instinctively master a technique. An anonymity-driven pleasure also coincides between "operating" and "watching"; it is all done at once and finally disappears from view until the sound fades away as well.

Exhibition View

笔者将2021年底的北京天空总体概括为“晴冬”色，叫色是一种泛化表达下的简单概括，其实就是一种高气压而无风状态下的天蓝。恰由《天空写作简史》带来的理解，这或许是最适合出现天空书写的一种状态。从巫术到可口可乐再到克莱因，虽然作为时空掠影的天空书写在时间空间上都无法再次“降临”。而在北京的《天空签名》则提供了一场脑内天空里的书写，像是没有内容的声明，它试图宣读但又欲言又止。这带来了一种中性的想象，在当下宏大叙事中的他异性辩解：我们既可是观众，也可是这场别离的送行人。

The author summarizes the sky of Beijing at the end of 2021 as a color of "clear winter," which is a simple expression of generalization, but in fact, it is a kind of blue sky under high pressure and with no wind. This is perhaps the most appropriate state for writing on the sky, according to the understanding brought by "A Brief History of Sky Writing." From witchcraft to Coca-Cola to Klein, skywriting as a glimpse of time and space has not been able to "come down" again in time and space. The Sky Writing" in Beijing offers writing on the sky inside the head, like a statement without content, which tries to pronounce but stops. This brings about a neutral imaginary, a heterogeneous defense in the grand narrative of the moment: we are both spectators and mourners of this farewell.

— 高江波

— Jambo Gao

关于作者

高江波，策展人，艺术撰稿人。毕业于武蔵野美术大学。目前生活工作于东京和深圳，长期活跃在中日两国的各个艺术现场。策展项目曾获得村上隆的「geisai 19」第十位。并为该奖项历史上唯一的华人获奖者。另外从业十年间为当代艺术区块的诸多媒体撰写并提供艺术批评及文献支持写作，文字和学术合作见于艺术世界、美术手贴、日本国际交流基金会等。并同时在东京的艺术家聚落小平和司3331运营项目画廊DEHAIRI PROJECTES，目前辗转国际间，参与画廊和美术馆等不同场域的策展实践。

Jambo Gao is a curator as well as an art writer. He graduated from Musashino Art University. He currently lives and works in Tokyo and Shenzhen and has been active in various art scenes in China and Japan. His curatorial project was awarded 10th place in Takashi Murakami's "geisai 19", the only Chinese recipient of this award in history. In addition, he has written and provided art criticism and documentary support for many media in the contemporary art scene for ten years. His writing and academic collaborations have been published in Art World, Bijutsutecho, and Japanese Foundation for International Exchange. He also runs the project gallery DEHAIRI PROJECTS in Tokyo's artist community Kodaira,Tsukasa 3331, and currently moves internationally, participating in curatorial practices in different settings such as galleries and museums.