展览预告 | 周子正《置 物与边界》

展期 / Duration: 2020.05.23 - 06.22

开幕 / Opening: 2020.05.23, 15:30 - 18:30

地址 / Address: 中国上海市愚园路1088弄愚园公共市集202室

Room 202, Yuyuan Public Market, Lane 1088, Yuyuan Rd, Shanghai, China

弥金画廊荣幸的宣布，将于5月23号展出艺术家周子正个展《置 物与边界》，策展人为陈雯熠。

Gene gallery is pleased to present Herstellen, a solo show by Zhou Zizheng, curated by Chen Wenyi.

置 物与边界

文/陈雯熠

在一个生产关系过度虚拟化的时代里，人类与实存之物之间那种赖以相互依存的亲密联结被逐渐弱化，取而代之的是被符号化和标准化的诉诸于生产的言说。那是一种追求极端高效筑造环境下对于速度和时间的臣服，其结果是最终将人的肉身独立于物之外，从而忘却了如何“诗意的栖居”。

《不定性的三方圆管与团块》

周子正

玻璃纤维,钢管,聚酯纤维绑扎带

2020

摄影：张观华

何为“栖居(德语: Wohnen)”？当海德格尔质问人类该以如何的生存状态所存在时，他首先提出的是与之息息相关的“筑造(德语:Bauen)”：先筑造一个实体的居所，然后在其中生存。然而单纯满足实用性的“筑造(Bauen)”无法确保“栖居(Wohnen)”的产生：人于居所来去，心灵却不曾驻留。从这一点出发，周子正的艺术实践首先是抛弃了蕴含功能性导向的“筑造(Bauen)”，将对“栖居(Wohnen)”的关照迁移到对“物(德语: Versammlung)”的关照本身。

在处理取自原始状态的“物(Versammlung)”时，“置(德语: Stellen)”作为单独的一个词首先被引申出来：它可以被解释为名词“位置”、或者动词“放置”。其含义中无疑包含了对他者的指向，即客体的“物(Versammlung)”，和主体的“人” 。“置(Stellen)”作为媒介将主客体联系起来，其结果是“置造(德语: Herstellen)”了一种物的集合。在周子正的作品中，“置造(Herstellen)”发生于物的聚集与物的离散，普世的自然法则是其内在的逻辑，纯粹的因循常理是其组合的方法。然而在这些方法论背后，还包含着艺术家对于材料边界的突破。

 《规制宇宙》&《不定性的大三棱柱》

周子正

玻璃钢,木板,蓝晒液,聚酯纤维绑扎带&玻璃纤维，木架

2020

摄影：张观华

在对“物”性状的客观体察之上，周子正尝试着用经验主义的方式获取对特定材质的感性体验：比如不断提高玻璃的烧制温度来放弃对玻璃预设的形态的控制。通过这种方式，即一种突破边界的“置造(Herstellen)”手段，艺术家试图获取刻板印象之外的玻璃形态，借以重新定义对玻璃的凝视：如果事物被剥离了工具主义主导下的符号价值，它的原始状态会不会以更为去功能化的形式显现？物的真实意蕴能否从这种虚幻世界的外形和幻象之中解脱出来？

首先不是故意的模拟。在周子正的玻璃中，纤维布或者面包状质地的所有机理都是在对玻璃的筑造和软化中意外获得。烧制时，添加的同一种材料因为其包含的成分的不相同最后导致了不同的结果。在最终的呈现上，玻璃作为既定的“物”却成为了不包含其自身的其他“物”的映照。从这种角度上看，物摆脱了自我投射的局促境地，材料本身仿佛具有了如同有机体一般的能够自行生长的动态，并模拟了作为他者的全新客体。“物”以其自身的可变性挑战着主体“自古以来习惯于过于贫乏的估计物的本质”，进而引领观者建立与物的原始性关系。将常规之物的陌生化处理是艺术家在工业制造的准则之外进行的颇具浪漫主义色彩的感性关照，在这之后才有“放置(Stellen)”作为一种动作。

 《柱状物与银水面》局部

周子正

玻璃纤维,玻璃板,火山石,聚酯纤维绑扎带

2020

摄影：张观华

在《置 物与边界》中，“放置(Stellen)”仍旧是观念之内的“放置", 是对物在非人为干预状态下的还原，其结果隐喻了物在自然状态和工业状态下的双重呈现：无论是作为物的集合的单件艺术品，还是由艺术品构成的作为整体的展览，其中同时穿插着物的自然性和工业性。在《蓝环与陨石水面》里，窗玻璃仍旧被置以功能性意义上的“窗”的位置，却使人感受到碎石击中水面产生的静态涟漪；而在更大范围内去观看，《不定性的三方圆管与团块》对落石洞穴的暗示和《不定性的大三棱柱》对建筑工地常见的纤维布材料的暗示，是对我们观念中的自然场景和工业场景的并置。作品之间用一种貌似不相同的表达还原了我们对于世界的刻板印象，然而在这表象之中，材料的统一性却矛盾的指向了关乎物本质的某种普遍的共性。在整体性的把握上，展览构建了关于物的整体场域，使单个的作品意识在与场域的互文中完善了自身。

《不定性的放置》&《陨石水面》

周子正

玻璃纤维,木架,聚酯纤维绑扎带 & 玻璃板,

2020

摄影：张观华

而在这偌大的空间里，看似通过“放置（Stellen）”产生了关于不同事物彼此的边界，但最终我们会发现并没有任何的边界存在于它们之间。如果势必要为此引申某种禅意，那将是：清水无疆，山石有灵，万物静谧其声不语，而真理则不言自明。

HerstellenAuthor/Chen Wenyi

In an era when relations of production are over-virtualized, the close connection between human beings and existing things is gradually weakened, replaced by the symbolized and standardized appeal to the explanation of production. It is a surrender to speed and time in an environment of ultra-efficient construction, and the result is ultimately the separation of the human body from the material. People thus forget how to "poetically inhabit".

What is "Wohnen?" When Heidegger questioned how human beings should exist in the state of existence, he first proposed the concept related "Bauen": first build a physical residence, and then survive in it. But the purely utilitarian Bauen does not guarantee Wohnen: people come and go from their homes, but not their minds. From this point of view, Zhou Zizheng's artistic practices first abandon the functional orientation of "Bauen" and transfer his concentration from "Wohnen" to "Versammlung". 

 《陨石水面》

周子正

玻璃板,火山石

2020

摄影：张观华

When dealing with “Versammlung” taken from its original state, “Stellen” is first developed as a single word: it can be interpreted as a noun "position" or as a verb "place". There is no doubt that its meaning includes the direction to the other, namely the "Versammlung" of the object and the "man" of the subject. "Stellen" connects the subject and object as a medium, and the result is "Herstellen" a collection of objects. In Zhou Zizheng's works, "Herstellen" takes place in the aggregation and dispersion of things. The universal natural law is its internal logic, and pure conformity with common sense is its combination method. However, behind these methodologies, there are also artists' breakthroughs in the boundaries of materials. On the basis of the objective observation of "object" characters, Zhou is trying to obtain the perceptual experience of specific materials in an empirical way: for example, by constantly raising the firing temperature of the glass, he gives up the control over the preset shape of the glass. In this way, that is, a boundary-breaking "Herstellen" means, the artist tries to obtain the form of glass beyond the stereotype, so as to redefine the gaze on glass: if something is stripped of the symbolic value dominated by instrumentalism, will its original state be manifested in a more functional form? Can the real meaning of things be liberated from the appearance and illusion of this illusory world?

《蓝环与陨石水面》

周子正

玻璃板,火山石,霓虹灯管

2020

摄影：张观华

First of all, it's not an intentional simulation. All the mechanisms of the fibrous cloth or bread-like texture in Zhou’s works are acquired by accident in the construction and softening of the glass. When fired, the addition of the same material leads to different results because of different ingredients inside. In the final presentation, glass, as an established "thing", becomes the reflection of other "things" that do not include itself. Seen from this perspective, the object is free from the constraint of self-projection, and the material itself seems to have the self-growing dynamics of an organism and simulates the new object as the other. With its own variability, "thing" challenges the subject to "estimate the nature of things which is too poor since ancient times", and then leads the viewer to establish the original relationship with things. Defamiliarization treatment of conventional objects is the romantic emotional care of the artist beyond the criteria of industrial manufacturing, after which "Stellen" is adopted as an action.

《蓝环与陨石水面》局部

周子正

玻璃板,火山石,霓虹灯管

2020

摄影：张观华

In the exhibition "Herstellen", the idea of “Stellen” is still within the realm of common cognition. The process of "Stellen" is for the reduction of content in human intervention conditions, as a result, the metaphor content under natural state and industrial state double present: the piece of art, both as a content collections or composed of art exhibition as a whole, which combines the natural and industrial. In "Blue Ring and Meteorite Water", the window glass is still placed in the "window" position, giving the "window" illusion function, but it makes people feel the static ripple caused by the rubble hitting the water surface; To look at it on a larger scale, the insinuation of falling stone caves in "Indeterminacy of Three Square Tube and Lump" and the insinuation of the triangular prism in the fibrous fabric materials common on construction sites are juxtapositions of the natural scene and the industrial scene in our conception. The works use a seemingly different expression to restore our stereotyped impression of the world. However, in this representation, the unity of materials paradoxically points to some universal commonality related to the essence of things. From the perspective of wholeness, the exhibition constructs the whole field of things and makes the individual work consciousness perfect itself in the intertext with the field.

《池型与蜡环》局部

周子正

蜡,钢架,水,水草

2020

摄影：张观华

In this vast space, it seems that "Stellen" generates the boundary between different things, but eventually, we will find that there is no boundary between them. If there had to be some zen to this end, it would be: clear water is boundless, the rocks have spirits, all things are quiet and silent, and the truth is self-evident.

策展人

陈雯熠 Chen Wenyi

自由撰稿人和策展人，现任职于上海弥金画廊。

本科就读于华中科技大学，主修德语和建筑学系；研究生就读于英国利兹大学（University of Leeds），主修画廊与美术馆研究（Art Gallery and Museum Studies）。在英国曾任职于Yorkshire Sculpture Park，NAEA（National Arts Education Archive）以及Somerset House。并作为助理策展人参与过展览“Giuseppe Penone: A Tree in the Wood”(Underground Gallery,YSP, UK,2019)和“Art, Game and Play: Don Pavey and other Collections”(NAEA,UK,2019)。其研究的方向在于探讨如何消解策展实践中的处于统治地位的审美图式导向，并通过对整体叙事的把握和对空间关系的转化建立传达艺术语境的最优解。

艺术家

周子正 Zhou Zizheng

1995    出生于浙江嘉兴

2018    毕业于上海大学上海美术学院雕塑专业

至今     上海大学上海美术学院美术学专业研究生在读

个展  Solo Exhibitions

2020    置 物与边界,弥金画廊,上海,中国

群展  Group Exhibitions

2019    国際ガラス展・金沢2019,能登半岛美术馆,日本金泽

           2019油罐玩家艺术节,亚洲当代艺术中心,油罐艺术中心,上海

         “你会给我打电话吗？”群展,要空间,上海

          第四届TENKU Art Festival,日本长野东御市

          3厘米博物馆,chi K11艺术空间,沈阳

         “复现”青年艺术家群展,普陀区文化馆,上海

         “华彩初凝”——2019中国学生玻璃作品展,秦皇岛玻璃博物馆,秦皇岛

          首届大学生艺术博览会（上海）,上海展览中心,上海

         “本-质”上海美术学院师生联展,复兴艺术中心,上海         

2018   冰与火的集淬：现代金工与玻璃艺术展,鲁迅美术学院,大连

          融合·跨界,当代玻璃艺术三年展,河南省美术馆,郑州

          Stanislav Libensky Award 2018,Prague Gallery,捷克

          首届全国工艺美术作品展,龙现代艺术中心,上海

2017  “关于游荡者”系列新青年艺术家群展——“白热”,上海

         “海玻璃不是海”个人艺术驻地项目, YCHI盐场国际驻地艺术中心,大连

2016   颠覆性/学院玻璃的实验,G-ART画廊,上海

          清华大学美术学院史论系“三天”主题展览,清华大学美术学院,北京

         “天元奖”中国学生玻璃艺术作品邀请展,中国国家画院公共艺术院,河北天元

         “梦想·未来 Dream & Future”2016上海学生设计艺术展,西岸艺术中心,上海

Curator

Chen Wenyi

Freelance writer and curator, now work at Gene Gallery in Shanghai.

Bachelor's degree at Huazhong University of Science & Technology, majoring in German and Architecture; Master's degree at the University of Leeds, majoring in Art Gallery and Museum Studies. Worked in Yorkshire Sculpture Park, NAEA (National Arts Education Archive) and Somerset House in the UK. As an assistant curator, participated in the exhibitions "Giuseppe Penone: A Tree in the Wood" (Underground Gallery, YSP, UK,2019) and "Art, Game and Play: Don Pavey and other Collections" (NAEA, UK,2019).

Her research direction is to discuss how to dissolve the dominant aesthetic schema orientation in curatorial practice and establish the optimal solution to convey the artistic context by grasping the overall narrative and transforming the spatial relations.

Artist

Zhou Zizheng

1995   Born in Jiaxing, Zhejiang

2018   Shanghai Academy of Fine Arts Shanghai University, Bachelor of Arts

Now    Shanghai Academy of Fine Arts Shanghai University, Master of Fine Arts

Solo Exhibitions

2020   Herstellen, Gene Gallery, Shanghai, China

Group Exhibitions

2019   International Glass Exhibition Kanazawa 2019, Kanazawa, Japan

          2019 Tanker Art Festival Asian Contemporary Art Center Oil Tank Art Center Shanghai

         “Will you call me?” Group exhibition space Shanghai

          The 4th TENKU Art Festival, Nagano, Nagano, Japan

          3 cm museum chi K11 art space Shenyang

          “Recurring” group of young artists group Putuo District Cultural Center Shanghai

          “Hua Cai Chu Ning” 2019 Chinese Student Glass Exhibition Qinhuangdao Glass Museum Qinhuangdao

           The First College Art Fair (Shanghai) Shanghai Exhibition Center Shanghai

           “Ben-Quality”  Revival art center Shanghai

2018    Quenching of ice and fire: Modern Metalworking and Glass Art Exhibition, Lu Xun Academy of Fine Arts, Dalian 

            Fusion · Cross-border Contemporary Glass Art Triennial, Henan Provincial Art Museum, Zhengzhou

            Stanislav Libensky Award 2018, Prague Gallery, Czech Republic

            The First National Arts and Crafts Exhibition, Long Modern Art Center, Shanghai

2017     Ivy Program·2017 China Young Artists Annual Exhibition, Tianjin Art Museum, Tianjin 

            Sea Glass is not a Sea Personal Art Resident Project, YCHI Salt Field International Resident Art Center, Dalian               

2016     Subversive/College Glass Experiment, G-ART Gallery, Shanghai

            Tsinghua University Academy of Fine Arts History Department "Three Days" Theme Exhibition, Tsinghua University Academy of Fine Arts, Beijing

            Tianyuan Award Invitational Exhibition of Chinese Students' Glass Art Works, Public Art 

Institute of China National Academy of Painting, Hebei Tianyuan

             Dream·Future Dream & Future 2016 Shanghai Student Design Art Exhibition, West Coast Art Center, Shanghai

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