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"Empty Mirror Records" Zhong Zhao Exhibition
[2015-10-17 12:41:43]
“空鏡記” 鐘照個展
"Empty Mirror Records" Zhong Zhao Exhibition
藝術家：鐘照 （上苑藝術家）
Artist ：Zhong Zhao(Shangyuan Artist)
策展人: 夏可君 （上苑藝術館藝術委員）
Curator: Xia Kejun (Shangyuan Art Museum Members of the arts)
時 間：2015年10月17日-11月3日
Show time:17 Oct to 11 November.2015
主 辦：白盒子藝術館
Organizer：White box Art Museum
地 址：798藝術區797路B07號（北京市朝陽區酒仙橋路2號）
Address: 798 Art District 797 Road No. B07
空山27 鏡面不銹鋼打磨 60X180CM 2015
空鏡記：鐘照新繪畫的多重比照
夏可君
面對現代性急速變革的重組與災變，傳統山水畫及其生活世界也面臨不斷被改造的命運，有待于獲得另一種品質，這是內在質地的改變，需要脫胎換骨。在藝術家鐘照看來，山水畫需要獲得更為堅硬的質地，傳統山水自然觀建立在農業社會的前提下，但我們身處一個工業技術社會，一切需要被重新打造，古典山水自然需要獲得一面鏡子得以重新觀照自身，藝術家鐘照于是以不銹鋼為材料，徹底把山水畫的文化記憶置于更為堅實也更為異質的基礎上，鐘照不斷打磨不銹鋼，帶著口罩，傾聽無法忍受的噪音，重新刻畫出有著古典山水余象的冷感畫面。
空城6 布面綜合 140X280CM 2015年
這種反復打磨所形成的畫面，透明，堅硬，化解傳統的皴法，又余留皴法的痕跡，打磨出來的刻線，宛若古代的石刻線或者鐵線描，經過腐蝕后，如此硬朗，但線條又婉轉，保留水紋的波動感，在不銹鋼如同鏡子一般的反光中，這些水波又變成了光波，還在流動，讓鋼鐵的質地又獲得了柔婉的觸感，感覺不斷悖論性地反轉，正是這個反轉體現了現代性的生存悖論，從水墨的柔弱到鋼質的硬度，從鋼線的烙印到蜿蜒的波動，凝縮了噪音，以其金屬的冷感，卻帶來另一種工業時代的美感：這是金屬打造的山水，而且鐘照還以《空山》與《空水》，《空景》與《空城》來命名，回照了古典時代空寂與靜冷的意境，這是在空靈目光下打磨出來的空無之鏡，這是讓極端制作返回到極端自然的冷感，傳統山水畫的余味還有，但其觸感卻全然不同了。
鐘照面對了古代山水畫的自然觀一去不復還的苦楚，但顯然他更為堅強，也更為堅定，毅然選擇另一種質地來打造，不銹鋼的吸光感帶來了鏡面一般的透明感，打磨與吸光的波折隨著觀看光線的變化，會帶來不同的多維視角，印痕的波折，不銹鋼的冰冷，淺灰色的色調，不可摧毀的硬度與金屬的冷感，與傳統山水畫對照，如此不同，但又回照了傳統空茫與荒寒的意境。
除了在不銹鋼上打磨出山水余意，鐘照同時畫了布上油畫，并且也去打磨亞麻布。這就出現了幾個層面鏡子一般的相互對照：首先，這些布上油畫的古代山水是以獨特撕扯的筆觸畫出，這是鐘照在油畫上所發明的新筆法，細微起伏的肌理感似乎是為了平衡不銹鋼打磨的平滑冷感，毛茸茸的“筆法”再次恢復了山水自然的生長感。隨后，他以此自己發明的技法，改造現代都市，面對都市的膨脹，畫出了《空城》之廢墟的詩意，同樣也是藝術家對現代都市的空明想象，這是上天一般的空明之眼來觀照這個日漸頹敗的現代世界，以同樣撕扯岀的毛茸茸筆法，有著抽象畫的線性感，塑造出都市建筑物的繁多形體，但畫面整體上富于節奏感與線條感，以線條不同的走向來造型，充分展現了畫家形式直覺的天賦與手感，同時又是以生動的模糊觸感來促發出另一種救贖的隱秘渴求。其三，如果前面是把古代山水畫與現代都市風景對比，進一步鐘照則與不銹鋼的打磨對照，就不再“畫出”山水與風景，而是直接“打磨”亞麻布，與之前不銹鋼的硬度不同，對亞麻布的打磨帶來了更為柔軟的毛茸茸觸感，更為細微，有傳統山水的余痕，粗糲的顆粒感似乎是盲人摸索出來的痕跡。其四，鐘照還對這些打磨過的余痕，既有山水畫也有都市風景的作品，再次打上一層金屬鍍鉻漆，使之接近不銹鋼的質地，在凸凹起伏之中，這些殘山剩水，廢墟一般的遺骸，獲得了更為堅固的存在，宛若浮雕一般，或就如同一座座冷冰或冷鐵澆注成的紀念碑！
空城2 布面綜合 140X90CM 2011年
傳統自然觀在工業時代獲得了新的品質，不銹鋼與亞麻布，亞麻布與顏料，顏料繪畫與顏料上的鍍漆，多重的鏡面對比，鐘照這種打磨、打造與造鏡的對照方式，讓我們看到了自然與技術重新結合的可能性。
在有些作品上，鐘照還以打孔來模擬山水畫上的古老題跋，并以塑形膏封住打磨下來的灰塵，凝縮了噪音不散的音質，仿佛還在畫面回響。這些打磨過的新山水與新風景，這些經過空明之眼拂照過的新景色，乃是鐘照給古代山水重造的一道保護層，但這是以一種逆反與“逆覺”的方式，所謂“反者道之動”來進行的，卻反而使之更為堅固，更為不可摧毀，有著紀念碑的堅實冷感，這正是現代性悖論的逆覺實現，只有此逆覺才可以逆轉現代性災變帶來的摧毀頹敗感。
當代猶太詩人策蘭在《黑暗的接牛痘者》一詩中寫出了這種吸納噪音的寫作方式：“寫作的/ 玻璃般堅硬的擦刮聲”，銹鐵刮擦玻璃的聲音，其實來自猶太人卡夫卡對寫作之不可能的經驗，神圣之言被腐蝕了，現代寫作者要承受的是讓語詞吸納那種刮擦玻璃器皿時難以忍受的噪音，如同卡夫卡小說中猶太女歌手約瑟芬妮耗子式的最后挽歌，更為接近噪音，但卻也更為觸及了物質本身的真實性與現代生活的混雜感，而中國文化“和光同塵”的智慧，以空明凈化了這躁動的塵埃世界。
鐘照命名為“《空……》”的幾個系列作品，讓我們看到了一個藝術家對于傳統藝術，對于現代文明的深刻反思與多重對照：現代工業技術與古代自然造化的照應，光感硬度與氣感柔軟的照映，生機流動與堅實凝固的對照，顏料拉扯形成細膩起伏的造型與電鉆打磨形成的刻痕之間的反照，現代都市建筑的瘋漲與山水丘壑的退隱之間的比照，亞麻布打磨的浮塵顆粒感與不銹鋼打磨出來的剛性線痕之間的回照，亞麻布的鍍鉻漆覆蓋與不銹鋼質感的照度，形成了自己對世界的空明“照看”。所有這些方式：打造，制造，對照，光照，反照，返照，回照，照映，照應，都在一種空明徹照的目光下，以逆覺的方式進行，鐘照為我們建構起一個藝術感知邏輯上的深刻反思與逆覺之道。
空水4 鏡面不銹鋼打磨 38X120CM 2014年
Polishing Empty Imagination: ZhongZhao’s New Paintings
Xia Kejun
Confronted by the rapid transformation and catastrophes of modernity, traditional landscape painting and the world we live in meet the fate of constant reforms in order to gain new quality. It needs a change of internal textures, the need for rebirth. In artist’s Zhong Zhao’s point of view,landscape painting requires a solid texture, the traditional view on nature is build on agricultural society, since we are living in an industrial society,everything needs to be reinvented. Zhong Zhao has adopted stainless steel ashis material, he places cultural memories of landscape painting to a more solid and differentiated basis, Zhong Zhao wears a mask and polishes stainless steel continuously as he listens to the unbearable noise of the machines, to recompose a chilling sensation remnant of classical landscape painting.
Such repetitive motion of polishing allows the artist to create imagesthat are transparent, solid and adopting an approach of dissolving the texture while traces of this technique remain, the lines polished resembles to thelines on stone carving or the iron wire lines found on ancient paintings. Through corrosion, the lines are strong yet winding, giving a sense of movement like water ripples. Through the reflections on the stainless steel, these ripples are like light waves traveling continuously to allow a soft texture onthe metal. These two statuses invert paradoxically, embodying the existential paradox of modernity. From the delicate ink painting to the rigid steel, from the traces of steel lines to the winding waves and condensing noise, its chilling metallic beauty brings forth an industrial aesthetics: this is the landscape rendered on metal, for which Zhong Zhao has entitled them, Empty Mountain, Empty Water, Empty Scenery andEmpty City. These works reflect the symbolic meaning of emptiness and tranquility, the extreme mode of production employed restores an extremely chilling sensation, as much as theyhave maintained a sense of traditional landscape painting, the textures have been completely transformed.
Distressed by the view on nature of no returns in traditional landscape painting, Zhong Zhao seems more courageous and determined in his choice of creating a texture. The deflection of light on stainless steel allows multiple perspective through shining, polishing and light absorption, the traces of polishing, the coolness of the stainless steel, the light gray color tone, the indestructible solidity and the coolness of the metal, compare to traditional landscape painting, contrast not only with the traditional forms but also reflect the void and frigid vastness of traditional symbolism.
空山21 鏡面不銹鋼打磨 110X280CM 2015年
Other than rendering the remnant symbolism of the landscape through polishing on stainless steel, Zhong Zhao has also made works on canvas, as he equally attempted to rub the surface. This contrasts with traditional landscape paintings on a few levels: first of all, the ancient landscapes on canvas was painted in uniquely ripping brushstrokes, a method Zhong Zhao has invented in making oil painting. The delicate texture of the unevenness seem to balance the smoothness of the polished stainless steel, the fuzzy ‘brush work’ restores growth in nature found in landscape painting. There after, with this method he has invented, he remodels the empty imaginations of the modern metropolis, confronted by the expansion of the city, he painted the Empty City of lyrical ruins. Likewise, it is the artist’s empty imagination of the modern city, it is the perspective of the heavenly eye on the gradually decaying contemporary world, the artist equally adopts the ripped fuzzy brushwork, revealing the lines that resemble to abstract painting in his rendition of various forms of urban architecture. His overall image is rich in rhythm and fluid lines, composing through their various directions, fully demonstrating the artist’s instincts, talents and feel for the image while applying vivid yet ambiguous texture to trigger a concealed pursuit of salvation. Thirdly, if the comparison has been traditional landscape painting with modern urban-scape, then Zhong Zhao’s painting is comparable to the polishing of stainless steels, that the landscape is no longer “painted” but rubbed on canvas. Unlike the rigidity of stainless steel, the rubbing of canvas shows fuzzy texture, as it is more delicate and showing remnant traces of traditional landscape, its rough unevenness resembles to braille. Fourthly, Zhong Zhao has coated a layer of metallic chromium plating over the works of natural landscape and urban sceneries, so they may have the texture of stainless steel. In this unevenness, these destroyed landscape and abandon edruins have gained more solid existence, like frescos or frigid and icy monuments! The traditional view of nature in the industrial era has gained new attributes, Zhong Zhao’s polishing, fabricating and shining techniques allow usto see new possibilities of integrating technology with nature.
空山22 鏡面不銹鋼打磨 110X280CM 2015年
In some of his works, Zhong Zhao has perforated the surface to mimic the colophon on ancient landscape paintings, and use molding paste to cast the dustfrom the perforation. As the lingering tones of the noise is condenses, they still seem to echo in front of the painting. These rubbed new landscapes and sceneries, these new vue that has been shone by the eye of emptiness, is the protective layer Zhong Zhao has reconstructed for traditional landscapes. However, this is a rebellious and counter-intuitive approach, carried out with the so-called a “movement of the renegade”, makes it even more solid and indestructible, as it embodies the chilling sensation of monuments. This is precisely the counter-intuitive reality of the modern paradox, and it is the only way to invert the sense of loss and destruction in the modernist catastrophes.
In the Jewish poet Paul Celan’sThe Darkness of Smallpox Vaccination Patient, he adopted the type of writing that absorbs noise, “Writing/the sound of grinding on hard glass”, rusted metal scratching on glass, comes from the Jewish writer, Kafka’s impossible experience with writing, the sacred words are corroded. For contemporary writers, they need to bear with the unbearable noise like scratching on glass or hard objects, like the female singer Josephine’s rat-like eulogy in Kafka’s novel, they are closer to being noise, while they also touch upon the reality of the object and the messiness of contemporary life.
空景2 鏡面不銹鋼打磨 110X280CM 2015年
The series of art works that Zhong Zhao has entitled, Empty… allow us to examine an artist’s in-depth contemplation and various contrasts between traditional art and modern civilization: the correlation between modern industrial technology with ancient natural creation, the shining on the hardness of the light and the softness of the air, the contrast between energy flow and solid concreteness, the flashbacks of uneven and delicate composition through the rigging of paint and traces on the polished surface by the electric drill, the accord between the grainy texture on canvas and the wired lines on stainless steel, the illumination of coating of chromium plating on canvas and the texture of stainless steel, shape the “introspection”into one’s own world. Therefore, these approaches: fabrication, production, contrast, shine, correlation, flashback, accord, projection, and association,Zhong Zhao has constructed a reflection on the logic of artistic sensibility and approaches to counter-intuition.
空景3--布面打磨200X200CM2015年
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