艺术是一种工作 静音：张培力个展

        

    “现场”是张培力近几年的作品中逐渐形成发展而来的艺术创作概念与方式。2003年他创作了作品《从50公分到100公分》，记录的是照射进他工作室的光线跟随着时间走而出现的形状、长短的变化；2004年张培力创作了作品《5月9日-5月23日》，展现了一个蛋糕从新鲜状态到不新鲜状态的痕迹；同时他创作了同样类型的作品《水迹》；2007年他在杭州创作了《窗外的景色》——一件因地制宜的作品，根据展览现场既有的一个窗户相应地“复制”了这个窗户发生天气变化的过程录像；在今年一月份纽约的个展上，张培力创作了《无题（腐烂的花瓣）》，以实物与录像对比出了花瓣从娇翠欲滴到逐渐丧失水份的不同容颜。这些小作品的拍摄涉及到复杂的技术问题，它们都是关于时间、记忆，关于对真实的现场、物品的记录、对比呈现。这样的小作品都只是在很小的地方性的展览中，而没有在更广泛的大展览中展示过，但也正是它们慢慢地形成发展出张培力最近的两件大型现场制作作品。

如果说上述小的“现场作品”是对现场既有的真实存在的对象的记录，两件大型现场制作作品则是对人为制作出来的假的现场对象的展现。张培力的大型现场制作作品主要包括实物装置部分与影像部分，整个作品的实施涉及到复杂的技术问题，一大帮不同方面的技术人员的参与是完成这种作品的必要条件。第一件大型现场制作作品是今年四月份创作的《阵风》，张培力在展览现场搭建了一个室内环境，然后人为地进行破坏，将其变成废墟，并同时拍摄破坏的过程，现场展示的即是废墟的现场与废墟形成之前、之后的录像记录，艺术家在影像部分尽量模拟事件的真实发生，在实物装置部分也考虑了很细节的逼真效果。

         

    另一件大型现场制作作品即是此次在OCAT展览的《静音》，它是张培力的最新力作，代表着他艺术创作的最新方向。这个作品及展览将结合OCAT展厅作为“厂房”的空间特征，以实物部分与影像部分的呈现实践一种“恢复现场”的创作观念与方式。它将比《阵风》更进一步地将假的制造出来的带有戏剧性质的“现场”呈现在观众眼前。在这里，静与动、真实与否的混淆体现出艺术家思考的是关于展览现场与作为作品的对象之间的关系。可以说，不同于《阵风》的在展览现场制作展览现场，《静音》是在展览现场制作、恢复作为展览现场的原有真实现场。

         
   
    “静音：张培力个展”是艺术家张培力长年从事录像艺术探索的最新成果呈现。早在1988年，张培力即创作了录像作品《30X30》，并因此被称为“中国录像艺术之父”；’85时期，张培力参与组织了“新空间”展览、“池社”团体；他在1995年开始放弃绘画创作，全力投入录像艺术创作，也有相关的摄影、装置艺术创作；从2001年开始至今，张培力作为中国美术学院新媒体系的系主任，致力于中国当代艺术的教育事业；“静音：张培力个展”是今年张培力的第三个个展，也是OCAT今年系列重点活动之一。与此展览同时，OCAT将编辑出版关于张培力艺术、工作经历的画册，内容囊括张培力所有作品各方面信息的详细记录，艺术家谈自己与别人谈艺术家的文本，以及张培力教学方面的核心观念等等层面，是为全方位展现张培力艺术工作的首本个人手册。

策划：黄专

策划助理：王景

主办：何香凝美术馆OCT当代艺术中心

支持：华侨城集团、华侨城地产

鸣谢：优艾思贝画廊

开幕：2008年9月1日下午13：00

展期：2008年9月1日-10月15日  10:00-17:30(逢周一闭馆)

地址：深圳华侨城恩平路OCT当代艺术中心

咨询：（0755）26915100    www.ocat.com.cn

Mute: Zhang Peili’s Solo Exhibition

In recent years, the artist Zhang Peili gradually formed and developed a concept and style described as “scene”. In 2003, Zhang created From 50 to 100 cm. which is about the rays of the sun that shine in his studio. He recorded the shape and size of the rays as they change at different times during the day. In 2004, Zhang created From 9^th to 23^rd May, which shows the trace of a cake from its fresh to rotten state. In the same year, he created a similar work titled Mark. In 2007, Zhang created Scenic Outside the Window in Hangzhou. In this video work, Zhang originally recorded weather changes  through a window located at the exhibition site; during the exhibition, this video is projected on the wall opposite to the real window so that the earlier weather changes recorded in the video and the present real window are face to face in the exhibition.

In his solo exhibition in New York this January, Zhang created Untitled (Decaying Flower). This work shows the different stages of the flower from delicately pretty to a decaying state. These small works mentioned above are all concerned with complicated technical issues. All of them are about time, memory, about the recording and contrasting of the real thing and the real scene. These works have shown once in local exhibitions. Although they have not shown in more extensive exhibitions, they have gradually formed and developed into the latest two works created by Zhang. Both of these two new works are made at the exhibition site.

If we conclude that the small works mentioned above are made at the exhibition site, recording the real state of that site, then the two new large-scale works can be described as representing the artificial things that exist at the exhibition site. This kind of large-scale work mainly includes two parts, one is installation, the other is video. Compared to the small works, this kind of large-scale work is concerned with even more complicated technical issues. One of the necessary conditions is the participation of many technicians from different technical fields. The first of the two large-scale works is A Gust of Wind, created this April in Beijing. In this work, Zhang built an indoor environment, and then demolished it artificially. He turned it into a ruin, and at the same time, he shot the process of making the ruin. Finally, the exhibition was the ruin itself and the video of the process of making it. Zhang tried his best to imitate the real process of something falling into ruin, and considered the lifelike effect of details in his installation.

Another large-scale work made for exhibition is Mute, which will be shown at OCAT. It’s the latest work created by Zhang and represents his newest artistic direction. One of the characteristics of OCAT’s space is “workshop.” Zhang’s work or exhibition will fit with this idea, combining installation and video together to show and realize a concept and method described as “renew a scene”. It will provide a scene that is more artificial and dramatic than A Gust of Wind. The confusion of static and dynamic, true or not in Mute, presents Zhang’s notion of the relationship between the exhibition scene and the work shown at the exhibition scene. A Gust of Wind produces the exhibition scene inside the exhibition scene, while Mute produces and renews an intrinsic scene into the exhibition scene.

Mute: Zhang Peili’s Solo Exhibition represents the newest production made from Zhang’s long exploration in video. Even in 1988, Zhang created the video work 30X30, and he has gone by the name of “the father of video art in China”. In the ’85 period, Zhang participated and organized the exhibition New Space and the Pool Society (Chi She group). From 1995, Zhang gave up painting, and flung himself into video art. In addition to video, he has created photography and installation. From 2001 to the present, Zhang has held a post as the director of the New Media Department at the China Academy of Fine Arts. He has committed himself to teaching Chinese contemporary art. Mute: Zhang Peili’s Solo Exhibition is Zhang’s third solo exhibition this year, and it is one of the series of important projects of OCAT this year. At the same time, OCAT will edit and publish a book of Zhang’s art and working experience. This book will display details of all of Zhang’s art works, texts of Zhang’s writings and interviews, and the primary concept of Zhang’s teaching method. This book will be the first integrated documentary of Zhang’s artistic practice.

Curator: Huang Zhuan

Assistant Curator: Wang Jing

Organizer: OCT Contemporary Art Terminal of He Xiangning Art Museum

Supporter: OCT Group, OCT Real Estate Company

Sponsor: Boers-Li Gallery

Opening: 1^st September, 2008. 13：00pm

Duration: 1^st September - 15^th October, 2008

Address: OCT Contemporary Art Terminal， Enping road, Overseas Chinese Town, Shenzhen, China

Enquiry: （0755）26915100    www.ocat.com.cn