徐震®:异形 | XU ZHEN®: ALIEN

艺术就是异形。——徐震®

香格纳上海将于5月荣幸推出徐震®展览“异形”。展览将展出徐震®针对香格纳空间制作的大型装置,与最新创作的绘画和雕塑作品。“异形”延续了徐震®在后全球化生态下对文明的改造、迭代与进化命题的兴趣,如同异形所建构出的一种来自未知且令人惊悚的印象一样,展览也将通过艺术激起人们对未来与原始性的想象。

品牌创始人徐震自1998年开始创作以来,已经历了20年的艺术生涯。从早期表现个体私密与情感,到直面社会现实,发展至近期对人类现实的立异与创造,他的艺术策略虽然几经转变,却始终朝着文化的能动性扩张。徐震®所触及的,是关于艺术在面对时代之变时,如何创造可能性并提供新经验的问题。全球化的三个面向“贸易—资本”、“冲突—战争”与“进化—变异”在近年的创作中开始明晰,而三者的交织也逐渐形化为作品中的极端异化和超级变体。对徐震®而言,“异形”既是现实世界的表征,同时也是一部未来共同体的寓言。

此次展览将真实反映徐震®的精神内核,这表现为其处理文化对象及其语境的方式,以及其借此触发与呈现的新的组合和方案。作为这个时代最具代表性的艺术品牌,徐震®的背后运转着一个独一无二的没顶公司,在2008年的经济危机之后创建,没顶公司正象征着这样的可能性,将时代状况内化为创作的命题,并通过公司式的加速创作以应对全球化症候。

本次展出的两件作品《异形1》和《异形2》可追溯至2013年开始推出的“永生”系列,该系列将东西方经典文明中的形象以一种既冲突又融合的方式碰撞在一起。东西方永恒与精神性的美学象征,在对接的过程中造就了殖民历史、国际格局与全球化未来的丰富隐喻。《异形2》的形象分别来源于希腊神话中的“雌雄同体”神与汉代女佣,二者呈现了如同“永生–涅槃佛”一样巧妙的并置。而《异形1》则将文化的解码与组合推向极致,通过对对象进行简单的颜色处理,“异形”与其裹挟着的令人恐惧的力量被激发出来。徐震®借此为观众营造了一个精神性互动装置,通过诱导观众进入一个敏感的历史时刻,意识形态符号带给人的巨大压迫感,将促使个体面临一个需要表态与选择的境地。展览的另一单元由绘画组成,其中绘画性作为装置的元素被徐震®调用。开始于2017年的“进化”系列将距今近两千年的敦煌壁画与非洲面具共同绘制于油画布上,远古时代的文明与现代社会所保有的原始性交错并呈现出超越时间桎梏的美学面貌。“运气”系列与“进化”系列发展于同一时期,徐震®将新石器时代传承至今的礼器进行再造,而最终形成的画面则为徐震®的产品开辟了抽象表现的路径。

正如“文明迭代”所宣称的,徐震®的艺术以一种重复反馈的过程一步步逼近自身所需的目标。公司式的生产最终引发现实的漏洞——从逻辑与语词中抽身而出的不可知性,在展览中将呈现为蕴藏着丰富可能性的“异形”。
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“Art is alien.” (XU ZHEN®)

ShanghART Gallery is pleased to present XU ZHEN®’s solo exhibition: “Alien” in May 2018. This exhibition will present the large-scale installations XU ZHEN® made especially for the ShanghART Gallery space, along with his recent paintings and sculptures. This exhibition extends XU ZHEN®’s persistent interest in subjects such as transforming, iterating and evolving the civilisation within the context of post-globalisation. As “Alien” is constructing an impression of the thrilling and the unknown, this exhibition will inspire the viewers’ imagination about future and primitivity.

As the founder of XU ZHEN®, Xu Zhen has made a career in art for twenty years since 1998. Initially expressing the intimacy and emotion of individuals, then shifting to social issues, Xu Zhen is recently focusing on the difference and creativity among human beings. While his artistic strategies have undergone several changes, it is always moving towards the dynamics of culture. XU ZHEN®’s art has reached issues such as how art deals with the passage of time, and how to create new possibilities while discovering new experience. The three main themes in globalisation, “trade and capital”, “conflict and war”, “evolution and variation” are gradually becoming sharp focused in Xu Zhen’s works. Accordingly, the collision among three topics results in the figures of “extreme alienation” and “super variant” in his works. For Xu Zhen, “Alien” is not only a representation of the real world, but also an allegory of the future community.

This exhibition will truly reflect the core of Xu Zhen’s art through exhibiting how he deals with cultural subjects and their contexts, as well as the new associations and plans he came up with under these circumstances. As the most representative art brand of the period, XU ZHEN® is running the one and only MadeIn Company. Established after the economic crisis in 2008, MadeIn Company is representing a kind of possibility by internalising current circumstances into ideas, and speeding up the art making process in the form of a company, in response to the “symptom of globalisaiton”.

The two pieces of sculptures, Alien 1 and Alien 2, can be traced back to the “Eternity” series of 2013, which combines classical figures of Eastern and Western cultures in a conflicting and integrating way. The aesthetic symbols of eternity and spirituality from the East and West has developed through rich metaphors of colonial history, international configurations, and the future of globalisation in the process of collision. Alien 2 in the same vein of Eternity-(Buddha in Nirvana) juxtaposes two sculpture figures: an “hermaphrodite” from Greek mythology and a servant figure from the Han Dynasty. Moreover, Alien 1 is decoding and recombining the cultural elements to its extreme by recolouring those sculptures, thus the ‘aliens’ and the terrifying power therein are released intensely. By these means XU ZHEN® created a spiritually interactive installation, directing the viewers to a sensitive historic moment; the pressure brought on by those ideological symbols will situate the viewers in conditions that force them to make a choice and a statement. The other section of the exhibition includes several paintings used by XU ZHEN® as installing elements. The “Evolution” series which started in 2007 combines the cultural elements from Dunhuang Mogao Cave paintings and African masks. By painting the ancient civilisation and primitivity still remaining in modern society on the canvas at the same time, this series of paintings create the beauty of harmonious blending across time. The “Fortune” series started from the same period of the “Evolution” series; these painting series, which reconstructs the Neolithic ceremonial jades, opens a path for XU ZHEN® towards abstract expressionism.

As “Civilisation Iteration” (solo exhibition in 2017) declares, XU ZHEN® is fulfilling his visions in a progress of repeated feedback. The corporate-typed art production will finally result in a leak in the reality – the unknown condition of getting away from logic and language. The aliens hidden in the exhibition will present infinite possibilities.

问答 | Q&A

 

  1. 你认为政治正确是一个问题吗?

政治正确是失去可能性的开始。

  1. 此次展览的题目为“异形”的用意何在?因为很自然让人联想到电影《异形》,是否和这部电影有关?若是有,请说说对你而言这部电影有什么特殊的意义与价值?

汉代跪俑被涂上了一层颜色之后,似乎这个雕塑就被赋予了一种丰富的意识形态。变成了一件充满矛盾和针对性的当代艺术品。从这个角度来说这个雕塑和这种意识形态化的意识就像电影中异形一样的奇怪、未知和恐怖。

  1. 上一个个展是2017年在巴黎贝浩登的“文明迭代”,请问这两个展览之间是否有前后关系?Your last exhibition is the “Civilization Iteration” at Perrotin Paris in 2017. Is there any connection between the two exhibitions?

肯定有关系,总的来说都是徐震®关于全球化下对文明改造、变异和进化相关的主题。Yes, of course. Generally, both of them are Xu Zhen®’s themes about transforming, iterating and evolving the civilisation within the context of globalisation.

  1. 这一次的作品都是最新创作,是否可以解释一下这些新作触及的时代语境?可以分别介绍一下吗?或者重点介绍一下与展览同名的两件作品:《异形1》和《异形2》。

《异形1》这件作品是一个思维圈套,它吸引观众按照这个作品去思考和感受,这样就会导致一种似乎会逼迫观众表态和选择的境地。可能很多人会想到中国崛起/大国崛起之后的一种矛盾的境遇,一种自我的刷存在感和势必被外界扭曲妖魔化的现实。美国作为一个已经崛起的大国,类似事件是否会在新的大国的将来发生或者已经发生着。而此事件本身的所有语境,从某种角度来说可能对中国的未来也会相当适用。

我个人更看重一个简单的颜色本身能带动如此众多的因素最后形成一种新的动能,这可能也是当代艺术的最主要的特点之一。

而《异形2》表达的是对一种文明的触动,小心翼翼、充满不自信和欲望,两个巨大文明的代表在今天相遇表现出完全互相不能理解和完全被彼此所吸引。

  1. 你的作品几乎很少指涉过十分明确的现实对象,但这次一反常态的将一整个空间置换为具体的场景,这个素材对你而言有什么特殊性?是因为现实事件触发了你对这个对象的兴趣?

对我来说,这个事件不只是一个滞留在其原来语境的事件,它更是一种景观。当我看到几千年前的中国汉代跪俑的时候,马上就想到这个事件中跪着的人的姿势。两者如此一致。

这个对象对我来说有另外一层意义,即他者的社会与我有关吗?不发生在我身上的事件真的与我无关吗?每个人都能扯干净关系吗?我如何主动地改造现实?艺术是否就是一种办法,在现实逻辑之外的一种办法?或者艺术就是一种现实的漏洞,现实的可能性。

  1. “权力”,是我们日常生活中经常遇到的一个概念,我们对它既有所忌惮又渴望垂涎。你怎么理解权力?”Authority” is a common concept in our daily life. We have both fear and desire for it. How do you think of the “authority”?

权力是生态。哪里有权力哪里就有斗争,哪里有斗争哪里就产生可能性。Authority is ecology. Where there is the power there is the struggle. Where there is the struggle there is the possibility.

  1. 此展览中的“进化”系列结合了非洲面具与敦煌壁画的元素,你将此定位为“绘画装置”,可以解释一下这一界定吗?绘画史上通常将这种对非洲文化的援引指向“原始主义”,而迈克尔·莱杰在对纽约画派的诠释中,曾指出“原始主义”也是一种意识形态,人们对于“原始社会”的理解受到殖民主义、国家主义、帝国主义、种族主义和“第三世界”等现代社会机制的影响,你认同这样的说法吗?这种流动的“原始性”是否同样在你的作品中起作用?

进化系列绘画是一种像素写生绘画。绘者在画布上以每天5万-16万像素的效率推进画面。同时这类创作也是基于互联网搜索工具产生的一种文化观察、学习和判断的方法。这系列的核心是对这种方式创造的新审美的肯定。在这些前提下,已有的知识经验才有新的意义。

这系列不止是在强调非洲文化和敦煌文化之间的共通性、流动性。更重要的是作品体现出来的产生于这个时代对文化的大改造和重新定义的信心和方法。

  1. “运气(绿环)”呈现出你久未涉足的抽象画面,但来源却是华人再熟悉不过的日常物件“玉环”,在这里抽象与具象的转换关系是你想表达的吗?玉环的符号性和与之附带的意识形态在作品中是如何被再译与重构的?

这个系列是一种当代图腾。玉环的漩涡隐喻着今天人类在宇宙观理解上的加速。这里的抽象与具象的转换也契合着全球化中西方理性与东方感性混合的现实动能。玉环形象从几千年前至今被再次使用,恰如文明的密码被破解后再次重生。

  1. 你的关注点从艺术&商业—后波普—后全球化—文明进程,再到这次的“异形”,你觉得你的创作线索在逐渐触及一个什么样的问题,这些创作方向的转变是怎样一步步带你进入这个问题的?Your focus is from Art & Commerce to post Pop, to post globalisation, to civilization, and then to “Alien”. What kind of questions do you think your creative clues are referring to, how do these changes in direction of creation take you into it step by step?

从早期的反映现实到近期的创造现实,很明显我们的创作不断在表达一个理念,即“可能性”。在不同时代、困境和问题下的可能性。艺术充满未知。From initially we reflect the reality, to recently we create the reality, obviously, we are constantly expressing one idea – the possibility when facing different era, dilemma and problems. Art is full of the unknown.

  1. 你的作品创作一直在深入和推进,但与此同时徐震品牌和没顶公司的运作也一直并行不悖,在你看来,他们之间有互相关系和影响吗?

公司或这个人在这个大时代背景下,必须也只能不断地求新求变。艺术要给时代制造各种可能后自己也要有成为这个时代特点的能量。没顶公司或者徐震®品牌出现并非一种巧合,而是当代文化发展到今天必然会出现的一种方式。多元协作、快速迭代、高效管理等当代社会运行特点都在我们这里得到了良性的体现,以确保艺术就是我们公司最大的利润。

  1. 同那些关注点较为前后一致的艺术家相比,你的关切似乎一直在加速更新,这样的状态是这个时代和文化环境导致的吗?Comparing to those artists who keep focusing on the similar subjects, your concerns seem to update acceleratedly. Does time and the cultural environment lead to your current situation?

我们应该是这个时代最具代表性的艺术现象之一。公司化运营,想法丰富、高产、高效、形式多元、跨界创作等等这些都在我们这里得到了充分的体现。我认为当代艺术需要不断进化出新的方式方法来应对多元、复杂和无法定义的现实。今天精英主义和政治正确越来越盛行且越来越容易被利用,当代艺术会不断有新的任务和激情的。We should be one of the most representational art phenomenons in this era: corporate operation, rich thoughts, high output and efficiency, multiple forms, crossover creation etc.; these are all included in what we do. In my opinion, contemporary art should keep working out the new ways to deal with the diverse, complex and indefinable reality. Today the elitism and political correctness is prevailing and much easier to be made use of, so contemporary art would have more missions and passion.

  1. 你认为当下这个世界正在发生什么?你怎么理解这样的动向?What do you think is happening in this world? How do you think of this trend?

一切走向不确定性,什么似乎都可以被改变,世界在走向一个新的面貌。我们当然是要尽力去加速这种现状。Everything is moving towards uncertainty. It seems like everything can be changed, then the world is becoming a brand new one. Certainly what we should do is to accelerate that.

 

 

 

 

 

Author: Jenny Chen

Arts Writer

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