装置  Installation   2012

Spot Photo ：瑞信·2012今日艺术奖入围展  （今日美术馆，北京）现场

2个面对面的画架，间距约4米，一个放的是一张被覆盖的画 （脚下有2个黑色垃圾袋已经用过的废弃的物品（工作室垃圾）），一个《天鹅挽歌》2分钟的录像，（脚下有2个黑色的音箱）。一个小时播放一次，因为有这个录像，整个空间会每隔一个小时有爆炸声。其余时间是黑屏。

一面墙上，一根针在走动。当它走到一圈的同一个位置，经过一个小时，它也是录像的一个循环时间，这就是定时“爆炸”的时间。

Two easels are placed face to face with a 4-meter distance in between. On one of them there is a painting which is covered by paints. (Beneath it there are two black trash bags stuffed with all kinds of wastes from the studio). The other displays Swan Song, a two-minute video. (Beneath it there are two black sound boxes.) The video will be played on an hourly basis. Due to that, a sound of explosion can be heard within the space every one hour. During the rest of time, there’ll be nothing but a blank screen.

On one of the walls, a minute hand is kicking constantly.

Beneath the seemingly peaceful and serene surface there lies a violent and devastating sense of instability and insecurity.

自述：

一张布面油画，一层看起来”没有意义“ 的灰色油彩覆盖了里面一层画，“覆盖”是不是对上次痕迹的“取消”？宣布“作废”？比方说，街头一张宣传画，后来被涂刷掉了，我们看到很多文革时候的标语，现在被水泥或别的涂料涂刷覆盖了，我们或多或少能看到一点点以前的痕迹。

意图涂抹、覆盖、作废，并不能抹消“过去的时间”，反而凸显和重塑了“过去的时间”。

多重时间。

“作废”。作——“成为”——废。而这种“废”在新的语境中有再次成为“用”的可能。它有成为艺术的可能。

就如它脚下的装满了工作室的垃圾的垃圾袋一样，在美术馆中。它有被看做“雕塑”的可能。这并不是无例可循。在这里，“有例可循”作为惯例，本身也是可以使用的现成品。

2分钟的录像，一个小时才播放一次。那58分钟的黑屏时间将是什么呢？观众来到美术馆，东张西望，急切地想要看到“艺术品”，在一个要追赶时间，时间就是财富就是权力的时代，58分钟的黑屏时间可能会被视为“垃圾”时间，我们已经不耐于等待，资本主义不相信等待，它打造了这么一个世界，等待就等于是落后，就等于是毁灭。它把我们抛入紧张之中快速之中，并内化了我们的主观，把时间分为“有用”和“无用”。资本主义对时间的当代化就是，现在微博上转发有一个美国的辣评节目，主持人笑话中国的富士康的时间观是一天35个小时。我们已经比资本主义更资本主义。这种时间观也结构了展览的模式，让观众快速地“获得作品”和“体验艺术”。一种莫名其妙的“高效率”原则。

我也并非仅仅为了反抗这个体制而故意使录像放映间隔这么长时间。2分钟一次的爆炸影像的循环播放所造成的只会是越来越麻木的感受，这并不是我想要的。

另外，这里产生的58分钟黑屏的所谓“垃圾时间”，也是一个黑色的雕塑。

那一根针是分针，当它走到一圈的同一个位置，它也是录像的一个循环时间，这就是定时“爆炸”的时间。

它既是工作室的日常的一小部分，也是画、录像、垃圾，装置、雕塑，也是私人生活、也是公共政治，也是……

艺术不是“就是”，而是无限的“也是”。

艺术和生活一样，和暴力并存着。会有各种意外打破平静，暴力的威胁时时存在。

2012/10/23 蒋志

It is an oil painting on canvas. The painting is covered by a layer of seemingly “meaningless” grey oil paints. Can such “coverage” be deemed as some kind of “cancellation” of previous traces? Is it a declaration of annulment? Take the propaganda posters on street for example. Many of those and slogans during the Cultural Revolution were erased later by cement or other kinds of paints. Now we can only perceive some vague traces of them.

Intentional erasure, coverage and annulment cannot wipe out the “past time”. On the contrary, such actions highlight and reshape the “past time”.

Time is a concept in multiple senses.

In a sense, annulment means to make something become “waste”. Nevertheless, in a new context, such “waste” is imbued with possibilities to become “useful” again. It has the potential to become art.

If put in an art museum, the trash bag filled with waste from the studio can be reckoned as “sculpture”. It happened before. The fact that it happened before per se can also be referred as ready-made.

A two-minute video will be played every one hour. What will happen to the 58 minutes that nothing is shown on the screen? Visitors come to the art museum, eager to look for “artwork”. In an era that believes in time is money, the 58 minutes of blank screen will probably be seen as “trash time”. People are too busy and impatient to wait. Capitalism doesn’t believe in waiting. The world it carves out is convinced that waiting means falling behind and devastation. It throws all of us into a kind of hectic tension, internalizes our subjectivity, and divides time into “usefulness” and “uselessness”. On Weibo, a Chinese version of twitter, an American talk show programme is widely shared, in which the host made joke about Foxconn’s outlook of time. In Foxconn, it was 35 hours a day. In a sense, we become even more capitalist than capitalist societies. Such an outlook of time deconstructs the pattern of exhibition making, enabling visitors to “access work” and to “experience art” in a prompt manner. Such an focus on “high efficiency” is hard to be explained.

By setting the intervals so long I didn’t merely mean to fight against the system. As a matter of fact, to constantly play a video every two minutes will only lead to insensitivity. That’s not what I want.

Moreover, the 58-minute blank screen time, also known as “trash time”, is also a black sculpture.

The minute hand indicates a circular time of the video. When it reaches the same position it was an hour ago, it indicates the timing of regular “explosion”.

It epitomizes a portion of the daily picture in the studio. It can be painting, video, trash, installation or sculpture. It can be private life. It can also be public politics.

Art is not something specific. Its beauty lies in its unlimited potential of “can be”.

Violence is an indispensable part of life. Likewise, it is also an indispensable part of art. As the serenity on the surface may be disturbed by all kinds of accidents, the threat of violence is always pertinent.

2012/10/23, Jiang Zhi

Spot Photo, Guanxi : Contemporary Chinese Art, Guang Dong Art Museum, 2011

现场照片，关系——中国当代艺术展，广东美术馆，2011
Spot Photo, Guanxi : Contemporary Chinese Art, Guang Dong Art Museum, 2011

现场照片，关系——中国当代艺术展，今日美术馆，北京，2011
Spot Photo, Guanxi : Contemporary Chinese Art ，Beijing Today Art Museum 2011

现场照片，第9 届上海双年展，上海当代艺术博物馆,2012
Spot Photo,The 9th Shanghai Biennale 2012 – Reactivation,

现场照片，第9 届上海双年展，上海当代艺术博物馆,2012
Spot Photo,The 9th Shanghai Biennale 2012 – Reactivation

《5》

Video

74 mins 15 sec

2012

《微物之神》

2011

装置

材料：手电筒

The God of the Small Things

2011

installation

material: torch

Everything is Perfect 1

Everything is Perfect 2

Everything is Perfect 3

Everything is Perfect 4

Everything is Perfect 5

Everything is Perfect 6

不朽的截图 之一 Cropped – Immortality No. 1
2011 布面油画 Oil on canvas 220X300cm

不朽的截图 之二 Cropped – Immortality No. 2
2011 布面油画   Oil on canvas  220X300cm

法则的置顶 之一    Sticky Post – Rule No.1
2011 布面油画   Oil on canvas   200X230cm

法则的置顶 之二 Sticky Post – Rule No.2
2011 布面油画 Oil on canvas 200X230cm

无法访问，更黑 Not Found – Darker
2011 布面油画 Oil on canvas 160X300cm

隐私，反复预览 之一 Preview Repeatedly –Privacy No. 1
2011 布面油画    Oil on canvas   150X200cm

虚空，立即尝试 之一 Try Now – Void No. 1
2011 布面油画 Oil on canvas 225X300cm

\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\

有故障的显示

1

这些绘画作品来自显示系统故障，当我拖动对话框时留在屏幕上的图像，它经过的轨迹不会消除，除非再次经过而覆盖它。（其实说故障和错误是不准确的，它只是电脑当时的一个状态，虽然电脑会跳出一个警告说，这里出现一个错误，但这不是电脑想说的，是人为的判断。）

这些轨迹形成了图像，进而形成了一个“世界的景观”。它看起来，像是来自一个内在的、有抽象意味的世界。这是一个被瞬间激发而现的世界，也是一个随时都可被更改和另建的世界。更脆弱，更偶然，更无常，更短暂，

为什么说“更”呢？它比较的对象，是我们所谓的“外部世界”吗？是的。

外部世界是如此坚固，接下来，是一个问号。

对于外部世界，我们永远无法直接看到。

因为既然我们无法接触到真正的“外部世界”，它是否存在就被永远存疑了。

我们得到的，都是自己的世界。

每个人只是在看着自己的显示屏，而且那个“显示屏”的显示，都是自示的（见就是自现）。

这个“显示屏”所显示的，这一切，我们称之为“世界”。

2

而“自己”，说到底，它随时随地都可以／可能成为“另一个自己”。我们在不断地形成另一个自己中度过自己的一生。

3

它们不是抽象画，理由是，第一，我是对电脑出现的画面写实。第二，产生这些形象的主体，电脑（这个无心的机器），它才不去分辨和判断什么是抽象或写实呢。

那它们是写实吗？所谓的实，在哪？

4

它是不是绘画对我来说并不重要，之所以要用油画颜料在布上塑造这些表面，是我需要更为“物质化”的媒介，当然，物质是无足轻重的，但我，我们，通过物化，来质疑物化的源头，这是一条便利之道。

这是早两年“表态”展系列的延续，在“表态”展中，针对的是感觉。笑，哭，娇羞，愤怒，颤抖，鸡皮疙瘩………正因为我们产生了这样的生理感觉和反应，我们觉得它们来自“真实的自我”，进而确认“真实的自我”潜伏于“我”，这样搭起一个“真实”的桥梁，视那些使我们产生如此生理感觉和反应的对象／事件的判断为真，进而我们相信那些对象／事件／世界为真。但对人来说，没有客观。

对感觉的观察，使我走到对感觉的对象的源头的观察之路。

所以，我要否定我开始所说的。

这些绘画并不是来自电脑。

蒋志2011/10/10

\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\

Faulty Display

1.

This group of work derives from images of “system errors” from my computer screen. When I drag the conversation bubble on my computer screen, it leaves a trace but does not cover up previous images unless it is overlapped by another image. To call it an “error” or “mistake” is incorrect, as the “system error” warning only appears as an operation status of the computer which is due to our own action and judgment.

These traces become images and are shaped to form “a Vision of the world”. They seem to come from an internal and abstract world, which is created instantaneously and can be changed and renewed any time, but it is also more vulnerable, accidental, fugacious and transitory.

Why “more”? Is it because we compare this world to the “external world”? Yes; however, is the external world truly permanent? Yet another question.

For the external world, we can never see it directly. If we can never truly experience the external world, does it really exist? What we can attain is only our own world. We each stare at our own computer screen and what we see, perhaps, is only a reflection of an illusion of our own representation. What our computer screen shows is what we so-called “our world”.

2.

But in fact, what I call “myself” can, in actuality, be turned into “another self” any time and any where. We are constantly transforming into another self through our entire life.

3.

These are not abstract paintings. First, these paintings are based on actual images of what the computer screen shows.  Second, an unconscious computer cannot distinguish and judge what is real or abstract.

Yet, are they realistic paintings? If so, what is real and where is reality?

4.

Whether it is a painting is not important to me. The reason why I painted is because I needed a medium that can materialize. The material itself is insignificant; for me, we can question the origin of materialization by use of such material, which is a convenient way for me to pose my question.

This group of paintings is a continuation of my exhibition “Attitude” from two years ago, which focused on emotions such as, laughing, crying, shyness, anger, fear and trembling. As our bodies produce such natural emotions and reactions, we believe that such feelings are from the “true self” and thereby confirm such “true self” which in fact hides the real “I” from beneath. We then build up a bridge of reality from such so-called “true self” and view those objects or events which generate emotions and reactions as real and so believe that such objects, events and even the world as real, but none of this is an objective truth.

Observing emotions has led me to the observation of the origin of our emotions as well as its object.

Therefore, I want to deny what I said previously. The paintings do not derive from the computer.

JIANG ZHI

2011/10/10

情书   之一 love letters    NO.01

2011  艺术微喷 Archival Inkjet Print    35 cm X 35 cm

情书   之二 love letters    NO.02

2011 艺术微喷 Archival Inkjet Print 60 cm X 80 cm

情书   之三 love letters    NO.03

2011 艺术微喷 Archival Inkjet Print 60 cm X 60 cm

情书   之四 love letters    NO.04

2011 艺术微喷 Archival Inkjet Print 60 cm X 60 cm

情书   之五 love letters    NO.05

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之六 love letters    NO.06

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之七 love letters    NO.07

2011 艺术微喷 Archival Inkjet Print 90 cm X 60 cm

情书   之八 love letters    NO.08

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之九 love letters    NO.09

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之十  love letters    NO.10

2011 艺术微喷 Archival Inkjet Print 60 cm X 60 cm

情书   之十一   love letters    NO.11

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

 情书   之十二   love letters    NO.12

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之十三   love letters    NO.13

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之十四   love letters    NO.14

2011 艺术微喷 Archival Inkjet Print 90 cm X 60 cm

情书   之十五   love letters    NO.15

2011 艺术微喷 Archival Inkjet Print 90 cm X 60cm

情书   之十六   love letters    NO.16

2011 艺术微喷 Archival Inkjet Print 90cm X 60cm

情书   之十七   love letters    NO.17

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之十八   love letters    NO.18

2011 艺术微喷 Archival Inkjet Print 60 cm X 80cm

情书   之十九   love letters    NO.19

2011 艺术微喷 Archival Inkjet Print 80 cm X 80cm

情书   之二十   love letters    NO.20

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之二十一   love letters    NO.21

2011 艺术微喷 Archival Inkjet Print 60 cm X 90 cm

情书   之二十二   love letters    NO.22

2011 艺术微喷 Archival Inkjet Print 80cm X80cm

我只想让你愉悦

短暂

唱着歌

说

短暂

]]> http://www.jiangzhi.net/?feed=rss2&p=832 0 http://www.jiangzhi.net/?p=671 http://www.jiangzhi.net/?p=671#comments Tue, 07 Dec 2010 08:19:29 +0000 admin http://www.jiangzhi.net/?p=671  对不起

对不起

MP3

时长：2秒

文件大小：60K

sorry  (Download)

作品通过无线信号网络（手机彩讯短信）发送到需要的人，并通过彩讯短信或蓝牙可以无限地繁殖。

发送成功的声誉 Successfully Sent – Victory
2010 布面    丙烯＋油画   Oil+Acrylic on canvas
280X150cm

悲怆，内容控制之一 Content Control – Sorrow No. 1
2010 布面油画   Oil on canvas  160X280cm

添加抄送的性快感 之一 Add cc – Ecstasy No. 1
2010 Oil on canvas 布面油画   400X180cm

添加抄送的快感 之二 Add cc – Ecstasy No. 2
2010 布面油画   Oil on canvas   330X160cm

悲怆，内容控制 Content Control – Sorrow No. 2
2011 布面油画 Oil on canvas 160X280cm