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,The 4th Guangzhou Triennial-The Unseen ((Guang Dong Art Museum, Guangzhou, China)

虚空，立即尝试之一，布面油画，225×300cm，2011
Try Now-Void No. 1, oil on canvas, 225×300cm, 2011

spoy photo,The 4th Guangzhou Triennial-The Unseen ((Guang Dong Art Museum, Guangzhou, China)

刚登陆的树林之一，布面油画，45×50cm，2012 Jiang Zhi 191
The Woods, after just Having Logged in No.1, oil on canvas, 45×50cm, 2012
刚登陆的树林之二，布面油画，60×80cm，2012
The Woods, after just Having Logged in No.2, oil on canvas, 60×80cm, 2012

spoy photo,The 4th Guangzhou Triennial-The Unseen ((Guang Dong Art Museum, Guangzhou, China)

未命名的海浪 之2，布面油画，200×300cm，2012 Jiang Zhi 193
Untitled Wave No.2, oil on canvas, 200×300cm, 2012

spoy photo,The 4th Guangzhou Triennial-The Unseen ((Guang Dong Art Museum, Guangzhou, China)

未命名的海浪 之2，布面油画，200×300cm，2012 Jiang Zhi 193
Untitled Wave No.2, oil on canvas, 200×300cm, 2012

spoy photo,The 4th Guangzhou Triennial-The Unseen ((Guang Dong Art Museum, Guangzhou, China)

未命名的海浪 之一，布面油画，350×240cm，2012 !” 192
Untitled Wave No.1, oil on canvas, 350×240cm, 2012

Jiang Zhi’s new painting series, A Thought Arises, began in
2010. These images are neither the artist’s own expression
based on a personal aesthetic relationship to the real
world, nor are they his digital productions or manipulations;
instead, they are generated by the computer screen itself,
by a system error or delay resulting in the display of an
interrupted interface. As the artist notes, these visual
results “form another spectacle that derives from an inner
and abstract world of the computer. It is a stimulated
momentary world that can be easily changed and reshaped,
and seems to be even more vulnerable, accidental,
unreliable and transient.”
Through a pre-set mechanism within the computer
display, lines and colours propagate and extend in endless
succession following a system error, appearing as abnormal
fragments of digital visualisation. The original screenshots
should not be seen as ‘images’ as per our common
understanding. They are ‘corrupted images’ or ‘faulty
images’, but not ‘false images’; not misrepresentations,
but rather imperfect extensions of something very real
occuring behind the screen. Though the resulting paintings
look abstract and expressive, they are produced through a
realistic method, imitating what was actually displayed.
This series is a new and somewhat democratic
collaboration between computer and owner. The former
is no longer merely a digital ‘assistant’, but acts as an
independent ‘creator’, whilst the latter ‘sees’ its ‘creations’
and transforms them into ‘images’. During this collaboration
‘images’ are produced spontaneously from digital data
and then found and captured by the artist, who ultimately
endorses them through his oil painting reinterpretations.
Now true or false, abstract or realistic, digital or substantial,
copied or invented, artificial or natural have all lost their
boundaries.

from The 4th Guangzhou Triennial-Catalogue- p188

蒋志自2010 年的最新作品系列《一念》是以绘画的形式呈
现的。这些图像既不是艺术家基于现实世界及其审美经验的
绘画性表达，也不是假借数码技术的生成或处理，而源自于
显示系统出现故障和滞后时继续操作电脑在屏幕上留下的痕
迹，一种随“机”生成的、偶得的图像。如艺术家自己所说的，
“它们进而形成了一个景观，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—它更脆弱，更偶然，更无常，更
短暂。”
那些线条和色彩被不停拖动的鼠标延续和繁殖，按着电脑自
身预先设置的显示机制而形成一个个失常的数码视觉片断。
这些截屏本来都不会被称为是正常的“图像”，从人们的习惯
阅读角度来看，它们是一种“坏败之像”，或者可以说是一种“错
像”，但非“假象”，真实地存在于屏幕的背后。而这些绘画，
尽管在形式上是抽象的表现的，其实践方式却是一种严谨的
写实—即对电脑屏幕所显画面的写实。
在这个系列中，艺术家和电脑达成了一种全新的、似乎更加
平等的合作模式。电脑在这里不再是通常意义上的数码工具，
而是有“独立思考”的“创作者”；与此同时，艺术家真正地“看
见”了这些“创作”，并要称之为“图像”。在这个合作中，“图
像”被反复转译，从最初的数字到电脑屏幕的视觉显示，从艺
术家的阅读、发现和捕捉，最后再到以传统油画媒介为背景
的绘画写实，一定要从方法上“弄假成真”。此时，错误的还
是正确的，抽象的还是写实的，数码的和实在的，仿制的还是
创造的，人工的还是天成的，全都失去边界。

蒋志个展

2012年上海双年展 “造化”单元

The 9th Shanghai Biennale 2012 – Reactivation, Shanghai Contemporary Art Museum

策展人语（点击）

Curator’s comments →

安静的身体/ The Quiet Bodies
装置，材料：燃放过的烟花筒，可变尺寸，2011-2012
Installation, material: spent fireworks casing, Dimension variable, 2011-2012
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, Shanghai Contemporary Art Museum, 2012

歌喉/ Voice
装置，电池慢慢耗光的生日音乐贺卡，可变尺寸，2012
Installation, Birthday musical greeting cards,and batteries slowly run out, Variable size, 2012
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, Shanghai Contemporary Art Museum, 2012

片刻之光/ The Light of Transience
录像，37 分钟，2011
Video, 37′, 2011
现场照片，第9 届上海双年展，上海当代艺术博物馆,2010
Spot Photo,The 9th Shanghai Biennale 2012 – Reactivation,Shanghai Contemporary Art Museum, 2012

以观念摄影和录像作品闻名的蒋志此次带来了色彩明丽的大型系列油画新作。作品看似呈现出对上世纪60、70年代美国锋刃派（hard edge）抽象绘画的映射，但是，艺术家完全否认它们是抽象绘画。图像最初是用鼠标在一台有故障的电脑上制成，通过在显示器上移动对话框，交错叠加的图案与优美的构图逐渐显现。艺术家表示“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。”这些在有显示故障的电脑上用几个简单的手部动作渲染出的具有瞬时性的图像，再被艺术家一笔一笔精细地描绘在超大尺幅的画布上。颇具冲击力的图像不仅是对数字时代下非写实绘画的一种带有讽刺意味的回应，也对电脑作为具体信息来源的地位提出质疑。与绘画同时展出的还有一个录像和一件摄影作品（6幅），这些作品穿插在一系列大型油画中，帮助大家更好地理解蒋志艺术创作中观念和心理层面的核心要义：录像作品《片刻之光》中，镜头记录了一束阳光偶然通过一张不经意留在某处的玻璃纸在时间流逝的过程中的反射轨迹；而摄影作品则用1-3根缝衣针设置出多种组合存在。与展出的绘画作品一样，录像和摄影作品都暗示着事物序列的脆弱、易变且转瞬即逝。全观展览“一念”中的这些作品，似乎让人们更真切地感受到我们日常现实背后转瞬即逝却令人印象深刻的能量。

Known for his highly conceptual photography and video works, Jiang Zhi presents a new series of vibrant, large-scale, oil paintings. These works, which seem hark back to American hard edge abstract painting of the 1960’s and 70’s, were originally composed with a computer mouse on a malfunctioning PC. By moving the dialogue box across the broken-down computer monitor beautiful compositions and intertwining patterns emerged in its path. However, Jiang Zhi does not consider these images are abstract paintings. The artist states that “This is a world that appears by sudden inspiration; a world that can be changed and renewed at anytime. It is vulnerable, accidental, and transitory.” These instantaneous images, which were rendered with simple hand gestures on a distressed computer terminal, have then been meticulously painted onto extra large canvases. The stunning results are not only an ironic response to the legacy of nonrepresentational painting in the digital age but also an inquiry into the computer as a source of concrete information. Shown in tandem with the paintings are a video work and a small selection of photographs (6 pieces). These works display with the paintings and help to reveal the true psychological and conceptual tenor that is central to Jiang’s work. Like the canvases, Light of Transience, a video which depicts the trajectory of natural light through a reflection of cellophane over the course of an afternoon and the photographs of 1 to 3 needles ordered in various compositions, help to indicate the order of things as a fragile, malleable and fleeting condition. Seen together the works in A Thought Arises reveal the impressionistic and transient energy that lies behind our experience of reality.

 上海沪申画廊

SHANGHAI GALLERY OF ART

2011.11.26__2012.01.05

Attitude
An Exhibition by Jiang Zhi
Curator: Bao Dong
Organizer: Platform China
Venue: Space A, Platform China
Time: 2010.9.5 – 2010.10.17
Opening: 3:00pm, 2010.9.5

Attitude: Again

Jiang Zhi’s solo show “Attitude” hosted now at Platform China marks the third stage of a traveling project showed shown for the first time at Osage Gallery in Shanghai, September 2009 and thereafter in Hong Kong, December 2009.

Just to make it more precise, “attitude” here doesn’t stand for the verb meaning “declaring one’s position”, nor it refers to the fact that Jiang Zhi or his show aim aims at expressing an “attitude”,; in fact by positioning “attitude” in a social text it actually invites to speculate, it invites to transfer the understanding of all events and phenomena into discursive practices within a social discoursethe text. Only Iin this way we are in fact able to re-read and re-write this social text. “Re-”, “again”, “once more” are namelyare ways to define the things that the artist wants and is going to dowhat art is and where it belongs.

Here, society is conceived as a linguistic system and the social activities (including politics) are comprehended as a languagespeeches. The one of the body, the one of the emotions expressions and that of the human actions all are all languages speeches and they contribute to build construct and make effective the individual and gendered ones to arrive to include all different kinds of ideologiesthe discursive practices of identity, gender, as well as of different ideologies. The artist art thus is conceived as the conscious – or maybe the reflection reflective – of the implementation of the languagediscursive practice. The aim is to turn the fixed relations between idiom parole and language langue into something flexible and dubious. This is the significance of “re-”; the artist art has to become something prefixed, that has been already determined function as a prefix and till then he the presuppositional nature of reality can be launched indeedwill reveal itself. 

For this reason, Jiang Zhi uses the body, emotions expressions and actions to invite allow people the viewer to see the threads behind their backs the hidden operations behind them or, in other words, to let us see how we used to perceive them constantly looking at ourselves, that is just like looking at them, and in this way maybe we can could probably re-look at them. What really counts is not what Jiang Zhi’s attitude is,. which Towards these faces, arms, bodies and voices he is confronting with, but what our position should be, and what reason has this “should”, what is the right attitude we should have and what are the reasons for taking up that attitude?

We could re-consider Jiang Zhi’s past earlier works and when he uses them actually manages to look at them as ready-mades objects – when he re-uses themagain, the method itself becomes the objectsubject. The faces, arms, bodies and voices used to be in the show make appear all in once this pattern, and now this pattern is coming out again installed that way and today make their second apearance this way…

Jiang Zhi’s ‘Attitude’ is like an observation of ‘words’ and ‘objects’, more precisely, an observation of ‘power’ and ‘becoming insane’. ‘Coyness’, ‘trembling’ and ‘tears’ are ‘between words and objects’, were given the elements of an ‘event’, and became ‘individualised’ and ‘plural’.
（- excerpts of ‘Power’ and ‘Becoming Insane’ and ‘Attitude’ by Véronic-Ting CHEN）

Jiang Zhi’s ‘Attitude 2’ is humorous that against sarcasm. Each work is a ‘body’ of extension and ‘characters’ which could be captured and observed. These works of Jiang Zhi release vague signals consistently and slowly.
(-excerpts of After Perceiving of Works, Before Happening of Events – Attitude 2 by Véronic-Ting CHEN)

We are living in such a system, in which we could be stimulated to be excited beyond our control. Artificial Parkinsonism is spontaneous and unnatural but considered as natural.
(-excerpts of Artificial Parkinsonism Discussing  by Véronic-Ting CHEN)

Jiang Zhi’s Maiden, All Too Maiden! series undoubtedly put forward a very important study – to set up the shaming for evil ethnics, which is how to investigate Shyness – a phenomenology knowledge of body feeling.
(-excerpts of StepTowards a Desire/ Knowledge Criticism of Mankind Political Economy by Wei Puhua)

In Curtain Call, Jiang Zhi presents an occupant of a stage who is unwilling to quit the performing mechanisms on a stage.
(-excerpts of StepTowards a Desire/ Knowledge Criticism of Mankind Political Economy by Wei Puhua)

表态
蒋志的一个展览
策展人：   鲍栋

主办方：  站台中国当代艺术机构
展览地点：站台中国当代艺术机构A空间
展览时间：2010年9月5日-2010年10月17日
开幕式：  2010年9月5日 下午3时

表态：再表态

这次蒋志在站台中国的“表态”，是继在2009年9月在上海、12月在香港的奥沙画廊之后的第三次“表态”。

正如之前一再强调的，“表态”不是一个动词，不是蒋志或展览要表达什么姿态，而是把“表态”放在社会文本的维度中去考察，把各种事件与现象理解为这个社会文本中的话语施行，进而，我们才能够去重读、重写这个社会文本。重新、再次、又一次、re-，即是艺术要做和正在做的事情。

在这里，社会被理解为一种语言系统，社会行为（包括政治）被理解为言语，身体、表情、动作都是一种言语，它们参与建构与施行身份、性别这些话语，以及各种各样的意识形态。而艺术则被理解为一种自觉的——或者说反思性的——言语实践，其目的在于使言语与语言的锚定关系变得松动、可疑。re-的意义就在于此，艺术要成为现实的前缀，现实的预设性才会被暴露出来。

因此，蒋志使用身体、表情、动作，是为了让观众看到它们背后正在运作的东西，或者说，是让我们看到我们一贯是如何看待它们的，这样或许我们能够重新看待它们。也就是说，重要的不是蒋志的态度是什么，面对那些脸、胳膊、躯体与嗓音，我们应当是什么态度，这种“应当”的理由又是什么？

我们也可以重新看蒋志的之前的作品，当他把它们当成现成品——即再次——使用的时候，方法本身即成为了对象，那些脸、胳膊、躯体与嗓音曾经以那样的方式出现在展览中，现在又以这样的方式重新出现……

蒋志的“表态”，像是对“词”与对“物”的观察，更确切来说更像是对“权力”与对“成为疯狂”的观察。“娇羞”，“颤抖”与“流泪”这些“非词非物”在他的表现之下变得“事件性”“个体化”与“多”。
－摘录Véronic-Ting CHEN / 维洛尼卡《“权力”和“成为疯狂”和“表态”》

蒋志的“表态2”，是幽默的，是一种反抗“讽刺”的“幽默”。
每个作品都是一个在外延的“身体”，不断截获可以被观察的“性质”，但是以一种很慢的速度，蒋志的作品不断的释放模糊不清的“信号”。
－摘录Véronic-Ting CHEN / 维洛尼卡《在感知作品之后，在事件发生之前－表态2》

我们存在于这样一个系统，这个系统能通过刺激让人进入不由自主兴奋状态，人造帕金森，自发，不自然，但却自以为然……
－摘录Véronic-Ting CHEN / 维洛尼卡《人造帕金森》谈《颤抖》

蒋志的《娇羞的，太娇羞的！》系列无疑提出了建立中国羞恶伦理学一个重要的知识学问题，即如何勘察娇羞这一身体感觉的现象学知识性质。
－摘录魏甫华《迈向一种欲望/主体的政治经济学的知识批判》

渴望占据着舞台的中心位置，贪婪地享受和攫取着赞美、荣誉和权力，这是内在于人性之中的一种普遍化情境，《谢幕》正是根植于这种普遍化的情境，虚拟了那样一个形像来挑逗观众的情感与神经。
－摘录  朱朱《被凌迟的结尾》

《谢幕》如果说是直接展示了权力表演机制，还不如说更为深入的提示了这不是对一个不愿谢幕者的反讽，而是对整个“谢幕”的礼节性背后的权力机制的反思。“谢幕”直接的隐喻不是权力的表演，而本身就是权力……
－摘录 杜庆春/《不谢幕的思考和颤抖的答案》

其它评论：
杜庆春/《不谢幕的思考和颤抖的答案》

Véronic-Ting CHEN / 维洛尼卡《“权力”和“成为疯狂”和“表态”》

Véronic-Ting CHEN / 维洛尼卡《在感知作品之后，在事件发生之前－表态2》

Véronic-Ting CHEN / 维洛尼卡《人造帕金森》

魏甫华《迈向一种欲望/主体的政治经济学的知识批判》

朱朱《被凌迟的结尾》

袁园《被控制的•颤抖》

Jiang Zhi : Attitude   
表态 － 蒋志的一个展览
osage kwun tong : 04.12.2009-17.01.2010

Curated by Bao Dong

Following its debut in Osage Shanghai in September this year, Jiang Zhi: Attitude at Osage Kwun Tong features an expansion of the first presentation, with new works added to the exhibition. The exhibition will then travel to Beijing in 2010.

Taking the concept of ‘attitude’ as a point of departure, Jiang Zhi explores how ‘attitude’ is not simply a conscious behaviour, nor merely an expression of a point of view, but a form of social rhetoric where every form of ‘attitude’ is a node in the complex web of meaning-making. This exhibition is an investigation into, and a rewriting of, the phenomenon behind rhetorical expressions. Jiang extracts fragments of the social rhetorical as found in real life situations and reconstructs them, and in the process, breaks the chain of meanings. Stripped of its language-signifier, ‘attitude’ reveals its own significance, bringing forth the criticality that lies at the heart of the deconstruction.

Attitude in Hong Kong is an expansion of the first presentation, not only because it has included more works, but more importantly, how these works extends from the issues examined, allowing for new layers of meanings to emerge.

Jiang Zhi: Attitude

表态 － 蒋志的一个展览
osage shanghai: 08.09.2009 to 08.11.2009
Curated by Bao Dong

Featuring new works by Jiang Zhi, Jiang Zhi: Attitude will debut at Osage Shanghai on 7 September 2009, and will travel to Hong Kong in December 2009 and Beijing in April 2010.

Taking the concept of ‘attitude’ as a point of departure, Jiang Zhi explores how ‘attitude’ is not simply a conscious behaviour, nor merely an expression of a point of view, but a form of social rhetoric where every form of ‘attitude’ is a node in the complex web of meaning-making. This exhibition is an investigation into, and a rewriting of, the phenomenon behind rhetorical expressions. Jiang extracts fragments of the social rhetorical as found in real life situations and reconstructs them, and in the process, breaks the chain of meanings. Stripped of its language-signifier, ‘attitude’ reveals its own significance, bringing forth the criticality that lies at the heart of the deconstruction.

Following the presentation at Shanghai, the exhibition will travel to Hong Kong and Beijing, where each site will witness the expansion of the exhibition that stems from the continual discussions. It is hoped that the exhibition will present a continual investigation, rather than an attempt at a conclusion.

Jiang Zhi : On The White

蒋志个展：白色之上 

osage singapore: 09.04.2009 to 16.05.2009

Osage Singapore is pleased to present On The White the first solo exhibition in Singapore by Chinese artist Jiang Zhi. His ruminations on the metaphysical aspects of art and life find extraordinary expression in photography, video and installation. 

On The White presents a selection of works from 2006–2008, where the quality of the colour white has been investigated for this body of work in terms of form, content or presentation, giving structure and motif to the exhibition.  In light, cloth and nature, the demolishing character, encompassing effect and the purification and spiritual associations of the colour white reveal operations of power, fate and fantasy.

Curated by Isabel Ching

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

:: Jiang Zhi: ON THE WHITE

osage kwun tong: 10.10.2008 – 16.11.2008

Curated by Isabel Ching

ON THE WHITE is Jiang Zhi’s first solo exhibition in Hong Kong. It is an introspective examination of confrontation, entanglement, coexistence and contradictions. A male and a female body move under the white cloth. Rather than emphasizing gender difference, the bodies seem to be governed by mystical force and tension, indicating a sort of yin/yang co-dependence that underlies the basis of life. Indistinct forces are shown to be at work, intimating what is experienced and felt rather than theorized or verbalized. The white cloth manifests a fluid form and visual/conceptual ambiguity from which can arise intuition, direct insights and a nuanced understanding that approaches the truth.