Attitude （in Beijing）
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》