lofty(lofty的中文翻译)

　　耳且/郑路

　　Re-sist-ance/Zheng Lu

　　策展人：吕澎

　　Curator: Lv Peng

　　开幕式：2016年10月27日（周四）

　　下午4：00—7：00

　　2016年10月27日—12月21日

　　Opening: Thursday, October 27, 2016, 4:00 –7:00 pm

　　Duration: October 27, 2016 – December 21, 2016

　　龙美术馆（西岸馆） | 上海市徐汇区龙腾大道3398号

　　Long Museum (West Bund), No. 3398, Longteng Avenue, Xuhui District, Shanghai

　　郑路首次于上海的大型个展《耳且》于2016年10月27日于上海龙美术馆西岸馆呈现，展览展出2016年全新创作的8组作品。

　　"耳且"一词，取"阻"字的左耳刀偏旁和右"且"字组合而成。“阻”取“阻力”之意，即妨碍物体运动的作用力及阻碍事物发展或前进的外力。阻力在一般语境里等同于障碍。如梁启超所言：“天下一切事悉有阻力，阻力悉去，百事毕举矣。”“耳且”这个新造词正如其发音一样，并列递进生成另外一层语义，在障碍之中探知阻力的美学。

　　郑路自2015年台北当代美术馆个展《潮骚》和北京芳草地当代艺术馆《唯止》开始进入到更为具有挑战性的阶段，他开始寻求调动更多的媒介和材料。转注、假借、指事、会意、形声、象形，笔画从来都不是孤立的物质，而汇入了语义和图像的海洋。

　　郑路的造像系统亦是如此，所有孤立的物质、形象、符号、逻辑都借由他者而获得转化，真而幻、幻而真，都不可遏制的朝向它的对立面而转化。

　　在本次个展《耳且》中，艺术家开始更多的讨论时序、空间和变迁，从这个角度，关于造像的诗歌逐渐开始向关于造像的哲学转化：他想解决的课题是将之前一直纠缠于他的感性处理与观念设置的冲突抛之度外，让自己内心矛盾的叙述更为自由、更为解放地表露出来：人类的日常或者我们所理解的一般世界没有什么是清晰与能够断定的；任何一处风景都具有其自在的合理性，你可能遭遇到“自然”的风景，但那很可能仅仅是一种幻觉。某种宇宙的力量弥漫在我们的周围，你会感到恐惧，或者兴奋，然而，如果我们脱离这个社会，如果我们还试图回到当初的情景，你就会遭遇到理想主义的磨难：回到当初与走向未来都是悲剧。

　　郑路，1978年生于内蒙古赤峰市，曾分别就读于鲁迅美术学院雕塑系及中央美术学院雕塑系。2005年获得L.V.M.H.青年艺术家大赛奖学金在巴黎国立美术学院学习。郑路在近几年来不断的个人实践当中逐渐构建和完善了自己的艺术逻辑和语言系统。他将物质、文字、水、时间、空间等概念纳入自成体系的观念构架中，形成了个人独特的语言表现方式。同时也借此来暗喻生命状态的多样性和可能性，及如何应对自然、自性和自我之间的关系 。

　　“Re-sist-ance”, Zheng Lu’s first large-scale solo exhibition in Shanghai, comprising eight of his new works produced in 2016, will be held at Long Museum (West Bund) in Shanghai on October 27, 2016.

　　The title "耳且", pronounced “erqie”, is the morphological composition of "阻" , meaning “resistance” in Chinese, in other words, any mechanical force that tends to retard or oppose motion. In general, “resistance” is synonymous with “obstacle”, as was said by Liang Qichao, a renowned Chinese scholar during the late Qing dynasty and the early Republic of China, “Everything in this world meets resistance, and we call it a success when resistance is crushed.” Moreover, this coinage, homonymous with “and” or “also” in Chinese, generates a new sense of parallel and progression, turning therefore the exhibition into a kind of exploration into the aesthetics of resistance.

　　“Shiosai”, Zheng’s solo exhibition at MOCA, Taipei, in 2015, and “Transition” Zhenglu’s solo exhibition at Parkview Green Museum marked a new stage in his art. During his search for new media and material for art, he found that, the six categories of Chinese characters, i.e., self-explanatory characters, pictographs, pictophonetic characters, associative compounds, mutually explanatory characters and phonetic loan characters, give each stroke the opportunity to participate in the semantic and imagery fields, rather than being something isolated. So does his image-making system. All the seemingly isolated material, images, symbols and logic, transform one another to make something virtually real whose constituents keep converting themselves into their opposites.

　　This solo is more concerned with the time series, space and change, which explains the artist’s effort to move from the poetics of image-making to the philosophy of image-making. Aiming at freeing himself from the conflict between the sensory experience and the concepts, he heads for liberal expression of the inner conflict. Nothing about human life or the world is absolutely clear or definite, and any landscape or spectacle has its reason of being, so you may run into a “natural” landscape, but it may well be an illusion only. Emerged in the pervasive universe, we experience terror or excitement, but we would still suffer as an idealist if we go back to our origin--- it is doomed to be a tragedy, whether we return to the past or go toward the future.

　　Zheng Lu was born in 198 in Chifeng, Inner Mongolia. He had a BA and MA from Luxun Academy of Fine Arts (Sculpture Department) and Central Academy of Fine arts (Sculpture Department). In 2005, he won L.V.M.H. Young Artists’ Awards in France, and thus had the opportunity to study in Ecole National Supérieure des Beaux-Arts.

　　Recent years has seen Zheng gradually setting up and improving his own logic and vocabulary in art on the basis of practice and experiment. Substances, s, water, time, space, and a number of concepts are included into his aesthetic world to form an organic whole, from which derives his unique renderings. In the meanwhile, his works are also metaphoric of the diversity and the possibility of life, as well as of our response to the relation between nature, the self, and the ego.

　　参展作品简介

　　＃1

郑路_三千米烦恼丝_不锈钢丝_现场装置_尺寸可变_2015

　　Zheng Lu_3000 Meters of Woe_Stainless steel wire_Electroplate_Site-installation_Variable Size_2015

　　作品创作动机来源自一部美国电影：欢乐谷 Pleasantville (1998) 。一部从黑白转换成彩色的画面语言，以色彩来借喻，制度的设计并非少数服从多数，而是保障个体权益尊重多样性 。《欢乐谷》中的人只有真正做出改变才会出现颜色，投射到现实无非是秩序的异类，绝大多数对秩序的拥护者起初对此保有好奇，而随着彩色人群的增加，未知的恐惧和对秩序的破坏让社会以颜色为表现出现分化，在这里利用了历史的投影来叙述了秩序的崩坏——黑白人群对彩色人群的暴力，以及彩色人群的抗争，当然，彩色作为社会的进步思想证明在黑白中的人都为了遵从秩序而固有的虚伪一面，同时赢得了最终的胜利，就如同电视机在黑白变成彩色的一瞬，宣告了黄金时代的结束。三千米差不多是这次所用的不锈钢材料的总长度，所以借用那句“剪去三千烦恼丝，化做自得一微尘”中的三千为名。

　　The inspiration came from Pleasantville (1998), an American film depicting a world that changes from black and white to color. Color is used as a metaphor to reveal that the principle behind an institution is not the subordination of the minority to the majority but the protection of individual rights and the respect for diversity. In the film the world won’t have new colors until people really change. What is projected on reality is only something opposite to order. The majority of the residents there are at first only curious about it, but as the townsfolk become more colorful, unknown panic and the disrupted order cause the community to divide on the basis of color. Here historical projection is involved to depict how order collapses: the black-white group use violence against the colorful group, and the latter resist. Of course, color here affirms social progress, reflecting the hypocrisy of the black-white group who try to keep the existing order, and their victory is highlighted just as the moment movies developed from black-and-white to color marked the end of the golden age of cinema. The tangled multicolored steel wires used here measure about 3000 meters, echoing “shaving off my three thousand hairs, I get so spiritually free that everything material seems to be as trivial as dust”.

　　＃2

郑路_不留_旅行箱，播放器_尺寸可变_2016

Leavingby Zheng Lu_Suitcase_8’video_loop_2016

　　一个可以随时被移动的箱子被陈列在展厅内，内部循环播放的是艺术家近两年以来随机在內蒙古赤峰地区草原拍摄的行走中的草原景象。

　　本组作品在移动与静止，有限空间与无限空间，触手可及与遥不可及，所属性与不可属性诸多对立关系之间产生一个非现场的视角。

　　艺术家利用人们对事物的惯性理解进行空间置换，游弋镜头下的草原被装置在用以旅行使用的箱子内，被篡改的空间与运动的关系是一种新的生机，它提供给既定规范外，一种不受时空局限的自由。

　　In the hall there is a suitcase that can be moved anytime,with continuous loop of the video the artist randomly made in the past two years of the grassland in Chifeng, Inner Mongolia.

　　The work provides an off-site perspective between many an opposite pairs, such as the mobile and the static, the limited space and the infinite space, the accessible and the inaccessible,subordination and non-subordination, etc.

　　On the basis of our common sense,the artist was responsible for the replacement in space.When the grassland in the video was put in the traveling suitcase, the relation between space and movement was altered, opening up a new possibility of a kind of freedom that, off the established norms,is independent of time and space.

　　#3

　　日

郑路_日_视频_现场装置_尺寸可变_2016

Zheng Lu_Sun_Video_Site-installation_Variable size_2016

　　＃4

郑路_草_铁板，热缩管，视频_现场装置_尺寸可变_2016

Zheng Lu_Grass_Iron Plate_Heat Shrink_Video_Site-installation_Variable size_2016

　　科技发展与技术变革成为一个时代的节奏，人们的生活与行为与之交相辉映；科技时代的艺术与生产意图有待观察。人们处在狂热的革新与变化的追求之中，技术本身即是定义，用来衡量发展与意义。艺术家在本组作品中利用技术来跟踪、模仿来自科技世界中被荒芜掉的自然，不论是太阳还是草地，当它们已经成为司空见惯的存在，艺术家在此时成为它们的对话者，用技术来假设自然的行为，在转译的动态之中，去怀疑自然与科技互为影响的本质。

　　日和草是有两个部分组成，日部分是对于太阳的一个自然白昼物理运动的记录，在焦距以太阳为中心的情况下，跟踪拍摄。最终得到的缩时视频，周边参照物会出现旋转，太阳上下跳跃的戏剧结果。

　　草是作为异化的草呈现，在带孔铁板上种植类似黑色电线的热缩管，铁板安装震动装置，使得草具备了生动的情绪。

　　Technological development and innovation that mark the pulse of our era are found in conjunction with people’s life and behavior. What is the purpose of art and production in the era of science and technology remains to be seen. Intoxicated in the pursuit of innovation and change, we tend to believe that technology, as a definition in itself, is the yardstick for progress and significance. This work takes advantage of technology to track and imitate the desolate nature in a world of science and technology. Be it the sun or the grass, everything is taken for granted, so here the artist is engaging them in a dialogue and hypothesizing natural behavior through technology so as to challenge, in the altered dynamic condition, the belief that nature and science and technology affect each other.

　　It consists of two parts, the sun and the grass, the former making tracks of the physical movements the sun completes during natural daytime. The artist gets the drama of a time-lapse video in the end with rotating objects of reference and a bouncing sun.

　　The grass in this case is dissimilatory. When the heat shrinks that look like black electric wires are planted on the perforated iron plate fitted with a vibration device, the grass vibrates with liveliness.

　　＃5

郑路_耳且_金属球_铝片_尺寸可变_现场装置_2015

Zheng lu_Re-Sist_Ance_Steel Balls_Aluminum plates_Site-installation_Variable size_2015

　　对于一个在移动中的自由落体，施作用力，妨碍其运动。近万个铝制短片按顺序排列成塔一样的方体矗立在展厅内部，高耸着的塔型物在世界范围内都被赋予宗教的、精神化的象征意义。由铝片构造的缜密结构，阻碍着一万个钢制球体的滴落，每一次滴落的阻碍转化为声音，使整个阻力形成声场。

　　Force is applied to a freely falling body to stop its movement. In the hall about ten thousand Aluminum plates are arranged orderly in the shape of a tower. Across the world lofty towers have acquired religious and spiritual significance. The carefully designed alumina structure prevents ten thousand steel balls from falling. The prevention, accompanied with sound, builds a sound field with the resistance involved.

　　＃6

郑路_三秒_热水_行为_摄影_2013

Zheng Lu_Three Minutes_Hot Water_Performance_Photography_2013

　　不同于物理现象中的升华，物质在过程中需要吸热，凝华是物质跳过液态直接从气态变为固态的现象。深冬，艺术家在位于内蒙赤峰郊外一处无名山上，连续向空中泼洒热水，在水的急剧降温条件下，产生仅存几秒中的凝华现象。

　　Opposite to sublimation, in which a substance has to absorb heat, desublimation refers to a change directly from the gaseous state to solid without becoming liquid. One day in late winter, the artist sprayed hot water into the air on a mountain in the suburbs of Chifeng, Inner Mongolia. The temperature of the water dropped sharply with seconds of sublimation.