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Jiang Zhi, Love Letters No.4, 2014

蒋志，情书 No.4，2014

白立方项目（香港）

蒋志：一现

石青：流形

开幕时间：2015年2月3日 星期二，晚6至8点30分

展览时间：2015年2月4日至3月7日

策展人：鲍栋

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蒋志与石青都是从中国1990年代后期激进的实验艺术氛围中出现的艺术家，从 “后感性”系列展览实践开始，他们保持着在不断变化和反复突破的状态，并各自形成了独特的个人工作语境与语言系统。从中国当代艺术内部的上下文出发，白立方画廊把目光聚焦到当代中国艺术家的个体，以呈现出中国当代艺术内部的层次与张力。

蒋志：一现

蒋志的艺术实践涉及摄影、影像、装置、各种媒材的绘画，以及纪录片与写作，在早期主要对心理身份、媒体事件等文化政治问题的关注与讨论之后，近年来，他的工作逐渐超越了具体的社会性问题，从视觉性、时间性及物性等本体论层面入手，在社会、政治语境下中生成着一种艺术本身的政治性，并进入了对何为现实、何为真实等表徵问题的思考。

这些思考直观地呈现在蒋志对媒介的使用上，在其摄影作品《情书》系列中，火焰与鲜花既是拍摄对象，也蕴含着对光与瞬间，即作为摄影性本身的视觉与时间主题的探寻。在《两生花》中，宣纸上水墨渗化出的心理之花与摄影中成像的燃烧之花的并置，则促成了一种心理时间与物理时间的交叠呼应。在他的影像作品如《礼物》系列与《0.7%的盐》中，影像并不提供某种叙述结构，而只是一段时间、一个动作，影像还原成为了一种表象性。在他的丝网上绘画作品中，从背后渗出画布正面的颜料，也只是一种纯粹的物质瞬间，恰如摄影曝光的那一瞬。蒋志并没有去控制，而是製造各种机缘，使世界在诸多细节上呈现出自身。

展览主题「一现」既提示着蒋志作品对视觉性与时间性的把握，也暗示着他对世界之无常无相本性的理解。在今天，如蒋志这样的中国艺术家，并没有简单地从西方或中国古代传统中寻找资源，而已经从其日常体验中把握住了一种属己的当代性议题。

Shi Qing, All that is solid melts into Air-05, 2011

石青，一切坚固的东西都烟硝云散了- 05，2011

石青：流形

石青的艺术实践从「后感性」展览系列开始，最初他从对神话、想像等集体无意识的兴趣中，发展出了一种强烈的象徵性与仪式感的艺术风格，以抵抗当时观念艺术对社会学的庸俗化与经验的贫乏。随后，他逐渐转向了对艺术生产机制的实验以及社会空间生产问题的研究，并形成了一种项目性、在地化的工作方式，把每一次展览当成一次全新条件下的实践，以抵抗日益全球化的艺术系统所经常表现出的不加反思的政治正确与美学正确。

他的工作表现了一种模态感与框架性，这使得他能够在诸如社会主义的建筑与家具、地质构造与建筑结构、植物生态与艺术制度，及气候预报与艺术社区等不同的领域之间找到一系列问题意识与知识话语上的榫接点。在他一系列展览的製成品中，木方、纸箱、泡沫、石膏、钢架与盆栽这些预製品被普遍使用，它们并不试图提供某种材料美学，而更多只是担负着思想道具的功能。

展览主题「流形」既强调石青自身工作领域的不断转移，也强调这些形态各异的作品在方法论上的统一。它们本来即来自互相衍生，也因此可以随时重组，在新的条件与语境下促发出新的概念框架。

Inside the White Cube

Jiang Zhi and Shi Qing

Preview: Tuesday, 3 February, 2015

Open: 4 February – 7 March 2015

Inside the White Cube, Hong Kong

Curator: Bao Dong

Jiang Zhi and Shi Qing both emerged from the radical, experimental art scene in late-90s China. Since the seminal ‘Post-Sense Sensibility’ series of exhibitions, their practice has sustained constant changes and repeated breakthroughs, and each has developed a distinctive context and language for their work.

Jiang Zhi, Gift 1, 2013, Video, 1 minutes 35 seconds

蒋志，礼物之一，2013，录像，1分35秒

Jiang Zhi: The Sight

Jiang Zhi’s practice includes photography, video, installation and painting, as well as documentary film and text, reflecting on philosophical questions about what constitutes ‘reality’ or ‘truth’. Following his early focus on specific cultural and political topics, Jiang Zhi’s more recent work addresses wider issues concerning ideas about the temporality and materiality of objects, as well as the broader socio-political context in which the art is made and interpreted.

The exhibition title ‘The Sight’, refers to the act of seeing and the passage of time, and hints at the artist’s understanding of the illusory and mutable nature of the world around him. In his series of photographs titled Love Letters, Jiang Zhi explores the visual and temporal themes of photography itself, as well as the mechanism by which the image comes into being. The burning flowers are not only the subjects, but also the light source by which the image is captured. In works such as the The Gift or 0.7% Salt, the videos do not yield a narrative structure but rather record a period of time.

Jiang Zhi does not set out to dictate the means of production of his works, allowing the elements of controlled chance to inform the final result. This is explored further in his silk-screen paintings where the colours on the front of the canvas are a register of an action, whereby the artist has used the reverse of the canvas as a silkscreen surface. This results in the colour seeping through to the front, somewhat mirroring the process of photography, so that the image is achieved through reversal.

Shi Qing, All that is solid melts into Air-07, 2011

石青，一切坚固的东西都烟硝云散了- 07，2011

Shi Qing: Unsettled

From Shi Qing’s early interest in the subconscious, as manifest in legends and fairytales, he has developed a symbolic and ritualistic style in order to resist what he sees as the ‘vulgarisation of sociological questions’ and ‘the poverty of experience within current conceptual art practice’. Shi Qing increasingly turns towards experimentation as the means of production, as well as research into the issues surrounding the creation of social spaces. He has developed a modus operandi whereby each exhibition is treated as a site-specific project, determined by a new set of conditions. This approach allows the artist to resist any political and aesthetic dictates that he feels are frequently imposed by a contemporary globalized art system.

Shi Qing’s work is created within a framework which enables him to identify a series of interconnected subjects, ranging from Socialist architecture and environments, geology, botany, weather patterns to art and its communities. The work often brings together pre-fabricated objects such as wooden cubes, cardboard boxes, Styrofoam, plaster, metal structures and potted plants. These objects do not function as vessels for particular material aesthetics, but, at most, serving as the impetus for ideas. The objects brought together in this exhibition reveal both the constant shifts in Shi Qing’s areas of interest and also the works unifying methodology.