吴鼎个人项目：实在的维度3

策展人：张涵露

艺术家：吴 鼎

开幕时间：2015年3月20日 下午4:00-6:00

展览时间：2015年3月20日－4月10日

地址：M50艺术空间/上海市莫干山路50号15号楼101室

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“寓言在艺术中现身世间，正如真理在认知中达到完满。”

开放艺术空间与M50艺术空间荣幸地于2015年3月20日推出吴鼎“实在的维度3”。这是艺术家在上海的首次个展，由独立策展人张涵露主持，呈现影像与装置新作，作为近年同名项目的延续。展览将持续至2015年4月10日。在文学中，寓言是隐喻的延伸，以物喻物；吴鼎的作品也是如此：他将日常物件剥离其日常性，使具象物体抽象化，以体现一种“内在的秩序”。艺术家认为，在无数看似偶然的碰撞中，必然终会自现。

我们分不清在吴鼎的作品里，对艺术本体论的思考与对解释世界的执迷，两者中哪一个推动了另一个。但这重要吗？诗句中写道：“只有秘密可以交换秘密/只有谜可以到达另一个谜”（夏宇），吴鼎不倦探索艺术的超验潜力，从一个发光谜团将我们遣送到另一个发光谜团，此中真意只可被感知，不可被言说。

对吴鼎来说，图像和文字只不过是同一个所指的两种不同承载，而图像可能比文字更靠近“内核”。在柏拉图的洞穴里，在（可能或永不）感知到更高现实之前，影子就是洞中人的现实；而影像，光之产物，是我们与“真像/相”之间的隐秘联系。伊曼努埃尔·列维纳斯认为艺术只诉诸感官，“艺术与任何一种现实都不熟识，它与知识南辕北辙。艺术正是关于遮掩的事件，是夜的后裔，影子的侵袭。”

吴鼎作品中的意象以一种沉默（虽然声音是录像中重要一部分）安然的姿态，抵抗一切都被量化了的现代性以及充斥着戏谑与冷漠的后现代，试图触碰到更为持稳的境界，他称之为“实在的维度”。在那个维度中，经验是存在的，且不分时态地存在着。时间失去了其“现世”意义，回复到更原始态。

一个永恒的又是无限的/或无限之外又在又的无限的无的空的/或无限的无限之外又在又的无限的无的/和空或空和无的空域里的动/摄影/80cm*60cm/灯箱照片/2015

简介

吴鼎，1982年生于上海，中国美术学院跨媒体学院当代影像研究硕士在读，现生活和工作于上海。吴鼎曾参加过的展览有连州国际摄影节（连州，2014），实验影像展－生成二维现实（蓝顶美术馆，成都，2013），首届CAFAM未来展（中央美术学院美术馆，北京，2012），首届CAFAM泛主题展（中央美术学院美术馆，北京，2011),当我们谈论艺术的时候我们在谈论什么（比翼艺术中心，上海，2010）等。

张涵露，作者，译者，独立策展人。生于上海，本科学习艺术史和电影学，2013年获芝加哥艺术学院艺术历史、理论与评论硕士学位，现居纽约。她曾与纽约的No Longer Empty、49B Studios，北京的百年印象画廊等机构空间合作展览，文章发表于《艺术论坛》、瑞象馆、《青年视觉》、狩猎等媒体或刊物。她于2014年在“国际艺术评论奖”中获二等奖。

Wu Ding Solo Project: Dimension of he Absolute III

Curator: Zhang Hanlu

Artist: Wu Ding

Opening: 4-6pm, 20 March, 2015

Duration: 20 March to 10 April, 2015

Address: 101, No.15 Building, No.50 Mo Gan Shan Rd,Shanghai

In art allegory is introduced into the world, as truth is accomplished in cognition.

—Emmanuel Levinas

Bloom Art Space and M50 Art Space is proud to present Wu Ding’s solo project Dimension of the Absolute III on March 20, 2015. Zhang Hanlu curated it.The exhibition includes some new installation and photographic works as the continuation of the artist’s long term project of the same title.The exhibition will continue until 10 April, 2015.In literature, an allegory is an extended metaphor; it is one imagery directly leading to another through analogy. Wu Ding’s art works the same. He defamiliarizes familiar objects and turns the figurative into abstraction, in order to search for an “inner order”, something the artist has been pursued throughout his practice. He believes that behind collisions of contingency therein lies a larger dominating force of necessity.

It is hard to distinguish, in Wu Ding’s practice, between the ontological reflection upon art and his passion for interpreting the world. And it is hard to tell which propels which. But is it really important? In poetry we read “A secret is only to be exchanged by another secret/ A myth only reachable through another myth” (Hsia Yu). Wu Ding tirelessly investigates the transcendental potential of art. He transports the viewers from one illuminated cloud to another. Something profoundly “true” reveals itself during this journey, something only perceptible, ineffable.

For Wu Ding, words and images are two of numerous agencies of the same signified, to which the image is closer among the two. In Plato’s allegorical cave, before possibly or never perceiving the “higher” reality, the prisoners see the shadow as reality itself. The shadow of reality, the image, is the secretary intermediary between us and the higher order. In Reality and Its Shadow, Levinas thinks art appeals to sensibility more than to sense: “[a]rt does not know a particular type of reality; it contrasts with knowledge. It is the very event of obscuring, a descent of the night, an invasion of shadow.”

The imageries in Wu Ding’s work are always in silent (albeit sound as an important creative component) objection both to modernity, in which everything is quantified, and to the often ironic and indifferent postmodernism. He attempts at reaching a realm that is more stable and timeless, a realm that he calls the “Dimension of the Absolute”. Within that dimension, experience exists without tense. Time departs from its worldly significance, approaching the immemorial state.

Intro

Wu Ding was born in Shanghai in 1982.He currently lives and works in Shanghai.His exhibitions include:LianZhou Foto Festival (Lianzhou,2014 ),The Image Shows-To Generate 2D Reality (Chengdu Blueroof Art Museum,2013),The First “CAFAM Future” Exhibition (CAFA art museum ,Beijing,2012),The 1st CAFAM Biennale:Super-Organism/Research and Experiment from a Specific View (CAFA Art Museum,Beijing,2011),About As We Talk About Art, What Are We Talking About? (BizArt Art Center,Shanghai,2010).

Zhang Hanlu is a writer, translator and independent curator who is currently based in New York. Born in Shanghai, she studied art history and film studies and received her Master's degree in Art History, Theory and Criticism from the School of Art Institute of Chicago. Zhang has curated group and solo exhibitions in a variety of spaces in NYC and China, including No Longer Empty, 49B Studios, and 798 Photo Gallery. Her writing has been published on/by Art Forum China, VISION, Ray Art Center, The Hunting and others. In 2014, Zhang won a Second Prize in International Award for Art Criticism.