艺术仓库

郑路：物距

郑路：物距

2010年4月17日－2010年6月21日

开幕酒会 2010年4月17日下午3－6点

 

（北京，2010年2月11日最新发布）F2画廊将于2010年4月17日至2010年6月21日举办中国青年艺术家郑路个展“物距”。展览展出了艺术家为此次展览创作的数件雕塑新作。

        郑路出生在一个具有极其深厚中国传统文化底蕴的家庭，自儿时起在很大程度上受到了中国文学与书法的熏染。他在鲁迅美术学院和中央美术学院所接受的系统美术训练与教育，以及在法国国立高等美术学院进修时所受到的西方艺术观念上的影响，都为郑路对当代艺术的理解和创作打开了新的视野天地。他生活中层叠甚至是相背离的艺术经历与体验，都对郑路重新审视他所学习到的中西美学理论与定义起到了至关重要的影响。

       此次展览中的作品与其去年“读空”展览中的镂空文字不锈钢作品迥然不同。之前的这一系列作品在很大程度上都从中国传统文学、书法和道家思想中汲取了灵感与养分，而新作品则更加流露出艺术家与中、西方当代美学之间的关系。展览中的四件大型雕塑装置作品——《物距》，《冠冕堂皇》，《撞击 一号》和《撞击二号》这些看似随意的主题选择中却有着共同的观念主线在贯穿于其中：其作品不约而同地反映了艺术家一直以来对社会现实与变更之间的深度思考，而作品中所暗藏的隐喻也值得观者对作品进行更深一步的揣摩。

       以汽车和飞机为主题的作品《撞击》是2008年《囍》系列作品的一个延续，作品中所展现的汽车与飞机同时都处于撞击的连续慢动作过程中，与它们身上镂空雕刻的“双喜”字样形成了鲜明的对比与反讽。 郑路所居住和生活了五年的工作室在此展览数月前被拆除，而《冠冕堂皇》这件作品的部分原材料就来自于他工作室被拆除后所残留的材料。《物距》， 一件大型的不锈钢中国地图被加工成与实际地球表面曲度一致的弧形，再经过抛光，由此便形成了正反两面的凹面镜和凸面镜。当观者在作品周围走动时，他们自己的影像和周围物体的成像都会以不同的形式在“中国”这两面凹、凸镜中呈现出来。艺术家在此引入了“物距”这个基本物理概念。当抛物面镜弧面确定后，会有固定不变的焦点和焦距，唯有物距是可变的。在展览过程中，只有观者站在作品前的时候，“物距”的概念才成立，作品才是完整的。“物”即是观者，通过移动与面镜的距离取得不同的像。艺术家同时把画廊展览区域的墙面一并加以利用，使展览蜕变成一件完整而相互契合的巨型装置作品。整件装置作品在视觉上为观者创造了极其强烈的视觉冲击力，将他们完全引入了一个郑路所创造的人为环境，从而也使他们踏进了郑路的现实世界之中。

关于艺术家

 郑路，1978年出生于内蒙古，2003年于鲁迅美术学院雕塑系毕业，获得学士学位。2007年，他从中央美术学院雕塑系毕业并取得硕士学位。在于中央美术学院学习期间，郑路于2006年赴法，于法国国立高等美术学院进修。自2001年起，郑路广泛在国内外参展。他近期的展览包括：“物距”郑路个展, F2画廊，北京（2010）； “亚洲路标”丰田艺术项目，伊比利亚当代艺术中心，北京（2010）；“读空”郑路雕塑个展，新时代画廊，北京 （2009）；“新锐视觉”——当代青年艺术家邀请展，苏州美术馆 （2009） ；“多重现实”， F2画廊，北京（2008）； “中国金”，马约尔美术馆，巴黎（2008）； “十三不靠”，F2画廊，北京（2006）。郑路现生活工作在北京。

欲知更多关于展览及F2画廊详情, 请联系：

 

Miriam Deller

Core Power Culture and Broadcasting Ltd, Beijing

 

China mobile: (86) 150 1152 7797

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E-mail: F2Gallery.Press@corepowerasia.com

 

 

 

 

刘莎莎

总监

F2画廊

北京市朝阳区草场地319号 100015

Tel.: + 86 10 6432 8831

E-mail: art@f2gallery.com

www.f2gallery.com

 

Zheng Lu “Object Distance “

 

April 17 – June 21 2010

 

Opening Reception April 17, 3 - 6 pm

 

(Beijing, March 15 2010, for immediate release) F2 Gallery presents a solo exhibition “Object Distance” by emerging young Chinese artist Zheng Lu from April 17^th to June 21^st 2010. The exhibition is a site-specific installation containing several new sculptural works.

 

Zheng comes from a family with a strong and deep traditional Chinese intellectual background. From childhood, he is greatly influenced by Chinese literature and calligraphy. Later, his formal Chinese and foreign art education opened up his way of looking at and understanding of contemporary art; the mixed and almost contradictory experiences in his life have helped him to re-examine both Chinese and Western artistic theories.

 

The works in this exhibition take a different direction from his previous hollowed-out stainless steel series that was shown last year in the exhibition “Interpreting Nonexistence,” which are largely inspired by traditional Chinese literature, calligraphy and Taoist beliefs. This new series shows a side of Zheng that is more in touch with Western and Chinese contemporary aesthetics. The four large-scale works — a Map of China titled “Object Distance,” a Beijing Opera Phoenix Cornet titled “Putting on Airs,” a car titled “Crash No.1” and an airplane “Crash No.2” are seemingly a random choice of subjects. Actually they share a common conceptual thread: a reflection of the artist’s recent contemplations on social reality and change, embodying metaphors worthy of close observation and consideration.

 

The car and airplane “Crash” pieces are a continuation of his “Double Happiness” series from 2008, where both the car and the airplane are in a slow motion crashing action, which forms a contrast and an irony of the symbols of “double happiness” that are embedded in the sculptures. The Beijing Opera Phoenix Cornet is partly made from scraps of Zheng’s former studio he had lived and worked in for five years, and which was torn down a few months before the exhibition. The gigantic stainless steel Map of China curls to the same degree as the surface of the earth. It’s highly polished and is as reflective as a mirror on both sides, forming an interesting optical phenomenon, with one side functioning as a concave mirror and the other side as a convex mirror. As audiences move around the work, their own reflections together with the reflections of surrounding objects within “China” changes continuously responding to their movements. The artist borrows the “object distance”, a basic physics concept, into this work. Once the curvation of a paraboloid is set, then focal point and focal distance are fixed, only the object distance is changeable. In the exhibition, the concept of object distance only becomes valid when an audience is standing in front of the work, thereby completes the work. The artist also integrates the wall space as part of the exhibition. The whole installation creates a stunningly strong visual impact as it draws the audience into a different artificial environment of Zheng’s creation, and the visitors themselves become a part of the small world of Zheng’s reality.    

 

 

ABOUT THE ARTIST

Zheng Lu was born in Inner Mongolia in1978. He graduated from Lu Xun Fine Art Academy with a BFA in sculpture in 2003. In 2007, he received his MAF in sculpture from Central Academy of Fine Art. In the mid of his graduate study at CAFA, he also went on an advance study program at École nationale supérieure des beaux-arts in Paris in 2006. Since 2001, Zheng has been participating in numerous exhibitions in China and abroad. His selected recent exhibitions include Object Distance: Zheng Lu Solo Exhibition, F2 Gallery, Beijing (2010); Asian Landmark-Toyota Art Project, Iberia Center for Contemporary Art, Beijing (2010); Interpreting Nonexistence – Zheng Lu Solo Exhibition, New Age Gallery, Beijing (2009); Fresh Vision – The Contemporary Young Artists Invites the Exhibition, Su Zhou Art Museum (2009); Multiple Realities, F2 Gallery (2008); CHINA GOLD,  Musée Maillol, Paris (2008); Out of Order, F2 Gallery (2006). Zheng now lives and works in Beijing.