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“空镜记” 钟照个展

[2015-10-17 12:36:41]

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“空镜记” 钟照个展

"Empty Mirror Records" Zhong Zhao Exhibition

艺术家：钟照（上苑艺术家）

Artist ：Zhong Zhao(Shangyuan Artist)

策展人: 夏可君（上苑艺术馆艺术委员）

Curator: Xia Kejun (Shangyuan Art Museum Members of the arts)

时间：2015年10月17日-11月3日

Show time:17 Oct to 11 November.2015

主办：白盒子艺术馆

Organizer：White box Art Museum

地址：798艺术区797路B07号（北京市朝阳区酒仙桥路2号）

Address: 798 Art District 797 Road No. B07

空山27 镜面不锈钢打磨 60X180CM 2015

空镜记：钟照新绘画的多重比照

夏可君

面对现代性急速变革的重组与灾变，传统山水画及其生活世界也面临不断被改造的命运，有待于获得另一种品质，这是内在质地的改变，需要脱胎换骨。在艺术家钟照看来，山水画需要获得更为坚硬的质地，传统山水自然观建立在农业社会的前提下，但我们身处一个工业技术社会，一切需要被重新打造，古典山水自然需要获得一面镜子得以重新观照自身，艺术家钟照于是以不锈钢为材料，彻底把山水画的文化记忆置于更为坚实也更为异质的基础上，钟照不断打磨不锈钢，带着口罩，倾听无法忍受的噪音，重新刻画出有着古典山水余象的冷感画面。

空城6 布面综合 140X280CM 2015年

这种反复打磨所形成的画面，透明，坚硬，化解传统的皴法，又余留皴法的痕迹，打磨出来的刻线，宛若古代的石刻线或者铁线描，经过腐蚀后，如此硬朗，但线条又婉转，保留水纹的波动感，在不锈钢如同镜子一般的反光中，这些水波又变成了光波，还在流动，让钢铁的质地又获得了柔婉的触感，感觉不断悖论性地反转，正是这个反转体现了现代性的生存悖论，从水墨的柔弱到钢质的硬度，从钢线的烙印到蜿蜒的波动，凝缩了噪音，以其金属的冷感，却带来另一种工业时代的美感：这是金属打造的山水，而且钟照还以《空山》与《空水》，《空景》与《空城》来命名，回照了古典时代空寂与静冷的意境，这是在空灵目光下打磨出来的空无之镜，这是让极端制作返回到极端自然的冷感，传统山水画的余味还有，但其触感却全然不同了。

钟照面对了古代山水画的自然观一去不复还的苦楚，但显然他更为坚强，也更为坚定，毅然选择另一种质地来打造，不锈钢的吸光感带来了镜面一般的透明感，打磨与吸光的波折随着观看光线的变化，会带来不同的多维视角，印痕的波折，不锈钢的冰冷，浅灰色的色调，不可摧毁的硬度与金属的冷感，与传统山水画对照，如此不同，但又回照了传统空茫与荒寒的意境。

除了在不锈钢上打磨出山水余意，钟照同时画了布上油画，并且也去打磨亚麻布。这就出现了几个层面镜子一般的相互对照：首先，这些布上油画的古代山水是以独特撕扯的笔触画出，这是钟照在油画上所发明的新笔法，细微起伏的肌理感似乎是为了平衡不锈钢打磨的平滑冷感，毛茸茸的“笔法”再次恢复了山水自然的生长感。随后，他以此自己发明的技法，改造现代都市，面对都市的膨胀，画出了《空城》之废墟的诗意，同样也是艺术家对现代都市的空明想象，这是上天一般的空明之眼来观照这个日渐颓败的现代世界，以同样撕扯岀的毛茸茸笔法，有着抽象画的线性感，塑造出都市建筑物的繁多形体，但画面整体上富于节奏感与线条感，以线条不同的走向来造型，充分展现了画家形式直觉的天赋与手感，同时又是以生动的模糊触感来促发出另一种救赎的隐秘渴求。其三，如果前面是把古代山水画与现代都市风景对比，进一步钟照则与不锈钢的打磨对照，就不再“画出”山水与风景，而是直接“打磨”亚麻布，与之前不锈钢的硬度不同，对亚麻布的打磨带来了更为柔软的毛茸茸触感，更为细微，有传统山水的余痕，粗粝的颗粒感似乎是盲人摸索出来的痕迹。其四，钟照还对这些打磨过的余痕，既有山水画也有都市风景的作品，再次打上一层金属镀铬漆，使之接近不锈钢的质地，在凸凹起伏之中，这些残山剩水，废墟一般的遗骸，获得了更为坚固的存在，宛若浮雕一般，或就如同一座座冷冰或冷铁浇注成的纪念碑！

空城2 布面综合 140X90CM 2011年

传统自然观在工业时代获得了新的品质，不锈钢与亚麻布，亚麻布与颜料，颜料绘画与颜料上的镀漆，多重的镜面对比，钟照这种打磨、打造与造镜的对照方式，让我们看到了自然与技术重新结合的可能性。

在有些作品上，钟照还以打孔来模拟山水画上的古老题跋，并以塑形膏封住打磨下来的灰尘，凝缩了噪音不散的音质，仿佛还在画面回响。这些打磨过的新山水与新风景，这些经过空明之眼拂照过的新景色，乃是钟照给古代山水重造的一道保护层，但这是以一种逆反与“逆觉”的方式，所谓“反者道之动”来进行的，却反而使之更为坚固，更为不可摧毁，有着纪念碑的坚实冷感，这正是现代性悖论的逆觉实现，只有此逆觉才可以逆转现代性灾变带来的摧毁颓败感。

当代犹太诗人策兰在《黑暗的接牛痘者》一诗中写出了这种吸纳噪音的写作方式：“写作的/ 玻璃般坚硬的擦刮声”，锈铁刮擦玻璃的声音，其实来自犹太人卡夫卡对写作之不可能的经验，神圣之言被腐蚀了，现代写作者要承受的是让语词吸纳那种刮擦玻璃器皿时难以忍受的噪音，如同卡夫卡小说中犹太女歌手约瑟芬妮耗子式的最后挽歌，更为接近噪音，但却也更为触及了物质本身的真实性与现代生活的混杂感，而中国文化“和光同尘”的智慧，以空明净化了这躁动的尘埃世界。

钟照命名为“《空……》”的几个系列作品，让我们看到了一个艺术家对于传统艺术，对于现代文明的深刻反思与多重对照：现代工业技术与古代自然造化的照应，光感硬度与气感柔软的照映，生机流动与坚实凝固的对照，颜料拉扯形成细腻起伏的造型与电钻打磨形成的刻痕之间的反照，现代都市建筑的疯涨与山水丘壑的退隐之间的比照，亚麻布打磨的浮尘颗粒感与不锈钢打磨出来的刚性线痕之间的回照，亚麻布的镀铬漆覆盖与不锈钢质感的照度，形成了自己对世界的空明“照看”。所有这些方式：打造，制造，对照，光照，反照，返照，回照，照映，照应，都在一种空明彻照的目光下，以逆觉的方式进行，钟照为我们建构起一个艺术感知逻辑上的深刻反思与逆觉之道。

空水4 镜面不锈钢打磨 38X120CM 2014年

Polishing Empty Imagination: ZhongZhao’s New Paintings

Xia Kejun

Confronted by the rapid transformation and catastrophes of modernity, traditional landscape painting and the world we live in meet the fate of constant reforms in order to gain new quality. It needs a change of internal textures, the need for rebirth. In artist’s Zhong Zhao’s point of view,landscape painting requires a solid texture, the traditional view on nature is build on agricultural society, since we are living in an industrial society,everything needs to be reinvented. Zhong Zhao has adopted stainless steel ashis material, he places cultural memories of landscape painting to a more solid and differentiated basis, Zhong Zhao wears a mask and polishes stainless steel continuously as he listens to the unbearable noise of the machines, to recompose a chilling sensation remnant of classical landscape painting.

Such repetitive motion of polishing allows the artist to create imagesthat are transparent, solid and adopting an approach of dissolving the texture while traces of this technique remain, the lines polished resembles to thelines on stone carving or the iron wire lines found on ancient paintings. Through corrosion, the lines are strong yet winding, giving a sense of movement like water ripples. Through the reflections on the stainless steel, these ripples are like light waves traveling continuously to allow a soft texture onthe metal. These two statuses invert paradoxically, embodying the existential paradox of modernity. From the delicate ink painting to the rigid steel, from the traces of steel lines to the winding waves and condensing noise, its chilling metallic beauty brings forth an industrial aesthetics: this is the landscape rendered on metal, for which Zhong Zhao has entitled them, Empty Mountain, Empty Water, Empty Scenery andEmpty City. These works reflect the symbolic meaning of emptiness and tranquility, the extreme mode of production employed restores an extremely chilling sensation, as much as theyhave maintained a sense of traditional landscape painting, the textures have been completely transformed.

Distressed by the view on nature of no returns in traditional landscape painting, Zhong Zhao seems more courageous and determined in his choice of creating a texture. The deflection of light on stainless steel allows multiple perspective through shining, polishing and light absorption, the traces of polishing, the coolness of the stainless steel, the light gray color tone, the indestructible solidity and the coolness of the metal, compare to traditional landscape painting, contrast not only with the traditional forms but also reflect the void and frigid vastness of traditional symbolism.

空山21 镜面不锈钢打磨 110X280CM 2015年

Other than rendering the remnant symbolism of the landscape through polishing on stainless steel, Zhong Zhao has also made works on canvas, as he equally attempted to rub the surface. This contrasts with traditional landscape paintings on a few levels: first of all, the ancient landscapes on canvas was painted in uniquely ripping brushstrokes, a method Zhong Zhao has invented in making oil painting. The delicate texture of the unevenness seem to balance the smoothness of the polished stainless steel, the fuzzy ‘brush work’ restores growth in nature found in landscape painting. There after, with this method he has invented, he remodels the empty imaginations of the modern metropolis, confronted by the expansion of the city, he painted the Empty City of lyrical ruins. Likewise, it is the artist’s empty imagination of the modern city, it is the perspective of the heavenly eye on the gradually decaying contemporary world, the artist equally adopts the ripped fuzzy brushwork, revealing the lines that resemble to abstract painting in his rendition of various forms of urban architecture. His overall image is rich in rhythm and fluid lines, composing through their various directions, fully demonstrating the artist’s instincts, talents and feel for the image while applying vivid yet ambiguous texture to trigger a concealed pursuit of salvation. Thirdly, if the comparison has been traditional landscape painting with modern urban-scape, then Zhong Zhao’s painting is comparable to the polishing of stainless steels, that the landscape is no longer “painted” but rubbed on canvas. Unlike the rigidity of stainless steel, the rubbing of canvas shows fuzzy texture, as it is more delicate and showing remnant traces of traditional landscape, its rough unevenness resembles to braille. Fourthly, Zhong Zhao has coated a layer of metallic chromium plating over the works of natural landscape and urban sceneries, so they may have the texture of stainless steel. In this unevenness, these destroyed landscape and abandon edruins have gained more solid existence, like frescos or frigid and icy monuments! The traditional view of nature in the industrial era has gained new attributes, Zhong Zhao’s polishing, fabricating and shining techniques allow usto see new possibilities of integrating technology with nature.

空山22 镜面不锈钢打磨 110X280CM 2015年

In some of his works, Zhong Zhao has perforated the surface to mimic the colophon on ancient landscape paintings, and use molding paste to cast the dustfrom the perforation. As the lingering tones of the noise is condenses, they still seem to echo in front of the painting. These rubbed new landscapes and sceneries, these new vue that has been shone by the eye of emptiness, is the protective layer Zhong Zhao has reconstructed for traditional landscapes. However, this is a rebellious and counter-intuitive approach, carried out with the so-called a “movement of the renegade”, makes it even more solid and indestructible, as it embodies the chilling sensation of monuments. This is precisely the counter-intuitive reality of the modern paradox, and it is the only way to invert the sense of loss and destruction in the modernist catastrophes.

In the Jewish poet Paul Celan’sThe Darkness of Smallpox Vaccination Patient, he adopted the type of writing that absorbs noise, “Writing/the sound of grinding on hard glass”, rusted metal scratching on glass, comes from the Jewish writer, Kafka’s impossible experience with writing, the sacred words are corroded. For contemporary writers, they need to bear with the unbearable noise like scratching on glass or hard objects, like the female singer Josephine’s rat-like eulogy in Kafka’s novel, they are closer to being noise, while they also touch upon the reality of the object and the messiness of contemporary life.

空景2 镜面不锈钢打磨 110X280CM 2015年

The series of art works that Zhong Zhao has entitled, Empty… allow us to examine an artist’s in-depth contemplation and various contrasts between traditional art and modern civilization: the correlation between modern industrial technology with ancient natural creation, the shining on the hardness of the light and the softness of the air, the contrast between energy flow and solid concreteness, the flashbacks of uneven and delicate composition through the rigging of paint and traces on the polished surface by the electric drill, the accord between the grainy texture on canvas and the wired lines on stainless steel, the illumination of coating of chromium plating on canvas and the texture of stainless steel, shape the “introspection”into one’s own world. Therefore, these approaches: fabrication, production, contrast, shine, correlation, flashback, accord, projection, and association,Zhong Zhao has constructed a reflection on the logic of artistic sensibility and approaches to counter-intuition.

空景3--布面打磨200X200CM2015年