现实想象与想象现实
The Imagination of Reality&The Reality of Imgination
 
计洲 Ji Zhou
 
 
开   展:  2011年9月21日, 16:00 
Opening:  2011.9.21, 16:00
展览时间: 2011年9月21日—2011年11月18日
         (周二至周日 10:30-18:00 )
Duration: 2011.9.21-2011.11.18 (Fri.-Wed. 10:30am-6pm )
展览地点: 广州市天河区天河路365号天俊阁5层
Venue: 5F, No. 365 Tianhe Rd., Tianhe Dist., Guangzhou, Guangdong
策展人:王度
Curator:Wang Du 
策划 / 主办:5 楼艺术空间
Curated / Hosted by: 5 Art Space
 
 
计 洲
 
1970     生于中国北京 
1994     中央美术学院版画系毕业,获文学学士学位
2005     法国巴黎索尔邦第一大学造型艺术系毕业,获造型艺术硕士学位
现生活工作在北京、巴黎
 
个展
2011   《现实想象与想象现实》,五楼空间,中国广州
    《尘迹》,当代唐人艺术中心,中国北京
2008   《在场》,尤伦斯当代艺术中心,中国北京
 
群展
2011  《奇观》,当代唐人艺术中心,泰国曼谷
          《回溯与偏移》,时代美术馆,中国北京
          《自选动作》,荔空间,中国北京
2009  《约会09》,维勒班当代艺术美术馆,法国维勒班/阿尔普.
          《体外的心脏》2009平遥国际摄影节,中国山西平遥
2008  《“在瓦伦西亚55天”中国当代艺术展》,瓦伦西亚现代艺术博物馆,西班牙瓦伦西亚
2007  《影子的炼金术》,第三届连州国际摄影年展,中国广东连州
          《再见真实》,索卡艺术中心,中国北京
          《景点》,A-9 Space,中国北京
《出口入口:当代艺术展》,新北京画廊,中国北京 
2006  《两日一夜》,圣舒尔皮斯教堂广场,法国巴黎
2005  《未来考古学》,第二届中国艺术三年展,南京博物院,中国南京
2004  《艺术奇遇之夜》,圣舒尔皮斯教堂广场,法国巴黎 
2003  《第10组》,巴黎索尔邦第一大学,法国巴黎 
 
 
JI Zhou
 
1970    Born in Beijing.
1994 Print Making Dept., China Central Academy of Fine Arts, Bachelor of Arts.
2005    University Paris 1 PANTEON – SORBONNE, Master of Plastic Arts. 
            Now he lives and works in Beijing and Paris.
 
Solo Exhibitions
2011    < The Imagination of Reality & The Reality of Imagination>, 5Art, Guangzhou, CHINA
    <Ashes of time>, Tang Contemporary art, Beijing, CHINA
2008    <In Situ>, Ullens Center for Contemporary Art, Beijing, CHINA
 
Selected Group Exhibitions
2011   <Spectacular!>, Tang Contemporary art, Bangkok, THAILAND
           <Retrospection & Deviation>, Times art muséum, Beijing, CHINA
            <OPTIONAL EXERCISE>, LI – SPACE, Beijing, CHINA
2009    <Rendez-vous 09>, nstitut d’art contemporain, Villeurbanne/ Rhône-Alpes, FRANCE
            <Heart ouside of body>, 2009 Pinyao international photography festival, Pinyao, CHINA
2008     <55 Days in Valencia, Chinese art meeting>, Ivam Centre Julio Gonzalez, Valencia, SPAIN
2007     <The Alchemy of Shadows>, Third Lianzhou International Photo Festival, Guangdong Lianzhou, CHINA
            <Lost & Found>, Soka art center, Beijing, CHINA
<Highlights in the Visual Landscape>, A-9 Space, Beijing, CHINA
<Exit/Entrance>, Xin Beijing Art Gallery, Beijing, CHINA
2005    <Archaeology of the Future>, The Second Triennial Of Chinese Art, Nanjing, CHINA
2004    <Nuit d’ART-Ventures>, Place Saint-Sulpice, Paris, FRANCE
2003    <Groupe10>, University Paris 1, Paris, FRANCE
 
白话计洲图像
王度 2011.8.29. 巴黎
 
什么是照片?谁都知道,照片是什么?未必谁都知道。当图像变成了识辨世界和生活细枝末节的第一感官时,我们已然生存在自己随时无意识按动的快门中。
-尼达耶 Ly Dayer
                
    读计洲照片的几个关键词:形而下 故事 质量 观念
       
    形而下:相对于概念,模式,系统等理性词汇,它是经验的,感官的,言必有物和物有所别的。看工地系列,那些建筑原本不需要再拍照,因为它们早就被旅游照片化了(化了的东西就是形而上了),计洲不仅又拍了,还多此一举的添加一张工地照。被强迫并置的两个图像到底在相互控诉什么?时间在此被切断需要双向填补其它,永恒的纪念碑式建筑的意义被人做了手脚。计洲深藏不露地诱骗我们去面对他不想面对的-现场(包括缺席的现场),让我们费脑筋去玩什么形而下。
    故事:有悬念的故事精彩,有故事的故事精品。“事”系列照片已经明示,“这里有故事”。计洲煞费苦心的成像经营,把我们的心思推向黑与白,前与后,有与无,真与假,信与不信之间游离乞讨徘徊,呈现在眼前的是能指的吗?始于此或止于此,其实听者正是故事里的噱头。
    质量:从上个世纪末的杰夫.沃尔,辛迪.舍尔曼等人阳春白雪般的摆拍到今天的人手几样数码成像工具,照片之泛滥犹如前不久日本的海啸肆虐,质已被量荡涤一尽。难怪计洲不计工本,从成像动因到制作细节,无不谨慎苛刻为之,镜像系列实在是耗人的工程。如果说南.戈尔登“我要成为镜子”的窥视照片拍得肆无忌惮爆人眼球的话,那么计洲镜像的真金白银打造的视觉阴谋还真让你就是看出来了也不好意思拆穿。别,那是他故意卖的破绽。
    观念:其实一件图像作品有了“形而上”的解构,“形而中”故事,“形而下”质量等成像基因,已然是有趣的观念实验。“尘迹”和“后花园”这样的图像绝非是单元的视觉诉求和技术配备就能搞定的,艺术家不断演进的作品感才是观念的真正载体。 “后花园”方案里大大小小的“取景框”是对图像问题的彻底盘点,在你面对景框调整眼球焦距的零瞬间,无数的图像从四面八方扑面而来,无情剥夺你的视觉诉求并将你抛入镜像的深渊。
   “后花园”是计家成像王国的一次宫廷政变!是净身出门跑马圈地拓荒,还是携带细软坐吃山空,计洲定会不失时机告诉我们的。
     
      图像就是我们,怎一个看字了得!
 
 
Vernacular of Jizhou’s Camera Images
Wang Du Aug 29 2011 Paris

Everyone knows what pictures are, but not everyone knows what photography is. When images becomes the first sensory for recognizing the world and memorizing the details of life, we know we have entered upon an age where we unconsciously click the camera shutter. —-Ly Dayer

Several key words for Jizhou Images: physicality, story, quality, concept

Physicality: In contrast to words such as concept, format, system, physicality is based upon sensory experiences. Take the Construction Site Series for an example, the buildings are in no need to be taken a picture of, simply because they had been given a touch of tourist photography (which makes them metaphysical), not only did Jizhou take the photos, but had also superfluously placed a picture of a construction site. By doing this, what is this juxtaposition trying to convey?  Time is severed from its normal course and needs to be remedied from both ends, and also, the meaning of the eternal monument had been tempered with. Jizhou lures us into facing what he wishes not to face-the scene (including an absence of which), tricking us into playing our minds into think about the so called physical.
 
Story: A suspenseful story is always more exciting, as is a deep plotted one. The “Matters” Series reveales that “There Is Something Going On Here”. Jizhou spares no effort in manipulating his images to bring our minds to a world of black & white, front & back, existing & void, true & false, believe & disbelieve where we as audience are left to wonder back & forth. We ask ourselves whether what’s in front of our eyes are quantifiable. Whether it had a beginning and an end, where in actual, we as the audience is indeed the plot of the story.

Quality: Since last century when Jeff Wall and Cindy Sherman exhibited their imagery works of what today’s people are only able to catch using countless number of digital cameras, causing the quality of picture completely replaced by quantity. Therefore Jizhou spares no material and attends to every detail in the process, the lens series is a tiresome project. If one were to say that Nan Goldin’s“I’ll be your mirror”peeping series where without restraint, then, Jizhou’s camera works are precious visual conspiracy which makes you not wanting to reveal even when you’ve seen through it. Beware, this is where the arist allows the audience to break into his world.
 
Concept: When an image have acquired a deconstruction in “Metaphysical”, story in “form” and quality in “physicality”, one can consider these works to be interesting. Works such as “Dust” and “Back Garden” are not able to come about basing upon mere visual intent and tech know-how, the ever-changing sense of one’s artwork is the true carrier of his or her artistic concept. The frames of various sizes in “Back Garden” is an inventory of the concept of camera images, as your pupils adjusts to the camera lens, countless images rushes toward you, striping you of your visual intent and places you in the deep abyss of the camera lens. “Back Garden” Series is a coup in his world of art, whether pro-active or melodramatic, at first given opportunity, Jizhou will make him self known .

We are one in the same as the images we perceive, how can it be contained in words.