|
Légendes de gauche à droite :
1/ Lui Zheng - 刘铮, A Man with Mustache - 长胡须的男人, inkjet print - 艺术微喷, 64×80 cm, 2008.
2/ Lui Zheng - 刘铮, A Girl with Beijing Opera Headwear - 戴京剧头饰的女孩, inkjet print - 艺术微喷, 64×80 cm, 2008.
3/ Lui Zheng - 刘铮, A Boy - 一个男孩, inkjet print - 艺术微喷, 64×80 cm, 2008.
|
|
présentation - 展览介绍 :
Three Shadows +3 Gallery is pleased to present inaugural solo exhibition of Liu Zheng: Dream Shock. With this elegant, traditional and poetic title, Dream Shock in contrast is an attempt to overthrow the present world of vision are made, a desperate march towards the ultimate truth by the artist. Liu Zheng was creating and manipulating the subjects to visualize long-standing concepts. He set off to replicate classic Chinese legends and folklore that no one had previously imagined visualizing. Through adequate regrouping and reshuffling of visions, he wanted to transform these tales into black humor-motiffed scenes that took place in the visions of daily life.
For over 30 years, the realm of vision has been trying out ways to establish a narration of the body. Invigorated by the essence of aesthetics, arts, spiritualism and vision, it seeks high and low for a legitimate presentation of the flesh which has been banned constantly. Pitiful, the more legal the presentation of the narration of body gets, the more vanished the true flesh become in the celebration and the noise of the art of vision. I think the aesthetics of flesh has murdered the narration of flesh. The aesthetics of flesh, in the most widely known sense, it’s to zoom out from the microcosmic to the macrocosmic. In the process, the focus is lost. Strictly speaking, the aesthetics of flesh is anti revolutionary practice. It fears all the acute social issues that are involved. To empower the flesh to become a powerful narration of the body, we need to put the flesh into a spacious political environment. Whatever is pretentious and staged are to be get rid of. The core of our daily action of staring should be honesty, intelligence and even abandonment. Furthermore, the order of the body needs to be restructured into an open, direct, microcosmically meaningful order.
Liu Zheng hopes that he can rewrite about the body narration. His approaches may seem radical on the surface but deep inside he never loses the calmness. Because of the fine details of the shadows and lines, the fearlessness in the composure, the cutting edge of the images, the height of the spirit and the daring gaze in the microcosmic sense, Liu Zheng’s body narration has been elevated onto the level of visual politics. Just like awakening from a dream, his works make the world of the mortals tremble, fear, bellow and flee. Through his arts, Liu Zheng speaks to us that only when we stare with the most genuine attitude that our action of staring can obtain its full value. Trembles, fears, bellows and attempts to escape only indicate how hypocritical we are.
（By Yang Xiaoyan, Professor of School of Communication and Design, Sun Yat-sen University）
三影堂+3画廊荣幸地宣布将于2013年6月1日起举办当代摄影艺术家刘铮的最新个展《惊梦》。一个优雅、传统、不无诗意的命名，《惊梦》却是一场艺术家试图推翻现存的观看世界，作为微观政治学身体叙事的一种全新实验。 通过摆拍把一些由来已久的概念视觉化，刘铮将那些从来没有人想过可以视觉化的古典传说进行充分的视觉重组，转变成日常视觉领域的黑色幽默般的戏剧场景。
三十多年来，视觉领域一直在用各种方式去建立关于身体的叙事，并把这叙事浸泡在各种美学、艺术、精神与视觉的营养汤中，来为屡禁不止的肉身寻找呈现的合法性。遗憾的是，身体叙事的合法性表面看来越是正当，真实的肉身就越是消失在视觉艺术的狂欢与喧嚣中。之所以如此，恰恰是对肉身的审美在谋杀对肉身的叙事。对肉身的审美，其广为人知的基本方式是，把观看从微观拉到宏观，从而让盯视失去焦点。严格来说，对肉身的审美是反政治实践的，因为它惧怕其中所包含着的尖锐的现实议题。要让肉身变成一种有力量的身体叙事，就只有把肉身完全摆放在广阔的政治情境中，去除所有的假模鬼样的做作，让坦诚、见识甚至放肆成为日常盯视的核心，进而重建身体的秩序，一种公开化的、直视的、具有微观意义的全新秩序。
刘铮希望用表面极端、内里冷静的坦诚方式，重新书写关于身体的叙事。这样一来，刘铮的身体叙事，因为其影纹的细腻，因为其姿态的无畏，因为其形象的边缘，因为其情绪的高亢，因为其微观的盯视，从而上升为一种视觉政治，像惊梦那样，让世俗世界为之发抖，为之畏惧，为之怒吼，为之回避。刘铮告诉我们，必须以一种真实的状态去观看，观看本身才能获得其全部的价值。发抖、畏惧、怒吼和回避，只能说明虚伪。
（摘录自 中山大学传播与设计学院教授杨小彦《惊梦：作为微观政治学的身体叙事》）
|
