郑青青:无根

郑青青:无根

策展人:罗菲
艺术家:郑青青(美国/台湾)
展览开幕酒会:2011.9.10, 20:00
展期:2011.9.10 – 9.26
地点:昆明市西坝路101号,TCG诺地卡(云南白药厂旁昆明市机模厂内)
电话:4114691

艺术漫谈:当代艺术的经济要素—拍卖
时间:2011.9.16. 20:00-21:00
地址:昆明市金鼎山北路15号,Loft•金鼎1919,A区,943空间
电话:5385159

合作:TCG诺地卡, 943空间 Loft· 金鼎1919

ChingChingCheng-Pawnshop1

ChingChingCheng-Pawnshop2

前言

文/罗菲

郑青青的外公是北京人,65年前因为战争的缘故移居台湾。青青出生于台湾,2003年到美国学习艺术与设计。2009年,青青移居美国。因为历史或个人的际遇,她的外公从大陆到台湾,她从台湾到美国,如今作为艺术家,从美国来昆明943小组进驻工作。家族的迁徙经历,以及她在文化上的断层、碰撞与交织,使她对自己的文化产生追根溯源的念头。

青青在美国接受艺术教育,她的作品呈现出非常多元的面貌,她对数字艺术、传统艺术以及立体作品都感兴趣,她敢于挑战自己,尝试不断解决问题实现新的想法。青青善于尝试不同媒材,大多数作品使用墨汁、水彩、水粉和丙烯,色彩微妙而安静。尤其那组雕刻旧书来制作老式相机和音乐盒的系列作品我非常喜欢,通过她对泛黄旧书一页一页地雕刻和裁剪,能把那些精密仪器再现出来,使其不再是那个物体本身,而是被青青赋予特殊手工感与观念的情感物。这也正是青青的艺术所具有的一种特殊气质,浪漫、精微、幽静而大方。她把那些日常物品和器具变成了她个人经历的某种象征,又让这些信手拈来之物,提出这个时代背景下的文化命题。

青青的作品在形式上也有较强的整体感,大多数形象有明朗简洁饱满的轮廓,同时那些载满个人情愫、观念和故事的形象,又以线与面的样式在作品中舒缓流动、飞翔。还有水彩作品中仿佛大自然里的根茎或羽毛的绚丽色彩,这一切形成了某种让情感和物品复苏的诗意。

这次展出的四件作品是青青在昆明进驻三个月期间就地取材完成的,一件是叫做“无根餐厅”的屋子,与福饼文化有关,里面藏着命运瞬间的因缘,或功成或名就,或平庸或祝福,它们都是生活中真实的瞬间。

第二件作品也是与吃有关,青青把不同食物做成液态涂抹在纸质的碗上,成组的碗形成一个阵容,而隐藏其中的互动声音装置将为观众打开可供想象的厨房记忆。

第三件作品是用水彩画的手法绘制书法字帖,那些带有明确家国情怀的字,如“国”、“乡”、“爱”等,这组作品探讨繁体字与简体字的差异,汉字在化繁为简之后,其意义是否明晰可见。

第四件作品是仿印章的指纹装置。中国文化以个人印章为署名的权力象征,而西方文化以书写签名为其权力象征,青青在这两种文化里生活,切换频道。那么这个以艺术家本人拇指指纹为印的戳记,是否可以超越文化差异呢?

青青的作品让人们进入到一个迁徙者、移民文化的探讨中,并且因为作品的开放与互动因素,观众可以参与到其个人情感与经验中,对文化、命运和根源的进行反思。我们的归属在哪儿?民族主义又能否为我们解开终极的答案呢?

2011年9月2日

ChingChingCheng-Polaroid

装置:相机

ChingChingCheng-MusicBox

装置:音乐盒

ChingChingCheng-Dye

水彩作品

Ching Ching Cheng: Rootless

Curator:Luo Fei
Artist: Ching Ching Cheng(USA/Tai Wan)
Opening Reception:2011.9.10, 20:00
Duration:2011.9.10 – 9.26
Location:TCG Nordica, Loft, Xiba Road No.101, Kunming
Tel:4114691

Artist Talk: The Economics of Contemporary Art — Branded Auctions
Time:2011.9.16. 20:00-21:00
Location:943 Space, A Zone, Loft•JinDing 1919, North Jinding Shan Road No.15, Kunming
Tel:5385159
In cooperating with: TCG Nordica, 943 Space, Loft· 金鼎1919

chingchingcheng02

展览现场(指纹印章)

chingchingcheng05

展览现场(互动声音装置,碗)

Forward by Luo Fei

Although Ching Ching Cheng’s grandfather originally lived in Beijing, he immigrated to Taiwan 65 years ago due to World War II. Ching Ching was born in Taiwan and moved to the United States to study art and design in 2003. Due to history or fate, her grandfather moved from mainland China to Taiwan, she moved from Taiwan to the United States, and now she has come from the United States to Kunming for an artist residency at 943 Studio. Her familial experience of migration and her own experience of straddling cultural divides collide and interweave in her work, causing her to seek the roots of her own culture.

Ching Ching received her arts education in the United States, and her work exhibits a wide variety of styles. She is interested in digital, traditional and three dimensional art, and challenges herself to continually tackle new obstacles and realize new ideas. Ching Ching excels at working in different mediums, and many of her works are done in ink, watercolor, gouache and acrylic. Their color pallet is often subtle and peaceful.

I am particularly fond of her series of used books carved into the shape of old-fashioned cameras and gramophones. By carving and shaping the worn pages of these books, Ching Ching is able to recreate these precious instruments, and although they are not the objects per se, they retain the thoughts and emotions that Ching Ching has infused them with through her extraordinary handiwork. This is one aspect of the unique personality found throughout Ching Ching’s work, which is often romantic, subtle, quiet, and generous. By transforming these daily wares into emblems of her personal experience, she calls into question culture in the context of this generation.

Ching Ching’s work is marked by a sense of synthesis. They often include a silhouette and within these outlined forms, the sentiments, thoughts and stories of people flow freely. Similarly, the magnificent colors of her watercolor-based work resemble the roots or feathered plumage found in nature. All of the forms create a feeling of poetic revival.

This exhibition is composed of four works that Ching Ching completed with local materials during her three month residency in Kunming. The first is named “Rootless Restaurant” and is related to the tradition of fortune cookies. Hiding inside are moments of fate. Whether success, fame, mediocrity or blessings, they are all bits of life’s destiny.

The second work is also related to food. Using various foods, Ching Ching composed liquid paints which she applied to paper bowls. Hidden among the arrangement of bowls is an interactive sound installation that may remind the audience of their memories of kitchens.

The third work is a series of watercolor calligraphy works. The characters she has chosen (for example “Home” “Love” “Country”) are strongly tied to conceptions of national identity. The works investigate the discrepancy between traditional and simplified Chinese characters. During the process of simplification, the meaning of the characters is obfuscated.

The fourth work is a sculpture of a Chinese seal which, instead of characters, features a fingerprint. In Chinese culture, the signature seal has been a symbol of authority comparable to a written signature in the West. Ching Ching lives within both cultural traditions, and switches between them. Is it possible that this work, a stamp of the artist’s thumbprint, transcends the cultural divide?

Ching Ching’s work allows us to enter and investigate immigrant culture. The open and interactive elements in the works allow the audience to participate in the feelings and emotions, and reflect on the ever-advancing roots of culture. To what do we belong? Is it possible for nationalism to be the ultimate answer?

Sep 2, 2011

chingchingcheng01

无根餐厅

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展览现场

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展览现场

chingchingcheng-opening

开幕式上,943工作室刘丽芬,郑青青,我

chingchingcheng-opening2

我,和丽斌,张永正

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