展览：无语
参展艺术家：蔡志松，施勇，薛松，张震宇
策展人：杰瑞米
展览时间：2009年3月20号至5月1号
地点：仁艺术中心
开放时间：每天上午11时至下午6时
网址：www.yanclub.com
电子邮件：gallery@yanclub.com
近些年，媒体之躯迅速膨胀。越来越多来自媒体的广告、观点、出版物和商业言论等大量信息簇拥前来，充斥并淤积于人们的日常生活。渐渐，“信息”已非反应、理解现象的关键所在，而是被畸化为一支日益泛滥的浊流，众多事件无所谓轻重地交织其中，令人困惑和无从辨读。
面对这股浊流，我们抑或沉默无言。但作为艺术实践的一个重要组成部分，艺术家会运用清除、简化和整合等手段重构一个现实表象之下的真实。Robert Raushenberg曾消抹De Kooning的绘画以寻求一种极少主义（作为一种现代艺术流派，极少主义出现并流行于20世纪50--60年代，主要表现于绘画领域。极少主义主张把绘画语言削减至仅仅是色与形的关系，主张用极少的色彩和极少的形象去简化画面，摒弃一切干扰主体的不必要的东西。）的归宿，其作品随着消抹的工时被“削减”，最终呈现出的主体接近于事实的本真状态。这种思维一直存在于艺术之中。
庄子的观点给了我们更多关于这种思维必要性的中国式启示。他指出了语言的矛盾性——语言可以去塑造事物，但无力于全部事物的再现，而只能辨证性地反映出事物的部分。
艺术家们通过其作品的“空白”展现了他们所做的思考。事物表象消逝的同时，主体隐隐浮现，这就为观众的个体诠释打开一扇门和一条通往更深层思考的通道，也是一种对无所谓在场的空洞的语言之存在意义的反诘。
如庄子云：“言者所以在意，得意而忘”。艺术家正是在展露一种超越语言或者说表象的创作源点。
张震宇，来自湖南。他运用特殊方法将报纸或书籍转变为纸浆，然后将纸浆重塑于画布。通过重塑剥离先前各种表征使之呈现出最初的单一物质属性。报纸仍是报纸，但被消除了时效性，书籍成了只剩实体和形状的无言书。艺术家持续一年的时间，每天细致地刮擦掉人民日报首页的文字和图像信息。
薛松，来自安徽。他将各种纸上出版物以燃烧的方式进行“消解”，使原本富含“意义”的话语载体变成残片和灰烬，艺术家以此作为绘画材料使作品包含多种冲突与消解。
施勇的VIDEO作品以自己家里的书柜照片为创作基点，叙述了自己多年的阅读及个人体验。画面里的标题和颜色随着时间的流逝慢慢褪去，最后只剩下黑白色调的客观物象，令每位观者对其心生关联并产生思考。
蔡志松的雕塑基于对中国传统事物的介质以及形态的转换，通过这种转换重新解读其精神内在。比如用铅金属塑成传统的宣纸轴，雕塑本身的厚重感改变了我们对传统事物的记忆形态。
Exhibition: Beyond Words -
Participating Artists: Cai Zhisong, Shi Yong, Xue Song, Zhang Zhen Yu.
Curator Jeremie Thircuir
Exhibition Dates: March 20th – May 1st 2009
Location: Yan club Arts Center
Opening hours: Open everyday from 11am to 6pm
Website: www.yanclub.com
Email: gallery@yanclub.com
The recent decades saw a multiplication of discourses and media relating them, more publications, more opinions from a more and more decentralized media sphere, more advertisement and commercial discourses.... Information is not anymore a key of understanding and reflection but became a confused flux of unhierarchized facts that one can hardly filter and decode.
Facing and maybe sinking in front of this logorrhea of contents, artists need to erase, to simplify, and unify these discourses as an important part of their practice. From Robert Raushenberg erasing De Kooning’s drawing to the labor of time slowly erasing artifacts from the past, erasing has always been present in art.
The necessity of this erasing can be enlighten in a more Chinese perspective by the words of Zhuangzi pointing out contradictions that the language can create and the incapacity of the language to represent a global reality but only partial and contradictory truths.
From the void of their artworks, their thought can start to express. From the disappearing obvious the New can reveal himself, subjects can start to appear giving the audience an open door to their own interpretation and understanding, a way to go further, a revelation of the meaning from sterile appearances of a vacuous language.
As In Zhaungzi “Words exists because of meaning; once you’ve got the meaning you can forget the words.”. The artists exhibited are now working beyond the words, beyond the obvious.
言者所 以在意，得意而忘
Zhang Zhenyu is an Artist from Hunan. His unique technique employs newspaper or books that he turns into a paste. He applies this paste on the canvas and then carves it to reshape it to look like its original material empty of all these previous characteristics. The newspaper is still a newspaper but its temporality is gone. The books are void from words but just the material and the shape remains. In “renminribao”, for one year the artists has been meticulously erasing the content of the first page of the main Chinese newspaper.
Xue Song is from Anhui, his collage art works uses fire and newspaper whose significancy is erased. He will turn hundreds of meaningful information selected from various publications into a more simple artwork. The artists is using the elements to take-over the profusion of meaning.
Shi Yong video starts from a photograph of his home’s bookcase. Compilation of years of reading and personal experiences, within the time of the video, the titles as well as the colors will slowly be erased by the artist, turning the artist personal bookcase into a back and white impersonal/universal photograph where everyone can relate with.
Cai Zhisong’s sculptures are based on a distortion of the medium. His sculptures will reinterpret Chinese artifacts by modifying the material and playing with its density. The traditional rice paper scroll is now made out of lead. The heaviness of the sculpture making us change our perception of our memories through the object.