来自凯尚画廊Klein Sun Gallery 对gooood的分享。更多请至：Klein Sun Gallery on gooood

艺术家计洲在美国的第一个个人展“文明的景观”于2015年9月10日至10月10日在纽约凯尚画廊举行。

▼ The Map

常驻于北京的计洲通过他的多媒体创作发起了一场介于现实、认知和可能性之间独具批判性的对话。他早期的摄影作品中的主题很大程度上的启发和支配了他“文明的景观”这一系列新的作品的概念。比如，在“尘”系列（2010）中，经过精心布置的风景被尘土覆盖。这个场景事实上是因艺术家画室内的一场大火而形成的。在按下快门的那一刹那，他把悬浮未定的尘埃永久的固定在日常物品上，从而创造出一幅由瞬时的布局和细腻的层次所组成的丰富的图像。在这里，计洲把焦点集中在事件发生后现场呈现出的静谧的景象，而不是这个灾难本身。用这种方式，他质疑艺术作品中简单明了的构图方式和记录手段。他的上一个作品系列“事件”（2007）探究了一个与之相似的概念，并对纪实摄影这一艺术形式以及现实与虚构之间模糊的界限加以评论。

计洲的新摄影作品“文明的景观”进一步颠覆了物品作为视觉表现和视觉理解的载体这一常见概念，使地图和书本变成了具有可塑性的景观。这些作品的创作过程和最终成品一样充满故事性：计洲把收集来的地图手工雕塑成山峰和山谷以模仿山脉的形态。他也把成叠的书本组合成塔吊的样子，仿照出城市中摩天大楼的效果。这些“乡村的”和“城市的”幻象被相机捕捉下来，形成具有虚拟现实特点的感官体验。计洲延续了他一直在作品中追求的风格，选择去提出质疑而不是下定结论：什么是文明社会——一个被人类建构的幻象还是一个难以避免的革命性成果？什么是真正的“文明的景观”——语义上的无谓重复或是自相矛盾？

In his multimedia practice, Beijing-based Ji Zhou initiates a critical dialogue between reality, perception, and possibility. Themes from the artist’s previous series of photography largely dictate and inspire these new works for Civilized Landscape. For example, in the ‘Dust’ series (2010), photographs of organized landscapes covered in dust were conceived after a fire in the artist’s studio. With the click of his shutter, he framed the still-settling ashes atop domestic objects, creating an image dense with temporal dimensions and fine layers of sediment. Here, Ji Zhou honors the quiet aftermath of the event, rather than the trauma itself, questioning the obvious forms of composition and documentation. His prior series ‘Event’ (2007) examines a similar concept, where the artist critiques the genre of documentary photography and the blurred lines separating fiction and nonfiction.

Ji Zhou’s new photographic works for Civilized Landscape further subvert the object as a vehicle for visual representation and interpretation; maps and books become landscapes of possibility. The process tells as much of a story as the final image does: Ji Zhou collects maps, hand-sculpting them into peaks and troughs to mimic mountaintops. He includes books that are assembled into cantilevered towers resembling city skyscrapers. These ‘rural’ and ‘urban’ illusions are then photographed, further augmenting reality. As always, Ji Zhou chooses to question rather than offer his own conclusions: What is civilization – a constructed illusion created by man or an inevitable product of evolution? What is the truly ‘civilized landscape’–tautology or oxymoron?

▼ The Map

▼ Maquette

计洲1970年于中国北京出生。他在2005年获得了法国巴黎索尔邦第一大学造型艺术系的硕士学位。他的个人展包括2013年在北京当代唐人艺术中心的“景·物”，2008年在北京尤伦斯当代艺术中心的“在场”。群展包括2015年在广州红专厂的“执像”，2013年在上海的第九届上海双年展，2011年在北京时代美术馆的“回溯与偏移”，2009年在法国罗纳-阿尔卑斯区当代艺术博物馆的“约会09”，2008年在西班牙瓦伦西亚现代艺术博物馆的“在瓦伦西亚的55天：中国当代艺术展”。

Ji Zhou was born in Beijing, China, in 1970. He graduated with an MFA in Plastic Arts from the Pantheon-Sorbonne University in Paris, France, in 2005. His solo exhibitions include “Objectified Spectacle,” Tang Contemporary Art, Beijing, China (2013); and “In Situ,” Ullens Center for Contemporary Art, Beijing, China (2008). Group exhibitions include “The Persistence of Images,” Redtory Art and Culture Organization, Guangzhou, China (2015); The 9th Shanghai Biennale, Shanghai, China (2013); “Retrospection & Deviation,” Times Art Museum, Beijing, China (2011); “Rendez-vous 09,” Institut d’Art Contemporain de Villeurbanne, Rhône-Alpes, France (2009); and “55 Days in Valencia: Chinese Art Meeting,” IVAM Centre Julio González, Valencia, Spain (2008).

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