正在展出|郑毅:达尔博达

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达尔博达

Dar Boda

2021.10.1 – 10.31

艺术家:郑毅

Artist: Zheng Yi

地址:北京市朝阳区酒仙桥路2号798艺术区中二街D06 Tong Gallery+Projects

Venue: D06, Middle 2nd St., 798 Art Zone, No. 2 Jiuxianqiao Rd, BJ

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郑毅:达尔博达展览现场,Tong Gallery+Projects,2021

Tong Gallery+Projects 目前正在展出艺术家郑毅个展《达尔博达》,呈现艺术家近期的绘画,装置,及雕塑作品,展览将持续至2021年10月31日。

The solo exhibition of artist ZHENG Yi Dar Boda is now on exhibition at Tong Gallery+Projects until October 31st, 2021, presenting recent paintings, installations and sculptures created by the artist.

421632304191_.pic_hd 郑毅《达尔博达雕塑》,木头、铁、现成品 ,79 × 20.5 × 30 cm,2021  ZHENG YI, Sculpture of Dar Boda, Wood, iron, found object, 200 × 200 cm, 2021

椅子的盒子——

“我读玻璃之书,看到的却是别的。”

Box of Chairs – 

“I read books of glass, but saw only the other.”

文/兰昭形

By LAN Zhaoxing

椅子和盒子总是能补给郑毅安全感中缺失的一部分,他选择盒子这种物品进行创作,使其是载体的同时又具有了空间性和时间性,他认为盒子和一些旧物虽然不是它们原来的样子,却是应该有的样子。由于所处生活的驳杂性(hybridity),盒子对于他来说是具有安全性和神秘感的,虽然他有着充分的冒险精神,但这是在一个划定的区域之内,准则是在边缘徘徊。盒子充当着一种有规则的场域,是被置于观众与内物之间的一种发现和聚焦的手段。郑毅的这些矛盾、保守和激进同时存在于他的作品中,并体现为一种诗意的实存场域的空间相互合作。
551631701698_.pic_hd                        郑毅《达尔博达 No.1 Dar Boda No.1》,木头、铝、现成品,75 × 52 × 15 cm,2021  ZHENG Yi,Dar Boda No.1, Wood, aluminum, found object, 75 × 52 × 15 cm, 2021
Chairs and boxes can always fill up the missing part of Zheng Yi’s sense of security. He chooses to work with boxes, making them carriers with spatiality and temporality. He believes that boxes and some old objects are not what they originally were, but what they should be. Due to the hybridity of his life, Zheng finds a sense of security and mystery in boxes. Although he has a full spirit of adventure, it is within a demarcated area, and the principles are wandering on the edges. The box acts as a field with rules, a means of discovery and focus placed between the viewers and the inner contents. Contradictions, conservatism and radicalism of Zheng Yi co-exist in his works, and are reflected as a spacial cooperation within a poetic existing field.
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                                                                                                                   《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021

一、在母体中

    I In Utero

NIRVANA(涅槃)在1993年出版了他们的最后一张专辑《In Utero》 (母体中),专辑名称取自Courtney Love(柯本的妻子)的一首诗。这张专辑的标题反映了柯本对从《Nevermind》(别在意)取得的巨大商业成功的审视中回归最初本原的渴望,也象征了这张唱片在各种复杂环境下诞生的境况。郑毅作品中的一些元素,比如:洞、管子、毛发等,让我情不自禁的与此关联,他喜欢这张专辑里的《Rape me》, 这首充满激烈矛盾冲突的歌曲,我总是会把荒诞、混乱、废墟和郑毅以及他的作品联系,这种联系是一种长久以来存在的内在的联系,或许和柯本睡在维斯堪河桥下的痕迹一样。管子像脐带一样既要输送养份,但最终要割裂和脱离。时间使自我身份的构建随情境的改变而具有流动性和转化性。管子、毛发同时也被赋予了性的隐喻概念,也是典型的男性凝视,穿插着激情释放后的补充和阐释,有情欲但又带有疏离和荒诞感,也是对生活更加审慎的投影。

In 1993, NIRVANA released their last album In Utero, taking its title from a poem by Courtney Love, American singer Kurt Cobain’s wife. The album’s title reflects cobain’s desire to return to his roots after scrutinizing the commercial success of his album Nevermind, and is emblematic of the record’s birth in all its complex circumstances. Some elements of Zheng Yi’s works, such as: hole, pipe, hair, etc., make me associate them with this album. He likes the song “Rape me” in the album, which is full of intense conflicts. I always associate absurdity, confusion, ruins with Zheng Yi and his works. It’s an inner association that has been existing for a long time, perhaps similar to the traces of Cobain sleeping under the Wishkah River Bridge. The tube, like an umbilical cord, carries nutrients but eventually splits and detach. Time makes the construction of self-identity fluid and transformable as the situation changes. At the same time, the tube and hair are endowed with the metaphorical concept of sex, which is also a typical male gaze, interspersed with the supplement and interpretation after the release of passion. It is erotic but with a sense of alienation and absurdity, and also a more cautious projection of life.


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《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021

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郑毅《经典的守夜鸟》,⻦⻣、标本、木头、布、蜡, 30 × 40 × 19.5cm,2010  ZHENG Yi, A Classic night Watch Bird, Bird bone, specimen, wood, cloth, wax, 30 × 40 × 19.5cm, 2010

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 《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021

                                                                               
                                                                                                                                                           二、温暖的沉默
                                                                                                                                                            II Warm silence
我们可以说是在人生很关键的十年看着彼此成长的人,一个完整的人总是在调和成灰色的世界里,他就站在阳光的阴影下,一切是真实而又虚妄的。每个人都是矛盾多面的综合体,我总是对人没有展现的隐蔽的那一面更感兴趣,因为这是真的真实,而这一面恰恰在艺术作品中能有很好的呈现。郑毅第一件用盒子做的作品是送给女友的礼物,他认为自己的牙齿是身体中最不好看的一部分,单独放大呈现使所谓“不好的东西”也拥有了它的另一面,外面一圈白色的毛状物把牙齿包围,柔软的毛除了性的含义似乎具有了防御坆击性,使这件作品的私密性增强。
We can say that we witnessed each other’s growth in the crucial decade of our lives. A whole person is always in the world tempered into gray, but he stands in the shadow of the sun, with everything real and false. Everyone is a multifaceted complex of contradictions. I am always more interested in the hidden side of people that is not shown, because it is true and authentic, and this side is exactly well represented in works of art. Zheng Yi first made a box work as a present for his girlfriend. He thinks his own teeth is the least good-looking part of his body. By presenting them alone and amplified, he reveals another side of these so-called “bad things”. Outside the teeth is a circle of white fur. The soft hair is sexual yet protective, making the art work more private.
蜡遇火而柔软,但也会逐渐削减直到消失,这种凝固的半透明的物体使郑毅感到温暖,他让蜡在物体表面有如带有脆弱感的温柔的抚摸,被蜡浸染的空白的纸张使书籍的经验变得遥远和不可观看,这时候可能剩余的只有自己。
Wax softens in fire until it reduces and runs out, yet this solidified translucent object warmed Zheng Yi. He let wax touch the surface of the object softly, with a sense of vulnerability. The blank paper stained with wax made the experience of books remote and invisible, and at this time, only oneself is left there.
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                                                郑毅《折叠的书》,纸、蜂蜡、木头,20 × 26 × 14 cm,2019  ZHENG Yi, A Folded Book, Paper, wax, wood, 20 × 26 × 14 cm, 2019
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                                                                                                                   《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021
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                                                        郑毅《情人》,木头、皮、骨头,25 × 35 × 6.5cm,2016  ZHENG Yi,  Lover, Wood, pig skin, bone, 25 × 35 × 6.5cm, 2016
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                                                                                                                     《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021
                                                                                                                                                                三、记忆看见他
                                                                                                                                                       III Seeing Him in Memory
郑毅说特朗斯特罗姆这句诗——“我读玻璃之书,看到的却是别的”完全诠释了他的作品。特朗斯特罗姆诗歌宇宙的运动,首先是指向中心的,他宽广的精神视野把视域和心理的互不相同的现象汇集在此时此地,仿佛容纳了我们所有的瞬间。郑毅的作品也是如此,他把所有指向内心的物品加以收集和整理,这些物品仿佛就是语言中的词语,一个个独立的存在,而他在其中找到一根线索把它们串连起来,达到解释自己和回答这个世界的目的,这些“词语”同时具备了时间性和空间性,而结构把“读者”吸引到语言对话中,对于观看者这又像一个充满神秘的关于寻找的游戏,有普世的共情、有丢失,同时也有残酷和荒谬。如《星期天》,他选择了一个木质听胎器,一段给氧的管子、一个牙刷,这些仿佛陈列柜里静止的物体,反而表现了一种动荡、残酷和不安。
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                                                            郑毅《星期天》,现成品、木头,23 × 15.5 × 5cm,2020  ZHENG Yi, Sunday, Found object, wood, 23 × 15.5 × 5 cm, 2020
 
Zheng yi said Swedish poet Tomas Tranströmer’s line, “I read books of glass, but saw only the other.” fully interprets his work. The movement of the universe in Transtromer’s poetry is first of all oriented towards the center. His broad spiritual vision brings different phenomena of the horizon and psychology to the moment, as if it contains all our moments. It is also true of Zheng Yi’s works. He collects and organizes items that point to his heart, as if they are the words in a language, or individual existence, and then he strings them up with a clue to expalin himself and give an answer to the world. These “words” have the timeliness and spatiality. Their structure draws the “reader” into a verbal dialogue, and for the viewer it is like a mysterious game of search, with universal feelings of empathy, loss, cruelty and absurdity. In “Sunday,” for example, he chose a wooden fetal stethoscope, a tube for oxygen supply, and a toothbrush. They seem to be static objects in a display case, but Instead, it shows a kind of instability, cruelty and restlessness.
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                                                                                                                  《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021
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                                              郑毅《双手教神龛》,现成品、木头,63 × 30 × 15cm,2020  ZHENG Yi, Shrine of Handism, Found object, wood, 63 × 30 × 15 cm, 2020
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                                                                                                                  《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021
           
                                                                                                                                                                 四、圆的回旋
                                                                                                                                                            III Spinning Circles
这次展览的名字叫“达尔博达”,是郑毅一个奇特经历中的呓语所得。这段经历虽然带有浓郁的荒诞色彩,“达尔博达”也不代表任何一个地方、任何一个人和任何一个隐喻的名字,但又仿佛是真实的存在,就像我们当下的时空。2021年郑毅的新作品用了很多圆形的符号,这些圆形是黑色的洞的扁平化,是一扇通往另一个空间的门和向下俯视的深渊,它们通过肉色的带状物,通过锋利的锐角而相互作用,彼此依存,这种结构关系有如人与人、集体与个人、国家与个人等等的关系运动。新作品比以前更加成熟,更加去情节化,个人的面貌也变得更加清晰,旧的盒子不再做为唯一的单一的选择,作品语言更加简洁和抽象,这样留给自己和观看者的空间更宽广,各种形状和物体成为了内部更加令人可信的东西,一个盒子就是一个实体,一个东西,而不是不可定义的总和。
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                                                                         郑毅《达尔博达》,木头,51 × 33.5 × 10.5cm,2021  ZHENG Yi, Dar Boda, Wood, 51 × 33.5 × 10.5cm, 2021
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郑毅《达尔博达》,铝,53 × 31 × 18cm,2021  ZHENG Yi, Dar Boda, 53 × 31 × 18cm, 2021

The name of this exhibition is “Da Boda”, which is derived from a strange experience of Zheng Yi. Although this experience has a strong absurd color, and “Dar Boda” does not represent the name of any place, any person or any metaphor, it seems to be a real existence, just like our present time and space. Zheng Yi’s new works in 2021 involve a lot of circular symbols. The circles are flat black holes, a door that leads you to another time-space or a downward abyss. They interact with each other interdependently through flesh color tapes and sharp angles, which is similar to the relations among individuals, the collective and the nation. His new work are more mature than before, with less narrative and clearer personal touch. Old boxes are no longer his only choice,and the language of his works is more concise and abstract, leaving more space for the artist and viewers. Shapes and objects become more credible contents. A box is an entity, a thing, not a sum of the undefinable.
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《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021

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《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021 1V6A1370

《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021

                                                                                                                                                               五、闪亮的星空
                                                                                                                                                                  IV Starry sky
每个人在最初行走的路上,前方都有一盏可照亮和引路的灯,这盏灯可能是刻意的寻找也可能是打动人心的无意的一瞥。郑毅开始只是在美术史中看到贾斯柏·琼斯(Jasper Johns)的《Target with Four Faces》靶子上方的从一个模型上取下的四个重复的石膏像,没有眼睛的脸被连续的排列在一个个小壁龛中,容纳了不完整的裁剪,这些打动他的东西在他的作品中得到了延续。Georg Baselitz (乔治·巴塞利玆)站在废墟上的“新人类”不像一个容光焕发的英雄,更像一个无家可归的幸存者;弗朗西斯·培根(Francis Bacon)隐匿在日常生活下对人类生存状况的阴暗感觉;马克·罗斯科(Mark Rothko)色彩的宗教性和对神话的解读;肖恩·斯库利(Sean Scully)内部运行的结构;安塞尔姆·基弗(Anselm Kiefer)对历史的反思和粗砺凝重,对这些艺术家的喜爱、共情和契合一起推动着郑毅前进的方向。
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郑毅《达尔博达 No.5 Dar Boda No.5》,木头、铁、塑料,33 × 20 × 10.5 cm,2021  ZHENG Yi, Dar Boda No.5, Wood, iron, plastics, 33 × 20 × 10.5 cm, 2021

Every one is guided by a light at the start of one’s journey. The light might be sought after deliberately or it was an inadvertent glance that touched one’s heart. At first, Zheng Yi only saw four reduplicated plaster heads taken from a model above Jasper Johns’ work Target with Four Faces in the art history. The eyeless faces were arranged in successive small niches, which tolerate all incomplete cutting. Theses objects that moved him continued to exist in his works. Georg Baselitz’s “Der neue Typ” on the ruins looks more like a homeless survivor than a radiant hero; Francis Bacon’s dark feelings of human’s living conditions hidden in everyday life; the religious touch of color and interpretation of myths in Mark Rothko’s works; Sean Scully’s structure of inner movements; Anselm Kiefer’s works’ reflection of history and heaviness. Zheng Yi’s fondness, empathy, fitness for these artists leads his path forward.

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《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021 

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郑毅《达尔博达雕塑》,木头、现成品 ,21.3 × 81.5 × 16 cm,2021  ZHENG YI, Sculpture of Dar Boda, Wood, found object, 21.3 × 81.5 × 16 cm, 2021

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《郑毅:达尔博达》展览现场,Tong Gallery+Projects,2021 

郑毅作品的私密性质很浓郁,他选择盒子做为载体,其实就是一个关于自我的场所,在这个安全性极强的场所里或者叙说、或者呐喊、或者沉默、或者旁观、或者中立,这些“话”是对对此感兴趣的人而说,而盒子对于观者此时来说也有如一个树洞。他从过去带有“愤怒激情”的面貌到现在的一种沉思的状态,赋予了作品新的意义,使其前景变得更加宽阔。
Zheng Yi’s works are private. He choose boxes as carriers, but actually it’s a field of self. In this highly secure field, he talks, shouts, remains silent, observes on the sidelines, or stays neutral. These “words” are uttered to those who are interested, and boxes are also tree holes for the viewers. He has changed from being passionate and cynical in the past to a contemplative state of mind, which gives new meanings to the work and opens up broader possibilities.
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关于艺术家

About the Artist

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郑毅,1980年出生于天津,目前生活、工作于北京。2003年毕业于天津工艺美术学院国画系。
艺术家的个展经历有:陡峭的房间,zapbeijing,北京,中国(2018)。群展主要有:a one and a two 艺术家书展,“练习曲” 阿那亚艺术中心,秦皇岛(2020);盒子,zapbeijing,北京(2019);on paper 2,空白空间,北京(2018);青年艺术100,北京(2016);约翰·莫尔绘画奖作品展,喜马拉雅美术馆,上海(2014)。
Zheng Yi (b.1980, Tianjin, China) graduated from the Department of Tradition Chinese Painting in 2003. His solo exhibition includes: A Steep Room, zapbeijing, Beijing(2018). Group exhibitions are as follows: A one and a two, Aranya, Qinhuangdao (2020); Boxes, zapbeijing, Beijing (2019); on paper 2, White Space, Beijing (2018); Artnova100, Beijing (2016); 10th Anniversary Tour Exhibition of John Moores Painting Prize (China), Himalayas Museum, Shanghai (2014).

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