NEUROSIS AND PRATTLE 神经症及其呓语

神经症及其呓语 NEUROSIS AND PRATTLE The Work of Jiang Zhi

事情一旦發生就會變得不可思議 Things Would Turn Unbelievable Once They Happened

漂移的征兆 讀蔣志個展《神經症及其囈語》 撰文:李建春

事情一旦发生就会变得简单 No.4 Things Would Turn Simpler Once They Happened No.4 事情一旦发生就会变得简单 No.5 Things Would Turn Simpler Once They Happened No.5 Size A: 150 cm X 200 cm Edition of 5 Size B: 90 cm X 120 cm Edition of 10 Medium: C-Print 2006

Ⅰ 今年發生的一系列事件讓一個原本很個人化的展覽意外地獲得了開闊的背景。 《神經症及其囈語》中的所有作品都創作或構思於汶川大地震之前，現在看來，卻 很有點山雨欲來風滿樓——掙扎、沉淪的寫照，偏執狂的白日夢，對徵兆的觀察和 期待，神經質的通靈……自從文明染上了現代性這一新原罪，藝術家總是從領悟了 個人的處境開始，進而領悟了時代的處境。正如《我是你的詩歌》所暗示的，通過 觀念淨化和為藝術“去皮”的工作，蔣志裸露的毛細血管與時代的脈搏交織在一 起。幻象、荒誕感在他的作品中貫徹始終。他習慣於從個人性的存在感中提煉、設 計出某種圖像，並漸次拓展、擴大覆蓋面，得出一個系列，直到遭遇了現實中更大 的荒誕，才嘎然而止。現實早就讓想像黯然失色，但是他假裝不知道這個事實，因 為現成品如果不烙上夢幻的印記，就不能算為他的藝術。“光系列作品”（事情一 旦發生就會……）就是一個很好的例子。開始于一個意念——試探性地進入、面 對強光，像做行為藝術，然後才把記錄該行為的獨特影像進行觀念複製和情景置 換，探索各種可能性，不拒絕偶然事件的惠賜。蔣志曾記錄過被照射的感覺：不能 直視，被擊中後大腦空白，臣服，面對更強大存在時的戰戰兢兢，生活于“普通”狀 態和懷疑主義的正當性。但到了《事情一旦發生就會變成釘子》 （對被媒體炒作一 時“史上最牛的釘子戶”的“探照”）時，“現實中的魔幻”竟使設計出的魔幻相形 見絀，因而也差不多是終結的時候。在主題深入的過程中，光的角色發生了超出作 者感受的變化：從迎面入侵的暴力，到提升日常的奇跡，或荒涼死寂處境的照明、 拯救者，再到作為“看”現實必不可少的方法——這正是通常所講的形象思維的 魅力。本次展覽中出現的硅膠作品和“彩虹”作品應該都是相應系列的尾聲部分， 通過轉喻－圖像置換拓展語義，已顯示出與原初觀念異趣的漂移。

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我是你的诗歌 第一号 “榴莲少女” I Am Your Poetry No.1 “Durian Girl” Size: 179.5 cm X 199.5 cm X 55 cm Installation 2007

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皮：表面，感性，現象，快感，拒絕深度，反本質，享樂，攝影； 露出毛細血管或神經的皮：肉，本質，震驚，對性噁心，真愛，透過現象看本質， 反 攝影，焦慮。

觀眾只被允許看到模本的單面，即“浮雕”，這是攝影的極限。做成全立體的作 品並不難，難在不能超出藝術家內在的真實感，因為一旦出現觀念的譫妄，就不好 收場——蔣志的眼睛和經驗，嚴格說來就是鏡頭，他還沒有作好放棄攝影家身份 感的準備。因此作品必須如顯影膜一般輕盈，若有若無，硅膠的質地很好地實現了 這一點。用紅色羊毛絲仿造毛細血管，其實只是隨意敷開，做得像而已，這也為豬 羊狗的皮上出現怪現象在技術上提供了可能性。《我是你的詩歌》1－10號，內容 很複雜，除5號是汽車“皮”以外，都是人體的拓件。把身體做成標本一樣的東西， 是偽科學——刻意營造出某種“研究”的氛圍，以沖淡觀念的殘酷。但汽車本身 包含了科學因素，所以唯獨“車皮”需要是立體的、現場的。因為汽車是身體的延 伸，所以也有“皮”（對車禍的恐懼）——有些車比人還怕痛，因為人只有一條自然 的命，死了就死了，很簡單，車子卻有一條社會的命，死後還可以“復活”，很複雜。 《我是你的詩歌》不可避免地沉浸在死亡和哀悼的氣氛中，可見戀物與戀死差不 多。9號作品把女人性感的部位切下來分別地愛。本次展覽中的三件新作卻完全放 棄了仿科學的非人性，出人意料地進入希望的領域。

豬:白癡，發胖，肉欲，消費，後現代的象徵。“我們信賴上帝”——印在美元上 的一句話，在蔣志的作品中成了讖記。直面強光的體驗。

羊：在所有文化中形象都不錯，好吃，溫順，像義人，代表信念。

狗：忠實，勢利，靈敏，總是被某種勢力驅使，愛國主義，抵制法貨，對“歷史必 然性”的期待。

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這個作品構思於中國地產和股市泡沫崩潰時，反映了不少股民和房奴的心理， 但完成於地震後，展出於奧運前，進入了什麼語境，獲得了什麼意義，不由自主。

我是你的诗歌 第六号 “我觉得，你仍然怀着敌意” I’m Your Poetry No.6 “Somehow, I Can Still Feel Your Hostility” Size: 248 cm X 170 cm X 45 cm Installation 2007

風雨飄搖的年代，徵兆多多。中國歷史上歷次動亂都與迷信有關。比如元朝末 年黃河民工起義，“石人一隻眼，挑動黃河天下反”，一句讖語，竟成了壓倒駱駝的 最後一根稻草。戲仿讖語顯示了作者對於中國民眾的超驗精神的把握（把含有基 督教精神的語句用作“讖語”，筆者認為粗率。人類學和符號學傾向於將宗教和 迷信“等同”地研究，藝術家亦取此態度），至於怎樣建構理性的民眾精神，豬羊 狗身上的三句話反讀之後又正讀，或許就是口訣——反讀於意識形態，正讀於真 理，但真理也是一種意識形態——“讖語”之妙就在於無處逃避。媒體暴力、極 端民族主義等等無非是精神奴化的結果和持續的奴化。“徵兆”背後的資訊其實 非常現實。IN－GOD－WE－TRUST整體作為一個符號，顯露在豬皮上，作為世 界通貨的提喻——信賴美元對於人民幣可不是好消息，當前的通脹正是從豬肉漲 價開始的。“我願意相信”所有的宣傳和高度風格化的新聞，最終，是為了保護我 們切身的安全（此安全多麼脆弱）；像綿羊一樣溫順，打開新聞聯播和報紙頭版之 前，手指輕輕一劃，已在空氣中點擊“我同意”（虛擬論壇的協議）。至於“拐點即 將到來”，安慰了農民、下崗工人和廣大股民，作用極大，中國知識份子的信念亦 見於此，可謂百折不撓。批評家朱大可在一篇廣為流傳的文章《誰殺死了我們的孩 子？——關於汶川地震的反省和問責》中指出，歷次大地震之後，中國歷史都會進 入THE INFLECTION POINT：“1966年邢臺地震，當年引發無產階級文化革 命；1976年的唐山地震，當年引發北京政治變局，促使毛派倒臺和文革結束；如果 說前兩次地震催生了政治變革，那麼本次地震的深遠後果，我們至今還難以預測。 但它至少已誘發了一場劇烈的精神地震，敦促我們反省和改造制度的結構性弊端， 同時，它也必然會形成一種文化記憶，而其主題不是別的，就是大半個世紀以來， 中國人第一次從自己身上，發現了更為健全的人性。”

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Ⅲ 蔣志的興趣早已從圖像學轉向媒介－符號學。上述作品用的硅膠，輕、軟、半透

假如生活欺骗了你 If By Life You Were Deceived Size: Variable Installation 2008

明的質地，常被用來替代肉身——成人用品商店中的智慧一般藝術家是學不到的， 《我是你的詩歌》以輕而易舉的“肉麻”與仿科學“標本”的死亡氣息構成張力。 紅色羊毛絲極像毛細血管或神經，從仿真製作的過程又發現了“做一番手腳”的 可能性。《假如生活欺騙了你》從字面和圖像，《鄉愁》從展出搭檔的安排看來，都 很感傷，但是以灰土為“顏料”，已冷酷地把浪漫主義情緒置於無意義、無聊的境 地。藝術史和文學史中常見的感傷態度，是把感傷之物“銘記”於心，所用材料或 語調，務必經得起時間的磨損以期達于“永恆”。在蔣志看來，這純粹是自戀，他讓 “鄉愁”對著牆角手淫——極端民族主義和本土主義的自畫像。鄉土或本土的土， 如果沒有觀念的種子種植，“性的零形式”（挪用拉康的概念）怎樣開花結果呢？ 泥土神聖，灰塵無意義，卻本是一物，蔣志的作品細微處有字眼的功夫，可不全是 視覺。

或許大多數人對海綿只有“柔軟”、“舒適”、“可吸水”、“濕潤”之類的概 念，此外還有陰莖中的海綿體。本展中的海綿作品就是從一望而知的印象入手設 置迷局。如前所述，利用題目引誘觀眾進入語義陷阱是蔣志慣用的手段。享受、怠 惰意味著某種精神上的癱瘓，而更專業一點的海綿知識也證實了此類危險：“瘋牛 病”就是腦神經發生海綿狀變性，過量吸毒也會造成這樣的情況。觀眾被引導著， 從令人愉快的色情想像出發，直到不小心遭遇了病態——藝術中的“誘惑”與現實 中的誘惑步驟一致。《迷戀你這個發騷的小天使可愛的小羽毛》就是在海綿上有 一隻插入的羽毛球－－這已經不再是“性的零形式”了，可見觀念性的“插入”，問 題也不小。羽毛球是普通中國人愛玩的運動，一如上世紀七十年代的乒乓球。曾記 否，膾炙人口的中美乒乓球外交。體育關係國運，甚至國際政治格局，這是官方和 民間對即將到來的奧運一致的期待，儘管內容有所不同（又一個“拐點”）。此話題 不宜多講。羽毛——對動物身體實用性的利用和改造，以及由此進入的福科意義 上的訓戒與懲罰等，也很有趣：修整毛髮確實逃不開特定的文化政治語境，什麼

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“留發不留頭，留頭不留發”，以及晚清時期剪辮子的革命意味，乃至新中國的工

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農髮型，宗教標誌，嬉皮士……對身體和毛髮的態度可以成為意識形態的表達。 “發騷的小天使”竟如此秋波亂傳，“騷味”夠濃。《沒錯！迷戀你這個發騷的小

作於2004年的《一天又一天，快速的日記》準確地描述了網路時代特有的資訊

天使可愛的小羽毛》在海綿上劃一刀，刀口處塞滿鴨或鵝的絨毛（“迷戀”在施虐

消費方式對個體言說的融化。安迪•沃霍爾曾言，每個人最多只有15分鐘的知名

嗎？）。蔣志宣稱：“這是對義大利著名藝術家盧西奧•馮塔那在五十年代一系列

度。網上閱讀最常見的動作是：滑鼠往下一拖。從社會要聞，到自我炒作的醜聞，乃

以利刃劃破畫布的作品的致敬或戲仿。”盧西奧•馮塔那以“打破畫布的空間”來

至於經典的電子版，或當代名家新作，都是輕輕地，一點、一拖。不知沃霍爾活到現

成就更大的藝術空間，他發表過“白色宣言”，被稱為“空間主義的大師”，是極少

在，會作何高論？視屏日記，或稱博客，作為一種公開的個體言說（除極少數真正

主義的一位先驅人物。蔣志利用了極少主義在風格、形式感上的影響（這在觀念性

的圈內人），能被點開就是榮幸，能被一拖就算為有福。這是《日記》的時代技術

藝術中實際是次要的層面，因為觀念性藝術本質上是“超風格”的——參見本人

背景。

評論另一位青年藝術家鄭國谷的文章《元攝影和超風格》），所以此作品表明了他 對前輩大師既敬仰又戲謔的雙重心態。或許有更現實的背景：因為《神經症及其囈

前衛藝術對待材料和對待技術的態度正好相反：材料要求獨特，因為作品多半

語》是由一個在中國的意大利畫廊舉辦的個展，蔣志將計就計“半真半假、有心無

用材質表意；技術要求普通，則是為了暗示創意地使用該技術所得出的驚人效果

意地來了一次遙遠的對話。”

的普遍性，即有效性。蔣志把日記內容按照每字一幀位置不變、每秒25幀的標準 速度視屏播放，表明了這種閱讀對於外界來說是“正常的”，因而結果的悖謬，純

從符號的承續關係上講，從灰塵之輕到羽毛之飄，又深了一層。灰塵否定了自

粹是日記作者個人的錯誤，他人不必負責。於是千言萬語、滔滔不絕的個人心緒或

我感傷、“單性生殖”的封閉狀態，羽毛則揭示了與他者關係中的暖昧、輕浮的方

生活的記述就變成了一場美妙的漢字舞蹈，當然，被展示、或者說被窺視的“個人

面。“孤獨”既找不到存在感，“交往”也就不能保證精神成熟。其實真能享樂也

新聞”什麼也沒有看清，傳達完全失效，但是從另一個角度上說又看清了——日記

不錯，但是蔣志偏偏要給表像“去皮”，於是，“發騷的小天使”就靠不住，如此地

作者以文字表演精神之舞這個事件本身被成功地表現出來。在這種“看法”下，隨

“活著”（余華小說名，當代犬儒主義的重要用語），踩著此在鬆軟的沙子。精神

意更換內容和作者，效果不會有什麼兩樣。是“個人新聞”沒有意義？還是在此時

病院的牆面一般都要貼上海綿，以防止病人自殺。存在主義的“以頭撞牆”，是拷

代中個體的精神生活已經同質化？莎士比亞的劇本《馬克白》中有一段獨白：“人

問存在究竟何為，但在我們這個有計劃的“豐盛社會” （ 讓•鮑德里亞語），廉價的

生不過是一個行走的影子，一個在舞臺上指手劃腳的伶人，登場片刻，就在無聲無

自由——消費已經消解了形而上學的激情，撞牆的必要性被取消了。

息中悄然退下；它是一個由白癡所講的故事，充滿了喧嘩和騷動，卻找不出一點意 義。”福克納寫過一部名著《喧嘩與騷動》。蔣志僅用一個3分鐘的短片就表達了類 似的概念（儘管意義不可同日而語），把新媒介藝術的智慧和優美發揮到極致。我 們沒法認定日記作者精神健康的狀況如何，此處的“囈語”，嚴格說來不是人的悲 劇，而是媒介的悲劇。徐冰的《析世鑒》之後，當代藝術中利用漢字做作品者不乏 其人，我還沒有見過做得這樣好的。

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這個龐大的系列開始於2005年，蔣志稱之為“童話體的反諷之作。”2007年的 《塵世彩虹》錄相裝置又將彩虹的語義回溯到計劃經濟時代。他收集了一批文革 時期的老照片，每一張照片上，標準的洗腦後的笑容，滿臉的革命純真。藝術家毫 不猶豫地、有技巧地把彩虹印上去，讓烏托邦在逝物上顯影——室內，是觀眾熟 悉的斑駁的衛生牆，老式暖氣片，幾乎可以聞到一股撤空後的黴味；窗外，“時代 彩虹”正在表演，這當然是重頭戲。此彩虹由霓虹燈招牌的影像集合而成：成百上 千個標誌閃爍，匯成一道虹霓，像一股妖氛，忽然照臨城市上空，令人悚然。這個 展覽讓表面上對立的兩個時代的精神暴露了內在的同一性：都是“塵世彩虹”，都 是地上的烏托邦——按照主流的、合法的觀點，後者還只是前者的“初級階段”， 那麼，“高級階段”是什麼呢？ 攝影部分將“妖氛”——中國古人不敢手指的怪物——添加到不同場合的“服 尘世彩虹 In Between The Worlds - Rainbow Size: Variable Video Installation 2007

務區”上空。其實並沒有添加什麼，不過將霓虹燈招牌放到“本來該在的位置” （“霓虹燈”這個詞也暗示了“燈”與“霓虹”的聯繫），這些引導著當代人欲望的 無處不在的彩虹碎片竟理所當然地成了“立約的標記”：消費主義把整個大地建 成了消費場所，似乎感覺到有必要時時處處強調“上帝不會再毀滅我們” （可見其 內心深處的不安）。在《神經症及其囈語》展中，“高級階段”提前降臨了。《不在

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服務區的彩虹》有兩張照片：一張是在海上，“彩虹”雄赳赳地橫跨碧波萬頃；一 張是在羅布泊，核子試驗後的洪荒地貌，“彩虹”照常升起。可是地球上已經空蕩 據《聖經•創世紀》，挪亞從方舟裏出來時，獻了全燔祭，上帝就降福挪亞一家

和得救的萬物，決定以後不再因人的罪惡而興洪水毀滅大地，“因為人心的思念

蕩（消費乾淨了？），不見了繁華的都市，不見了人，“妖氛”還在勾引誰呢？“你來買 我！你來買我！”在一片死寂中亮著——但願這真的只是藝術家的“神經”。

從小就邪惡” （創8：21）， 並以彩虹作為立約的標記。彩虹是承諾、希望、寬免的 象徵，幾乎所有受過西方文化影響的人，都有類似的觀念。但在中國古代，彩虹的

2008年6月

含義完全不同。注意“虹”字從“蟲”，《詩經》又稱“虹”為“蝃蝀”、“蠐”，中國 古人相信，如果用手指指虹霓，指頭就會腫痛。《國風》中有一首描寫男女私奔的 詩《蝃蝀》：“蝃蝀在東，莫之敢指。”注釋者認為，虹是陰陽二氣不和諧的產物， 象徵著不正當的欲望，因此不祥。蔣志的“彩虹”，以取“承諾”的象徵為始，以取 “邪氣”、“勾引”的象徵為終，中西結合得很好。彩虹曾經是“金光大道”上的投 影，現在則是消費主義圖騰——欲壑難填的無窮無盡的勾引，勾引和被勾引之間 默契的標記。

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PRATTLING ON ABOUT JIANG ZHI’S WORKS

By Eleonora Battiston Around ten years ago I was involved in a motorbike accident. I spent a month paralyzed in the hospital where I was sharing a room with three old women. One of them was affected by Alzheimer’s disease; every night, after the nurse switched off the light, she used to switch on her own world and start to speak in Spanish and behave as if she, with her imaginary husband, was the owner of a posada in south America. She used to tell me to hurry up because the clients were waiting and I had to serve them the food and to scream at her poor husband, listing the Italian dishes that he had to cook. After a while her words were more real then reality and I was part of that coloured and incredible dream. All the other people were very upset by her behaviour but she helped me in an amazing way to pass through a really traumatic period. It was so easy to believe in her world and she described it in such detail that each day I was waiting for the bed time, looking forward to entering into her waking dream so that I could escape from the scary truths of my day. I will never know if her story was a memory of her youth or just an invented parallel life, but through this experience I discovered the power of fantasy and peoples’ minds.

This story came back to me as soon as I heard Jiang Zhi’s explanation about the concept of “yi yu ” that we translate as “prattle”. The first ideogram is composed of two parts: the first one is the character for “mouth”, the second one is the character for “art”. This connects art with the concept of craziness; of a stream of un-useful and meaningless words pronounced by people affected by neurosis.

Erasmo da Rotterdam, in the incipit of his Moriae Encomium, writes that Stulticia (Craziness) says the following about herself: “however people talk about

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Jiang Zhi, in the works exhibited in this show, uses videos, photos and installations to depict concepts and metaphors, but he always insert words and slogans into his works because art is used as a means to baffle and confuse and also to sublimate and escape from reality.

In the two photos from the series “Rainbow – Out of Service ” there are two landscapes: the sea and a desert-like place. In both the images, at the horizon there is a rainbow composed by a mass of neon scripts. This works is a sort of protest against the rapid development of Chinese cities and the invasive influence of mass media, advertisement and consumerism on our everyday life. The contraposition between the neon scripts and the scenery is stronger because of the tranquillity and the natural beauty of the images. In fact, the serenity of these images is almost too much; it hides something behind it. The fact that there are no human beings or animals leaves the audience wondering: are these two places un-populated because they are virgin zones, artificial landscapes or areas destroyed and made inhabitable by man? The answer becomes clear only when you know that the photo of what seems to be an uncontaminated desert was actually taken in Luobupo, a Chinese area in Xingjiang where they undertake nuclear tests.

In the three installations Jiang Zhi reproduces three life-size animals: the pig, the sheep and the dog. The sculptures are made in transparent silicon and an impression of all the veins and arteries is made using red threads. Through scripts written on them they become symbols of human weaknesses and omens of something that is changing or has to be changed.

me – and I know what a bad reputation I have even amongst fools – I am the only one that, with my divine power, could make happy both men and Gods”. Craziness is something that belongs, more or less, to everybody; that makes us look at reality with different perspectives; that keep us evergreen and sage because, as the proverb says, “only children and fools know the truth”. We stop playing not because we become old, but we become old just because we stop playing.

The pig is an important animal in China because it is fundamental for the feeding of the population and in the past, especially in the countryside, it used to represent the wealth of society. On it the artist writes “In God we trust” as is written on dollar notes, sullying the notions of money and wealth by linking them to an animal that it is commonly perceived as dirty. It reminds me of Napoleon, the pig with an insatiable thirst for power in Animal Farm by George Orwell and my simple and personal interpretation is that power and money are important for a person’s life but at the same time a source of corruption and suffering.

Demetrio Paparoni, Italian art critic and curator, referring to contemporary art and its tendencies in the last century, uses the term “herethic”, to underline the distance from a positive ethic and moral. Everything in art is permeated by evilness and the favourite subjects are blood, sex and death. We are in a period dominated by a trashy, pulpy and aggressive culture and the entire world seems to have lost all faith and any hopes for the future. We chose heresy to take a stand against the system that we created. Artists are the contemporary witches that we no longer want to burn but rather want to look at them as idols and superstars. They use images and multimedia techniques to express their ideas and to catch their audience’s attention and stimulate debates.

Sheep are animals driven by the shepherd who, in Christianity, is a metaphorical symbol for God. The sheep that does not follow its guide will lose its way as a sinner and only after repentance can it return to its Father. Nowadays people are less focused on the religious aspects and to the common assumption is that sheep lack personality because they always follow the group and do not take personal decisions. In this work the sentence inscribed is “I want to believe”. At first glance this can seem a good and positive desire, but it can also be interpreted as a longing to switch off the brain, to stop thinking and just to follow what other people decide.

The message could also be interpreted differently; we are in an era without strong

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beliefs (religious or otherwise) and we are discovering that, inspite of our individuality, we still need ideals and firm positions in which to believe.

The third animal is the dog, the most faithful of all the creatures. It is the best friend of man and it never abandons its owner. In this case the artist advises that “the inflection point is coming” where the point of inflection is the point on a curve at which its curvature changes sign (from positively curved to negatively curved or vice versa): symbol of great transformations to come. This captures the confusion and continuous shifts in our daily lives. The world changes, the climate changes, people change, our friends, jobs and houses change... Who and what is going to remain the same so that we do not feel alone?

事情一旦发生就会变得简单 Things Would Turn Simpler Once They Happened Part 3 Video 10 Min Still 2006

The video “Day After Day, Fast Dairy ” is the most representative of the concept of “prattle” because it shows ideograms that come on the screen one after the other in a frenetic rhythm. They are the words and the content of the artist’s diary that seems to record the everyday routine and small facts in a paranoiac and psychotic way.

In the second video “Things will turn simpler as it happens ” there is an old lady standing without moving on a block, in the darkness of the evening with an umbrella in her hand. Only a ray of light shines on her as if representing an illuminating or divine inspiration. The work has a supernatural aura as if it is revealing something alien that humans simply bear without really understanding.

This something could be unreal, a mad fantasy or equally the phenomenon of a strong belief.

All the works by Jiang Zhi are full of references and intellectual links. The most prominent feature is the man in his animal nature. For example, the two black sponges with figures made by the artist with birds’ feathers have a carnal characteristic and a wild aspect. Their design is cold and simple: on one black sponge there is a straight vertical line made by white duck and goose feathers, on another black sponge the feathers have been inserted as darts. The peculiarity of these works consists on the materials: the sponge is something that you can find in nature but it could also be synthetic, it absorbs liquids and it soothes hurts; the feathers have sexual connotations and are something that belongs at the same time to both birds and angels. In Western culture man considers himself superior to animals and, if he behaves in a crazy and irrational way, he likens himself to a beast. In stark contrast to this, he aspires to be like and eulogises the beauty and the perfect nature of angels, imaginary figure and important symbol in many different religions and faiths.

The writer Nicolai Gogol, in almost every chapter of his Diary of a Madman , makes a comparison between man and an animal. Probably transferring men’s faults to animals is another technique that people use to justify their neurosis which, it seems, is actually absolutely normal.

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Drifting Omens Interpreting Jiang Zhi’s Solo Exhibition Neurosis and Prattle

By Li Jianchun

事情一旦发生就会变成钉子 Things Would Turn Nails Once They Happened Size A: 150 cm X 200 cm Size B: 90 cm X 120 cm Medium: C-Print 2007

Ⅰ This year’s series of events have coincidentally broadened the background of a supposedly individualistic exhibition. All of the works for Neurosis and Prattle were made before the Wenchuan earthquake. Looking back at it now, they are somewhat indicative, like the wind before the arrival of a storm – signs of struggle and perdition, the daydreams of a paranoid, his observations while waiting for an omen, the psyche of neurosis… Since our civilization has contracted the new crimes of modernity, artists usually intervene in their artwork by learning about their personal situation in order to understand the condition of the times. As it is suggested in I Am Your Poetry , through conceptual purification and “peeling” art, the capillaries that Jiang Zhi exposes are intertwined with the pause of times.

Illusions and absurdity are found throughout his work. He is used to the abstract from his individual existence, and designs certain images accordingly, from which he expands, broadening the area covered in order to complete a series. Only until he has entered the greater absurdity of reality does he then come to a sudden stop. In fact, he tamed his imagination long ago, although he likes to pretend he is unaware of this fact because if ready-made objects are not marked by illusions, they would not be considered his art. The Light Series is a good example (Things Would Trun…Once They Happened ). The series originated from an idea, for which he experimented with the confrontation of blinding light, making it into performance art. Then, the artist made further conceptual developments by replacing certain scenarios according to the unique images that he captured as he documented the performance, allows him to explore various possibilities and be interpretive of coincidental incidences that were offered. Jiang Zhi documented the feelings of being shone on: no direct eye contact, and once you’ve been hit, your mind is blind, submissive, and fearful when confronted with such powerful presence. One’s existence becomes that between “normality” and the legitimacy of skepticism.

Things Would Trun Nails Once They Happened (An “insider scoop” at the most reported “stubborn nail household in history”), “fantasies found in reality” makes the designed fantasy seem inadequate, marking its time to conclude. In the process of exploring ideas, the role of the light exceeds the changes that the artist predicted: a head on confrontation with violence, it ascends everyday miracles by illuminating the desolate places, saviors, and the indispensable through its approach to reality – precisely what we often call the beauty of visual thinking. The works made of silicon or works on “rainbow” are conclusive works for each respective series, in which the artist associates metaphors to expand upon the ontological meanings in order to demonstrate different variations on the artist’s original concept.

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Ⅱ Skin: surface, sensation, phenomenon, gratification, rejecting depth, the antiessential, enjoyment, photographs.

Skin with exposed capillaries or nerves: flesh, essence, shock, sexual turn-off, true love, examining essence based on phenomenon, anti-photography, anxiety.

我是你的诗歌 第五号 “脱衣舞娘” I Am Your Poetry No.5 “Strip Dancer” Size: 130 cm X 480 cm X 170 cm Installation 2007

The audience is only allowed to perceive a single aspect of the model, in other words the “fresco,” known as the ultimate limit for photography. It is not difficult to render a three-dimensional work because the difficulty resides in transcending the artist’s true feelings. Once the conceptual delirium is shown, it becomes difficult to resume – Jiang Zhi’s eyes and experiences are, strictly speaking, his lens, and he is not yet ready to give up the role of being the photographer. Therefore, the artwork must be as lucid as the developing film for which the texture of the silicon would also be as effective. The capillaries made of red wool fibers were in fact spread out casually, looking real - an effect that provided technical possibilities for absurd appearances on the skins of the pigs, sheep and dogs. The content for I Am Your Poetry No. 1-10, is quite complex. Besides No. 5 being the skin of a vehicle, the rest are byproducts of the body. The artist made the body into a sample of pseudoscience, purposefully creating a research atmosphere in order to dissolve the cruel effect of the conceptual. Yet the vehicle itself carries scientific qualities, therefore only the “surface of the vehicle” needs to be three-dimensional and site specific.

Because the vehicle is an extension of the body with a “skin” (a fear of traffic accidents) – some vehicles could be more afraid of pain than people: because people only have one life, once a person is dead, he is dead. Whereas a vehicle has a social life, and once it’s dead, it can be revived; complex indeed. I Am Your Poetry is inevitably immersed in an atmosphere of death and remorse, revealing similarities between fetishism and morbidity. NO.9 sampled the sexy parts on female bodies, cut them off and adored them separately. The three new works for this exhibition have completely abandoned the inhumane characteristics of pseudo-science, but surprisingly entered into the realm of hope.

Pig: Dumb, fat, fleshy, consumable, symbols of post-modernism. “In God We Trust” is printed on the U.S. dollar, becoming an omen in Jiang Zhi’s art – an experience of confronting blinding illumination.

Sheep: An animal perceived as a positive image in most cultures, glutinous, docile, righteous, and representing belief.

Dog: Loyal, snobbish, intelligent, often controlled by certain power, nationalism, boycotting French goods, longing for the “natural course of history”.

The formation of this work came into being when the bubbles in the real estate business and the stock market burst, reflecting the psyche of many owners of stock and real estate. It was completed after the earthquake, and will be exhibited before the Olympic games. The context it has entered and the meaning it has obtained is involuntary.

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In a time of instability, there are many omens. Much historical turmoil in China had something to do with superstition. At the end of the Yuan dynasty, there was a farmers uprising along the Yellow River. “A look by the stone man, caused the uprising along the Yellow River,” a phrase that summarized the last straw on the camel’s back. Prophetic reenactment has shown the artist’s command of the surreal experience of the Chinese masses (using phrases of Christian significance as an “omen”, the writer believes it to be rough. Anthropology and semiotics tend to “associate” the research on religion and superstition that the artist also agrees with). As for how to construct a rationale for the spirit of the masses, the three statements regarding the pig, sheep and dog can be read backwards, forward, or as a rhyme – reading it backwards is for its ideology, reading it as is for its truth, although the truth is also a kind of ideology – the interesting aspect of an “omen” is its inescapable fate. Media violence and extreme nationalism is none other than the outcome of spiritual slavery and continuous enslavement. The information behind the “omen” is in fact rather realistic. “In God We Trust” as a sign appearing on the pigskin is a metaphor for global currency – believing in the US dollar is not necessarily good news for the RMB, and the current inflation began with raising prices on pork. All publicity on “I Want To Believe ” and highly stylistic news are in essence protection for our own safety (how fragile is this safety); as docile as a sheep, before one turns on the News and opens up the front page of a newspaper, a slight finger movement in mid-air has already clicked on “agree” (virtual agreement in a forum). As to “The Inflection Point Is Coming,” it comforts the farmers and laid-off workers and the mass stockowners. In effect, the beliefs of the Chinese intellectuals are also revealed, or what is so-called unrelenting. The critic Zhu Dake pointed out in his popularly circulated text Who killed our children – reflecting and probing on Wenchuan earthquake that after each major earthquake, Chinese history arrives at an inflection point believed by the writer, “After the 1966 Xingtai earthquake, the Great Proletariat Cultural Revolution erupted; after the 1976 Tangshan earthquake, political changes were evoked in Beijing, causing the Mao clique to surrender and the Cultural Revolution to conclude. If the two previous earthquakes had give rise to political change, then the long-term outcome of this earthquake is yet to be determined. However, it had already sparked an intense spiritual awakening. It forced us to reflect systematically upon and improve structural abuse practices. Meanwhile, it will also become a type of cultural memory, and its theme is none other than allowing the Chinese to discover the humanity in themselves over the last half century.”

我是你的诗歌 第九号 “我把一切容貌都给你” I’m Your Poetry No.9 “I Dedicate All My Looks to You” Size: 110 cm X 40 cm X 40 cm Installation 2007

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Ⅲ Jiang Zhi’s interest has been shifted from imagery to semiotics. In the aforementioned work using silicon, a light, soft, and semi-transparent material is often used to mask the effect of human flesh – a wisdom that has not been mastered by just any artist learnt from the adult shops. It engenders a tension in I Am Your Poetry between the toss off “goose bumps” and morbid pseudo-scientific “sample”.

The red woolen fiber looks like capillaries or nerves. In the process of masking the real, the artist discovered other possibilities for “juggling things”. If life has deceived you , either ontologically or visually, with Home Sick , from the exhibition point of view, seems quite sentimental. However, using gray earth as its “tone” callously positions romantic sentiments into the meaningless and boring realm. The melancholic attitude often found in art history or literary history often “engrains” the sentimental object into the heart, the material or tone used not necessarily can storm the erosion of time in order to attain “eternity”. In Jiang Zhi’s view, this is entirely self-indulgent. He allows Home Sick to masturbate at the corner – a selfportrait of extreme nationalism and nativism. Without the earth in indigenous or native land, how can conceptual seeds be planted, and how could “the zero form of sexuality” (appropriating Lacon’s concept) come to fruition? The earth is sacred, and dust is meaningless, which is essentially the same. Microscopically, Jiang Zhi’s work can be meticulous, which is entirely projected visually.

乡愁 Homesickness Size: Variable Installation Stuff: Dust 2008

Perhaps most people’s idea of a sponge is “soft”, “comfort”, “absorbing”, “moist”, as well as the spongy body in the penis. The work on sponge in this exhibition enters from the conceivable impression in setting up its maze. As it is said previously, enticing the audience into a contextual trap is Jiang Zhi’s usual approach. Enjoyment and idleness implies certain spiritual handicap, and more professional knowledge on the sponge also verifies such a danger: mad cow disease for instance, is a mutation of the sponge body of the human brain nerves, and excessive intake of drugs will also lead to such outcome. The audience is directed from the blissful sensual imagination, until they encounter sickness recklessly – the steps in the “attraction” in art follow the same course as in reality. Infatuated with Your Flirty Angel’s Hair shows a badminton implanted on a sponge – this is no longer “the zero form of sexuality”, one can already see the penetration of concepts, and it is quite problematic. Badminton is a sport most Chinese people enjoy, just like ping-pong during the 70s, if one also recalls the very popular ping-pong politics between China and the U.S. Tying sports to the fate of a nation, or even global political structure is what the state and the masses await for the upcoming Olympic games, even though their expectations are different (another inflection point). Let me get back on track. Hair – the practicality in their application and modification, as well as its associated Foucaultian crime and punishment and etc., are all rather interesting: hairdressing cannot escape from a specific cultural and political context. The axiom of “keeping the hair to lose one’s life or keeping one’s life and abandoning his hair”, to the late Qing revolutionary action of cutting the queue, to the farmer and worker hairdo after the liberation, to religious requirements, hiphop styles … one’s attitude on the body and hair can be seen as an expression of his ideology. Flirty Angel’s Hair is amorous and “promiscuous”. That’s Right, Infatuated with Your Flirty Angel’s Hair has a slit on the sponge, where it is stuffed

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with duck and goose feathers. Jiang Zhi claims, “This an honor or reenactment to the infamous Italian artist Lucio Fontana’s series using a sharp pen to slit the canvas done in the 1950s.” Lucio Fontana found greater artistic space by “breaking the space on canvas”, he published the “White Manifesto”, and was named the “the master on spatialism”, and is a forefather for minimalism. Jiang Zhi is influenced from minimalism and formalism (which are in fact secondary aspects in conceptual art, because conceptual art is essentially “hyper-style” – referring to Jiang Zhi’s writing Original Photography and Hyper-Style for an young artist, Zheng Guogu), therefore, this work revealed the artist’s dual attitudes of revering and satirizing the former master. Perhaps there is a more realistic background: because Neurosis and its Prattle is a solo exhibition hosted by an Italian Gallery in China, Jiang Zhi’s plot met with the existing one, subconsciously conducting a distant discourse.

In terms of inheriting semiotics, from the lightness of dust to the drifting of the feathers, meaning deepens. Dust denies self-pity, the enclosed condition for “parthenogenesis reproduction”, where feather reveals the ambiguous and superf luous relationship with others. “Loneliness” cannot find the sense of existence, and “communication” cannot guarantee spiritual maturation. In fact, it would be great if one could truly enjoy himself. Yet Jiang Zhi had to “peel off” the superficiality, therefore, Flirty Angel became unreliable. “To Live” is like this (the title of Yu Hua’s novel, key term for contemporary cynicism), is like walking on soft sand. Walls in a mental hospital are often covered with sponge in order to prevent suicide. The existentialist “banging one’s head on the wall” scrutinizes the purpose of existence, however, in our planned “prosperous society” (Jean Baudrillard’s term), discounted freedom – consumption has already dissolved the metaphysical passion, and the necessity to bang on the wall is abolished. The sponge is also often used to isolate or insulate sound – your scream would only be heard by yourself, but unable to traveling any further.

Ⅳ Day After Day, Fast Dairy , done in 2004, has accurately portrayed the unique information consumption on dissolving individual discourse in an internet generated era. Andy Warhol had once said, each person would only get 15 minutes of fame. The most common motion in reading online is to drag the mouse down.

From breaking news to gossip on self-promotion, or even on the electronic version of classics, or new works by contemporary writers, the reader only has to lightly click, and drag down. I wonder if Andy Warhol had lived to this day, what would be his comment? Online diaries, or blogs, as a publicized personal discourse (very few are truly part of the circle), would be honored to be viewed, and would be a blessing to scroll down on the page. This is the background for Diary in the era of technology.

Avant-garde artists’ requirement for material and techniques are different from the others: the material needs to be unique, because the artwork most likely to be expressive through the material used; the techniques applied needs to be common, which implies for its expected startling effect by using this technique, in other word, its effectiveness. Jiang Zhi has separated the content of the diary into one character per shot, and 25 shots per second screening speed, in order to show is “normalcy” in such form of reading. Therefore, the paradox in the outcome is entirely due to the personal mistake of the diary writer, others would not have to take responsibilities.

Subsequently, the thousands of words, endless discussions of personal sentiments or narration of life becomes a beautiful dance of Chinese characters. Of course, they show the voyeuristic “personal news” that are inconceivable with ineffective communications. However, from another perspective, it is clear – the act of the diary writer using words to perform the dance of the spirit is successfully achieved.

With this “view”, the outcome would be the same as switching the content or the author of the diary. Is it because “personal news” is meaningless? Or is it because the spiritual life of the individual in this era has been homogenized? The Shakespearian play Macbeth writes, “Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more: it is a tale told by an idiot, full of sound and fury, signifying nothing.” William Faulkner had written a famous novel The Sound and The Fury . Jiang Zhi had only used a three minutes short video to express similar concept (although the meaning expressed is not comparable), who has fully expressed the intelligence and beauty of media art. We cannot ascertain the psychological condition of author of the diary, where “prattle” is strictly speaking not the tragedy of a person, but the tragedy of the medium. After Xu Bing’s Book from the Sky , many have involved Chinese characters as part of their artwork, although I haven’t seen anyone who’s done this well.

M+1,W-1 Size: 120cm X 168cm B&W-Print 2001-2005

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尘世彩虹 In Between The Worlds - Rainbow Size: Variable Video Installation 2008

过去式彩虹 Past Tense Rainbow Dimension: 7 cm X 10 cm Medium: C-Print 2008

Ⅴ According to Genesis in the Holy Bible , as Noah’s ark sailed out and offered sacrifice to the Lord, God blessed Noah’s family and rescued the lives on earth, and decided not to curse the ground because of man “even though every inclination of his heart is evil from childhood”. (Genesis8:21). He used the rainbow to mark his covenant. Rainbow thus signifies promise, hope and tolerance, and most people who have been influenced by western culture share similar concepts. However, in ancient China, the significance of the rainbow is entirely different. Notice that the character for “rainbow” has the “insect” radical, where in the Book of Songs recorded “rainbow” as didong (literally, rainbow), or larva. The Chinese in ancient times believed, if one used his finger to point at the rainbow at the head, would make him swell in pain. Guofeng includes a poem depicting a man and a woman eloping entitled didong , “didong is in the east, no one dares to point at it.” The interpreter believed, the rainbow is an outcome of disharmony between yin and yang , signifies illegitimate desire, therefore it’s inauspicious. Jiang Zhi’s “rainbow”, began with the significance of “promise”, and ends with the symbolism of “inauspiciousness” and “enticement”, a great combination between the east and west. Rainbow has been the projection on the “golden way” but has become the totem of consumerism – the endless enticement of insatiable desires, marking the coherent relationship between enticing and the enticed.

This extensive series began in 2005. Jiang Zhi calls it Work of Satirizing Fairytale. In Between Worlds - Rainbow video installation (2007) has restored the ontological meaning of the rainbow into the era of planned economy. The artist has collected various old photographs from the Cultural Revolutionary era. Every photograph presents a brainwashed smile in full revolutionary vigor. Jiang Zhi has skillfully printed the rainbow over it without any hesitation, allowing utopia to be visualized on these memorabilia – on the interior, set up the spotty bathroom walls

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the audience is familiar with, the old style radiator, and one could almost smell the vacuous moisture; outside the window, “Rainbow of Time” is playing, of course that is the vital act. This rainbow is synthesized with neon lights: myriads of lights flashing in forming for one rainbow, like a possessed atmosphere that suddenly shines over the city, making people fearful. The two opposing spirits of the two era exposed the same commonality in this exhibition: both are “ rainbows in between worklds”, both are utopia on earth – according to mainstream and legal perspective, the latter can also be the “preliminary stage” of the former. Then, what would the “superior stage” be?

The photography aspect made “possessed atmosphere” – the monster ancient Chinese were afraid to point at – added onto the different “service area” of different settings. In fact, nothing has been added, only allowing the neon lights banners to be placed “where it supposed to be” (“neon light” also underlines the relationship between “light” and “neon”). These prolific fragments of the rainbow manipulate the desire of the contemporary becoming rightly the “mark of the covenant”: consumerism has made the entire land into a venue for consumption, and seems to feel the need to emphasize it at all times and all places that “God will not punish us again” (which reveals its internal anxiety). In the exhibition of Neurosis and Prattle, the “superior stage” arrived ahead of time. Two photographs of Rainbow - Out Of Service , shows one rainbow above the sea, crossing the blue water; the other depicts Luobupo, the desolate scene after a nuclear experimentation, where the “rainbow” still rises. However, the planet is already empty (all consumed?), the prosperous city is unseen, and so are people. Who is to be enticed by this “possessed atmosphere”?

“Come on! Buy me! ” is lit on the deadly scene – hopefully this is only the artist’s “neurosis”.

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展览作品 WORKS OF THE EXHIBITION

我们信赖上帝 In God,We Trust

Size: 220 cm X 130 cm X 80 cm (Elliptic) Installation 2008

我愿意相信 I Want To Belive

Size: 150 cm X 80 cm Installation 2008

拐点即将到来 The Inflection Point Is Coming Size: 150cm X 80cm Installation 2008

迷恋你这个发骚的小天使可爱的小羽毛 Infatuated With Your Flirty Angel's Hair 材料：黑色海绵，羽毛球（鹅羽毛） Black Sponge, Badminton Bird (Goose Feather) Size: 150 cm x 200 cm x 20 cm Installation 2008

没错！迷恋你这个发骚的小天使可爱的小绒毛 That's Right, Festishizing You Flirty Angel's Hair 材料：黑色海绵，鸭绒 Black Sponge, Duck Down Size: 150 x 200 x 20 cm Installation 2008

一天又一天，快速的日记 Day by Day, Speedy Diary Video 3 Min 2004

不在服务区的彩虹 Rainbow - out of service Size A: 180 cm X 240 cm Size B: 120 cm X 160 cm Medium: C-Print 2008

事情一旦发生就会变得简单 Things Would Turn Simpler Once They Happened Part 2 Video 10 Min Still 2006

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事情一旦发生就会变得简单 Things Would Turn Simpler Once They Happened Part 4 Video 10 Min Still 2006

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事情一旦发生就会变得简单 Things Would Turn Simpler Once They Happened Part 5 Video 10 Min Still 2006

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蔣志

JIANG ZHI

1971年生於湖南沅江，1995年畢業於中國美術學院，現居住和工作在深圳和北京。 個展： 2008 神經質及其囈語 蔣志個展 （北京瑪蕊樂畫廊） 2008 照耀我 蔣志個展 （DF2，洛杉磯，美國） 2007 “事情一旦發生就會變得簡單” 蔣志攝影新作展（上海 M97畫廊） 2006 雙人房---曹斐 蔣志個展 （上海朱屺瞻藝術館） 1999 木木 • 蔣志攝影展（廣州） 主要展覽: 2008/ 東方虹：中國城市化進程中的圖像序列 （瑪姬畫廊,馬德里,西班牙） 鄉愁：記憶與虛構的現實 （T空間，北京） 2008中藝博國際畫廊博覽會 （CIGE 2008）“亞洲年輕藝術家個展”(北京國際貿易中心) 違章建築Ⅱ （北京，長征空間） “團隊就是一切”當代中國藝術展（英國Newcastle Upon Tyne，Barras Bridge，市民中 心，ISIS Arts and /sLab present） “時差”中國當代藝術新力量（瑪姬畫廊,馬德里,西班牙） 趣味的共同體：伊比利亞當代藝術中心開幕展（北京，伊比利亞當代藝術中心） “中國的攝影，1934-2008”/2008休士頓攝影節（攝影節總部，休士頓） "La Cina e' vicina"中國藝術家展覽（意大利那波利美術館） 自由中國/中國當代藝術展（Spazio In BSI, Via Magatti 2, Lugano, Switzerland） 2007/ 2007 上海藝術博覽會當代藝術展（ 北京當代唐人藝術中心，上海） “負反作用”（外灘三號，滬申畫廊 ，上海） “中國＆印度”（Szene Salzburg，薩爾斯堡，奧地利） “NONO”11個藝術家自主策劃的最新作品展（北京，長征空間） “你以為你是誰？”（意大利，米蘭） “中國細語”（香港，奧沙畫廊） 新攝影十年（三影堂攝影藝術中心 北京） “我們就是你們的未來”第2屆莫斯科雙年展特別計畫（Winzavod 藝術中心，莫斯科，俄 國） “景點” 當代藝術展（A-9 Space，北京） 夜間攝影（火炭空間，香港漢雅軒） 2006／ 第5屆深圳國際水墨雙年展（深圳何香凝美術館） 看起來都一樣？中韓日藝術展（意大利，都靈 Fondazione Sandretto Re Rebaudengo） 我們是改變（意大利 Isola Art Centre, Milano） 第一屆 Shadows 中國獨立電影節（法國，巴黎） 積累——廣東快車下一站（北京當代唐人藝術中心，北京，中國） 新民間運動——“公共生活的重建 ”當代藝術大展（北京優庫現代藝術空間） 第20屆瑞士弗裏堡國際電影節（瑞士弗裏堡） 在內心（北京 UniversalStudios） 出門必帶攝像機／中國錄影藝術展（西班牙，馬德里，The Museo Colecciones ICO） 顯微境•觀 ／中國當代藝術展（澳門藝術博物館） 幻•想（瑪蕊樂畫廊，北京／米蘭） 2005／ 第2屆廣州三年展（廣東美術館） 哥本哈根國際紀錄片節（丹麥哥本哈根） 柏林亞太電影節（柏林） 玄•現實（香港 Para/Site Art Space 藝術空間） Videozoom（意大利，羅馬） City_Net Asia 2005（韓國首爾市立美術館） 70後藝術：市場改變中國的一代（上海明園藝術中心／北京今日美術館）

“柏拉圖”和它的七種精靈（何香凝美術館） 第7屆法國圖爾亞洲電影節（法國，圖爾） 第2屆中國藝術三年展（中國，南京博物館） 第29屆香港國際電影節（中國，香港） “麻將”希客收藏中國當代藝術展（伯爾尼美術館，伯爾尼，瑞士） 2004／ 21屆世界範圍錄影藝術節（荷蘭） 62761232 快遞展（上海比翼藝術中心） “在過去與未來之間”來自中國的新攝影及錄影（美國國際攝影中心（ICP）紐約） “東方的東方”國際藝術交流展（斯洛文尼亞國家城堡） “影像生存”第5屆上海雙年展（上海美術館） Impakt Festival 國際藝術節（荷蘭） Film Festival of Aubagne電影節（法國） 第22屆都靈電影節（意大利） 2004/臺灣國際紀錄片雙年展（臺北） “你怎麼能不抵抗呢？”第九屆LA FREEWAVES電影、錄影和新媒體雙年展（美國洛杉 磯） 2003／ 緊急地帶/第50屆威尼斯雙年展（意大利） Asian New Force/IFVA2002香港短片及錄影節（香港） 惦記/Lifetime/北京東京藝術工程（北京，東京畫廊 ） 北京少數服從多數（上海比翼藝術中心） 中國新紀錄片展映（巴黎） “公共空間和個人眼睛”—— 來自中國的新視覺（德國漢堡） 第五系統/深圳國際當代雕塑展（何香凝美術館） 第十屆活動影像雙年展（瑞士日內瓦） 不一樣的一樣/當代國際藝術交流展（上海多倫當代美術館） 2002／ 狂想曲/Fantasia（北京遠洋藝術中心） 中國當代錄影展（美國棕櫚海岸當代藝術中心） 暫停/第四屆,光州雙年展（韓國光州） 廣州三年展（廣東美術館） 2002澳門原創錄影展（澳門） 建設中：亞洲藝術新世代（東京歌劇院） 多制式，2002-2003世界短片節（紐約/泰國/上海/廣州等） 2001／ 中國魅力在泰國（曼谷） “附體”當代攝影錄影展（杭州/上海/北京） 城市俚語/珠江三角洲的當代藝術（深圳） 米變• 亞洲藝術計畫（香港/新加坡/臺北/上海/北京/巴黎/柏林） 非線性敍事•當代多媒體藝術節（杭州 中國美術學院） 影像狂歡•亞洲藝術節（柏林） 首屆中國獨立影像展（北京電影學院） 幻想曲/建設中（漢城） 2000／ 中國錄影藝術節（香港） 1999／ 後感性—異形與妄想（北京） “物是人非”中國觀念攝影展（上海） 北京—倫敦：革命之都（倫敦） 1997／ 97中國錄影藝術觀摩展（北京 ）

JIANG ZHI 1971 Born in Yuanjiang, China 1995 Graduated from China Academy of Fine Arts Currently lives and works in Shenzhen and Beijing, China Solo Exhibitions 2008 “Neurosis and Prattle”, Marella Gallery, Beijing, China “Shine Upon Me”, DF2 Gallery, Los Angeles, USA 2007 “Things Would Turn Simple Once They Happened”, New Photographs by Jiang Zhi,

Gallery M97, Shanghai, China 2006

Double Rooms - Cao Fei, Jiang Zhi Solo Exhibition, Zhu Qizhan Art Museum, Shanghai,

1999

Mu Mu - Exhibition of Jiang Zhi’s Photography, Guangzhou, China

China

Selected Group Exhibitions 2008 The Oriental Rainbow: An Index of Images in China’s Urbanization Process, Magee Art Gallery,

Madrid, Spain

Homesickness: Memory and Virtual Reality, T Space, Beijing, China CIGE 2008 / Young Asian Artists’ Solo Shows, Exhibition Hall China World Trade Center,

Beijing, China

Building Code Violations, Long March Space, Beijing, China "THERE IS NO I IN TEAM" Contemporary Chinese Artists' Work, Civic Centre, Barras Bridge

Newcastle upon Tyne, UK

Time-Lag: The New Force of Chinese Contemporary Art, Magee Art Gallery,Madrid, Spain Photography from China 1934-2008, FotoFest Headquarters,Houston, USA Community of Tastes: The Inaugural Exhibition of Iberia Center for Contemporary Art,Iberia

Center for Contemporary Art, Beijing, China La Cina e' Vicina- China Next Door, Palazzo delle Arti, Napoli, Italy Free Zone: China / An exhibition of Contemporary Chinese Art, Banca della Svizzera Italiana, Lugano, Switzerland

2007 Shanghai Art Fair of International Contemporary Art Exhibition “Best Discovery Section”,

Shanghai, China

Negative Actions, Shanghai Gallery of Art, Shanghai, China China & India, Summerscene 2007, Salzburg, Austria NoNo: Self-curated exhibition of latest artworks by 11 individual artists, Long March Space,

Beijing, China

Who Do You Think You Are? Base B, Milan, Italy We Are Your Future: Special Project of the 2nd Moscow Biennale of Contemporary Art, Art

Center Winzavod, Moscow, Russia

2006 The 5th International Ink Painting Biennial of Shenzhen, He Xiangning Museum of Art,

Shenzhen, China

La rivoluzione siamo noi, Isola Art Centre, Milan, Italy All Look The Same? / Tuttiuguale? Art from China, Japan & Korea, Fondazione Sandretto Re

Citynet Asia, Seoul Museum of Art, South Korea Berlin Asian-Pacific Film Festival, Berlin, Germany Archaeology of the Future - The Second Triennial of Chinese Art, Nanjing, China The 29th Hong Kong International Film Festival, Hong Kong, China The 6th Asian Cinema Festival, France 2004 Shanghai Biennale - Techniques of the Visible, Shanghai Art Museum, Shanghai, China The 22nd Turin Film festival, Turin, Italy Impakt Festival, The Netherlands 62761232, BizArt Art Center, Shanghai, China Film Festival of Aubagne, Aubagne, France 21th World Wide Video Festival, The Netherlands Reality Spells - Chinese Conceptual Photography Since The 90s, Hong Kong Central Public

Library, Hong Kong, China

Between Past and Future: New Photography and Video from China, ICP and Asia Society, New

York, USA

Taiwan International Documentary Festival, Taipei, Taiwan LA Freewaves, Video and New Media: How Can You Not Resist? Los Angeles, USA 2003 Zone of Urgency: The 50th International Art Exhibition of the Biennale di Venezia, Venice, Italy The 8th Hong Kong Independent Short Film & Video Awards, Hong Kong, China Minority Obeys Majority, BizArt Space, Shanghai, China Moving Pictures of Pearl River Delta, Guangzhou, China Brut de China, Paris, France East of East, Slovenia Public Space and Personal Eyes - New Vision in China, Kampnagel Hamburg, Germany The Fifth System: Public Art in the Age of Post-Planning - The 5th Shenzhen International Public Art Exhibition, Shenzhen, China The 10th Biennial of Moving Pictures, Geneva, Switzerland 2002 Under Construction: New Dimensions of Asian Art, The Japan Foundation Forum / Tokyo Opera

City Gallery, Tokyo, Japan

The 4th Gwangiu Biennale Exhibition, Gwangiu, South Korea The Long March: A Walking Visual Display, China Macau Video Original Exhibition, Macau, China +System, Short Videos from the World 2002-2003, Thailand and Shanghai & Guangzhou, China 2001 Asia Art Festival, Berlin, Germany The 1st Independent Film & Video Exhibition, Beijing, China Fantasia / Under Construction, Space imA, Seoul, South Korea Mantic Ecstasy - Digital Images & Video Art, Hangzhou / Shanghai / Beijing, China Up-ricing: Asia Intercultural Project, Hongkong / Singapore / Taipei / Shanghai / Beijing Contemporary Multimedia Art Festival, Hangzhou, China China Charm: Art Festival, Bangkok, Thailand Contemporary Multimedia Art Festival, Palm Beach Institute of Contemporary Art, Palm Beach,

Rebaudengo, Turin, Italy

USA

Madrid, Spain

1999 Post-Sense Sensibility: Alien Bodies & Delusion, Beijing, China The Same But Also Changed - Conceptual Photography, Shanghai, China Videos From Chinese Artists International Festival, Hong Kong, China Beijing - London: Revolutionary Capitals, London, UK

Fribourg International Film Festival, Fribourg, Switzerland Under The Skin, Universal Studios, Beijing, China Never Go Out Without My DV Cam - Video Art from China, the Museo Colecciones ICO, Mycology: The Politics of Realism - A Case of Chinese Contemporary Art, Centro Cultural de

Macau, Macau, China Fancy Dreams, Marella Gallery, Beijing, China

2005 The 2nd Guangzhou Triennial of Art, Guang Dong Art Museum, Guangzhou, China

1997 Demonstration of Video Art ’97 China, the Gallery of Central Academy of Fine Arts, Beijing,

China

玛蕊乐画廊 地址: 北京市朝阳区酒仙桥路4号798艺术区 网站: www.marellabeijing.com 电邮: marellabeijing@gmail.com 电话 / 传真: 8610-6433 4055 Marella Gallery Beijing Address: 4, Jiuxianqiao Road, 798 Art Factory, Chaoyang Dst. Beijing, China PC: 100015 Tel & Fax: +86 10 6433 4055 Website: www.marellabeijing.com Email: marellabeijing@gmail.com 本画册所有作品，版权均属蒋志所有 All Works of Art Are Copyright© of Jiang Zhi 文章: 李建春 叶兰 Texts: Li Jianchun Eleonora Battiston 翻译: 潇潇 Translation: Xiao xiao 设计:有意思创意设计事务所 Design: YouYisi Global Production Partner (www.youyisi-design.com)