ARTIFICIAL THEATER / 人工剧团
Zhang Wei / 张巍

Size: 235 x 310 x 25mm
108 pages, plus 2 posters, 42 b&w pictures, Clothbound Hardcover
First Edition: 500, all numbered, Published in September 2014
60 USD, buy here

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尺寸/235 x 310 x 25mm
规格/108页,附2幅海报,42幅黑白照片,布面精装
限量/500本,全部编号,2014年9月出版
320元,点击购买

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Zhang Wei was born in 1977 in Shangluo, Shaanxi Province. He now lives in Beijing. He was nominated by the 2009 Sovereign Asian Art Prize, and won the 2010 Annual International Fashion New Artist Award of Global Times; the TOP 20 Chinese Contemporary Photo Award in 2011; the New Photographer of the Year in 2013. Here are some of his exhibitions: the Third International Photography Biennial of Guangzhou in 2009, the Sixth Lianzhou International Photo Festival in 2010, the Ruhr Biennale 2012,the Beijing International Photography Biennial 2013, the 55th La Biennale di Venezia in 2013, and the solo exhibiton of Artificial Thearter at Beijing Yuan Art Center in 2014. His works have been published on Zoom, L'Insensé Photo, Fine Arts Literature, China Photo Magazine and so on.

張巍,1977 年生於陜西商洛,現生活工作於北京。他在 2009 年穫得主權亞洲藝術獎提名,2010 年獲得 Global Times 國際風尚年度新銳藝術家大獎,2011 年 TOP20- 中國當代攝影新銳獎,2013 年穫得色影無忌中國年度新銳攝影師大獎。他的主要展覽包括,2009 年第三屆廣州國際攝影雙年展,2010 第六屆連州國際攝影年展,2012 年德國魯爾雙年展,2013 年北京國際攝影雙年展,2013 年第 55 屆威尼斯 雙年展平行展,以及 2014 年在北京元典美術館“人工劇團“個展。他的作品曾在《zoom》《L'Insensé Photo》《美術文獻》 等媒體上刊載。

STATEMENT

My theater complex came from my home. I live in a theater's courtyard filled with playing and watching. The theater life enriched my knowledge about various roles at all times and in all countries. Time was changing the opera gradually. The pop, fashion and foreign elements were added into the traditional, local and folk culture and art, showing a hybrid, absurd and disordered fast-food aesthetic. This aesthetic touched the cultural bottom line and my experience edge, but I wanted to explore it. Such a change occurs not only in the theater, but in every corner of the times. In the beginning of creating Artificial Theater my objective was to clarify this change.

Talking about how to create the series I must go back to 2007, when I finished the series Temporary Performers. During the creation, I collected more than 300 ordinary Chinese faces. In 2008, I met a Japanese computer game "Artificial Girl 3", which was a 3D 18X love game created by ILLUSION. The experiences in the two years brought me an idea, creating a virtual person, even a world.

In real life, people who are eager for success often get frustrated by the failures, however, the virtual network game can bring players through identities a successful experience. The game starts from a basic identity "people", for whom you can set the gender, the general shape, and the personality. Likewise, I virtualized the identities in Temporary Performers and used them in an exaggerated way to create myth-like roles for the new series. By diluting the performers' original identities I made their performances more absurd. Borrowing the virtualizing method in computer game, I selected my favorite figures for the performers to play. I assembled and collaged the parts of the real ordinary performers' bodies, using the tiny similarities between them and classical figures, including the skin, hair and other details. Through artificial exchange, hundreds of performers' original true images disappeared, showing new virtual portraits. Not as carriers of "soul or spirit"any more, these portraits known by everybody became figurative schemata, feeling like materialized variations.

The whole process is a hypothesis, but for spirit it's a real experience. I also try to warn people, through these cold faces after tampering and processing, that in fact, everybody in the society is playing his role, but this playing is superficial, temporary, or even meaningless. I won't judge these virtual images ideologically, because they may present a way of differance. The body, as the carrier of soul, is linking the inside and outside world by every act and every move. The presentation in Artificial Theater has been broken and combined again, and if you want to explore the truth, you may only find shadows on the rock.

自述

關於戲劇的情結來源於我的家庭。我居住的劇團大院充斥著各類扮演與觀看,劇團生活豐富了我對古今中外各類角色的認知。可伴隨著時代的變革,戲曲在悄悄地進行著變化——逐漸在傳統的、地方的、民 俗的文化藝術中引入流行、時尚以及外來的內容,相互交雜糅合,呈現出一種混雜、荒誕和無序的快餐審美。 這種審美觸及到了文化的底線及我的體驗邊緣,卻使我產生了對它探究的興趣。這樣的改變不僅僅髮生在劇團,它髮生在這個時代的任何角落,理清這種變化是我在創作《人工劇團》這組作品之初的目的。

對於創作方式來說還要追溯到 2007 年,當時我完成了作品《臨時演員》的創作,期間收集拍攝了 300 多個中國普通人的面孔。2008 年,我遇到一款日本的電腦遊戲《人工少女 3》,是一款由 ILLUSION 開 髮的 3D-18 禁戀愛養成遊戲。這個兩年的創作經歷讓我萌生了一個想法——創造一個虛擬的人?甚至是 一個世界。

現實生活中,渴望成功的人往往因為不能如願而失意,虛擬的網絡遊戲,卻能帶給處於遊戲身份中的人們一種成功的感受。整個遊戲都是從“人”這個基本的身份開始,由你為他設定性別和基本外型,並確 定其人格特質。如同網絡遊戲中對角色的塑造,我便將《臨時演員》的中演員的身份虛擬化,夸張地應 用到《人工劇團》的角色當中——創造其神話性——用標誌人物來淡化人物本來的演員身份,使其“表演” 的成分更加荒誕。在表現上,我借用了電腦遊戲式的人物虛擬方式,選取一些我喜歡的人物形象作為演員扮演的對象,將數以百計真實的普通演員的身體局部重新進行拼貼組合,利用每個演員與經典人物形象之間的微小相似點,包括膚色、頭髮等細節。通過人工互換,上百位演員原始的真實形象消失不見了, 呈現在眼前的是一個嶄新的虛擬肖像。這些家喻戶曉的肖像不再是“靈魂或精神”的載體,而是變成了具象的圖式,有種物化的變異之感。

整個過程雖然是一種假設,但卻是一種精神上的真實體驗。我還試圖通過這種被篡改和處理後的冷面告 誡人們,其實每一個人在社會中都在扮演著各自的角色,但終歸都是表面的、臨時的,甚至可能是無意 義的。我對這些虛擬搆建的形象沒有確切的意識形態的評價,因為它或許是延異的一種方式。身體,作為靈魂的載體,一舉一動,聯係著內外世界,表象在《人工劇團》這組作品中被我打散、聚合,探究真相怕也只能是巖壁上的虛影而已。

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