希帕画廊很高兴地宣布，我们将在7月29日举办张佳星个展《29》，展览将张佳星近期作品集中呈现。本次展览将持续到8月29日。

Cipa Gallery is pleased to announce that Zhang Jiaxing’s solo exhibition “29”.will be held on July 29,2018.This exhibition will focus on recent works of Zhang Jiaxing ,We will be on until Aug. 29.

关于《29》的对谈

王麟/张佳星

王麟：你是在毕业以后就到北京了。当时怎么没去艺术区找个工作室，而是直接去了燕郊？

张佳星：我是2013年9月来到了这里、在燕郊。当时是听说这个地方房租很低，离市区也很方便。当时来了这里作品没有什么具体的改变，还没有进入一个状态里、很平静，生活也很平静。那时这里居住的人还没有这么多，很空。

Wang Lin: I heard you went to Beijing right after graduation. Why didn’t you find a studio in the art district, but went to the town of Yanjiao?

Zhang Jiaxing: I first settled in here, Yanjiao, in September 2013, because I heard at that time the house rent here is particularly low, and it’s also close to the downtown. My life was peaceful, without any changes or entering into a track. It was desolate here, unlike today.

毕业作品  Zhang's Graduation Work

王麟：我看到了你的毕业作品，感觉有意思的。怎么就决定不那么画了？

张佳星：不算是决定，决定这个词有点狠心。只是周边的人和物都在发生变化、包括我在内都在变。2015年开始比较大的变化，这是环境带来的，每天会听到装修房子的声音、异常的躁动，在家画画会受不了的。我只能出去躲着，成堆的装修材料和拆下的东西总会勾人眼球，让你动心思…

Wang: I saw your graduation works, quite interesting. Why did you make the decision not to go on with that style?

Zhang: It was not quite a decision actually, sounds cruel. It was just because of the changes in my surroundings, things, people, including myself. Particularly in 2015, when I was surrounded by all the noise of decoration works, I had to stop painting and run outside. You know, when you see the piles of decoration materials and wastes every day, you will somehow be inspired to do something about that.

展览现场 The Exhibition

王麟：当时转变媒介的想法是什么，与美术史相关？与当下流行相关？

张佳星：这种材料的转变是自己对身边的物和环境更感兴趣了。就像装修的声音一直在响，引着你就去琢磨相关的方式，当你也在进行类似行为时也就不觉得它会让你多烦了。和空腹时闻到隔壁家炒菜会饿是一样的。还有本身自己从小也就喜欢做这类的东西。

Wang: What were you thinking when you changed your media of creation? Was it because of the fine art history or the current trends?

Zhang: The transition was because I turned more interested in the surroundings. For example, when you hear the decoration noises all day, you are curious about the ways to do it. And when you do something like that, it would not be so annoying. It is just like the case that you only feel hungry while smelling the dishes of the neighbour when you empty. And of course, I have interests in doing that kind of things since my childhood.

《闪电》  111×106.5×22.5cm  2018

王麟：看到你的工作我会联想到劳森伯格以及意大利的贫穷艺术，你会因为做这种形式的作品去关注美术史上的脉络吗？

张佳星：碰到了我会去看看这些伟大艺术家的作品，我的作品更会关心我这个时代所和我的生活。

Wang: When I see your works, I always think of Robert Rauschenberg and the Arte Povera of Italy. Do you focus on the similar things in the art history?

Zhang: Yeah, I will see the works of those great artists if I come across them someday. But my works concern more the current era and my own life.

展览现场 The Exhibition

王麟：寻找并利用各种物进行创作的过程，其实是寻求一种偶然性和意外。就像日本的音乐家坂本龙一，他会去雪山采集自然的声音，同样会走到野外去对地上的垃圾塑料物敲敲打打，也会把工作室的各种器物作为发声器。令我感兴趣的是这两年冒出挺多年轻的艺术家用现成品、废弃物拼贴及LED灯光做作品的，你会横向与他们比较吗？你怎么看你们之间的差异性？

张佳星：这是一个信息化共享的结果，无所谓使用哪种材料，从体验看，我选择这类材料去创作是由于少年时家境回忆的唤醒。从作品看，我不再想从一个过于平整的画布上作画，我使用现成品也因为它本身就已经具有视觉艺术的功能，而且这种功能具有未知性，要不断的去调整它的平衡，去掉它的本身的意义。

Wang: It is about seeking for a kind of contingency or accident when you find all kinds of things for creation. Just like Japanese musician Ryuichi Sakamoto, who went to the snow mountains to collect natural sounds and the wild to knock on plastic garbage on the ground, and used the tools in the studio to make sounds. There are many young artists came into sight in the past two years who use readymade products, collage of waste and LED lights. Would you compare your works with them? How do you think of the differences?

Zhang: It is a result of sharing information, no matter what kind of material is used. In terms of experience, I choose these materials because of recalling my family memories in my childhood. As for the works, I want to paint no longer on a flat canvas. I use the readymades because of its inherent art function, which is so unpredictable that I have to adjust the balance and get rid of its original meaning.

展览现场 The Exhibition

王麟：你把新的创作方式其实还是当做画面来处理，你依旧认为它是画？

张佳星：当然。这只是不全使用意义上的绘画材料而已。同样我所做的装置作品，思考方式上我会用看绘画经验的方式去进行。

Wang: I notice that you treat your new means of creation also as a picture. Do you think it is a kind of painting?

Zhang: Yes. I am just using the painting materials in an uncommon sense. And for my installation works, I also follow my experience of painting.

展览现场 The Exhibition

王麟：个展的目的是什么？

张佳星：这次展览是我2015到2018年的作品，这是我来到北京后首次以集中的方式来展现这些作品。也出于好奇心，作品可以给观众传达出什么样的信息，观众得到什么样的感受。我看到这些又会是一个什么样的感觉？

Wang: What is the purpose of this solo exhibition?

Zhang: This time I show my works from 2015 to 2018, which is the first time I show these works collectively since I came to Beijing. I am also with the curiosity that what information my works convey to the audience, their feelings and my feelings of seeing those.

展览现场 The Exhibition

王麟：艺术创作是艺术家对于世界、对于社会周遭、对于个体生活进行的思考处理，并形成视觉反馈。每个人的切入角度决定了它的作品属性和观看人群。相比文学、影视，就当代艺术来讲，其实是一个较为狭窄的角度，包括你的工作，其实更多的是个人体验进行遮蔽后的传达。

Wang: Artistic creation is the artist's thinking about the world, the surroundings, society, and the individual life. They then create visual feedback. The angle of each person determines the attributes of its works and the audience. Compared with literature, film and television, the contemporary art takes actually a relatively narrow angle, including your works, which in fact communicate after covering individual experience.

展览现场 The Exhibition

王麟：展览取名《29》，很个人化的处理方式，你很喜欢29这个数字，而且听上去像是一个幸运数字或是一件礼物。所以第一展厅呈现中有你的生产工具，以及对他们致谢致敬的作品。

张佳星：进门会看到一块儿悬挂着的大尺寸帆布，它的悬挂是为了与人形成比例上的对比，它的功能性是我平时包裹作品苫作品用的，在这里我觉得他是一面旗可以展示它表面所有的尘土。我平时骑的摩托车也骑到了现场，我去一些能够有材料的地方靠它来发现。我认为这些都属于它们的姿势，一种进攻的状态。《Thank you》是对所有的致敬，不止这些。

Wang: The exhibition is named <29>, because of your personal preference of the number 29, sounds like a lucky number of a kind of gift. So you display your tools of creation in the first hall, and also the works in salute to them.

Zhang: Entering the door you can see a large canvas hanging in proportion to people. It is used to wrap my works. Here, I think it is like a flag displaying all the dust on its surface. My motorcycle is also here, on which I ride to seek for materials. They are all showing their posture and a position of attacking. Thank you is a tribute to all that contributed, not only those.

展览现场 The Exhibition

王麟：第二展厅中，是你作品创作的一个主要脉络：将琐碎的生活状态通过各种物品之间的联接进行表达。例如你现实生活中随手可得的物品、楼道中的装修材料，以及你去逛住所附近的垃圾回收站所得到的材料等等。你迷恋的是物与物之间碰撞出的灵光，以及你将他们巧妙组合的过程。

张佳星：从最初的建筑材料到后来的废弃物品及生活用品都是非绘画材料，比起建筑材料废品站的种类要多的多，我头一回去那里是一个巧合，当时就被那种生命绝迹的气息覆盖了，后来去想这种奄奄一息的感觉就更像是意味着生命，它意味着和我们的生活生命存在着密切的联系，这个展厅里呈现的发现了是生活生命，使这些物品以另一种身份重生，多数作品中出现骷髅这也是一种对生命价值的思考。

Wang:The second exhibition hall displays the main thread of your works, which is to express the trivial living state by connecting the different things, for example, the most common things in life, the construction materials piled in the hallyway, and the materials you collected from the garbage transfer station near your home. You are obsessed with the sparkle of inspiration in the collision of things and the process of you cleverly combining them together.

Zhang: All that I used was non-painting materials, from the construction materials to the wastes and daily necessities, the types of which are far more than that in the construction waste stations. I first went there by accident, where there was no sense of life. But later, I thought that that feeling of dying means life, which is closely related with our life. This exhibition hall shows the discovery life, which give rebirth to those things with a different identity. The skulls in most of the works also show my reflection on the value of life.

王麟：这些作品给我的感觉是更加贴近你的生活，去废品站寻找有意思的材料，并靠感觉进行组合。而你觉得呈现的是对生命价值的思考，你觉得这种思考大于你创作过程中的想法？

张佳星：这是同时的，使用物品材料去进行思考与生命价值的思考是一致的，我是改变材料的本身作用赋予它另一种生命的存在，而这种生活中的状态和环境也是对我本身发生变化的重要因素。

Wang: I feel that those works are close to your daily life, such as seeking interesting materials in the garbage transfer station and combining them according to your feelings. But you think they display your thoughts of the meaning of life. Do you agree that such thoughts value more than the thinkings in the course of creation?

Zhang: They are actually simultaneous. It is the same using materials to think and thinking about the meaning of life. I changed the original function of the materials to endow them with another form of life. And the states and condition of such a life has been an important factor of my own changes.

展览现场 The Exhibition

王麟：楼上的第三展厅中，延续了第二展厅中带有生活气息的感觉，呈现了你之前胸腔X光片为素材所做的作品，以及与你身份有关的、与蒙古文化相关的作品，以及与美术史中的图像进行对话的作品。这个展厅给我的感觉并没有与第二展厅拉开距离，并且似乎想说的主题太多，并不聚焦。在这个展览中，三个展厅其实应该是你的三件作品，展厅的布置与你平时创作的过程很相似，例如第二展厅中的墙面搭建也是你的创作元素。但是第三展厅在我看来表达并不是很明确，所以你是怎么考虑的？

张佳星：第三展厅实际上也是第二展厅的延续。把作品材料的来源压缩在影像里，用镜像灯光的方式呈现出来。这种投影方式突出了残破感，碎片感，有的可以呈现，有的就被吃进了镜子里，与影像内容——垃圾厂的生活碎片相得益彰。从垃圾厂废弃物到把它们变成新的作品是生命的消亡至重生的过程。环绕影像周围的作品表现了生命的痛苦与死亡。这时材料与主题内容发生了关系。

展览现场 The Exhibition

Wang: The third hall upstairs, which continues the aura of living in the second hall, presents your works based on your chest X-ray filter, the works related to your identity and Mongolian culture, and the works in which you. I feel that, however, this hall does not differ much with the second hall with not many topics and focuses. The three halls of this exhibition are actually three pieces of artworks and the layout are similar to your daily creation process. For instance, the walls in the second hall are also your elements of creation. But in my opinion, the third hall has no clear expression. What’s your though about it?

Zhang: The third hall is actually a continuation of the second. I compress the source of the material into the image and present it using mirrored light. This kind of projection method highlights the sense of fragmentation. Some can be presented and some are consumed in the mirror, which echos well with the image that shows the life fragments of the wasteyard. I turn them from waste into my new works, which represents the process of death to rebirth. The works surrounding the image show the pain and death of life, during which the the material and the subject matter interact.

展览现场 The Exhibition

王麟：这个展览是你对自己30岁之前的一个总结。你对自己现在的状态满意吗？

张佳星：满意，之后会更好。

Wang: This exhibition is a summary of your works before your 30s. Are you satisfied with your current state?

Zhang: Yes, and I will sure be better.