雕塑
钢材、镜面不锈钢
340×480x600cm
在本次展出的作品中,阴影从概念到结构,从叙事到虚构,从物质到存在,以无数不同的形态显示。首先看到的是杨振中的巨大户外雕塑装置《完美的几何形》(2016),探索之旅以一种暧昧的方式开始。作品一半在水中,正反面的比例为标题中的五星讲述了全然不同的故事。作品正面,通过在下半部分使用镜子,展示了一个五角星的完整形状,从而制造出一种完整性的幻想。然而一旦观看者移动到了作品后面,却分明看到这块腐烂的巨大雕塑已然坠落,完整性被它的瓦解状态所打破了。如同大多数的真相,事实就呈现在面前,线索就摆在那里等待被发现。我们需要做的,就是能够看清。
——凯伦 史密斯：“充满光亮的影中世界”，“真实的假象” P288, 2016
杨振中通过打造视觉游戏鼓励观者去探索更全面或更有意义的图像,并且以不同的视角来看待周围事物。他对“影子”的探讨,或更加确切地说,对“镜影”的探讨,呈现为在美术馆的入口处的一个“纪念碑”。这是为此次展览度身定制的唯一一件户外作品。这件新的雕塑简单地采用一块铁片做成五角星的形状。实际上,从正面来看,它只是半个星形,而通过与不锈钢底座反射的镜像才组合构成一个整体。这里的镜像如同其实体的钢铁材料一样坚固可靠,又拥有如星星般的灵性;它支撑着那个沉重的实体,它的尖角在镜面反射中指向一个无限的天空。
——姜节泓：“真实的假象” P59, 2016
sculpture
steel, stainless steel
340×480x600cm
In the works that have been selected for this exhibition, shadows are manifest in myriad form from concept and construct, to narrative and fiction, material and substance. The exploration begins in an obtuse way with Yang zhenzhong’s massive Fallen Five Star (The Perfect Pentagram),an exterior sculptural installation, part submerged in water, where the front and back portions tell a very different story of the titular star. From the front of the work the full form of the five-point star is invoked by means of mirror plates on the lower half of the facade. This creates an illusion of wholeness which is undone once the viewer moves around to the back side, where the state of disintegration into which this rusting monolith has fallen, is fully revealed. As with most truths, the facts are present before us, the clues there to be read. All that is required is that in looking we are able to see clearly.
_ Karen Smith:”World of Shadow Teeming with Brilliance”, “The Shadow never Lies” p281, 2016
Yang Zhenzhong (p 247-249), too, creates visual games, which encourage viewers to explore a fuller or more meaningful image and to look at things around them differently. He approaches the issue of the shadow, or precisely the specular image, through building a ‘monument’ right at front of the museum entrance, the only outdoor work of this exhibition. This new sculptural piece, simply features an iron sheet in the shape of a star. In fact, it is only a half star, which reflected in its stainless steel base forms a complete image of a star. The specular is as strong, reliable as iron, and as spiritual as the star, lifting the heavy material and pointing into the infinity of a reflected sky.
_ Jiang Jiehong: “The Shadow never Lies” p34, 2016
钢材、镜面不锈钢
340×480x600cm
在本次展出的作品中,阴影从概念到结构,从叙事到虚构,从物质到存在,以无数不同的形态显示。首先看到的是杨振中的巨大户外雕塑装置《完美的几何形》(2016),探索之旅以一种暧昧的方式开始。作品一半在水中,正反面的比例为标题中的五星讲述了全然不同的故事。作品正面,通过在下半部分使用镜子,展示了一个五角星的完整形状,从而制造出一种完整性的幻想。然而一旦观看者移动到了作品后面,却分明看到这块腐烂的巨大雕塑已然坠落,完整性被它的瓦解状态所打破了。如同大多数的真相,事实就呈现在面前,线索就摆在那里等待被发现。我们需要做的,就是能够看清。
——凯伦 史密斯：“充满光亮的影中世界”，“真实的假象” P288, 2016
杨振中通过打造视觉游戏鼓励观者去探索更全面或更有意义的图像,并且以不同的视角来看待周围事物。他对“影子”的探讨,或更加确切地说,对“镜影”的探讨,呈现为在美术馆的入口处的一个“纪念碑”。这是为此次展览度身定制的唯一一件户外作品。这件新的雕塑简单地采用一块铁片做成五角星的形状。实际上,从正面来看,它只是半个星形,而通过与不锈钢底座反射的镜像才组合构成一个整体。这里的镜像如同其实体的钢铁材料一样坚固可靠,又拥有如星星般的灵性;它支撑着那个沉重的实体,它的尖角在镜面反射中指向一个无限的天空。
——姜节泓：“真实的假象” P59, 2016
sculpture
steel, stainless steel
340×480x600cm
In the works that have been selected for this exhibition, shadows are manifest in myriad form from concept and construct, to narrative and fiction, material and substance. The exploration begins in an obtuse way with Yang zhenzhong’s massive Fallen Five Star (The Perfect Pentagram),an exterior sculptural installation, part submerged in water, where the front and back portions tell a very different story of the titular star. From the front of the work the full form of the five-point star is invoked by means of mirror plates on the lower half of the facade. This creates an illusion of wholeness which is undone once the viewer moves around to the back side, where the state of disintegration into which this rusting monolith has fallen, is fully revealed. As with most truths, the facts are present before us, the clues there to be read. All that is required is that in looking we are able to see clearly.
_ Karen Smith:”World of Shadow Teeming with Brilliance”, “The Shadow never Lies” p281, 2016
Yang Zhenzhong (p 247-249), too, creates visual games, which encourage viewers to explore a fuller or more meaningful image and to look at things around them differently. He approaches the issue of the shadow, or precisely the specular image, through building a ‘monument’ right at front of the museum entrance, the only outdoor work of this exhibition. This new sculptural piece, simply features an iron sheet in the shape of a star. In fact, it is only a half star, which reflected in its stainless steel base forms a complete image of a star. The specular is as strong, reliable as iron, and as spiritual as the star, lifting the heavy material and pointing into the infinity of a reflected sky.
_ Jiang Jiehong: “The Shadow never Lies” p34, 2016
我会死的（网络征集版）
I Will Die (Crowdsourced)
2016.7.-
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
16:9单频高清录像 22’07”
该项目核心来源于艺术家杨振中始于2000的单视频录像作品“我会死的”， 十多年来艺术家游历十多个国家拍摄了500 多位不同年龄、不同身份、不同种族的人用11 种不同国家的语言，面对艺术家的摄像机说：“我会死的”。
从2016年7月开始，杨振中工作室与Cc基金会合作，将此项目开放到互联网平台，全球征集网友自拍，每个人都可以参与到项目中来。
16:9 single channel HD video 22’07”
“I Will Die” is an ongoing video project initiated by artist Yang Zhenzhong since 2000. For over a decade, the artist has travelled around a dozen of countries and collected over 500 video clips of people of different ages, identities and cultures saying “I will die” to the camera in 11 different languages.
Since 2016, In collaboration with Cc Foundation, Yang Zhenzhong Studio now for the first time launches an online open call for people to participate to “I Will Die” .
