Junwei Zhang

Events 即将来临

Works 作品
    Language Trilogy 语言三部曲 
        Udon Noodle 乌冬面
        Thank You 谢谢
        365 Days 365 天

    Pseudo-well 伪井
    From West to East 从西到东
    A Well 一口井
    Lego 乐高
    My Aunt 我的二姨
    3:30 AM 凌晨3点半

Texts 文字
    Reviews 评论
    Poem 诗

About 简介
CV 履历

︎ ︎

✞ ☭ (谣) ⚥⛩⚣︎︎︎👨🏿👨🏽👨🏻︎$︎🇺🇸︎︎ Truth ︎

“Nothing is ever fully present in signs. It is an illusion for me to believe that I can ever be fully present to you in what I say or write, because to use signs at all entails my meaning/being always somehow dispersed, divided and never quite one with itself. Not only my meaning, but I myself ... But any such theory of history of language as a single linear evolution misses the web-like complexity of signs: the back and forth, present and absent, forward and sideways movement of language in its actual processes.“

—— Terry Eagleton

In Language Trilogy, artist Junwei Zhang looked closely at the art/media/culture’s condition which he refers to as hardware — the eradicated boundary between public and private space — and the methods which he considers as software — interpretive power and governmentality. He examined the condition and methods through three projects: Udon Noodle, Thank You and 365 Days.

“没有什么是可以被完整表达的。对我来说,要将我说的和写的完整地呈现给你本身就是一种幻觉,因为一旦用到了符号或者语言,那么意义、含义和真相全都四分五裂了。不光是这些,就连我自己本身也瓦解了…… 凡是将符号和语言看做是有迹可循的理论通通忽略了语言和符号本身像网一样的复杂性:一会儿前一会儿后,一会儿左一会儿右,一会儿模糊一会儿清晰,一会儿我一会儿你的语言处理过程。”

—— 特里 · 伊格尔顿

通过《语言三部曲》,艺术家 Junwei 近距离地观察了艺术、媒介和文化的条件,这种条件也被他称作硬件——一种将公共空间和私人空间边界抹除的能力。同时,艺术家还对艺术、媒介、文化的手段进行长期地思考,这种手段也被艺术家叫做软件——构建于语言和符号之上的解读术和统治术。《语言三部曲》由《乌冬面》《谢谢》《365 天》组成,这三部作品可以看做艺术家 Junwei 对 条件 手段 的初步反思。