四月 肆 [ 4.April
日 ]
拾叁號 issue 13
the Artist
本期艺术家
张月薇 Vivien Zhang 1990 年出生于北京 现生活、工作于伦敦 vivienzhang.com
CV Born in Beijing, 1990 Lives and works in London
Education / 教育
2012-14 MA in Painting, Royal College of Art, London 2008-12 BA in Fine Art (1st Class Honours), Slade School of Fine Art, UCL, London
Selected Exhibitions / 展览
2014 -RCA Show 2014, Royal College of Art, London -Saatchi Showdown: In Glorious Colour, Griffin Gallery, London -RCA Secret 2014, Dyson Gallery, Royal College of Art, London -May Occur, The Rag Factory, London 2013 -PNTG NOV., Henry Moore Gallery, Royal College of Art, London -Scratch, It’s Easy, Camden Collective, London -Wells Art Contemporary, Wells Museum, Wells -Asian Students and Young Artists Festival, Cultural Station Seoul 284, Seoul -Lines, Strand Gallery, London -RCA Secret 2013, Dyson Gallery, Royal College of Art, London -School of Fine Art Interim Show, Gulbenkian Gallery, Royal College of Art, London -Notes to Self – Thinking aloud and making moves, Dyson Gallery, Royal College of Art, London 2012 -Cabinet Exhibition, Islington Arts Factory, London -World Event Young Artists (representing UK Young Artists), -Surface Gallery, Nottingham -The Boat of 2012 – Annual Nomination Exhibition of
Students of Contemporary Art Academies, Today Art Museum, Beijing -Slade BA Degree Show, Slade School of Fine Art, UCL, London 2011 -Moreover, UCL Art Museum, UCL, London 2010 -Transfer, UCL Art Museum, UCL, London 2009 Slade Group Exhibition, Swiss Cottage Gallery, London 2008 Young Artists of Thailand, Royal Overseas League Thailand, Bangkok
Residencies / 艺术家驻地
2013 Cité Internationale des Arts, Paris
Awards and scholarships / 获奖
2014 -2nd Place Winner, Saatchi Showdown: In Glorious Colour -Winning Artist, Riverlight Award: Commission artwork for Riverlight development, in association with Futurecity, St James and the Royal College of Art -Winning Artist, Collaboration with Drakes fashion house and Hales Gallery, London, on designs for limited edition silk squares -Longlisted Artist, Aesthetica Art Prize, Aesthetica Magazine 2013 -Shortlisted Artist, Wells Art Contemporary 2009 -Andor Scholarship, Slade School of Fine Art, UCL 2008 -Runner-up Award, ‘Young Artists of Thailand’ competition, Royal Overseas League, Thailand -International Youth Award (Duke of Edinburgh’s Award), Gold, Silver and Bronze Awards, International Award Association
Press and Publications / 发表与出版
2014 -Aesthetica Anthology 2014, Aesthetica Magazine, York: -“Interview with Vivien Zhang”, (NDKS) (Indechs.org), http://www.indechs.org/2014/01/vivien-zhang-name-toremember.html#.UuWwt2TFLZo, Jan 2014. 2013 -ARC 17.3: Adaptation, Journal of the Royal College of Art, London: Autumn 2013. -“ABN’s Year in Review”, Art Business News, Winter 2013, 52. -Asian Students and Young Artists Festival 2013, Asian Students and Young Artists Festival (ASYAAF) Catalogue, Seoul: 2013. -“Invest in Art, A Bold New Initiative on the Art Scene”, Design Scene, http://www.designscene.net/2013/11/artscene-saatchi-online.html, Nov 2013. -“Artist profile: Vivien Zhang”, Neehao Magazine: British Chinese and East Asian Culture, http://www.neehao. co.uk/2013/09/art-profile-vivien-zhang/, Sep 2013. 2012 -“From the Studio of Yuewei Vivien Zhang”, Saatchi Online Magazine, http://magazine.saatchiart.com/ articles/artnews/from-the-studio-of-yuewei-vivien-zhang, Nov 2012. -1000 Artists, 100 Nations, 10 Days, World Event Young Artists Catalogue, UK: 2012. -“Yuewei Vivien Zhang – Recent Works”, Undercoat, http://www.undercoat.net/yuewei-vivien-zhang-recentworks/, Jul 2012. 2009 -Publication of illustrations in The Global Times, Beijing
Collections / 收藏
Private collections London, New York, Berlin, Seoul, Beijing and Suzhou
Engulf, 2011, Oil an acrylic on canvas, 180x220cm
“我的艺术研究方向探讨着‘当代’艺术的定义与它实际的 形态。这具体包括当前众多艺术家建设的公式化的创作过程， ‘当代’艺术的趋势对艺术家创作过程和实践的影响，以及 艺术家在创作中本身应有的责任。我们今天拥有着前所未有 的全球化艺术发展平台，但因此艺术无法完整的定义‘当下’ 这个概念。当代艺术不仅带有着跨国主义的目标，而富有着“第 三文化”身份的人们，或具体的说，艺术家们，也无法再由 一个单层的文化来做绝对的鉴定。 我生于北京，长于海外，曾旅居肯尼亚、泰国，现居伦敦， 在英国皇家艺术学院攻读硕士学位。这些海外经历使我产生 了一种强烈的‘回归’心态 — 回归到我自己原属的中国文化 中。因此，在早先，我尝试着以艺术的方式，从探索民俗的 角度，将我熟悉却又需重新认识的文化内容融入到我的作品 之中。在异国的环境中，我前期作品中使用的具象文化符号， 反映了我的个人经历、我对身份和文化的探索，也激励了我 对文化符号在艺术中起的作用的思考。 而现在在不断探索的过程中，我慢慢将我原始采用的文化符 号——特别是夏商周时期的青铜器皿——统一化、简单化， 以至于缩减为笔画——使之脱离表面，进而探究具象背后， 这些文化代表物件与我的关系、和它们在艺术创作中代表的 意义、以及自身设有的限制、和艺术家自由使用不同文化中 的符号的权力。
画面中被抽象、提取的笔画也在此产生了一种自主的形态，并 成为一种‘托词’——一种自我探讨的符号，也同时被降为 构图的元素。这一发展更使我全面的挑战画面中的空间，特 别是时常出现在我过去的作品中的一种不明确的空间。在此， ‘空间’指的并非是绘画本身所能灵活表现的幻觉空间，而 是重复式（repetition）这一概念所引发的差异（difference）， 以及差异带有的独特的空间 1。 此外，为了更完整的理解‘自我’这个概念在当代艺术里的 意味，以及艺术家在随意引用符号、物件、和事件时的权力， 我开始建起一个自我延续的创作方式。例如，在作品《Order, Oscillation, and Pretence Gesture (Shape Green)》, 《Stencil Negative》, 和《Folded Stencil (Generosity)》中， 我们可以看到一个以模板形成的符号在不断的进化。它们彼 此相互提出挑战，也同时反映了对各自真实性和在画面中作 用的质疑和探讨。 1. 概念源自吉尔 • 德勒兹 (Gilles Louis René Deleuze) 的 著 作 《 差 异 与 重 复》 <Différence et repetition> (1968 法 语 版 ) Difference and Repetition (1994 英文版 )
这一系列的研究方面使得我在创作时不断地向自己提出创作 中当代艺术家所遇到的重重问题——我们有着怎样的权力？ 我们应当怎样判断及允许自己在创作中使用或借用外界的元 素？画家与画作的关系、画作与观众的关系又在当代艺术家 依赖公式化创作方式的趋势下受到怎样的改变？最后，这对 感受及意会作品和艺术中崇高的本质有着何等影响？ "
Fragmented, Pond 2011, Oil on canvas, 100x100cm
Order, 2013, Oil and acrylic on canvas, 31x 46cm
"My art and research is an exploration into the specific conditions of contemporary art studio practice and the responsibilities of the artist, in relation to the formulaic processes and models artists set up in their practice. Aligning to the evermore diversifying globalised platforms available for the artist today, art increasingly struggles to define the 'now' at a time of hopeful transnationalism and when individuals, like myself, take on the identity of 'third world' citizens and lose the discreet associations with a specific cultural identity. I moved to Nairobi, Kenya from my hometown Beijing at the age of ten, and four years later subsequently moved to Bangkok, Thailand. Currently pursuing a postgraduate degree in London at the Royal College of Art, I felt a strong desire to reclaim my original culture â&#x20AC;&#x201C; Chinese culture â&#x20AC;&#x201C; from subjects of immediate interest to me. In the past years I had been re-visiting specific Chinese objects of significance â&#x20AC;&#x201C; particularly artifactual bronze vessels from the ancient Xia, Shang and Zhou dynasties. I felt an intense interest in these cultural relics themselves; their role defined my relationship with the audience in a 'contemporary' and 'displaced' context. From this interest, I began achieving an abstraction of the vessel motif in my paintings, where they are reduced to abbreviations of marks and gestures, as can be observed in 'Vessels, Blast, Pink and Green'. This abstraction is a direct reflection of my more intense engagement in the painterly process and my questioning of the authority of using distinct
cultural references in works of art. The gestures act as autonomous forms that no longer serve to describe something. Rather, they become 'pretence' gestures â&#x20AC;&#x201C; self-determining compositional elements, which allow me to challenge an uncertain space found in my earlier work no longer just from an illusionistic point of view, but also in terms of 'difference' and how order and repetition generated space and difference1. Furthermore, exploring the phenomenon of a heightened emphasis of the 'self' in the contemporary age and the power of the artist in exploiting and appropriating arbitrary references, I began to set up a self-referential and self-perpetuating literalness in my work from pre-determined formulaic processes. With this, gestures from earlier work would inform and evolve into new forms, and these further develop and challenge each other [as can be seen in the discourse set up by 'Order, Oscillation, and Pretence Gesture (Shape Green)', 'Stencil Negative', and 'Folded Stencil (Generosity)'].
1. Gilles Louis RenĂŠ Deleuze <Difference and Repetition> (1994)
These developments have opened the scope for me into questioning the detached processes in con tem porary pai nti ng pract i ce t od ay â&#x20AC;&#x201C; how permission and authority stand in present day practice, how the painter-painting relationship and artworkaudience relationships have changed in relation to the increasingly formulaic processes artists are adopting, as well as how the experience of a work of art and the sublime have been affected by the now."
INTERVIEW WITH VIVIEN ZHANG
張月薇 採訪記錄
Statics , 2011, Oil an canvas
Pink and Green, Vessels and Space, 2012, Oil and acrylic on canvas, 150x180cm
肆：青铜器是你早期作品的母题之 一；青铜器的功能从古代中华的神 圣的礼器演变到当代中国作为中华 文化的意象和工艺品。青铜器是作 为一个什么样的角色在你的作品中 出现的？ SI: You used the Chinese bronze vessel as one of the motifs in your early works; the function of bronze vessels had changed from ancient China’s divine ritual vessels to a symbol of Chinese culture and craft. In terms of this, what kind of role does the bronze vessel act in your works? 张：一开始的时候，我对青铜器本 身着迷——它作为手工制品的质感 和它纯粹的美学价值。 我也着迷 于思考这些文物如何从它们原本的 设定中脱离出来，它们的身份和功 能的变化，以及博物馆的语境对手 工艺品和艺术品探讨的影响。我想
通过在我的作品中使用这些有着特 殊文化意义的物体来检验文化身份 改变的概念——在当时是一个比较 个人的感触，因为我自己一直在漂 泊。童年生活里很平常的物件，在 海外多年后再一次回顾它们时，我 会对自己的本土的东西产生文化差 异感，所以我把使用文化符号这一 行为看作“重新拥有”过去事物的 途径——去再一次拥有例如那些我 经常在历史博物馆看到的物件。 由于我重复的看了和画了各种各样 的青铜器，我变得对它们越来越熟 悉，我甚至可以默画。但是问题也 来了，如果我必须在绘画和研究青 铜器之间做个选择的话，毫无疑问 我会选择绘画。所以我对我所画的 物体进行了抽象处理，它们开始变 得模棱两可。这样一来，它们最终 被分解成了构成我的画面的元素。 因为我想表现的并不是青铜器本 身， 而 是 绘 画 的 过 程， 以 及 在 创 作中从重复使用所产生的其他问 题——比如批量生产，比如习惯， 比如整体与差异的相对性。
Zhang: In the beginning, I was fascinated with the vessels themselves – their craftsmanship and their pure aesthetic value.I was also fascinated by thinking about how these relics are removed from their original setting, the change of their status and function, and discussions around the museum context in relationship to artifacts and works of art. I wanted to use these culturally specific objects in my work to examine the idea of displacement – a rather personal issue at the time, as I have been moving around so much. In a way, I also saw it as claiming something of the past – for instance, objects I had seen frequently in history museums.
As I repeatedly looked at and painted all sorts of bronze vessels, I became very familiar with their forms, I could paint them with my back to them! But if I had to choose between painting and studying the vessels, I would of course choose painting. So I abstracted them, they became ambiguous. From this, they disintegrated into compositional elements in my paintings as I was not interested in representing the vessels, but more in the painterly process and other issues that could be generated from a repetitive use of this motif – such as mass production, the habit, singularity versus the all-over.
System and Grey Green Disc, Oil and acrylic on canvas, 2012,55x50cm
肆：在你的作品“cloud pillars" 里 使用的纹样是来源于青铜器么？ si: Did the patterns in your work Cloud Pillars originally come from the bronze vessels? 张：哦，不是的。那些重复使用的 纹样其实是来自于中国寺庙和宫殿 中石栏杆上的运龙纹图案。 Zhang: Ah, no. The repeated shapes in this painting actually came from stone railings found in Chinese temples and palaces.
肆：在你的画面中经常对同一对象 进行排列组合，这种排列与德勒兹 理论中的“重复”有怎样的关系？ SI: In your paintings, you often work on the same object by re-arranging and assembling them. What relationship do you think they have with Deleuze’s theory “Repetition”?
张：它们之间的关系在于思考“重 复”带来的东西。“重复”强调了 一些东西，还是最终稀释了一些东 西？德勒兹的理论是，重复是有差 异的因为没有事物可以完全相等的 被复制。重复其实是概括。它所做 的是为观者创造了一种对连续性的 心理预期。我对他的观点特别感兴 趣，我想通过在我的作品中使用重 复来挑战观者的“假设”——首先 是我在反复使用记号或者图形的时 候所做的微妙变化；其次是在画面 中引用强烈的文化符号。——那么， 我想知道，“重复”和我作品所使 用的“出人意料的”差异性的元素 在一起同时起了什么样的作用。 Zhang: The relationship lies in thinking about what repetition does. Does repetition emphasise something, or does it dilute something? According to Deleuze, repetition is difference as nothing can be identically repeated. Repetition is generalisation. What it does is to create an anticipation
Cloud Pillars, 2010, Mixed media on canvas, 168x183cm
Shatter, 2012, oil and acrylic on canvas, 121x127cm
of continuity. His ideas are especially interesting to me as I want to challenge the audience of “the assumed” through repetition in my work – firstly, through the subtle differences in the recurring marks or motifs in my work; secondly, through the repetition of highly-charged personal or cultural references – so what does repetition then do to this “surprising” foreign element in my work?
张：我在几个不同的国家生活过， 大部分时间我都生活在国外。十岁 的时候，我第一次出国是因为妈妈 工作的调动，我们搬到了内罗比（肯 尼亚的首都）。在那里生活了将近 四年，之后我们又到了曼谷（泰国 的首都），在那儿也是生活了四年。 那之后，因为读大学我到了伦敦学 习和生活，一直到现在。后来我也 在巴黎小住过，作为艺术家驻留， 在那里呆了三个月。
肆：你旅居过许多国家和地区，这 种旅居是指长期的生活意义上的居 住还是短期的旅游或是工作？不同 文化的经历对你的创作有什么影 响？
这些经历开阔了我的眼界，让我变 得能够更好的包容和接纳不同的思 想和观点。但是这么多年，我一直 想去寻找自我身份上的归属感。还 有就是因为我的教育背景和经历过 的环境，致使我把文化意识可以说 是刻在骨子里了。这些经历促使我 在创作的时候有一种使命感和责任 感——我会思考作为创作者的身份 和权利，他通过创作表明的立场和 态度。
SI：You have moved through many countries, does this “move” mean long term residency or short term travels and work? How do you think the experience of different cultures have affected your artistic practices?
Zhang: I have lived in different countries and I’ve spent more time outside of China in my life. At the age of 10, I first moved to Nairobi, Kenya, because of my mother’s job. We lived there for almost 4 years and then we moved to Bangkok, Thailand,
System(rain room), 2012, oil and acrylic on canvas, 46x53cm
Twenty-Eight Vietnamese Moulds, 2012, Oil on canvas.180x200cm
for 4 years as well. After that, I moved to London for university and this is where I live now. Since then I have only lived in Paris (phew!), and that was for a 3-month artist’s residency.
肆： 能 描 述 下 你 理 解 的 当 代 艺 术 么？ SI: Can you please talk about your understanding of Contemporary Art?
This experience has opened up my way of thinking, to be receptive of different ideas and perspectives. However, there’s a constant sense of wanting to claim something, to find a sense of belonging. And because I grew up in an environment where the importance of cultural awareness is hammered into our minds, the experience has also prompted me to think about morality a lot when making work – authorship and the authority of an artist claiming something in his or her work.
张： 我想许多时候大家所讨论的 “当代艺术”都是不同的。对我来 说它更多的是一个很有趣的标签。 “当代”这个词企图去概括今天多 种多样的艺术形式，但同时也在寻 找一个具体的定位。不过，在这样 宽泛的空间里去定义艺术不是很可 笑吗？而这里的“空间”，我也只 是说当下瞬时的时间空间。我们总 是试图去定格当下，但是我们怎么 才能抓住所谓的“现在”？它就在 我们谈论的瞬间消逝。现在存在于 过 去， 并 且 预 示 着 即 将 到 来 的 未 来——那么，所谓的“当代”是否 是未来的一个投射，而“当代艺术” 将成为一个预言呢？ 彼得 • 奥斯本的新书《Anywhere or Not at All: Philosophy of Contemporary Art》（ 非 常 值 得 一看的！）第一次引发了我对“当 代”这个概念的思考。在这方面这 本书做了很好的探讨。
Vessels, Blast, Pink and Green, 2012, Oil and acrylic on canvas, 200x220cm
Zhang: I think there are different trajectories in “contemporary art”. More importantly, I think it’s a funny label. The term is used to encompass wholly, and also pin-down, various forms of art made worldwide. But isn’t it ironic to define art created in this expanse of space? And by “space”, I also mean temporal space. We’re trying to pinpoint the present, but how can we grasp something that is the now, this very moment that’s moving as we speak? The present resides in the past and in an anticipation of a future yet to come – so is the “contemporary” a projection of the future, and is “contemporary art” then a prediction? Peter Osborne’s new book Anywhere or Not at All: Philosophy of Contemporary Art (very worth checking out!) was the first source that prompted me to think about the idea of the “contemporary” and the book discusses all these ideas very thoroughly.
肆：谈谈你对“跨国主义”和“第 三文化”的身份的理解吧？ SI: How do you see the identity of “trans-nationalism” and “third culture”? 张：我觉得在这个世界变得越来越 全球化的今天，我们全都在慢慢变 成“第三文化”居民。我们从不同 地方吸收想法，同时也更快地可以 融进不同的环境。我们的身份不再 被单一的定义所限制，这是超级令 人兴奋的。我们各自的理解开始会 合，同时在今天我们可以发起的对 话不再仅仅围绕着对各自的背景和 文化传统的初步理解，而是可以更 深层次的，譬如一个想法或者观念 如何存在于交错的领域里。 Zhang：I think as the world is evermore globalised today, all of us are slowly becoming “third-culture” citizens. We absorb ideas from different places and adapt to different environments much more quickly. Our identity is no longer bounded by a singular definition and that’s super exciting. Our understandings
Folded Stencil (Generosity), 2013, Oil and acrylic on canvas, 55x46cm
Order, Oscillation, and Pretence Gesture(Purple) 2013, Oil on canvas, 55x50cm
would converge, and we can set off conversations today which are not just circling around initial comprehensions of each others’ backgrounds and cultural heritage, but ideas in more depth, such as how an idea or notion exists across different grounds.
肆：你用“托词”来形容你画面中 的形态，我们日常理解的”托词“是 借 口 的 意 思， 在 这 里 你 指 的 是 什 么？ SI: You used the word “pretence” to describe the form in your painting, we often take it as an “excuse” in general understanding. What do you mean here? 张：我想你的解读是正确的。我把 某些画面里的重复形态称为“托词 笔触”，因为它们在假装描绘一个 象征物，假装在形容什么。假象。 这来源于我意识到我早期作品里被
抽象的器皿符号（或者说绘画性的 笔触）的作用，只是作为构图元素 而存在的。所以在这些被命名为“托 词笔触”的画作中，我想要凸显笔 触与笔迹的地位——让它们处于一 个近乎自主的、可被看作构成要素 的状态。 Zhang: I think you’ve read it correctly. I called the repeated form in some of my paintings “pretence gestures”, because they are pretending to represent a figurative object, pretending to describe something. Fake. This comes from when I realised that the abstracted vessel motif (or the painterly gestures) in my earlier work only functioned as compositional elements. So in the paintings given the title “pretence gesture”, I wanted to heighten this status of the gestures and marks – an almost autonomous status where the marks could be seen as mere formal components.
Partition, Three, 2013, OIl on canvas, 180x200cm
肆：你画面中的空间，也就是“重 复引发的差异”是偶然的还是必然 的？ SI：In the space you create in your paintings, to quote you, “how order and repetition generated space and difference”, is this occasional or inevitable? 张：绝对是必然的。我并无意于描 绘一个想像的空间——譬如，你在 现实生活中所体验的风景与空间。 但是在以深度、重量、以及强度思 考空间的时候，我也想要通过其他 方式探索空间。所以其中一种方式 是去考虑两种不同的事物的并置如 何产生“空间”，两种事物之间的 差异是怎样产生空间的。同样的， 在处理重复的时候，每个重复之间 的距离也是一种空间。我们有数不 尽的方式去思考“空间”这个概念， 而并不单单只是依据前景与背景的 存在。 Zhang：Definitely inevitable. I wasn’t interested in depicting an illusionistic space – one
that’s associated with, for example, landscapes and space that you experience in real life. But in thinking about depth, weight, and intensity, I wanted to explore space through other ways. So one way was to think about space in terms of how the juxtaposition of two different things, how difference between the two different things, generated space. Also, when dealing with repetition, the interval between each repeat is also a type of space. There are numerous ways to think about this idea, not just in terms of foregroundbackgound.
Pearl, Mother, 2013, Oil and acrylic on canvas, 46x 55cm
Repetition and Blades (Reaction to T.S.), 2013, Oil on canvas, 55x50cm
Secondary Text (Meat), 2013, Oil and acrylic on canvas, 150x170cm
Stencil Negative, 2013, Oil on canvas, 180x150cm
肆：在艺术家进行创作这样一个语 境中，他所做的一切都成立还是有 一定的准则才能成立？你所理解的 艺术家的权利是怎样产生和运作 的？ SI：In the circumstance of an artist’s practice, can everything he/she has done be approved or do they have to be based on a certain criteria? How do you think the artists’ authority is produced and processed? 张：在艺术家的实践中有很多的自 我审定，在某种程度上我觉得这是 好的，对的，是负责的。我们需要 对我们在作品中的所做所说负责。 我曾提出过这个问题——如果我们 不断、不断地重述某个东西，并变 得过分熟悉这个东西，我们就有了 占有它的权利，或者使用它吗？ 我仍然同意，我们需要对周遭的世 界保持好奇心，而并不是只见树木， 不见森林。艺术是关于提出问题的， 而我们作为艺术家需要首先对自 己提出问题——也许有时这出于偶 然。我想，只要我们对事物的发问
不止于它们的表面，那么就有使用 和生产的权利。 Zhang：There’s a lot of selfcensorship in artists’ practice and to an extent I think it’s good, yes, responsible. We need to be responsible of what we employ and say in our work. I have raised this question – if we rehearse something over and over and over again, and become over-familiar with something, do we then have the permission to claim it? Use it? I do agree, though, that we need to be curious minds of our worlds and not only look at what’s in our plate. Art is to raise questions and we as artists need to raise questions firstly for ourselves – perhaps from surprise and chance. I think as long as our inquiries do not end at the surface of things, we have the power to take authority over what we use and produce.
肆：你所说的当代艺术创作中“公 式化”是指什么？ SI：What do you mean by the “formulaic processes” in contemporary art practice? 张：在这里，我所指的是一个“自 我引用”的过程：一件作品的形态 会形成下一件作品的新形态；我也 指一种“自我延续”的过程：实践 中所存在的已有的形态、母题或者 元素会持续的转译，于是一个艺术 家的不同作品中都存在一个连续的 关系。我想这个“公式化”过程也 可被视为是一种可持续发展的实 践——这能让艺术家建立起一种独 特的工作方式，同时构筑一个属于 自己的领地。 其实现在，我对这个论点也感到爱 恨交加！ 如果公式化的副产品是给 艺术家一个过于“舒服的领域”， 我想，同等重要的是从习惯中分离 出来，去挑战我们自己。我们不该 只是重复做我们在做的和我们知道 的。我们不该只是拿我们的创作索 引中的元素不断的盲目排列组合。
Zhang：By this, I mean selfreferential processes, where forms in one work would inform new forms in the next work; and self-perpetual processes, where there’s a translation of the existing forms, motifs, or elements throughout an artist’s practice, so that a continuous relationship can be constructed across an artist’s works. I guess the “formulaic process” is also about a kind of sustainable practice – establishing a way of working and building a territory for the artist. At this moment I also have a love-hate relationship with this proposition! I think it’s equally crucial to breakaway from habit and challenge ourselves if the “comfort zone” is a by-product of the formulaic process. We shouldn’t just be re-iterating what we do and what we know. We shouldn’t be creating permutations from the index of things in our practice.
System, 2013, Oil on canvas, 55x50cm
肆：你是如何理解理论和艺术创作 之间的关系？ SI: How do you see the relationship between artistic practice and theory? 张：它们是互不可缺的关系。它们 映射对方并帮助彼此更好地理解自 己。 Zhang：They are necessities to each other. They mirror each other and help each other to understand themselves.
-end（chinese translated by Yandi Wang & Wendi Xie）
Stencil Negative (Not Dragons Not), 2014, Oil on canvas. 180x150cm
关于 > 肆 SI< 隶属 > 草乙載萬殊 <zoewanshu.com 之微杂志，介绍活动于欧洲的亚洲青年艺术家。 About SI micro conceptual magazine, part of Zoe(zoewanshu.com) introducing young Asian artists who are based in Europe
editor / 編輯 孫 敏祺 Minqi Sun 謝 文蒂 Wendi Xie 鄭 田明 Tianming Zheng 王 琰迪 Yandi Wang 应 梦婷 Mengting Ying
front cover / 封面 >Order 2013 Oil and acrylic on canvas, 31x 46cm Vivien Zhang
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SĂŹ 4. April 2014 No. 13
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