东画廊｜张云垚的毛毡三要素：手势

欣逢张云垚个展“皮肤手势语言”将于本月29日开幕，东画廊特此采用一个全新视角回顾艺术家的毛毡绘画/素描作品。组成展览题目的三个词——皮肤、手势及语言——是相互关联的文本要素，形成一个图词辩证的观念体系，意图解码艺术家长期毛毡实验及其特殊的表意过程。

皮肤是艺术家首先设想的模仿对象，以此呈现该材料遭遇变故的知觉状态。而手势，作为一种教化的手段，附着在模仿的概念上，对生产性的身体进行干预。这样的智识传统表现为一只看不见的手，调和并主持着不同的历史任务与仪式，不仅刺入皮肤，同时标记、训练、折磨、强迫着身体。

艺术家解构主义的立场将精确而有力的动作聚集并渗透到毛毡里。为了阐明这一点，他赋予涉身体验以人的形体，把现代化语境中身体的社会性与社会关系的身体性置于最突出且显著的地位。

包括外套、衬衫及连衣裙在内的服装被描绘成被穿戴之后的样子，然而对此负有责任的穿戴者并不在场，服装就此凭空悬挂着。由艺术家选择的这些服装本身与已知等级结构中的特定阶级与性别具有联系，观看者被邀请去做出一个抚慰的手势，不自觉地把自己与其所处的环境连结起来，并接受其中的意识形态框架。

艺术家也对枝形吊灯的形象感到好奇。它看上去像是在临时占用的空间中摆动着，但伴随宁静的气氛而展开的是人类身体于此同在的夸张感受，这正是艺术家希望观看者去参与的部分。华而不实的枝形吊灯象征了某个时代的终结以及在一项社会事业面前欲望的徒劳。

On the occasion of the advent of ZHANG Yunyao’s solo exhibition “Skin Gesture Body” on July 29, Don Gallery looks back to the artist’s felt drawing in a new retrospective. The three words that constitute the title of the exhibition – skin, gesture, and body – are the interrelated textual elements devised as a conceptual triad, a dialectic between words and images, to decode the specificity of the signifying process in his long term experiment on felt.

Skin is the mimetic object posited by the artist to stage the altered perceptual status of the material. Defined as a manner of cultivation, gesture thus adheres to the notion of imitation that intervenes the productive body. Such a literati tradition appears to be an invisible hand moderating different historical tasks and rituals which pierce the skin, and meanwhile mark, train, torture, force the body.

To make clear his deconstructive attitude that converge the strong and precise actions into the felt, the artist incarnates the experience of being embodied by foregrounding the social nature of the body and the bodily nature of social relationships in the modern context.

Garments including coats, shirts and dresses are depicted as being scored on a wearer, while the responsible individual is absent and the garment is suspended in the void. As the selected garments are organically linked with particular classes and genders in a given hierarchy, it is a conciliatory gesture to be performed by the viewer, unwittingly connecting him/herself with the living environment and embracing its ideological framework. The unfolding condition of self-reflexivity features something tangible in the experience.

It so happens that the artist is especially intrigued by the image of chandelier. It seems to be swinging in the space it temporarily occupies, yet expands upon the tranquil ambience introducing an exaggerated sense of the bodily presence of human beings, which is exactly what the artist wants the viewer to engage. The grandiose chandelier symbolizes the end of a certain era and the futility of desire in the face of a great social cause.