张增增 Zhang Zengzeng

张增增 Zhang Zengzeng

我叫张增增。我毕业于中国重庆的四川美术学院雕塑系,一直尝试突破雕塑的概念,寻找新的艺术表达方式。

近年来尝试用肥皂泡这种材料在一堆砖头和铁铲上制作了一座中国的功勋碑——作品《瞬间的永恒》,同时我觉得这种材料本身的短暂性和虚无性,就像梦一样,所以我用它包裹穷人家的物品并制作他们梦想要拥有的东西,以此作品换得的钱去买个真实的送给他们,用这样的方式让他们梦想成真——作品《梦想成真系列》。

除此之外,当肥皂泡作品在空气里消失没有的时候,我在想那么空气还能怎么做呢?

我开始使用增强现实这这样的虚拟技术得一实现——手机已是我们今天观看世界的主要方式之一,于是做一件只能用手机观看的作品而肉眼却看不到。作品《无形之形》就是基于这样的想法和技术制作出来的。在空无一物的空间里,观众拿着手机对着那片空间,便会在手机屏幕里出现一个撑满空间的立体大铁球,观众举着手机改变自己的位置来观看大球的不同角度。(尺寸根据现场大小制定)

2014年12月在上海外滩的对面东方明珠塔旁边永久的树立了一个虚拟的直径为650米的大铁球,观众站在外滩,举着手机对着东方明珠塔就会看到他,放下手机他就不存在。这样的一个巨大的公共雕塑,市民是否想看到它,选择权就在市民自己手上。与传统相比,他在满足公共景观需求的同时,不会占有实际公共空间,更不会强迫你去观看它。——作品《无形之形——东方明珠》

《无形之形——港澳自由行》香港,澳门本是中国的一部分,但因历史种种问题离开祖国近百年,现虽已回归,但两岸的政治经济文化以及人们之间一直都难以融合产生并产生各种矛盾。在这其中两岸人民都能感受到有种无形的东西阻隔在中间。这些也许是经济的问题,人们价值观的迥异,甚至背后隐藏的政治目的,我想您也知道前段时间的香港民众围堵大陆游客,以及占领中环的大游行等等。因为这些看不到的原因与矛盾迫使我不得不把我的这件《无形之形》作品放置在曾经香港和大陆,以及香港和英国之间产生矛盾的地点。因为在那里聚集着无形的问题。

I graduated from the department of sculpture at Sichuan Fine Arts Institute. I have been working on the issue of how to deconstruct the concept of“sculpture”and searching for the new way for my artistic expressions for many years.

In recent works, I used soap bubble as an artistic medium to make many works, such as A Moment of Eternity, a work was made by soap bubble which was installed on a pile of bricks and a shovel. I turned these materials into an imagery monumental, as I think there are several similarities between human’s dream and the temporality and nihility of this material. In light of the property of this material, I made my second soap-bubble work Dreams Becoming True. In this work soap bubble was used to wrap different objects and furniture in order to make incomes. With this money, I can buy a new one thus give the new one to them.

In addition, I started to think what would happen if the bubble finally disappeared into the air? How can I make works with air? Thus, I used the technique – Agumented Reality. I chose the cellphone as my artistic medium, since it has been the one of the main ways for us to see the world. I intended to create a work that can only be viewed with the screen of our cellphones. Based on this idea, I made A Form without any Forms. Initially, this work was exhibited in a space where nothing was placed. Once the audiences held their cellphones toward this space, a huge iron sphere would emerge on the screen of their cellphones. Meanwhile, the shape could be changed if the audiences moved their positions.

This work was further explored by myself in December 2014. At the Rockbund of Shanghai city, I exhibited this virtual work. I installed this work at the opposite site of the Rockbund and invited the audiences to view this work which was 650 sphere diameters through their cellphone screens. Compared to the traditional public art, this work showed absense of publicness and, at the same time, it did not occupy the literal space. Also, it would not enable you to see by force.

 

 

Hong Kong and Macao are parts of China, but because of the historical problems,they had left the mainland for nearly a hundred years. Although both of them have returned to the mainland, the conflicts in terms of politics, economy, and culture still exist between both sides. In these conflicts people from both sides feel invisible barrier between them. These may be the issues of economic, people’s values, even the political purposes. As you know, in lasts few months, there were many political movements including the occupation of central parade in the Umbrella Protest. Since the invisible cause and contradiction forced me to put my “invisible” work in the place where once the conflict existed between Hongkong, the mainland, and the United Kingdom.