2015 《自卑的蝙蝠》張徐展首次個展全紀錄 (ZHANGXU zhan Solo Exhibition 2015) HD




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Published on Oct 18, 2015


《Inferiority Bat》ZHANG XU zhan solo exhibition 2015
About a hsin hisn paper home series - joss paper animation、expend Cinema Animation.
Works are full of bizarre, absurd grotesque image expansion, intent to discuss the society and contemporary survival experience. Zhang Xu Zhan specializes in hand-drawn animation, puppet animation, digital image, with the combination of experimental film and cinema, multi-channel video installation. And also exhibites various puppets and hand-drawings aside the expanding cinema.


A區為紙紮偶動畫與物件,B區為手繪動畫與裝置 。
個展作品內容皆圍繞於 ”個人之於社會的謬察、家族記憶(技藝)之於社會的困頓” 等各種面臨的當代生存經驗,藉以一種荒謬、怪誕的影像,包覆一場關於存在的腐朽、從未結束的集體狂歡。

首次展出的新作(靈靈參)《自卑的蝙蝠》 一作為多頻道的空間動畫錄像裝置,

《紙人展 – 房間》三頻道錄像裝置、
《靈靈壹– 旋轉紙偶投射裝置》、《靈靈壹– 場景裝置》、


ZHANG XU zhan (Mores Zhan)

Hsin Hsin Paper Sculpture Home – Zhang Xu Zhan’s Stomach Animation Series

The Chinese title “Paper Sculpture Zhan” is the artist’s childhood nickname. Hsin Hsin Paper Sculpture Home – Zhang Xu Zhan’s Stomach is an ambitious creative stop-motion animation series that will span over several years, centering around the artist’s paper home office; it is called “Hsin Hsin Paper Sculpture Home,” which is a traditional pasted-paper sculpture shop with over one hundred years of history, where memory and experience of life and time interweave. In the creative project, the artist will make a number of sets by hand for filming of animated videos. The production of each “set” is based on a location in and experience of the house, as well as the corresponding relations between the “real place” and people and paper puppets; for instance, Soul01 (the childhood room where the artist shared a bunk bed with paper puppets), and Soul03 (paper sculptures of Golden Boy and Jade Girl hung upside down). Also, the artist creates all kinds of unique videos and animation installations by converting materials of paper sculpture into material media of the videos, as he plans to divide the house into ten spatial installations, which will be assembled in the end, becoming the new “Hsin Hsin Paper Sculpture Shop.”

“Scene Animation” recalls images through reflection of memory; some respond to the sense of loss, some respond to changing beliefs, and some to the dilemma between traditions and modernity, the desolation of lost culture and traces of life, the unique lifestyles as results of progress of time, or even people’s imagination of future and projection and displacement for the unknown world. The contemporary implications overlapped with the experience of survival are thus forged into a quasi-autobiography incorporated in the series of animated videos.


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