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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

www.mores-zhan.com

《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.


《自卑的蝙蝠──張徐展個展》
為張徐展首次個展,並完整展示張徐展擅以動畫融合錄像裝置、擴延電影等手法的投映式大型動畫空間裝置,以及展示動畫影像與其生產過程的關係物件,包含數件手繪動畫的原作手稿、定格偶動畫的場景裝置、定格動畫的紙偶與旋轉機械裝置等,將動畫與之生產過程作為一種造型藝術的展示對話。

張徐展首次個展,展區分為A區與B區,共兩區,
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,
偶動畫裡面藉以家中滯銷吊掛、等待火化而吊掛於屋中的各式靈件形象,用捏塑神獸的報紙材料,重新塑造了各種無金光華皮徒留赤裸皮膚的走獸,有象無形,時間的切片讓紙偶們藉以堆疊活動,成了一個個借屍還魂的影像雕塑,新作《自卑的蝙蝠》則在空間中投射四面倒吊而掛的紙紮娃娃,如被生存榨壓而凌遲掙扎的寂寞刑罰,縈繞置中擺盪的鏡面與原地翱翔的骷鳥,是面對生命中逝去狗狗的眷留,亦是對於家族文化生存困頓而悲頌的黑色童話。


A區:
《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》、
《房間的小花》-塑膠紙偶小花等紙偶雕塑、
靈靈參《自卑的蝙蝠》、《塑膠吊掛-(群聚)》

B區:
《陰極射線管的神祕儀式》
《凝存的幽魂》
《影像日誌01、02、03》lov.1-lov.18


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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