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  • 03月21日张鼎黑色物质开幕式邀请函








    CuratorLise LI

    Duration: March 21, 2015 – June 21, 2015

    Venue: Glaze Gallery, Shanghai Museum of Glass

    Organizer: Glaze Gallery

    Co-Organizer: Shanghai Museum of Glass / ShanghART Gallery

    Exhibition Planning and Graphic Design: COORDINATION ASIA Ltd.



    Zhang Ding’s installation art piece usually centers on the strength of sense and will, through which to construct the antagonist scenes. Whether it is wood, foaming agent or steel, the utilization of the materials of the installation acts as the core for artists to control the objectification. In this artistic project cooperated by Shanghai Museum of Glass with Zhang Ding, glass is utilized as the core material. The artwork is based on the black glass ball, which hinders the visibility inside, in three ways, and achieves the spatial balance point accredited by artists. The glass is fragile yet hard, transparent yet compact, and hot yet cold in its physical characteristics. And the artist tries to use the most basic way to make use of the primitive property of the material. Black acts as a major property here, for the black blocks the visibility inside, which stirs up the audience interest to dig out what’s inside. In this way, an air of mystery can be formed between the audience and artwork and seems ready to be set off at a touch.

    关于艺术家 ABOUT ARTIST



    近期项目及展览包括:银川双年展—图像, 超光速, 银川当代美术馆, 银川(2016);张鼎:风卷残云, RAM HIGHLIGHT 2016, 上海外滩美术馆,上海(2016);张鼎:龙争虎斗, ICA伦敦, 英国 (2015);张鼎:一场演出, 香格纳北京, 北京,(2014);轨迹:张鼎个人项目, 纽约军械库艺博会聚焦单元, 纽约, 美国(2014);黄金白银, 张鼎个展, KRINZINGER画廊, 维也纳, 奥地利(2013);第12届里昂双年展, 里昂, 法国(2013);透视180-未完成的国家, 中国新影像, 休斯顿当代艺术博物馆, 美国(2012)等。

    Zhang Ding, born in 1980 in Gansu, China, lives and works in Shanghai.

    Zhang Ding’s practice is mainly presented through his solo projects, including videos, installations, paintings and live performances,etc. Starting from Tools (2007), constructing absurd scenes full of contrasts and conflicts that focus on sensory perception and will power became his way of demonstrating and interpreting metaphors of societal references, which may also be seen as a series of deconstructed mise en scenes. The scenic displacement created a psychic displacement whereby we were confronted with our imperfect senses, our ‘fallible omniscience’. In Opening (2011), live performance was brought into his project for the first time, and remained present all the way to Orbit of Rock (2014). In these projects, chemical interaction generated by all the in-between stimulation transformed the sites into environmental sculpture of twisting emotion and atmosphere. In his latest project Enter the Dragon (2015) at ICA London, Zhang Ding experimented further and explored more possibilities in his work by opening up the sole artistic authorship to the public – twenty six musicians of various genres and styles were invited to collaborate at the specific site by making improvisation with each other.

    Recent projects and exhibitions include: Yinchuan Biennale—For an Image, Faster Than Light, MOCA Yinchuan, Yinchuan (2016); ZHANG Ding: Devouring Time, RAM HIGHLIGHT 2016, Rockbund Art Museum, Shanghai (2016); ZHANG Ding: Enter the Dragon, ICA London, UK (2015); ZHANG Ding: Orbit of Rock, ShanghART, Beijing (2014); Orbit: ZHANG Ding Solo Project, The Armory Show, Focus Section, New York, U.S.A. (2014); Gold & Silver, ZHANG Ding Solo Exhibition, Galerie Krinzinger, Wien, Austria (2013); Meanwhile… Suddenly, and Then, the Biennale of Lyon, Lyon, France (2013); Perspectives 180 – Unfinished Country: New Video from China, The Contemporary Art Museum in Houston, U.S.A. (2012) etc.







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