2008年10月20日

　　莫愁——邱志杰近作

　　展覽時(shí)間：2008年10月25日至12月6日

　　開(kāi)幕式：2008年10月25日，下午3-5點(diǎn)

　　北京前波畫廊很榮幸地宣布邱志杰的展覽《莫愁》將于2008年10月25日開(kāi)幕，這是繼2006年紐約前波畫廊《時(shí)間的形狀》展覽之后邱志杰在前波畫廊的第二次個(gè)展。本次展覽的現(xiàn)場(chǎng)裝置以及一系列最新創(chuàng)作的木刻、紙本水墨延續(xù)了藝術(shù)家進(jìn)行中的對(duì)南京（尤其是南京長(zhǎng)江大橋）的研究計(jì)劃。

　　近年來(lái)，邱志杰關(guān)注的項(xiàng)目都需要高密度的考察、取證，并制作跨媒介的作品。從他參加的初期的長(zhǎng)征計(jì)劃開(kāi)始，到他追尋印度著名探險(xiǎn)家Nain Singh足跡的漫長(zhǎng)的拉薩-加德滿都之行，以及目前他對(duì)南京這座城市的深入探索，邱志杰開(kāi)始著手于更宏大的文化之旅，從中調(diào)查同今日生活緊密相關(guān)的中國(guó)歷史文化的諸多方面。迄今為止其最為宏大的是《南京長(zhǎng)江大橋自殺現(xiàn)象干預(yù)計(jì)劃》——一個(gè)涉足文獻(xiàn)、調(diào)研與社會(huì)活動(dòng)的項(xiàng)目（在此案例里，他同一支自殺干預(yù)小組合作），以多種媒體創(chuàng)作藝術(shù)作品。《莫愁》亦是邱志杰總體藝術(shù)創(chuàng)作的一部分，雖然表達(dá)上較為含蓄。

　　邱志杰同南京的關(guān)系始于2005年，當(dāng)時(shí)他策劃了《未來(lái)考古學(xué)——第二屆南京三年展》。2007年的半年里，他開(kāi)始關(guān)注南京長(zhǎng)江大橋，尤其是這雄偉的符號(hào)與當(dāng)?shù)馗甙l(fā)的自殺率之間的關(guān)系。其調(diào)研和文獻(xiàn)最終孕育了大范圍的藝術(shù)創(chuàng)作，包括在新加坡泰勒版畫學(xué)院創(chuàng)作的一批限量版的版畫和單件的紙本作品以及包括《莫愁》在內(nèi)的現(xiàn)場(chǎng)裝置。

　　此次北京前波畫廊的裝置緣出一件石板畫，其基于莫愁湖的傳說(shuō)——清代一名貧窮的姑娘賣身葬父的故事。婚姻的不幸使之投湖自盡，而今日作為的南京旅游名勝的這座湖也因此得名。

　　邱志杰本次裝置的核心是一件碩大的、晶體形狀的抽象雕塑。雕塑本是一座太湖石，而其自然原生的形態(tài)盡被藝術(shù)家切割而去。切下的石塊被置于畫廊墻面。盲人可經(jīng)由周圍的盲道摸索這些石塊從而感知這個(gè)展覽，另一邊有噴泉落于此雕塑，以期用流水使之蛻變回一塊太湖石。同時(shí)展出的還有一批木刻和紙本水墨，作為邱志杰作品里神秘、縈繞不散的意象的進(jìn)一步的變體。通過(guò)對(duì)長(zhǎng)江大橋——這座崛起的中國(guó)的象征以及如莫愁湖這樣典故的關(guān)注，邱志杰探索著時(shí)間、記憶、命運(yùn)等主題，此乃其創(chuàng)作的核心所在，無(wú)論他的興趣在于何種媒介。

　　October 20, 2008

　　Mochou

　　Recent Works by Qiu Zhijie

　　October 25 through December 6, 2008

　　Opening reception: Saturday, October 25, 3-5pm

　　Chambers Fine Art Beijing is pleased to announce the opening on October 25, 2008 of Mochou by Qiu Zhijie, his second exhibition at the gallery following The Shape of Time: Light Calli-photography by Qiu Zhijie at Chambers Fine Art New York in 2006. The installation and a new series of woodcuts and ink drawings on paper are associated with the artist’s ongoing investigation of the history of Nanjing and in particular the Nanjing Yangtze River Bridge, inaugurated in 1968 and regarded as a great triumph of Chinese power and resourcefulness.

　　In recent years Qiu Zhijie has been focusing on projects that require extensive travel and documentation in association with the production of works of art in a variety of media. Beginning with his association with the first phase of the Long March Project, continuing with his epic journey from Lhasa to Khatmandu in the footsteps of Nain Singh and now with his deep involvement with the city of Nanjing, Qiu Zhijie has embarked on an ambitious cultural voyage, investigating aspects of Chinese history and culture as they impinge on life today. Most ambitious by far is A Suicidology of the Nanjing Yangtze River Bridge, the title for an ongoing project involving documentation, research and social activism (in this case, working with a suicide-prevention squad) in association with the production of works of art in many media. Mochou is affiliated with Qiu Zhijie’s gesamtkunstwerk though in an indirect way.

　　His association with Nanjing began in 2005 when he curated Archaeology of the Future, the second Nanjing Triennial. From the second half of 2007, he began to focus on the Nanjing Yangtze River Bridge and in particular the relationship between this potent symbol and the high rate of suicides that occur there. Research and documentation led to a wide range of artistic productions, including a group of editioned prints and unique works on paper made at Singapore Tyler Print Institute and independent installations such as Mochou.

　　Related to one of the lithographs, the installation at Chambers Fine Art Beijing is based on the legend of Mochou, a young girl who lived in the Qin Dynasty, who was so poor that she had to sell herself to pay for her father’s funeral. Deeply unhappy in her marriage, she committed suicide in the lake that now bears her name and is one of the most popular tourist destinations in Nanjing.

　　The central feature of Qiu Zhijie’s installation is a large, crystalline abstract sculpture, originally a scholar’s rock from which all the naturally formed projections have been sliced off. These are attached to the wall of the gallery. A path for the blind enables the visually impaired to touch the rocks and feel their way around the gallery while a stream of water trickles down the abstract sculpture, beginning the process that will eventually return it to its original form as a scholar’s rock. Accompanying the installation is a new series of woodcuts and ink drawings on paper, further variations on Qiu Zhijie’s haunting and mysterious imagery. By focusing on the bridge which is such a potent symbol of China’s emerging power and related themes from China’s past such as Mochou, Qiu Zhijie explores themes such as time, memory and destiny, issues that have always been central to his interests in whatever medium he worked.