马刺画廊荣幸推出艺术家计洲个展“草弄乱了天上的星”，于2024年10月12日在Gallery I呈现艺术家全新创作的摄影作品。此次展出的新系列作品以燃烧后的花草灰烬为拍摄对象，是一次对生命状态的深刻观察。
展览中，色彩化归为黑白灰，让所有的细节表现触及事物本质。计洲将植物和花卉燃烧后化成的不同深浅的灰烬一层层地洒在一个平台上，在这个过程中植物叶片留下痕迹——这些植物与其个人生命经验紧密相关。而从上到下的垂直拍摄视角，更加真切地记录下无数微尘汇聚相融、互相遮盖的痕迹。这些作品呈现在展览中，当观众步入展厅时，它们如与空间连成一体的一个个色块，走近时，无数的层次和细节才会逐渐显现出来。随着进一步的靠近，图像再次变得模糊，似乎又回到了最初的抽象状态。这种视觉与图像变换上的隐喻指向人类与生命之间的关系：尽管生命伴随我们始终，但它却总是让人感到既熟悉又陌生。
早在十几年前，计洲就曾在创作中使用灰尘进行创作，此次展览“草弄乱了天上的星”引入花草燃烧后的灰烬，延续了他在2021年个展“忍冬”后对生命力以及生与死的思考。人生白驹过隙，美好而短暂如花的盛开与凋谢；天空中的星星虽然遥远，却始终指引着地球上的万物。个体生命虽然短暂却依然能够在浩瀚的时间长河中留下印记，正如那无住的灰尘成为了定格画面，弄乱天上的星。
展览将持续展出至2024年11月17日。
SPURS Gallery proudly presents “Stars Scattered by the Greens,” the solo exhibition of Ji Zhou at Gallery I on October 12, 2024, featuring the artist’s latest photography works. A profound observation of the state of life, this body of new works uses the ashes of burnt flowers and plants as the subject.
In the exhibition, all colors are reduced to black, white, and grey, allowing the displayed details to touch the essence of everything. Ji layers shades of ashes, each from burning different plants and flowers, onto a platform. Imprints of leaves are left in the process — from plants closely related to his personal life. The use of the bird’s eye shot showing a top-down perspective, truthfully records the traces of innumerable particles of dust as they converge, merge, and cover up each other. When viewers enter the gallery, all of Ji’s work will appear as if they were color blocks inserted seamlessly into the space. When viewers approach closer, incalculable layers and details gradually emerge. Yet, when they get up too close, the images blur again and seemingly return to their original abstract state. This visual and imagery transformation is a metaphor that points to the relationship between human beings and life cycle itself: life is always with us, yet it always feels familiar and strange at the same time.
Ji has, in fact, already used dust in his art over a decade ago. The exhibition, “Stars Scattered by the Greens,” introduces the ashes of burnt flowers and plants, continuing his thoughts on vitality and the relationship between life and death after his solo exhibition, “Metempsychosis,” in 2021. Just like the blossoming and withering of a flower, life is fleeting, beautiful, and transient; stars up in the sky, no matter how distant, always guide everything on earth. Though individual life is transient, it can still leave a mark in the vastness of time, just like the non-abiding dust will become freeze frames, scattering the stars in the sky.
The exhibition will remain on view until November 17, 2024.
计洲，《草弄乱了天上的星·梦》，2024，艺术微喷，155 × 150 cm，158 × 153 cm（带框）｜Ji Zhou, Stars Scattered by the Greens — Reverie That I Long For, 2024, giclee print, 155 × 150 cm, 158 × 153 cm (framed)
计洲，1970年出生于北京，自幼学习绘画。身处在高新技术推动不断演变却也渐趋混沌的时代，结束了中央美术学院版画系以及法国巴黎索尔邦第一大学的学业，他最终选择以摄影做为其作品的主要呈现方式，创作了《工地》,《尘》,《地图》,《模形》,《真实幻像》,《忍冬》等等诸多系列摄影作品。他认为摄影能够准确表达他对当代社会的感受,特别是围绕真实与虚构等二元概念之间关系的沉思。他将清醒的意识注入到无限庞大的视觉符码之中，努力去触碰世界的真相与生命的本质。
计洲的作品一直在全世界各地展出。近期个展包括：“草弄乱了天上的星”，马刺画廊，北京（2024）；“共生”，奕来画廊，纽约（2022）；“忍冬”，马刺画廊，北京（2021）；“虚构”，博而励画廊，北京（2019）；“Spectacle”，SU画廊，首尔（2019）；“真实幻像”，凯尚画廊，纽约（2017）；“模”，SU画廊，首尔（2017）；“文明的景观”，凯尚画廊，纽约（2015）；“计洲”，和维画廊，杭州（2014）；“景·物”，当代唐人艺术中心，北京（2013）；“虚幻现实”，A2Z画廊，巴黎（2012）；“尘迹”，当代唐人艺术中心，北京（2011）；“现实想像与想像现实”，五楼艺术空间，广州（2011）；“在场”，尤伦斯当代艺术中心，北京（2008）。近期群展包括：“制图学的想象”，绝版影像馆，新竹（2024）；“The texture of promises”，Kutxa Kultur Artegunea，圣塞瓦斯蒂安（2022）；“巴黎实验摄影节”，巴黎（2020）；“CLEAN”，马刺画廊，北京（2020）；“不期而至”，第十五届连州国际摄影年展，连州（2019）；“中国艺术中的建筑表现”，一千博物馆，迈阿密（2019）；“混合的公共性与私密性”，第三届北京国际摄影双年展，北京（2018）；首届北镇国际摄影大展，北镇（2018）；“负相 叠影”，广州影像三年展，广州（2017）；“想象的边界”，Boghossian基金会艺术中心，布鲁塞尔（2017）。
Ji Zhou (b. 1970, Beijing, China) started to learn drawing and painting at an early age. Having graduated from the printmaking department at the Central Academy of Fine Arts in Beijing and received an MFA from the Paris 1 Panthéon-Sorbonne University, Ji eventually decided to devote himself to the medium of photography in an era of constant evolution and chaos driven by high technology. He is known for his many series, including Dust, The Map, Maquette, Real Illusion, and Metempsychosis. He believes that photography can most accurately express his feelings about contemporary society, especially his contemplation around the duality of its nature, the real and the fictional. He dedicates his conscious mind to the vast and endless ocean of visual codes, endeavoring to touch the truth of the world and the essence of life.
Ji’s work has been exhibited around the world. Recent solo exhibitions include “Stars Scattered by the Greens,” SPURS Gallery, Beijing (2024); “Symbiosis,” Eli Klein Gallery, New York (2022); “Metempsychosis,” SPURS Gallery, Beijing (2021); “Fiction,” Boers-Li Gallery, Beijing (2019); “Spectacle,” Gallery SU, Seoul (2019); “Real Illusion,” Klein Sun Gallery, New York (2017); “Form,” Gallery SU, Seoul (2017); “Civilized Landscape,” Klein Sun Gallery, New York (2015); “Ji Zhou,” HdM Gallery, Hangzhou (2014); “Objectified Spectacle,” Tang Contemporary Art Center, Beijing (2013); “Realite Illusoire,” A2Z Art Gallery, Paris (2012); “Ashes of Time,” Tang Contemporary Art Center, Beijing (2011); “The Imagination of Reality & The Reality of Imagination,” 5 Art, Guangzhou (2011); “In Situ,” Ullens Centre for Contemporary Art, Beijing (2008). Recent group exhibitions include “Cartographic Imagined,”UP Gallery, Hsinchu (2024); “The texture of promises,” Kutxa Kultur Artegunea, San Sebastian (2022); “Paris Experiences Photo,” Paris (2020); “CLEAN,” SPURS Gallery, Beijing (2020); “A chance for the Unpredictable,” the 15th Lianzhou International Photo Festival, Lianzhou (2019); “Architectural Representation in Chinese Art,” One Thousand Museum, Miami (2019); “Troubled Intentions Ahead: Confusing Public and Private,” the 3rd Beijing Photo Biennial, Beijing (2018); “The 1st Beizhen International Photography Festival,”Beizhen (2018); “Simultaneous Eidos,” Guangzhou Photo Triennial, Guangzhou (2017); “Imaginary Frontiers,” Boghossian Foundation, Brussels (2017).
