图像生产价值，艺术家生产图像。而今，图像已是两者之间的褶皱、中介或几近多余的步骤。当艺术家意欲实现其价值——不论文化价值、经济价值，还是别的什么——自不必假惺惺地清点符号银行里的古董资产监守自盗，他应成为铸造新图像的艺术师，直接预支它们。而图像价值被预支的过程，也是图像被暴露、被他者化、被重新编码的过程，意义便从其与艺术家和艺术家意欲实现的价值中重新展褶出来。
《无限随机》Ash Zing
在字面意思上，重新展褶是Ash Zing本次展览的主题：他团结一张白色信纸，再展开，并记下褶皱的结构，接着尝试以相同手势重复上一操作，直到记录褶痕的账本完全变黑，最后作为艺术家劳动时间的等价物兑换经济价值。在这类皱褶与展褶的游戏里，一张信纸承载的可能意义以时空序列从黑白两级间展开，形成了一个区块链式的可溯空间。它是网络化协作的图示、捕食的黏菌、交通路线图、知识图谱、星丛、巴洛克幕帘、神经网络、褶皱的类型学摄影……也可以是某个可能世界的人力印钞机绘制的具有唯一性的货币，以及一个故事的起点。而这个故事的开头总是我们的主人公团结了一张信纸并丢弃这种商业电影中常用的模式桥段：引起叙事转折的关键信息和秘密，或故事前半段的高潮，乃至主人公的潜意识，都通过这张白纸道具归为褶皱。
《无限随机：熵》Ash Zing
《MEME GOD》Ash Zing
对本次展览而言，白纸作为艺术基材的符号价值突然应历史事件的影响而异轨。但这并不坏事。因为，白纸的价值成功地在艺术层面得到重新验证。以至于静观一个纸团的行为不再那么难以理解，而新的故事、被遮蔽的故事将更好地浮现。而操蛇的山神或维吉尔也向我们指明，在生命的中点，已无直路可走。
Images make value, artists make images. But now, image is already a fold, an intermediary or a quasi-superfluous step between the two parts. When artist intends to realize value - whether it is cultural, economic, or anything else - he/she does not have to pretend like an embezzler to count the antique assets of the Symbol Bank; he/she should be an art-mancer who casts new images and advances them directly. The process by which image value is presupposed is also the process by which image is exposed, othered, and recoded, and the meaning is re-unfolded from its relation with artists and the value which artists intend to realize.
Literally, re-unfolding is the theme of Ash Zing's exhibition: he joins forces on a piece of white letter paper, unfolds it again and notes folds' structure, then tries to repeat the previous operation with a quasi-gesture until the ledger recording the folds turns all black, and finally, they exchange economic value as the equivalent of the artist's labor time. In such game of folding and unfolding, the possible meaning carried by letter paper unfolds from the black and white poles in a spatio-temporal sequence, forming a blockchain-like traceable space.
It is a diagram of networked collaboration, a predatory slime fungus, a road map of traffic, a knowledge map, a star cluster, a baroque curtain, a neural network, a typological photo of folds ... or it can be one kind of currency with uniqueness drawn by a human money printer of some possible world, and the beginning of a story. And this story always begins with our protagonist jointed forces on a piece of letter paper and discarded, a model bridge commonly used in commercial movies: the key messages and secrets that cause a narrative twist, or the climax of the first half of the story, or even the protagonist's subconscious, are relegated to the fold through this blank paper prop.
As in this exhibition, the symbolic value of blank paper as an artistic substrate is suddenly heterogeneous in response to the influence of historical narrative. But it doesn't matter, for the value of blank paper is successfully revalidated on artistic field. So that the act of gazing a paper ball in silence is no longer so difficult to understand, and new stories, obscured stories, will emerge better. And Virgil or the God of Mountain, who manipulates the serpent, shows us that at the midpoint of life there is no longer a straight path to follow.
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毕业于⽣物科学专业，分⼦⽣物学⽅向研究。之后从事过⾃由撰稿⼈，经纪⼈，⾮遗扶贫项⽬主管，汽⻋修理⼯⼈，摄影师，酒店前台，制衣厂压熨工人。现作为⼀个普通的艺术家⽣活在蒙特利尔和上海。
Ash Zing作品的⾃我指涉性在他的观念实践中得以照会。“元”这个词缀本身意味着“⾃我指涉”，⽆论是“元 诗”、“元⼩说”还是“元绘画”， 都指向着对媒介内在机制的溯源。⽽Ash Zing⽤他的⾏为、绘画与装置作品 建构了⼀种有关“元图像”的⽅法论，通过重复、增殖、刺穿乃⾄消灭图像来解蔽图像的⽣产机制。⽆论是 他的“思辨 性绘画”，还是其具有否定性⼒量的装置和⾏为作品，他始终深深迷恋于⼀种内在的、递归的观 念逻辑，在虚实、有⽆的源始性概念之间来回波动。
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Solo Exhibitions
部分个展
2021
I, Ash Zing, Simulacra Studio, Beijing, China
我, Ash Zing，拟像空间，北京，中国
2018
Within Our Capabilities, Yell Space, Shanghai, China
量⼒⽽为，要空间，上海，中国
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Group Exhibitions
部分群展
2021
Picnic Art Festival，TANK Shanghai, shanghai ,China
野餐艺术节，油罐艺术中心，上海，中国
2020
Evolution, Enjoy Art Museum, Beijing, China
天演，悦美术馆，北京，中国
2019
2141, Rongyi Art Museum, Shanghai, China
2141，榕异美术馆，上海，中国
2018
The Awkward, ShanghART Gallery, Shanghai, China
尴尬，⾹格纳画廊，上海，中国
2017
Exhibition for Nominated Young Artists in Asia, Water Cube/SYATRT Gallery, Beijing, China
亚洲⻘年艺术家提名展，⽔⽴⽅/宋洋美术馆，北京，中国
X－Visual Field Contemporary Art Project, Tiantai Museum, Qingdao, China
另视界当代艺术计划，天泰美术馆，⻘岛，中国
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策展人、批评人、资深意大利语法语翻译、艺术史科普作者，罗马美术学院荣誉硕士，曾任职意大利版画收藏机构Marino Culture Project、英国艺术品电商Wallector.com中国区监事，现居上海。协助引进多场大型展览，《裸体的蒙娜丽莎特展》、《戈雅的战争与奇想版画特展》、《毕加索：斗牛版画特展》；在国内独立策划的主要大型展览包括武汉K11沉浸式艺术大展《全景未来》、上海金臣·亦飞鸣美术馆的《掷标枪的人：青年陈逸飞》大展（获2021年上海市优秀美术馆展览项目称号）、普麟元M50空间《视锥深处：元宇宙超感艺术展》等。
