從物質(zhì)到生命
展期：2月14-20日
地點(diǎn)：2號(hào)館一層
在絕大多數(shù)的當(dāng)代藝術(shù)家通過(guò)各種途徑來(lái)表現(xiàn)面部特征的時(shí)候，鄭鉉卻專注于形體的塑造，源源不斷地開(kāi)發(fā)出重要的人體藝術(shù)形式。他從物理存在的實(shí)體、創(chuàng)作過(guò)程的偶然性中發(fā)掘靈感，例如零碎中的新鮮、生肉中生命的力量、神秘的圖片、原始的唐突與暴力等等。像鐵路軌枕、未加工的石頭、煤焦油等這些與傳統(tǒng)雕塑材料相去甚遠(yuǎn)的物質(zhì)，在他看來(lái)都是文明的遺跡。他通過(guò)“把玩”而不是“抵觸”，從而最大限度地發(fā)揮材料的豐富性，通過(guò)簡(jiǎn)化人體形式并賦予材料特殊意義，來(lái)再現(xiàn)人的內(nèi)在真實(shí)。
From Material to Life
Duration: 14th – 20th February
Venue: 1st floor exhibition hall of Building 1
Chung has mainly focused on the human body. Although most contemporary artists have experimented by making various attempts to express facial features, he has constantly explored the significance of art form through the human body. He discovers power from fortuity in the course of creation and in the physical substantiality of the pieces, such as freshness discovered in the trivial, power of life exuded from the raw, unpredictable images, abruptness and primitive violence, etc. For him, rubbish represents the remnants of civilization, such as railroad ties, unprocessed stones and things that are distant from the traditional materials of sculpture. In his work, he brings out the importance of materials by saying that he ‘plays with the materials, rather than fighting against them', using the properties of the materials as much as possible. He brings out the inside reality of a human through simplifying the form of the human body and giving the material special significance.
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