100x140cm 5+1ap
100x70cm 8+2ap
100x140cm 5+1ap
100x70cm 8+2ap
100x140cm 5+1ap
100x70cm 8+2ap
100x140cm 5+1ap
100x70cm 8+2ap
艺术简历
张巍，1977生于陕西省商洛，毕业于西安美术学院、北京电影学院，目前生活和工作于北京/纽约。曾获得2019中国金熊猫杰出摄影艺术家奖，2016英国保诚亚洲当代艺术奖提名，2013色影无忌中国年度新锐摄影师大奖，同年入选中国摄影年度排行榜，2011获得TOP20·中国当代摄影新锐奖，2010获得 Global Times2010国际风尚年度新锐艺术家大奖，2009获得亚洲主权艺术奖提名奖，同年获得丽水国际摄影大奖。
个人展览：
“Artificial Theater”，ART & PUBLIC+日内瓦摄影中心（瑞士，2015）；
“临时演员”，第六届连州国际摄影年展（连州，2010）
部分展览：
“暗室DARKROOM”，芝加哥当代摄影博物馆（美国芝加哥，2019）；
巴黎摄影博览会，大皇宫（法国巴黎，2018）；
“亚洲的亚洲”，韩国庆南美术馆（韩国昌原，2019）；
“刷屏/劳作：AMNUA摄影展”, 南京艺术学院美术馆（南京，2018）；
“脸书”，昊美术馆（温州，2014）；
“风向”，莫斯科现代艺术博物馆（俄罗斯莫斯科，2012）；
“颗粒到像素”，澳大利亚莫纳什美术馆（澳大利亚，2016），上海摄影中心（上海，2015）；
AIPAD国际摄影展，军械库（美国纽约，2015）；
“复制之外，中德摄影巡展”，雅昌艺术中心（深圳，2019），三亚当代美术馆（海南，2018），重庆星汇当代美术馆（重庆，2018），德国汉诺威美术馆（德国，2017），北京白盒子美术馆（北京，2017）；
ACC亚洲当代艺术展，韩国光州国立亚洲文化殿堂（韩国光州，2017）；
“英雄本色”，首尔284艺术节（韩国首尔，2016）；
“长江国际影像双年展”，重庆长江当代美术馆（重庆，2015）；
“个体政治，AIA亚洲独立艺术展”，金海美术馆（韩国釜山，2014）；
韩国平昌国际当代艺术双年展；
釜山国际当代艺术展；
韩国大邱国际摄影双年展；
艺术巴黎博览会；
连州国际摄影年展；
三影堂首届实验影像展；
北京国际摄影双年展；
土耳其伊斯坦布交流展；
55届威尼斯双年展平行展；
德国鲁尔双年展；
广州国际摄影双年展等。
公共收藏：
美国芝加哥当代摄影博物馆、美国科恩家族艺术基金会、中央美院美术馆、上海龙美术馆、上海摄影中心、上海昊美术馆、广东美术馆、 丽水摄影博物馆、谷仓当代影像馆。
作品曾被纽约时报，纽约中文电视，多伦多星报，瑞士时报，德国明镜周刊，美国WIRED，法国电视新闻，法国解放报，德国Der Greif杂志等重要媒体报道。
Zhang Wei, born in Shangluo, Shaanxi, China in 1977, currently lives and works in Beijing. He has been awarded the Outstanding Photographer in 2019 Golden Panda Photography Awards, 2016 Prudential Eye Awards Contemporary Asian Art nomination, won the prize of Xitek 2013 New Photo Award of China and in the same year was selected in the Photography Annual Rankings. In 2011, he won the prize of the Top 20 of Chinese Cutting-edge Contemporary Photography Awards. In 2010, won the prize of The Global Times 2010 Artists Award Of The Year. In 2009, he was nominated for the Sovereign Asian Art Prize and in the same year won the prize of Lishui Photography Festival Award.
Solo Exhibitions:
"Artificial Theater", Art & Public Cabinet PH, Geneva Switzerland and Centre de la Photographie (Switzerland, 2015),
"Temporary Performers", the 6th Lianzhou International Photo Festival (Lianzhou, China, 2010).
Group Exhibitions:
The Photography Show Presented By AIPAD，New York, MOCP Museum of Contemporary photography (Chicago, 2019).
"Paris Photo" (Paris, France, 2018).
"Asia in Asia – close by far away drums" Gyeongnam Provincial Museum of Art (Korea, 2019).
"Screen Refreshing/Labor" Art Busan,
Jinhai Art Museum (Korea, 2014),
Staging Encounters-Lianzhou Photo Festival,
Three Shadows Photography Art Centre First Experimental Image Exhibition,
Beijing International Photography Biennale,
Turkey Istanbul Exchange Exhibition,
The 55th Venice Biennale Exhibition In Parallel,
The German Ruhr Biennale,
Guangzhou International Photography Biennale,
The Moscow Museum of modern art Chinese artists exhibition.
Public Collection：
His works were collected by MOCP Museum of Contemporary photography，The Joseph M. Cohen Family Collection, Guangdong Museum of Art，GuCang Center of Contemporary Photography，Shanghai Center of Photography，Lishui Photography Museum，How Museum，Long Museums etc.
Also, his works were reported by Le Temps, Spiegel.de, The New York Times, WIRED, and "francetvinfo" and some other main medias all over the world.
关于戏剧的情结来源于我的家庭。我居住的剧团大院充斥着各类扮演与观看，剧团生活丰富了我对古今中外各类角色的认知。 可伴随着时代的变革，戏曲在悄悄地进行着变化——逐渐在传统的、地方的、民俗的文化艺术中引入流行、时尚以及外来的内 容，相互交杂糅合，呈现出一种混杂、荒诞和无序的快餐审美。这种审美触及到了文化的底线及我的体验边缘，却使我产生了 对它探究的兴趣。这样的改变不仅仅发生在剧团，它发生在这个时代的任何角落，理清这种变化是我在创作《人工剧团》这组 作品之初的目的。
对于创作方式来说还要追溯到2007年，当时我完成了作品《临时演员》(Temporary Performers)的创作，期间收集拍摄了 300多个中国普通人的面孔。2008年，我遇到一款日本的电脑游戏《人工少女3》，是一款由ILLUSION开发的3D-18禁恋爱养 成游戏。这个两年的创作经历让我萌生了一个想法——创造一个虚拟的人？甚至是一个世界。
现实生活中，渴望成功的人往往因为不能如愿而失意，虚拟的网络游戏，却能带给处于游戏身份中的人们一种成功的感受。整 个游戏都是从“人”这个基本的身份开始，由你为他设定性别和基本外型，并确定其人格特质。如同网络游戏中对角色的塑造， 我便将《临时演员》的中演员的身份虚拟化，夸张地应用到《人工剧团》的角色当中——创造其神话性一一用标志人物来淡化 人物本来的演员身份，使其“表演”的成分更加荒诞。在表现上，我借用了电脑游戏式的人物虚拟方式，选取一些我喜欢的人 物形象作为演员扮演的对象，将数以百计真实的普通演员的身体局部重新进行拼贴组合，利用每个演员与经典人物形象之间的 微小相似点，包括肤色、头发等细节。通过人工互换，上百位演员原始的真实形象消失不见了，呈现在眼前的是一个崭新的虚 拟肖像。这些家喻户晓的肖像不再是“灵魂或精神”的载体，而是变成了具象的图式，有种物化的变异之感。
整个过程虽然是一种假设，但却是一种精神上的真实体验。我还试图通过这种被篡改和处理后的冷面告诫人们，其实每一个人 在社会中都在扮演着各自的角色，但终归都是表面的、临时的，甚至可能无意义的。我对这些虚拟构建的形象没有确切意识形 态的评价，因为它或许是延异的一种方式。身体，作为灵魂的载体，一举一动，联系着内外世界，表象在《人工剧团》这组作 品中被我打散、聚合，探究真相怕也只能是岩壁上的虚影而已。
My theater complex came from my home. I live in a theater's courtyard filled with playing and watching. The theater life enriched my knowledge about various roles at all times and in all countries. Time was changing the opera gradually. The pop, fashion and foreign elements were added into the traditional, local and folk culture and art, showing a hybrid, absurd and disordered fast-food aesthetic. This aesthetic touched the cultural bottom line and my experience edge, but I wanted to explore it.
Such a change occurs not only in the theater, but in every corner of the times. In the beginning of creating Artificial Theater my objective was to clarify this change.
Talking about how to create the series I must go back to 2007, when I finished the series Temporary Performers. During the creation, I collected more than 300 ordinary Chinese faces. In 2008, I met a Japanese computer game "Artificial Girl 3", which was a 3D 18X love game created by ILLUSION. The experiences in the two years brought me an idea, creating a virtual person, even a world.
In real life, people who are eager for success often get frustrated by the failures, however, the virtual network game can bring players through identities a successful experience. The game starts from a basic identity "people", for whom you can set the gender, the general shape, and the personality. Likewise, I virtualized the identities in Temporary Performers and used them in an exaggerated way to create myth-like roles for the new series. By diluting the performers' original identities I made their performances more absurd. Borrowing the virtualizing method in computer game, I selected my favorite figures for the performers to play. I assembled and collaged the parts of the real ordinary performers' bodies, using the tiny similarities between them and classical figures, including the skin, hair and other details. Through artificial exchange, hundreds of performers' original true images disappeared, showing new virtual portraits. Not as carriers of "soul or spirit"any more, these portraits known by everybody became figurative schemata, feeling like materialized variations.
The whole process is a hypothesis, but for spirit it's a real experience. I also try to warn the people, through these cold faces after tampering and processing, that in fact, everybody in the society is playing his role, but this playing is superficial, temporary, or even meaningless. I won't judge these virtual images ideologically, because they may present a way of differance. The body, as the carrier of soul, is linking the inside and outside world by every act and every move. The presentation in Artificial Theater has been broken and combined again, and if you want to explore the truth, you may only find shadows on the rock.