将艺术的边界在公共空间中扩展
Expanding the Boundary of Art in the Public Space
文 ╱ 孙国胜
Article/ Sun Guosheng
中国的当代艺术在近几十年经历了丰富的变化与发展，从早期学院盛行的写实风格绘画雕塑，到艺术界开始出现装置、行为艺术，再到近几年的多媒体艺术、公共艺术介入社会生活，艺术变得更为多元。生于上世纪70年代中期的张哲溢，几乎全程经历了这段艺术史的变迁，并凭借他旺盛的创造力以及风格多变的作品成为国内把观念艺术带离美术馆引入公共空间引发人们思考的先行人物之一。在此之前，国内大多数的公共艺术基本仅限于点缀城市自然环境和进行意识形态宣传的城雕（城市雕塑）。
Chinese contemporary art has experienced remarkable changes and development in the past decades. From the early realistic painting and sculpture which prevailed in art institutions, to the emergence of installation and performance art, and onto the multimedia art and public art that socially engaged life in recent years, art forms are increasingly diversified. Born in the middle of 1970’s, Zhang Zheyi has witnessed almost all the changes over this period of art history. With his vigorous creativity and changeable styles, he is one of the pioneers in China to bring concept art out of museums and put it into public spaces to elicit reflection. Prior to this, most public art in China focused on decorating the urban, natural environment and spreading ideological propaganda by way of city sculpture.
2010年前后，张哲溢开始尝试架上绘画之外的其他多种艺术创作形式。2014年他将空白的画布挂在墙上，仅在画布一侧用瘦金体书法（北宋皇帝宋徽宗创立）题上一首五言绝句：“盛夏凝冰气，天生赤玉房。流光冬雾起，唯念碎琼霜。” 将古典诗词用在当代艺术作品上，不能仅仅是徒有一个“虚壳”。在传统文化断裂严重的当代中国，作诗填词已经退出了知识分子的日常生活。能正确按照诗词格律写作的艺术家更是寥寥无几，这首诗记录了一个引人遐想的瞬间。画布下方的地板上放着用一种极其微小的LOZ积木颗粒制作的碎西瓜。乍一眼看去，会让人误以为是画面上的西瓜掉下来砸碎了，场景与题诗相映成趣。这个名为《夏瓜图》的作品以一种新的艺术形式来突破而不是完全取代架上绘画的表现范围，引导观众从视觉到脑内思维的转化，不仅是看和接受，还有感知与提问。西瓜从二维画面掉落到三维的现实空间，也预示着张哲溢的创作从架上平面延伸到装置与公共空间。这件作品在澳大利亚阿德莱德艺术节展览时引起了人群的围观与激烈讨论，在此之前从来没有人使用过LOZ积木颗粒这种非艺术创作用材料来制作纯艺术作品，它的构成手法（塑料颗粒拼接产生的像素化效果）和展现方式（二维与三维共存于一件作品当中）都与旧有的雕塑很不一样，是一种新的“雕塑”方式。
Around 2010, Zhang Zheyi started to experiment with other forms of art creation besides painting. In 2014, he hung blank canvas on the wall and inscribed a five-character quatrain in“the slender gold”style (created by Emperor North Song Huizong) on the side. The poem reads: “The midsummer air is congealed into icy smoke. The watermelon grows full of deep crimson flesh. Time flies and winter fog rises. I still remember the scattered white frost.”Applying Chinese classical poetry to a contemporary work is not just a “empty shell”. In contemporary China, its traditional culture is so fractured that poetry and lyric composition ceased to be the main staple of everyday tasks commonly ascribed to the intelligentsia. Few artists today can write poetry in obedience to the correct rhythm and rhyme. This poem by Zhang has recorded a moment of reverie. Under the canvas on the floor, there are crushed watermelons made of extremely tiny LOZ building blocks. At first glance, we might mistake them as watermelon scraps fallen from the painting. The scene echoes the poem to make it an interesting whole. The work entitled “Summer Watermelon” uses a new artistic form to break, without completely replacing the expressive scope of painting. It leads the audience to transform the visual message to thoughts, beyond seeing and accepting, but to perceiving and questioning. The watermelon falls from the two-dimensional world to the three-dimensional world, which indicates Zhang’s creation has expanded from panel creation to installation and public space. This work received crowd attention and heated discussion while on display at the Adelaide Festival of Art in Australia. No one had used LOZ building blocks to create pure works of art as the blocks are not traditional material one would use in sculpture. Its composition (the pixel effect of plastic particles put together) and way of presentation (combination of 2D and 3D) are different from the conventional idea of sculpture. It is a new way of making “sculpture”.
与老一辈艺术家要么“背负传统重负”要么“急切反叛传统”不同，这些以张哲溢为代表的新一代当代艺术家们更拥有文化自觉，在他们看来中国传统文化的现代化是一件再自然不过的事情。这种文化自觉使张哲溢在现代与传统之间的切换轻松自如。中国美学在作品中的广泛回归，巧妙的新中式诙谐，日常生活材料对人群的亲近感，都体现出艺术家并不仅仅只想对现实进行讽刺与批判，更多的是用他独特的艺术语言展现出来的东方哲学与西方的现代性文化逻辑结合，去解释一些当下观念的迷思。差不多同时期张哲溢还做了几个海浪状LOZ颗粒作品《皮浪Pyrrōn》系列和一块海蓝一块纯白的立方块体作品《海立方》1、2号。《皮浪Pyrrōn》的海浪造型来源于东方古典绘画，方块体则来源于在古代中国封闭的帝制社会夹缝中生存的航海文化里对于“海上良方”的追求。早在他的架上绘画作品中，就时常出现“海”的元素，这些元素为以后大型装置作品《红海》的诞生埋下伏笔。
Unlike the older generation who tasked with either “taking on the burden of tradition” or “eagerly rebelling against tradition”, Zhang Zheyi has represented a higher level of cultural self-awareness of the younger-generation contemporary artists. In their mind, the modernization of Chinese traditional culture is a completely natural course. This cultural self-awareness makes Zhang Zheyi to switch adeptly between modernity and tradition. The return of Chinese aesthetics in the work creation, the clever new Chinese sense of humor, and the intimacy of materials in daily life demonstrate that Zhang not only satirizes and criticizes the reality, but even more, he combines the oriental philosophy inherent in his unique artistic language and the western logic in modern culture, in order to interpret some contemporary myths and concept. About the same time, Zhang Zheyi created several sea wave-shaped works made with LOZ particle, namely “Pyrron” series, “Sea Cube No. 1” and “Sea Cube No. 2”which are made of Cube in sea blue and pure white, respectively. The shape of sea wave in the work “Pyrron” originates from oriental classical paintings. Cube originates from the pursuit of “miracle recipe from the sea” in the maritime culture which survived in the interstices of a closed imperial society. The theme of “sea” appears regularly in his earlier canvases, which later anticipated a large-scale installation “The Red Sea”.
在张哲溢的LOZ积木颗粒作品中还有一件话题性很强的作品《一块切糕》。2012年，中国湖南发生了“16万天价切糕事件”，这个事件起因于民族之间的文化差异以及语言沟通不畅。很多先入为主的观念在这个事件的催化下使得切糕这种食品在大众心理中被符号化，张哲溢认为其符号化来源于民族偏见，而偏见会激化矛盾。在他个人生活中结识的一些新疆朋友，使其见到生长在传统穆斯林家庭中那些通晓道理、纯真善良之人，这个世界从来就不是非黑即白般简单。后来他游历了以色列、约旦，途中遇到的各种族裔的生存状态让他决定要创作这件充满人文关怀的作品。在宗教、种族、意识形态的冲突之下，更重要的是一个个鲜活的个人生命。截至目前所有的当代艺术作品之中，独此一件提及了这个事件，而艺术家将这件作品置于公共空间的互动展览方式也使普通民众得以公开地、理性地参与到族群融合与和平诉求这些话题的讨论中来。无论是2016年的艺术北京博览会现场，还是2017年在德国的展出，这种讨论都是跨民族和跨国界的。
One of Zhang’s works made with LOZ building blocks called “A slice of Xinjiang nut cake” is very topical. In 2012, an incident commonly known as “160k RMB for a slice of Xinjiang nut cake” took place in Hunan province. It is the result of ethnic cultural differences and poor communication. Many preconceptions were catalyzed by this incident, making Xinjiang nut cake a symbol in the public frame of mind. Zhang Zheyi believes that this symbolization stems from ethnic prejudice, which may incite conflicts. The Xinjiang friends he has made in his personal life offered him a window into the traditional Muslim family made up of sensible, innocent and kind people. The world is never as simplistic as black and white. In his travels in Israel and Jordan, he encountered various ethnic groups, whose living conditions inspired him to create a profoundly humanistic work. Behind every clash over religion, race and ideology exists a unique, individual life. Thus far, this is the only piece of contemporary art that comments on this incident. The interactive display in the public space as intended by the artist has invited the general public to discuss ethnic integration and to appeal for peace in an open and rational environment. Whether it is at the Art Beijing 2016, or at the exhibition in Germany in 2017, this discussion has transcended ethnic and national boundaries.
2015年，张哲溢开始组建桌面研究艺术小组。同宋建树、王成普、冀川、朱玉杰这四位中央美术学院雕塑系与公共艺术系背景的当代艺术家们一起创作更为大型的公共艺术项目。2016年，六米多高的充气装置作品《二次元硬》立在了北京东三环全国农业展览馆前的大广场上。全国农业展览馆与人民大会堂、钓鱼台国宾馆并称49年建国后“十大建筑”，建筑风格具有鲜明的时代特色。并且，出于它的社会功能，展览馆非常庄正严肃。与之对比的，《二次元硬》则充满了“75后”审美倾向。“75后”被称为“新一代”，这是对比75年之前出生的老一辈而言。在历史上，1975年是一个分水岭，第二年中国开始迈向一个新格局。“75后”成长在一个相对开放的社会环境，眼界与情感表达都与之前的人大有不同。他们接触到世界上的各种潮流文化，并与之接近，和平使他们可以将注意力放在政治以外的更多领域。《二次元硬》的色彩没有选择常规的具有强烈存在感的黑白红，反而选择了在动漫中经常出现的粉红与粉绿。这种风格本应与农展馆格格不入，但公共艺术的意义是由作品本身与公共空间共同完成的。不严肃的作品放在了严肃的建筑场域内，交流的障碍在此场景中被刻意打破了。你能看到两个世代的巨大差异在一个场景里被提炼出来，让人无法忽视并引发思考。形成反差的还有作品本身的这个中文“硬”字与制作它的材料，坚硬的“硬”字使用了柔软的充气塑料来制作，并且使其直立起来的是这个世界上最柔软最无形的物质——“空气”，软硬相互成就也表达了一种通融的东方哲学。
In 2015, Zhang Zheyi started an art research group. He started working with Song Jianshu, Wang Chengpu, Ji Chuan and Zhu Yujie, contemporary artists with a background in sculpture and public art at CAFA, to create a larger-scale public art project. In 2016, the inflatable installation “The Comic Character - Ying” [l1] more than six meters in height, stood on the main square in front of the National Agricultural Exhibition Center near the East 3rd Ring Road of Beijing. The National Agricultural Exhibition Center, the Great Hall of the People and Diaoyutai State Guesthouse are listed as “Ten Landmark Buildings” after the founding of People’s Republic of China in 1949. The architectural style is of distinct characteristics of the time. For its social function, the design of the exhibition hall is very solemn and serious. Comparatively, the work “The Comic Character - Ying” is full of the “post-1975” aesthetics. The “post 75’s” was called the new generation, compared with those born before 1975. In the history, 1975 is a watershed, and in the next year, China developed to a new structure. The “post 75’s” generation grew up in a relatively open environment. Their vision and emotional expression are different from that of the older generation. They are exposed to various trends from all over the world. A peaceful environment helps them focus on areas outside of politics. The artists didn’t choose the conventional black, white and red for the “The Comic Character - Ying” to emphasize its existence, but instead used pinky red and green that commonly found in anime. This style should have been incompatible with the Agricultural Exhibition Center, but any significance of public art is contextualized by the public space. Unserious works are placed in a serious architectural site. Any communication barrier is deliberately broken in this scenario. One is led to note the stark generational differences revealed in this scenario, making it impossible to ignore but to inspire thoughts. The contradiction is also reflected in the character itself “Ying”, meaning hard, yet it was represented by the soft, inflatable material. It was erected and filled with the softest and intangible matter in the world – “air”. The complementarity of hardness and softness also conveys a holistic oriental philosophy.
在与小组接连完成几件作品的同时，张哲溢将工作重心放在了新的装置作品《红海》之上，它的构思源起于现今中国拆迁与建设的大潮。北京的城市布局与众不同，市中心之外遍布着大片的城乡结合部。既有几朝古都的历史，又有现代化大都市的气象，还有穿插在各个区域间的脏乱乡镇，例如艺术家工作室聚集的环铁、黑桥、草场地、宋庄、顺义等等。近二十年是中国地产急速发展又急速泡沫化的时期，到处都在重建。重型建筑机械掀起的浪潮卷过一片又一片的土地，很多艺术家的工作室也坚持不过三五年就会变成瓦砾。
While completing several works with the research group, Zhang Zheyi focused his effort on a new installation “The Red Sea”. The concept stems from the wave of demolition and construction in China. The urban layout of Beijing is different. Outside the city center there are vast areas of suburban sprawl. It boasts a history of several dynasties, and the atmosphere of a modern metropolitan city. Nevertheless, there are also slums and gritty villages in between, such as the artist communities of Huantie, Heiqiao, Caochangdi, Songzhuang and Shunyi etc. The last 20 years China has witnessed the boom and bust of the real estate market. Reconstruction took place everywhere. Heavy construction machinery swept tracts of the land, and many artist studios would become rubbles in three to five years.
第一版的《红海》使用的是黑桥艺术区工作室拆迁的废砖。黑桥村位于北京市朝阳区崔各庄乡东南部，大环铁路之内。环铁以前是国家铁路实验中心环形试验场，建于1958年，后来荒废了。这些城中村基础设施滞后，致使房租低廉，还能找到适合改建成工作室的大院子和厂房，因而吸引了一大批艺术家进入，自发形成了各种艺术区，很多知名的艺术家也随后将工作室设置在这里。黑桥是这些艺术区的中心，又离当时中国当代艺术的展览中心798艺术区很近，因此在地理位置上很受欢迎。艺术家的到来并未能改变黑桥村一直以来的自然环境与生活环境，水源污染、尘土飞扬，附近还立着几座庞大的垃圾山。村内人员鱼龙混杂，治安也很不稳定。虽然这个一度被主流社会遗忘的村子成了当代艺术创作的温床，但最终还是因为整改从2015年开始逐步被强制拆除了，失去了工作室的艺术家们再次流散各处。张哲溢在那里收集了大量的红砖块、水泥块、瓷砖等，甚至瓦砾里散落的小勺子和硬币，都被用鱼线吊装起来，精心地组成一片席卷而来的海浪。尽管张哲溢使用的是随地可取的材料，但他并不只是将碎块简单的堆积起来，而是耗费了大量的精力，重塑它们，强化它们本身所自带的象征含义。艺术评论家、北京大学教授彭锋将张哲溢的风格称为“新波普主义”，这种在材料选择上没有门槛，但在艺术语言上追求高级趣味的行为，形成了旧波普艺术之外的另外一种形式。《红海》也成为了直接记录黑桥这段中国当代艺术史上不可缺少的时期的重要实体装置。
The first edition of “The Red Sea” is made with the waste bricks of the demolished artist studios in the Heiqiao village, which is located in the southeast of the Cuigezhuang Town, inside the Great Ring Railway. The Circular Railway is the former national railway experiment ground, which was founded in 1958 and fell into disuse afterwards. The infrastructure of the urban villages lagged behind, resulting in low rents in the neighborhood. One could still find big yards and warehouses suitable for converting to art studios. Therefore a large number of artists moved in, and they have formed various art districts. Many renowned artists set up their studios there. Heiqiao is the center is these art districts, close to the 798 Art District which is the exhibition center of Chinese contemporary art. Its geographical location contributes to its popularity. The arrival of artists hasn’t changed the inherent natural and living environment of Heiqiao, where water is polluted, dust flies and trash mountains stand. The people of all stripes come in the village and the public safety is unstable. Although the village once forgotten by the mainstream society has become the hotbed of contemporary art creation, it has been gradually demolished in the name of public order since 2015. The artists lost their studios and were once again scattered. Zhang Zheyi collected a large number of red bricks, cement blocks and ceramic tiles, even small spoons and coins scattered in the rubble. He lifted them up with fishing lines and carefully formed a sweeping wave. Although Zhang Zheyi used found materials, he didn’t simply pile up the fragments, but spent lots of energy remolding them and solidifying their innate symbolic meanings. Art critic and professor of Peking University Peng Feng, named Zhang Zheyi’s style as “New Populism”. There is no threshold to select materials, but the artistic language pursues a high level of fun and curiosity, thus formed another art form besides Pop Art. “The Red Sea” has become an important physical installation which made a direct record of a critical period of Chinese contemporary art history -- the stories of Heiqiao village.
2018年，《红海》成为多位学者与机构合作发起的公共艺术计划“一个美术馆”首展的唯一作品，“一个美术馆”计划旨在将“美术馆”概念植入公众领域。《红海》一经展出就获得了很好的社会反响。随后徐冰的《背后的故事·庐山图》和隋建国的《云中花园·手记3号》加入了该计划。目前，“一个美术馆”计划作为当代艺术在中国公共领域内的标杆仍在持续进行着。之所以选择《红海》作为首展，很大原因是因为在地产时代，从中国公共空间的建筑总在剧烈变动而言，《红海》是最具代表性的，它就是这个时代的缩影。第二版《红海》放置在一个更为广泛含义的重要地段，北京地坛旁的一栋大厦内。地坛始建于明代（公元1530年）是古都北京明清两代皇帝祭祀地神的地方。地坛旁的建筑原来叫三利大厦，它曾经是地坛边上的地标性建筑，也是北京一代人的记忆。被拆除后在原旧址上建立起了新的公共区域，大厦与广场的结合体——中粮·置地广场。置地广场内收藏了多幅艺术作品，并且在建成向公众开放的第一天起就有意识地与各种专业艺术机构、媒体、学者及著名艺术家合作，持续推出与当代艺术相关的论坛、讲座与展览，例如2019年与多位中央美术学院教授及三联书店合作的《迎向“灵光”的时代》主题讲座。这些当代艺术文化的顶尖创作者与研究者们使置地广场在中国公共艺术领域的专业性与先锋性上份量十足。张哲溢从三利大厦的废墟中取出十万个砖块，以3105根钢绳吊装成的这版《红海》总重量达到8吨。这个比第一版更为巨大的海浪，悬挂在广场天井内。庞大的体积与压迫感，似乎凝固了建筑被摧毁的一瞬间悲壮的美感，视觉上完成的时空置换会让看到它的人注意并反思这股城市更新下个体力量几乎无法抵御的浪潮。
In 2018, "The Red Sea" became the only work at the opening of the "A Museum" public art project which was initiated by several scholars and institutions. It aims to instill the concept of "museum" in the public domain. This work has received positive social feedback. Subsequently, another two works "Background Story: Lushan Mountain" by Xu Bing and "Sky Garden: Handbook No. 3" by Sui Jianguo were also included in the project. The "A Museum" project continues as a benchmark for Chinese public art. The reason to choose "The Red Sea" for the opening exhibition is that we are in an era defined by the real estate market, where public spaces in China are always undergoing dramatic changes. This work is the most illustrative of the era. The second edition of "The Red Sea" was placed in an even more important position, broadly speaking-- a skyscraper near the Temple of Earth in Beijing. The Temple of Earth was built in the Ming dynasty (1530) for future emperors to worship the God of Earth in both Ming and Qing dynasties. The building next to The Temple of Earth was called Sanli Building, which was a landmark architecture surrounding The Temple of Earth. It bears memories of a Beijing generation. After its demolishment, new public areas were built on the site to form a compound of skyscraper and square -- COFCO Landmark Plaza. A private collection of art is held in this building. Since its opening to the public, the organization has been working with various professional art institutions, media, scholars and renowned artists, to organize art-related forums, lectures and exhibitions in contemporary art. For example, in 2019, it worked with a number of professors from CAFA and SDX Joint Publishing Company to organize the lecture "The Era to Embrace Aura". These outstanding creators and researchers in art and literature made their impactful mark on the COFCO Landmark Plaza in terms of professionalism and pioneering of Chinese public art. Zhang Zheyi collected 100 thousand pieces of bricks from the ruins of Sanli Building, and used 3105 steel cables to lift "The Red Sea" which weighs 8 tons. The sea wave in the second edition is even bigger while hung in the patio of the square. The enormous volume and oppression seems to solidify the tragic beauty of the moment where a building is demolished. The optical illusion which time and space look misaligned makes the audience reflect on the inevitable waves of urban transformation to which individuals could only submit.
如果说《红海》在形式上就具有某种宏大叙事的特质，那么同期实施的另外一个公共项目《灯光寄养所》则以回归内心情感关怀社会现象。张哲溢公开征集了几十位同行艺术家平时工作时使用的灯具，送往指定的“寄养”地点，并在特定的时间点亮。这个项目的第一次实施时间是2017年除夕夜，实施地是中央美术学院旁花家地小区内的一间公寓里，由独立策展人段少锋与张哲溢联合发起。早期不少先锋艺术都诞生于公寓中，所以当时有“公寓艺术”这一提法，“公寓艺术”随着画家村与艺术区的崛起慢慢淡出。段少锋是近几年还在坚持做“公寓艺术”展览的人，他认为公寓的居住属性很适合《灯光寄养所》。“灯光”的所有者们不能免俗地在农历新年到来前纷纷离开创作生活的城市回到血亲家庭之中。灯光与艺术家们平时相互关照的关系被世俗割裂了，这里的“光”在作品中象征着“自我”，“光”的留下其实也是象征着跟自我世界的告别转而投入到“春运”这个群体性行为当中去。
If the form of "The Red Sea" has the quality of grand narrative, the parallel public project "Light Fostering Place" returns to our interiority to show concerns for social phenomena. Zhang Zheyi has collected lamps that are used by dozens of his artist friends and sent those lamps to the "fostering place" and illuminated them at the same time. This project was first implemented on the New Year Eve of 2017 at an apartment in the Huajiadi community near CAFA. Independent curators Duan Shaofeng and Zhang Zheyi worked together to initiate the project. Early avant-garde art was often born in apartments so there was an expression "apartment art", which gradually faded away with the development of artist villages and art districts. Duan Shaofeng still insists on doing apartment projects to this day. He finds the characteristics of apartments most suitable for the "Light Fostering Place". The owners of those "lights" had to leave their city life of creation and return to their family for the Spring Festival. The reciprocity between the artist and the light was broken by secular customs. The "light" in his work symbolizes "self", and in this context gestures the farewell to the self’s inner world as it departs and joins the "Spring Festival Travel Rush".
花家地的《灯光寄养所》实施半年后，张哲溢收到了大地艺术祭——越后妻有三年展的邀请，前往日本新泻县松代町再次进行这个项目。日本的越后妻有大地艺术三年展是世界上最有份量的大地艺术节，许多国际知名艺术家如草间弥生、James Turrell、Christian Boltanski、Marina Abramović、蔡国强、安藤忠雄等都在越后妻有广阔的土地上留下了作品。日本版的《灯光寄养所》与花家地版有所不同，这一点是基于两个地域所面对的社会现状不一样而决定的。北京是“北漂”之城，是“人来之地”。而越后妻有人口稀少且老龄化严重，乡村曾奄奄一息，很多人包括策展人北川富朗在内都选择了在成年后离开这里前往大城市。他们离开家乡后就将一直陪伴他们成长的“灯”留在了原地，“灯光”则永远留在了黑暗的时光隧道那一头。这次的寄养所地址选在了荒废的奴奈川小学校，当地征集来的所有灯光于展览期间在二楼的教室里再次点亮。那些离开的人也来到了展场，默默地与他们的灯光交流，时光就此凝固了。正如艺术家所言：光或许与我们不在同一空间，可是在这个空间中，“光”穿越了时光。
Half a year after the implementation of the "Light Fostering Place" at Huajiadi, Zhang Zheyi was invited by the Echigo-Tsumari Art Trieannale. He travelled to Matsudai Niigata to install the project. Echigo-Tsumari Art Trieannale is the most important land art festival, where many world renowned artists, including Yayoi Kusama, James Turrell, Christian Boltanski, Marina Abramovic, Cai Guoqiang, Tadao Ando, have all left their marks on this land. The Japanese edition of "Light Fostering Place" is different from the Huajiadi edition, based on different social conditions of the two places. Beijing is the city of "northern drifters". Echigo-Tsumari, on the other hand, has a sparse and ageing population. The village was once dying. Young people including the curator Fram Kitagawa left for big cities as soon as they came of age. Following their departure, the "lamps" which kept them company growing up were left behind. The illumination was left at the dark end of the time tunnel. The fostering place in this project is the deserted Nunagwa Primary School. The locally collected lamps were re-illuminated in the classroom on the second floor during the Art Festival. Even the departed came to the site in silent communication with the re-illuminated lights. Time and space was frozen then and there. As the artist suggested: “Light may not be in the same sphere with us, yet, in this space "lights" travel through space and time.
张哲溢在公共领域的艺术作品，扩展了其艺术创作的边界，让观念艺术突破以往的封闭展览场所直接进入了开放性的社会空间。观众从主动观看到自由参与，甚至互动，与艺术作品形成共生关系，都加大了观念艺术的社会作用。《红海》、《一块切糕》、《二次元硬》、《灯光寄养所》这些作品的社会影响力无疑是独特且巨大的。公共艺术的存在使得人群能够借由对艺术创作的讨论，形成一个城市甚至一个广义群体空间的特定社会文化。艺术家在其中的社会定位已经超越了单纯的审美范畴，成为精神克服物质局限性的引导者。
The public art works by Zhang Zheyi have expanded the boundaries of public art, releasing conceptual art from the closed exhibition rooms to more open social spaces. From active spectatorship to voluntary participation, even interaction, his works seek to form a symbiotic relationship with the audience, reinforcing the social impact of conceptual art. "The Red Sea", "A Slice of Xinjiang Nut Cake", "The Cartoon Character -- Ying" and "Light Fostering Place" are undoubtedly unique and influential. The existence of public art generates public discussions about its creation, helping to form a unique social culture to the particular city, and to particular groups to some extent. The social status of artists exceeds pure aesthetics, and the artist becomes a spiritual guide to transcending the limitations of a highly material life.
原文发表于中国公共艺术网2019年7月，并于同年被sohu.com转载。
CPA-N(ET) Jul 2019 reprinted by Sohu.com