Zheng Huan

Born in 1983 in Zhoushan,China
Graduated from Sculpture Department, Academy of Fine Arts, Shanghai Normal University
Currently lives and works in Shanghai

Zheng Huan’s Project: Intimately Moulding You.

Industrial Revolution” (2014), this piece is a perfect plaster sculpture of an ankle, the position of this ankle is on the top of a light bulb and it looks like it’s going down the stairs. The second industrial revolution was caused by the invention of electricity. This work is a metaphor of the decline of human civilization in a way. Zheng Huan often uses objects seen as key objects in a period of time, or the turning point of an era.


Omission of function

That is the reason why Zheng Huan’s work seems so ready-made, but not entirely a ready-made piece, they are metaphor for each event. The object loses its original function, and converts into both decorative and metaphorical function. The above-mentioned “industrial revolution” piece is a good example. The most striking work in this exhibition is “The Corporal Need Inspired Anatomy”, consisted of two billiard tables, the removal of their function is obvious, the billiard tables are treated as painting which are hung on the wall, the pool cues, which have been carefully cut into the shape of the landscape, cling onto the table. If you see it from a distance, it becomes Joy Division’s album cover. Zheng Huan deprived the billiard tables’ purpose, making it subservient to the arts, becoming the medium of art, which lost the original function.


Zheng Huan’s work “Rainbow” (2014), used neon lights to simulate the Chinese landscape painting, but also to create the rate of an ECG . If the Shan Shui (山水, landscape painting) in Chinese paining is expressed by the state of mind, then we could say this Shan Shui does not express reality but the abstraction of mind. Therefore the Shan Shui of this Grand world is also the inherent mind of the artist (the pulsing of an ECG).

(Photo credit, all right reserved, courtesy of the Artist and Antenna Space)








这也是为什么郑焕的作品看起来这么的现成物,但又不全然是现成物,因为他们各自都是一个事件的隐喻。物件失去其本身原有的功能,转换成俱有装饰功能与带有隐喻功能的物件,譬如说上面提到的《工业革命》这件作品就是一个很好的例子。整个展览,最醒目的作品为《身体的需要激发了解剖》两个台球桌,也是完全去除了它们的功能,台球桌像绘画一样被悬挂起来,台球杆被精心剪裁成山水的形状紧贴在台桌上,从远看又有点像Joy Division的专辑封面。郑焕褫夺了身为台桌该有的权利,使它臣服于艺术,变成了一种「失去原始功能」的媒材。


郑焕2014年的作品《彩虹》,用霓虹灯模拟了中国山水画, 同时也制造了心电图的效果。若是「山水」,那我们可以说这是一种抽象心境的呈现,不表达现实,而是表意。所以这大观世界的山水风景同时也是艺术家内在的心境(心电图的脉动)。


(以下图片版权属于艺术家与天线空间, 非经过同意禁止使用、转载)







郑焕 亲密地阅读你 Intimacy of Reading You 装置 Installation 91×51×12cm(4 Pieces)2015






ZHENG Huan Solo Exhibition View 1




郑焕 身体的需要激发了解剖  The Corporal Need Inspired Anatomy 装置 Installation 255×127×35 cm×2 Pieces 2015

郑焕 身体的需要激发了解剖  The Corporal Need Inspired Anatomy(细节1)





郑焕 工业革命 Industrial Revolution(细节5)