赵赵 塔克拉玛干计划 （已被收藏）Zhao Zhao  Project Taklamakan in Xinjiang

赵赵出生于1982年，新疆，中國​赵赵在2003年获得新疆艺术学院美术系学士学位，其后前往北京电影学院进修。 作为80后当代中国关键艺术家之一，热衷于利用各种艺术媒介对现实及其意识形态传统惯例提出挑战，强调个体的自由意志，表达不守成规与无政府主义的态度。 赵赵近年重要个展包括: 《绿色》，松美术馆，北京，2019；个人项目《弥留 – 香港巴塞尔艺聚空间》，当代唐人艺术中心，香港，2019；《中国塔克拉玛干项目 - 香港巴塞尔》，当代唐人艺术中心，香港，2017。 近年重要群展有《一个红色时代的童话：来自白兔收藏作品》，维多利亚国立美术馆，澳大利亚，2019；《街巷：世界诞生之所》，罗马21世纪国家艺术博物馆(MAXXI)，罗马，意大利，2018；《岛屿，星座和加拉帕戈斯》， 第六届横滨三年展，横滨，2017；《中国当代艺术年鉴展 2016》，北京民生现代美术馆，北京，2017；《后感性: 恐惧与意志》，北京民生现代美术馆，北京，2016；《今天重做》，上海民生现代美术馆，上海，2016；《灵魂》 ，米兰当代美术馆，米兰，2015；《零容忍》，MoMA PS1，纽约，2014。ZHAO ZHAO b.1982, Xinjiang, China Zhao Zhao graduated from the Xinjiang Institute of the Arts in 2003 and later attended the Beijing Film Academy. Now he is regarded a significant figure among the young Post-80s generation of contemporary Chinese artists – Zhao Zhao’s work is often associated with anti-authoritarian or non-conformist tendencies, renowned for confronting existing ideological structures and exercising the power of individual free will in his work.  His recent solo exhibitions includes: Green, Song Art Museum, Beijing, 2019; In Extremis – Art Basel Hong Kong Encounters Project, Tang Contemporary Art, Hong Kong, 2019; Project Taklamakan in Xinjiang – Art Basel Hong Kong Project, Tang Contemporary Art, Hong Kong, 2017. His recent group exhibitions include: A Fairy Tale in Red Times: Works from the White Rabbit Collection, NGV, Melbourne, Australia, 2019; The Street. Where The World Is Made, MAXXI, Rome, Italy, 2018 ; Islands, Constellations and Galapagos ,The Sixth Edition of the Yokohama Triennale, Yokohama, 2017; The Exhibition of Annual of Contemporary Art of China 2016, Beijing Minsheng Art Museum, Beijing, 2017; Post-sense Sensibility: Trepidation and Will, Beijing Minsheng Art Museum, Beijing, 2016; Everyday Legend, Minsheng Art Museum, Shanghai, 2016; Spirit, PAC PADIGLIONE D‘ARTE CONTEMPORANEA, Milan, 2015; ZERO TOLERANCE , MoMA-The Museum of Modern Art PS1, New York, 2014.  His provocative, multidisciplinary artistic practice has garnered him international attention in recent years with critically-acclaimed exhibitions across China, North America and Europe as an ‘artist to watch’. In 2017, artist was nominated “Young Artist of the Year” of AAC (Award of Art China). In 2019, he won “Artist of the Year” of AAC (Award of Art China).zhao_portrait.jpg 赵赵，另类“维权”艺术？（节选） 侯瀚如 赵赵是在中国的西部边陲新疆出生和成长的，因此他从小就向往着野性和崇高，这种文化基因为他的艺术创作开辟了崭新的疆域，而这次他想要征服自然。 “2015年10月，赵赵开始了《塔克拉玛干计划》。他和30余人的工作团队由北京出发，带着100公里的四芯电缆和一台冰箱，经过近4000公里的行程，风尘仆仆地抵达塔克拉玛干沙漠北部。然后他们用经过改装的“探路者号”，将这些材料运送到沙漠之中。为了通过严格的检查，赵赵把自己扮演成包工头、广告片导演等角色，不断与人周旋。到达轮台镇后，他们从维吾尔族生活区中接通电源，以此为起点，将电缆向沙漠中心方向延伸。全程耗时23天，共使用了10台变压器，以减少低压电能的输送损失。电缆尽头，一台装满新疆啤酒的双开门冰箱成功地通电运行，在空旷无人的沙漠腹地工作了24小时。而后100公里电缆、变压器和冰箱一同被运回北京，电缆被严格按照冰箱的高度1.86米切割打捆。整个计划的实施耗费了巨大的人力、物力与财力。对于赵赵来说，项目运行的经费来源、与维族居民的沟通、长距离电缆的铺设方式等等每个环节都是他主动参与、介入社会的方式。” 这是人类以坚强的意志、耐力和智慧战胜自然的真实写照。项目组从“文明世界”带来冰箱，进而将电力设施铺设到蛮荒的沙漠的中心，并且与远离都市、贴近自然的维吾尔族人交流，所有这些都是在将尚未开发的沙漠转化为临时社会，而工业技术将不可避免地改变人与自然、以及人与人之间的关系。所以从根本上说，这个项目反映了社会的变化和转型。另一方面，项目也表达了对自由的强烈渴望——那个被政治和资本把持的现代化的世界已经被抛诸脑后。但假如这个项目彻底完成，世界将永远失去“贞操”。届时还会有人为自由而捍卫“基本人权”吗？事实上，当冰箱和电缆回归“文明世界”，被严格地安装成极简主义艺术装置时，这些材料似乎再也无法产生自由和野性的联想，成了一件标准的艺术商品。而这个商品的价格标签，会远远高于那套名牌西服……那么真正的价格是多少？ 2017年2月18日于旧金山Zhao Zhao, Another Kind of “Weiquan” Art?Hou Hanru Being born and grown up in Xinjiang, the Far West of China, Zhao Zhao certainly feels a kind of intimacy and faith towards wildness and sublimity. And this affinity opens up a new frontier for him to take a new challenge. This time, it’s about conquest of nature. “ In October 2015, Zhao Zhao began working on Project Taklamakan in Xinjiang. He and a thirty-strong team traveled the 4,000 kilometers from Beijing with a100 kilometer 4-core cable and a refrigerator. After arriving in the northern part of the Taklamakan Desert, they transported these materials into the desert on a refitted Pathfinder. In order to pass strict inspection system, Zhao Zhao played the roles of a contractor and an advertisement director when he interacted with people. After arriving in Lunnan they connected the electricity to a household in the Uyghur community, then trailed the cable out toward the center of the desert. The journey took 23 days and used 10 transformers, in order to prevent any losses in power transmission. The end of the cable successfully powered a double-door refrigerator full of Sinkiang (Xinjiang) Beer for 24 hours in an expansive, uninhabited desert. The 100-kilometer cable, the transformers, and the refrigerator were later sent back to Beijing, where the cable was cut into precise 1.86-meter sections, a measurement strictly based on the height of the refrigerator. The implementation of the project required immense human, material, and financial resources. For him, installing that long cable, interacting with the Uyghur family, finding funding for the project, and passing the strict government inspections became ways for him to actively participate and intervene in society.” This is a real spectacle of human conquest of nature, with strong wills, endurance and intelligence. It’s also important to notice that, fundamentally, this is a project of social transformation, through the introduction of a refrigerator and, moreover, an entire electricity infrastructure, from the “civilized world” to the heart of the dessert, or the heart of wild nature, with interactions with the local inhabitants who live also in a quasi “natural” way far from the modern society. It intends to transform the unexploited dessert into a temporary society in which industrial technologies will inevitably change the relationships between man and nature, and between different people. On the other hand, it’s true that this action represents an immense desire for freedom – to be freed from our modernized world, fully controlled by the rationale of politics and capital. However, once this project is achieved, the world will lose its “virginity” forever. Can one still defend of the “basic human right” to be a free person? Indeed, with the “return” of the refrigerator and the electric cables to the “civilized world”, to be installed as a strictly minimalist sculpture, all the freedom and wildness that this project has been able to generated seems to be completely cleansed and erased. What’s left is a standard product of artistic commodification. And this one will certainly be labeled with a price tag much higher than a designer suit… And what is the real price? San Francisco, 18 February 20171