Video
Digital/NFT
Writing
Contact
王钟垚
Zhongyao Wang
Video
Digital/NFT
Writing
Contact
王钟垚
Zhongyao Wang
Date: 2024
Medium: Installation
Materials: Velvet fabric, artificial crystal, cotton thread, latex sheets, silicone, lace fabric, pine wood top rail.
Size: Width: 90 cm, Length variable, up to 7 meters when fully extended
Sewing, the repetitive task that revolves around my fingertips, has connected me to countless nights over the course of half a year, guiding my body to tangibly feel the buried histories of women’s lives. In the past, sewing was a daily task for them, embroidery a tool for moral education, and knitting one of the few forms of self-purging. The histories of these marginalized women, recorded in literature, have, through each stitch, transformed into my own internal experiences.
In the countless stitches, I have felt tedium, loneliness, struggle, entanglement, and hidden anger. Finally, when the last stitch falls, liberation surges in like a tide. The lace scroll, as a symbol of transmitting and recording messages, carries the turbid scarlet flow, slowly unfolding this diary from top to bottom. Every crease is a silent line of writing, hiding the emotions I experienced each night. It flows like blood, carrying metaphors of menstruation and life; no one has ever stepped into the world and been born without first traversing that red, turbid stream.
创作时间：2024
形式：装置
媒材：红色丝绒布料、人造水晶、棉线、乳胶片、硅胶、蕾丝布料、松木天杆
尺寸：宽90厘米，长度可变，完全展开长约7米。
缝纫，这种围绕着指尖的重复性劳作，串联起我大半年的夜晚，引导我身体力行地感知那些被时间掩埋的女性群体。在过去，缝纫是她们的日常任务，刺绣是教化工具，针织则是为数不多的自我消磨。文献中记载的她者历史，通过每一次穿针引线，转变为了我自身的内在感受。
我在无数个针脚中体验到了乏味、孤独、挣扎、纠结与隐秘的愤怒。终于，当最后一针落下，解脱如潮水般涌来。蕾丝卷轴作为传递、记录讯息的意象，承托着猩红浊流，自上而下将这日记缓缓展开，每一道褶皱都是一笔无声的书写，藏匿了我每晚的情绪。它如血液般流淌，蕴含着月经与生命的隐喻，没有人不曾踏入并诞生于那条红色的浊流。
Date: 2024
Materials: Latex tubes, silicone, lace fabric, velvet fabric, cotton thread, artificial crystal, eyelets.
Size: 78×32×170cm
创作时间：2024
媒材：乳胶管、硅胶、蕾丝面料、天鹅绒面料、棉线、人造水晶、气眼扣
尺寸：78×32×170厘米
Date: 2024
Materials: Resin, pigment, latex sheets, silicone tubes, silicone liquid, velvet fabric, lace fabric, cotton thread.
Size: 39.7×39.7×2.6cm
创作时间：2024
媒材：树脂、色剂、乳胶片、硅胶管、硅胶液、天鹅绒面料、蕾丝面料、棉线
尺寸：39.7×39.7×2.6厘米
Date: 2024
Materials: Latex sheets, latex tubes, silicone, artificial crystal,cotton thread.
Size: 76×32×170cm
Eva Hesse, fully aware that the latex works she created would crack and disintegrate into dust after a decade, calmly said, “Good, let them worry about it.” However, when she was diagnosed with cancer, her perspective shifted: “I feel a little guilty... I want to write them (collectors) a letter and say it is not going to last... life doesn’t last, art doesn’t last, it doesn’t matter.” Hesse's change in attitude led me to link the transient nature of latex with the impermanence of human life.
In Flesh, I stabilize the latex sheets (the material used for making bodysuits) by coating them with durable silicone liquid, thus freezing the piece at its "youthful" moment, significantly extending its lifespan. This treatment reflects the shifts of our time: in an era of rapid technological and medical advancements, the human body no longer seems entirely at the mercy of fate, as it can now be manipulated by external means. However, these advancements are often only accessible to the wealthy, prompting us to reflect on how class, race, and gender influence the experience of life.
The hanging, flesh-colored skin, intertwined with veins, evokes the beautiful, deceptive skin of the demon in The Painted Skin, the legend of vampires eternally preserving their youth, and Bogdanov’s blood transfusion experiments. Behind these stories lies humanity's dual attitude toward immortality: both a yearning for it and a deep fear of it.
创作时间：2024
媒材：乳胶片、乳胶管、硅胶、人造水晶、棉线。
尺寸： 76×32×170厘米
伊娃·赫塞（Eva Hesse）明知她用乳胶创作的作品会在十年后开裂化为尘埃，却坦然说道：“很好，让他们担心去吧。”然而，当她罹患癌症时，她的心态转变了：“我感到有点内疚……我想告诉藏家们，作品不会持久……生命和艺术都不会持久，这没关系。”赫塞的变化让我将乳胶材料易逝的特质与人类生命的无常联系在一起。
在《肉体》中，我通过在乳胶片（制作胶衣的面料）表面涂覆稳定的硅胶液，将作品定格在“年轻”的瞬间，极大延长了其寿命。这一处理影射了时代的变化：在科技与医学迅速发展的当下，肉体似乎不再完全听天由命，而可以通过外部手段加以操控。然而，往往只有富人才能优先享用这些成果，这促使我们思考阶级、种族与性别对生命的影响。
悬挂的肉色皮肤，血丝交织，令人联想到《画皮》中恶鬼的美丽皮囊、吸血鬼永葆青春的传说，以及波格丹诺夫的换血实验。这些故事背后，潜藏着人类对永生的双重态度：既渴望它，又对它充满畏惧。
Date: 2024
Materials: Latex sheets, silicone, artificial crystal, cotton thread, aluminum wire, lace fabric.
Size: 25×43×10.5cm
In Slice of Touch, pain becomes a medium of communication. Red cotton threads, guided by intricate stitches, deftly weave through the surface of latex sheets—a material commonly used in crafting BDSM garments. The artwork appears to ooze plump beads of blood, evoking an image of needles piercing skin and the rapid spread of pain. If someone touches the “skin” of this piece, it responds instantaneously, more swiftly than the most advanced electronic communication technologies. It seems almost alive, its surface quivering gently, as if breathing, before settling back into stillness. This experience only manifests when the body of the viewer making the touch is physically present with the artwork. It is this sense of immediacy that defines the essence of sensation—intimately tied to the individual, inseparable from the flesh. Artificial intelligence can never comprehend pain; it remains an exclusive privilege of beings with flesh and blood.
创作时间：2024
媒材：乳胶片、硅胶、人造水晶、棉线、铝丝、蕾丝布料
尺寸： 25×43×10.5厘米
在《触觉的切片》中，疼痛成为了一种沟通媒介。红色棉线随着细密的针脚，灵巧地在乳胶片（一种用于制作BDSM胶衣的材料）表面上下穿梭。作品似是渗出了一颗颗饱满的血珠。观者不禁由此联想到尖针刺破肌肤，痛感迅速蔓延。如果有人触碰这件作品的皮肤，它会瞬间作出回应，比最先进的电子通讯技术更为敏捷。它像是活物，表面如同呼吸般轻微颤动，直到重新归于平静。这种体验只有当发出触碰行为的观者的身体与作品同时在场时才得以实现。正是这种“切身性”赋予了感觉的本质，它始终与个体紧密相连，无法脱离肉身独立存在。人工智能永远不懂疼痛，那是血肉之躯独享的特权。
Date: 2024
Materials: Silkscreen on wooden board, acrylic on latex sheets, latex tubes, silicone, cotton thread, light-colored arc-patterned female mantis specimen, nylon chiffon.
Size: 51×78×5.5cm
创作时间：2024
媒材：木板上的丝网印刷，乳胶片上的丙烯酸，乳胶管，硅胶，棉线，浅色弧纹雌性螳螂标本，尼龙布
尺寸： 51×78×5.5厘米
Date: 2021
Medium: Installation
Materials: Air molds, blowers, lighting, nylon threads
Size: 2.3×1.34×2.9m
This work was commissioned by Beijing PLATESPACE, an independent art space.
Unlike art museums, independent art spaces in China are often funded by individuals and frequently face practical issues such as funding shortages and unstable venues. Therefore, how to make the best use of the unique and challenging PLATESPACE became the primary consideration when creating this artwork.
When an object within the space becomes the focus, the space becomes the subject of service. People tend to concentrate on the occupied area of the space, as if the quality of its service is closely related to the filled area. The artwork "8.84m³" attempts to draw attention to the special significance beyond the vacant area, reversing the roles of subject and object, reflecting respect for this space by maximizing every cubic centimeter.
From 3.08 square meters to 8.84 cubic meters, the meaning of the container is reshaped through the squeezing and folding of the space. For the work "8.84m³" in PLATESPACE, it is not just an exhibition environment, but more of a living space. The artwork is like a living organism, occupying a corner of Beijing's precious land, connected to the city through delicate threads, and thus elevating the space and the artwork to a relatively fair balance.
创作时间：2021
形式：装置
媒材：气模、鼓风机、照明、尼龙线
尺寸：2.3×1.34×2.9米
该作品由北京盘子独立艺术空间委托创作。
中国的独立艺术空间与美术馆不同，往往由个人出资维持，且时常面临着资金短缺、场地不稳定等现实问题，所以如何最大程度利用好PLATESPACE这个难得、不易的空间，是艺术家创作这件作品时考虑的首要问题。当置于空间内的物体是主体时，空间是为其提供服务的对象，人们将注意力集中于空间的占地面积上，仿佛其服务质量与留白面积息息相关。而作品“8.84m³”企图让人们注意到留白面积之外的特殊分量，将主客体换位，对此空间的尊重体现在极限利用每一立方厘米之中。
从3.08㎡到8.84m³，空间在肠道的挤压、折叠中再塑容器的意义。PLATESPACE对于“8.84m³”这件作品来讲，不仅仅是一个展示环境，更多的是一个居住空间。作品像是一种生命体，用身体撑满了北京寸土寸金的一隅，在气若游丝的联系之间，找到与城市相连的通道，以这种方式将空间与作品提升到了相对公允的平衡位置上。
Date: 2022
Medium: Two-channel digital video
Size: 32: 9, 3840×1080dpi
Duration: 10’12” (ENG\CHN subtitle)
Artist Zhongyao Wang collaborated with artificial intelligence to create the “AI Alien Project.” The artist utilized language AIs, including GPT-3 and ChatGPT, as well as image-generating AIs, to extract textual and visual content describing extraterrestrial beings. These conceptual beings have become tools for exploring fragments of different words, images, genders, and emotions, rather than mere imaginary products of hegemonic collective consciousness imposed on us through western science fiction movies. The artwork weaves a narrative that is both expansive and introspective, ranging from the macroscopic to the microscopic, from the past to the future, from the molecular to the interstellar, creating a nonlinear, allegorical tapestry. This resonates with the writing style of Italo Calvino’s “Cosmicomics.” The work redefines the aesthetics and perspectives on alien life forms, delving into deeper philosophical questions about their gender, communication, and the essence of existence. In the creative process, the role of AI has forecasted a vision of the future, revealing the challenges to the traditional “anthropocentric” perspective in outer space, and prompting us to contemplate our position both within and beyond the visible universe.
创作时间：2022
形式：双频道数字影像
尺寸：32: 9,3840×1080dpi
时长：10分12秒（中英字幕）
艺术家王钟垚与人工智能合作创作了AI Alien Project。艺术家利用了包括GPT-3和ChatGPT在内的语言AI以及图像生成AI，提取描述地外存在（being）的文本和视觉内容，这些概念性存在成为了探寻不同词语、图像、性别和情感的碎片的工具，而非一种被输入的西方科幻电影中霸权式集体意识的想象产品。该影像编织了一个既广阔又内省的叙事，从宏观到微观，从过去到未来，从分子到星际，创造了一幅非线性的、寓言式的织锦，这与伊塔洛·卡尔维诺的《宇宙奇趣全集》的书写风格相呼应。作品重构了外星生命形式的美学和观看维度，探讨了它们对性别、交流以及存在本质的更深层哲学问题。AI在创作过程中扮演的角色预测了一个未来景象，揭示了“人类中心主义”的传统视角在太空中受到的挑战，促使我们思考自己在可见宇宙内外的位置。
Date: 2021
Medium: Single channel digital video
Size: 16: 9, 2560×1440dpi
Duration: 5’38” (ENG\CHN subtitle)
"N" is both "No name" and "Number 1 to infinity." It represents the anonymity and vastness of the female collective, while also signifying each individual woman. The artist materializes Titian's Venus and creates discordant windows on her perfect body, intending to disrupt the optimal visual experience of the male gaze. Within the windows are self-portraits of female artists from different eras, appearing within the "Venus architecture" painted by male artists. This analogy seems to suggest that female artists are indeed trying to create within a world dominated by men.
From these six self-portraits, one can infer the external evaluations and self-criticisms that these artists faced in different eras, as well as their compromises and gender-based challenges in their creative endeavors. The artist creates a voyeuristic perspective in the work, leading people to peer at the self-portraits within each window. The female figures gradually become transparent and disappear as they are observed, symbolizing a kind of deprivation, suggesting that society might have entered an era of "male voyeurism," distinct from the "male gaze."
By concealing themselves behind the voyeuristic perspective, the artist establishes a constant presence without appearing in the picture. This artwork also becomes a self-portrait of the artist, engaging in a dialogue with self-portraits of female predecessors. It serves as both a question posed by the artist, as a fellow female creator, and an expression of deep respect for these female creators.
创作时间：2021
形式：单频道数字影像
尺寸：16: 9, 2560×1440dpi
时长：5分38秒（中英字幕）
N既是No name，又是Number1至无穷，它代表女性的无名与庞大的群体，又指代每一位女性。艺术家将提香笔下的维纳斯建筑物化，并在维纳斯完美的胴体上开了不协调的窗，意图搅乱人们对于男性凝视产物的最佳视觉体验。窗内是不同时代的女性艺术家自画像，它们出现在男性艺术家绘成的“维纳斯建筑物”里，就像是在类比女性艺术家的确是在一个由男性主导的世界中试图创作一样。
人们似乎可以从这六幅自画像中，得知其在不同的时代受到的他人评价与自我批判，并感受其在创作中的性别妥协与性别攻击。艺术家在作品中创造了一个偷窥的视角，引领人们去窥视每个窗子里的女性自画像，女性形象随着窥视会逐渐变透明后消失，因为窥视即是一种剥夺，艺术家借此提出人们可能已经进入到一个与“男性凝视”不同的“男性窥视”的时代。
通过躲在偷窥视角背后，艺术家创造了一种无需出现在画面中却时刻在场的身份证明，此件作品亦成为了艺术家的自画像，在自画像中与女前辈们的自画像对话，既是艺术家作为同样身为女性创作者的一次发问，也表达了艺术家对于女性创作者们最崇高的敬意。
Date: 2020
Medium: Single channel digital video
Size: 16: 9, 1920×1080dpi
Duration: 5’39” (ENG\CHN subtitle)
The artist reconstructed the animals, living above sea level with human beings, and their biological chains to express the relationships between the unnatural states of exploiting and being exploited as well as those of protecting and being protected existing in today's society. By designing an abnormal phenomenon, the viewer may notice that the seemingly normal around them may not be so normal after all, but people are accustomed to it. These dislocations in our daily behaviors temporarily free us from our habitual consciousness, allowing us to gain fresh perspectives.
Animals are naturally more liberated than humans as they live without restraint, and in a sense, they also lead far regulated, by nature, lives than humans. The skinless Sika deer suggests that exploitation prevents one from becoming complete, and animals as "food" on the dishes in our refrigerators indicate the break of the food chain, cannibalism, and the inequality between people in the face of limited resources. Tigers voluntarily tame themselves because they want to live with cows. As a result, the tiger skin eventually assimilates into a cowhide, in turn signifying our own dependency that links one another, forming a relationship of slavery. From the divine perspective, the artist created these alienated animals, observing their hunting and consuming, to reflect on how their lives correlate to the constraints and unspoken rules between human beings.
创作时间：2020
形式：单频道数字影像
尺寸：16: 9, 1920×1080dpi
时长：5分39秒（中英字幕）
艺术家重构了与人类共同生存在海平面之上的动物与其生物链，以来表达在当今社会中存在的不自然的剥削与被剥削、保护与被保护的关系。通过建造一种“不正常”的现象，使人们注意到身边的“正常”现象也许并不正常，只是人们习以为常了。日常行为的一些错位使我们暂且从常规中摆脱出来，引起意识的变化从而获得鲜活的观点。
动物比人类更加释放天性，因为它们不受约束的释放，从某种意义上讲，它们也比人类活得更有一套规矩。皮不遮骨的梅花鹿意味着剥削让一个完整的人没办法成为完整的人了；动物作为“食物”，不停地在冰箱中的碟子上更换着，由正常的食物链转为自相残食，意味着面对有限资源时人与人之间的不平等；老虎因为想和奶牛生活在一起而自愿被驯服，最后被同化为虎身牛皮的模样，意味着人们相互之间产生依赖，并且相互间的需求将他们联系起来，奴役的关系便形成了……艺术家以一种上帝视角创造了这些被异化的动物，观看他们的捕猎与进食，反思的却是人与人相处间的约束与潜规则。
Date: 2019
Medium: Single channel digital video
Size: 16: 9, 1920×1080dpi
Duration: 5’54” (ENG\CHN subtitle)
“The Memory Labyrinth” is about the fusion of reality and fantasy that we experience as human beings by endowing reality with imagination and discovering hidden truths within fantasies. The short film is composed of four parts: workplace and pressure; examination room Peach Blossom Spring; network and privacy; Fear, security and cities.
The animation also presents the juxtaposition of memory and fantasy images occurring in real life: melted workplace employees, crawling spider clocks, running babies in queues, spontaneously sprawling eyeballs, floating ancient Chinese structures in the air. These elements replace the real fictional illusions, reconstructed from the complex and trivial psychological pressures in real life.
创作时间：2019
形式：单频道数字影像
尺寸：16: 9, 1920×1080dpi
时长：5分54秒（中英字幕）
《记忆迷宫》探讨的是关于当代人类身处的现实与幻想的融会关系，即赋予真实以幻想，并从幻想中找到隐藏的真实。短片由四部分构成：职场与压力；考场桃花源；网络与隐私；恐惧、安全与城市。
动画内容同时呈现了现实生活中的精神记忆与幻境意象并置的场景，融化的职场员工、爬动着的蜘蛛钟表、队列奔跑着的婴儿、肆意窥探着的眼球、悬浮在空中的中国古建筑……这些取代了真实的虚构幻境，均是对现实处境中复杂琐碎的心理压力的重新构建。