艺术头条 
雅昌拍卖图录 
郑江：地珠 Zheng Jiang: Earth Pearls
8.0
展览时间：
2021-08-07 - 2021-09-19
开幕时间：
2021-08-07 16:00
展览城市：
北京
展览机构：
墨方MOCUBE
展览地址：
北京市朝阳区酒仙桥路2号798艺术区706北2街
2020年10月郑江回到家乡开启了《地珠》作品的创作，这是他在家乡连续创作的第五个年头，问及他为什么会转向家乡进行创作时，郑江讲到与父亲的一次意外受伤有关，父亲的受伤使他对父亲的理解发生了变化，进而延伸到自己重新思索与这片土地的关联，以及自身属于其中的自然和地域的问题。
2018年9月郑江邀我去他的家乡浙江缙云县五云镇走走，当地9月还是夏季，山间植被茂盛，已经被禁止进入的洞窟地带几乎是无路的荒野环绕，郑江仔细寻找着一些小路带我进入各个洞窟，观看和感受隐藏在这里的众多作品，但也有很多洞窟因为坍塌、水潭或植被的阻隔已经不能进入，自然的恢复力渐渐的消除着这些小路，形成的一个个绿色的水潭影射着洞窟的折线、天空。闷热的环境中身体抵抗不住这些清澈的水潭，拨开一个小潭子上满满的浮萍，我和郑江进入水中聊天，这里的水应该是从凝灰岩的孔隙中逃逸出来的，正是这些充满碳、钙、磷的水中孕育了最早的生命，也形成了支撑我们人类的骨架，当时有一种强烈的原始直觉，我们所身处的岩石空间正是生命的摇篮之地，古老的岩石层代表着一段漫长的地质时期，以一种隐秘的语言讲述着我们的起源。那场水中的聊天以及散落在山间和洞窟的创作，也让我明白郑江返回的家乡不仅仅是我们常见的那种对于故土的情感，而是包含着荒野、身体、情境、个人、投射、溯源、延续等一系列话题。
这些词汇不仅仅指向创作的作品，同时也表现了郑江介入、感受、体验、思考、想象、行动等一系列的过程，而在这个过程中引发的是我们对于个人与家园、艺术与社会、城市与荒野、文明与生态、艺术与自然等问题的深入思考。
——王澈
Zheng commenced the project Earth Pearls when he returned to his hometown in October 2020, which was the fifth consecutive year of art-making based in his hometown. Zheng explained that the accidental injury of his father furthered his understanding of him and extended to the rethinking of his connection with the land, the natural and regional issues that have become a part of his identity.
In September 2018, Zheng Jiang invited me to take walk in his hometown of Wuyun Town, Jinyun County, Zhejiang Province. It was summer in September. The mountains were covered by lush vegetation. The cave area that had been forbidden to enter was almost surrounded by roadless wilderness. Zheng looked for some small footpaths to take me into the caves, to show me the works he made. Many caves could no longer be entered because of collapse, lagoon, or vegetation barriers. The natural restoring force gradually eliminated these paths, forming each green water pool topped by algae, mapping the sky and the broken lines of the caves. In the sultry summer, we could not resist these clear ponds. We pushed aside the duckweeds and went into the water. The water should have escaped from the pores of the tuff. They were full of carbon, calcium, and phosphorus that gave birth to the earliest life and formed the skeletons that support us. I prompted a primitive intuition. The rock space we were in was the cradle of life. The ancient rocks represented a long geological period, telling about our origin in a secret language. Our chat in the water and his creations scattered among the mountains and caves also made me understand that Zheng’s return to his hometown was not simply nostalgia. It encompassed wilderness, body, situation, individual, projection, traceability, continuation, and a series of discourses.
These words not only refer to the works. They represent a string of processes Zheng undertakes, such as intervention, feeling, experience, thinking, imagination, action, etc. In these processes, what is triggered is our deep thinking on issues of personal and home, art and society, cities and wilderness, civilization and ecology, art and nature.
Text by Wang Che
2018年9月郑江邀我去他的家乡浙江缙云县五云镇走走，当地9月还是夏季，山间植被茂盛，已经被禁止进入的洞窟地带几乎是无路的荒野环绕，郑江仔细寻找着一些小路带我进入各个洞窟，观看和感受隐藏在这里的众多作品，但也有很多洞窟因为坍塌、水潭或植被的阻隔已经不能进入，自然的恢复力渐渐的消除着这些小路，形成的一个个绿色的水潭影射着洞窟的折线、天空。闷热的环境中身体抵抗不住这些清澈的水潭，拨开一个小潭子上满满的浮萍，我和郑江进入水中聊天，这里的水应该是从凝灰岩的孔隙中逃逸出来的，正是这些充满碳、钙、磷的水中孕育了最早的生命，也形成了支撑我们人类的骨架，当时有一种强烈的原始直觉，我们所身处的岩石空间正是生命的摇篮之地，古老的岩石层代表着一段漫长的地质时期，以一种隐秘的语言讲述着我们的起源。那场水中的聊天以及散落在山间和洞窟的创作，也让我明白郑江返回的家乡不仅仅是我们常见的那种对于故土的情感，而是包含着荒野、身体、情境、个人、投射、溯源、延续等一系列话题。
这些词汇不仅仅指向创作的作品，同时也表现了郑江介入、感受、体验、思考、想象、行动等一系列的过程，而在这个过程中引发的是我们对于个人与家园、艺术与社会、城市与荒野、文明与生态、艺术与自然等问题的深入思考。
——王澈
Zheng commenced the project Earth Pearls when he returned to his hometown in October 2020, which was the fifth consecutive year of art-making based in his hometown. Zheng explained that the accidental injury of his father furthered his understanding of him and extended to the rethinking of his connection with the land, the natural and regional issues that have become a part of his identity.
In September 2018, Zheng Jiang invited me to take walk in his hometown of Wuyun Town, Jinyun County, Zhejiang Province. It was summer in September. The mountains were covered by lush vegetation. The cave area that had been forbidden to enter was almost surrounded by roadless wilderness. Zheng looked for some small footpaths to take me into the caves, to show me the works he made. Many caves could no longer be entered because of collapse, lagoon, or vegetation barriers. The natural restoring force gradually eliminated these paths, forming each green water pool topped by algae, mapping the sky and the broken lines of the caves. In the sultry summer, we could not resist these clear ponds. We pushed aside the duckweeds and went into the water. The water should have escaped from the pores of the tuff. They were full of carbon, calcium, and phosphorus that gave birth to the earliest life and formed the skeletons that support us. I prompted a primitive intuition. The rock space we were in was the cradle of life. The ancient rocks represented a long geological period, telling about our origin in a secret language. Our chat in the water and his creations scattered among the mountains and caves also made me understand that Zheng’s return to his hometown was not simply nostalgia. It encompassed wilderness, body, situation, individual, projection, traceability, continuation, and a series of discourses.
These words not only refer to the works. They represent a string of processes Zheng undertakes, such as intervention, feeling, experience, thinking, imagination, action, etc. In these processes, what is triggered is our deep thinking on issues of personal and home, art and society, cities and wilderness, civilization and ecology, art and nature.
Text by Wang Che
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