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Zhang ZaoZao--Metanoia(Chapter02:The Mask)
The Mask of debris reconstruction-Uncertain Id
Metanoia-Independent art short film (2022)
獨(dú)立藝術(shù)短片（2022）
Metanoia-Broken glass-installation (2022)
碎玻璃-裝置-尺寸可變（2022）
“如果我們相信自我不是被他人給與的……那我們必須像創(chuàng)做藝術(shù)品一樣創(chuàng)造我們的自我。”
——福柯
"If we believe that the self is not given by others...then we must create our self as a work of art
——Foucault
Metanoia-Performance-Body Arts (2022)
表演-身體行為藝術(shù)（2022）
人類經(jīng)常沉溺于一種內(nèi)省的凝視，一種對(duì)內(nèi)在自我的凝視，以及一種試圖從我們的生活經(jīng)歷中賦予存在意義的凝視。這種內(nèi)省的凝視交織著自我的起源和不斷追求理性的重建的渴望。
Humans are often indulged in an introspective gaze, a gaze towards the inner self, and a gaze that seeks to give meaning to existence from our lived experiences. This introspective gaze entwines the origin of self and the desire to constantly pursue the reconstruction of reason.
Metanoia-Film shooting scene (2022)
電影拍攝現(xiàn)場(chǎng)（2022）
對(duì)一個(gè)人生活的強(qiáng)烈沖擊會(huì)使個(gè)人從生活的世俗和確定性中滑落，讓我們陷入炎熱、混亂的瘴氣，震驚，恐慌，有時(shí)還有敬畏。章藻藻的系列視頻作品Metanoia的The Mask利用煙霧廢墟的氛圍，構(gòu)建了一個(gè)模糊而混亂的場(chǎng)景，一個(gè)提供機(jī)會(huì)來重建和重組隨機(jī)思想的場(chǎng)景，捕捉震驚中頭腦混亂的場(chǎng)景。這是在意識(shí)到當(dāng)前的精神狀態(tài)存在問題后出現(xiàn)的。這個(gè)場(chǎng)景從身體開始，通過我們的生活經(jīng)驗(yàn)構(gòu)建了意識(shí)，延伸到我們的環(huán)境，這反過來又影響我們，影響我們的身體。
A violent shock to a person's life can make the individual slip from the original inner rythm of life with all of its mundanity and certainties and send us falling into the hot, chaotic, a miasma of shock, panic, and sometimes, awe. Zhang Zaozao's series of video works “Metanoia's The Mask” uses the ambiance of smoky ruins to construct an ambiguous and disordered scene, a scene which provides an opportunity to reconstruct and reassemble the random thoughts which arise after realizing that there is a problem with the current state of mind. A scene which captures the chaotic disorder of a mind in shock. This scene starts from the body and through our lived experience constructed consciousness, extends to our environment which in turn affects us to impact upon our body.
Metanoia-Performance -Body art (2022)
舞蹈表演-身體行為藝術(shù)（2022）
沖動(dòng)在靈魂和身體之間不受限制地自由的流動(dòng)，逐步發(fā)展成終極形式---癲狂。它既是沖動(dòng)釋放能量的出口，也超越了沖動(dòng)本身。 在劇烈的震顫中， 身體和意識(shí)的契合變得松動(dòng)，理智逐步放棄了克制，自我擺脫了靈魂的控制，也擺脫了記憶，擺脫了理性中根深蒂固的束縛；震顫在意識(shí)深處創(chuàng)造了一種絕對(duì)自由瞬間，個(gè)體成為不被意識(shí)控制的身體， 任由肌肉的搖擺將自我?guī)胍环N流放式的空白，在近乎絕對(duì)自由的瞬間，想像被徹底激發(fā)。當(dāng)自由和想像共同釋放并相互激發(fā)的時(shí)候，神經(jīng)被推到亢奮的頂點(diǎn)，身體最終實(shí)現(xiàn)了完滿的平靜與滿足。
The impulse flows freely and without restriction between soul and body, gradually developing into its ultimate form, madness. It is both the outlet from which the impulse releases its energy, and it also transcends the impulse itself. In the violent tremor, the connection between the body and consciousness becomes loose, the reason gradually gives up restraint, the ego is freed from the control of the soul, the memory, and the deep-rooted bondage of reason; the tremor creates an almost absolute freedom in the depths of consciousness. At the moment of freedom, the individual becomes a body that is not controlled by consciousness, allowing the swaying of the muscles to bring the self into a kind of exile blankness. At the moment of almost absolute freedom, the imagination is thoroughly stimulated. When freedom and imagination are released together and stimulate each other, the nerves are pushed to the peak of excitement, and the body finally achieves complete calm and satisfaction.
Metanoia-Broken glass-installation (2022)
碎玻璃-裝置-尺寸可變（2022）
沖動(dòng)的另一端向現(xiàn)實(shí)世界延伸，個(gè)體擺脫了精致而虛空的世界，走向廢墟般的遠(yuǎn)方。癲狂讓生命之光照亮荒蕪的旅程，傷痕成為身體開放的接口，讓干涸的土地感到身體的愛撫，讓鋒利的碎片在靈魂的感召下化身飛蝶。在由癲狂營(yíng)造的慶典般時(shí)刻中，身體與世界，意識(shí)與自由，傷害與撫慰之間模糊了邊界，相互滲透，重建一個(gè)自由和通達(dá)人性的世界。
The other end of the impulse extends into the real world. The individual escapes from the delicate and empty world and goes to the ruined distance. Madness makes the light of life illuminate the barren journey, the scar becomes the open interface of the body, the dry land feels the caress of the body, and the sharp fragments become flying butterflies under the inspiration of the soul. In a celebratory moment created by madness, the boundaries between body and world, consciousness and freedom, hurt and comfort blur, interpenetrate and recreate a world of freedom and access to humanity.
Metanoia-The Mask of the broken construction-Butterfly (Body device 2022)
碎片建構(gòu)的面具--蝴蝶（身體裝置-2022）
搖搖欲墜的審美擴(kuò)展了其自身沖動(dòng)的敘事邊界，癲狂讓藝術(shù)的身體成為一個(gè)吸納多元的開放容器，以細(xì)膩而炙熱的思想沖動(dòng)儲(chǔ)存和燃燒了身體，這不僅帶來了異質(zhì)的混合，也造成整個(gè)文化系統(tǒng)性的延伸。身體，現(xiàn)實(shí)和靈魂在震顫中混合成一個(gè)由沖動(dòng)串聯(lián)的共同體，它暗合了自古以來人類對(duì)自我，對(duì)生命和起源的內(nèi)在追問；也暗含了對(duì)于身體，靈魂和物質(zhì)世界的不斷迭代。藝術(shù)家并沒有強(qiáng)調(diào)自己女性身份的特質(zhì)，而獨(dú)自邁上追求自我和尋找新世界的旅程，成為一個(gè)冒險(xiǎn)者，喚醒生命的沖動(dòng)和被包裹的激情，走向無盡的自我。
The crumbling aesthetic expands the narrative boundary of the impulse of itself, and madness makes the body of art an open container that absorbs diversity, storing and burning the body with delicate and fiery ideological impulses, which not only brings about a heterogeneous mixture, but also causes the whole systematic extension of culture. The body, reality and soul are mixed in the tremor to form a community connected by impulses, which alludes to the inner inquiry of human beings, life and origin since ancient times; it also implies the continuous iteration of the body, soul and material world. Instead of emphasizing the qualities of her own female identity, the artist embarks on a journey of self-seeking and thus discovery of new worlds. becoming an adventurer ，she awakens to the impulse of life and its passions, a metamorphis to the endless self.
Metanoia-The Mask of the broken construction-King (Body device 2022)
碎片建構(gòu)的面具--國(guó)王（身體裝置-2022）
撰文：蘇磊
新媒體藝術(shù)策展人, 當(dāng)代藝術(shù)理論家
原今日美術(shù)館新媒體實(shí)驗(yàn)室 執(zhí)行總監(jiān)
2022年5月26日
Article author：Su Lei
Curator of New Media Art, a contemporary art theorist
Former Executive Director of the New Media Lab of the Today Art Museum
May 26,2022
影片制作人，編劇，藝術(shù)指導(dǎo)：章藻藻
Film producer ，Screenwriter，Art Director：Zhang ZaoZao
導(dǎo)演：溫凌杏
Director: Wen Lingxing
配樂：郭小乖
Music Producer: Guo XiaoGuai
舞蹈表演：秦寬
Body Performer: Qin Kuan
攝影指導(dǎo)：吉日泰
Director of Photography: Ji RiTai
攝影：慶獻(xiàn)
Cameraman:Qing Xian
攝影助理：世瑞
Assistant Cameraman: Shi Rui
觀眾的評(píng)語(yǔ)Comments from the audience
一個(gè)顛倒過來的微笑就是一個(gè)皺眉。
章藻藻的《Metanoia-The Mask》不僅是另一部發(fā)人深省的作品，它讓我充滿了一種原始的恐懼和不安的感覺。當(dāng)玻璃被打碎時(shí)，它就永遠(yuǎn)無法復(fù)原。但它也可以變成一個(gè)新的形式。人是一樣的，當(dāng)我們崩潰時(shí)，我們不會(huì)進(jìn)行同樣的改革，但這并不意味著我們不能重建自己變得更強(qiáng)大。
An upside down smile is a frown.
Zhangzaozao’s Metanoia’s The Mask was not just another thought provoking piece, it filled me with a feeling of primal terror and unrest.
When glass is shattered, it can never be rebuilt. But it can be made into a new form. People are the same, when we break, we won't reform the same but that doesn't mean we can't rebuild ourselves stronger.--Matt Bird
循環(huán)，一個(gè)連續(xù)的循環(huán)，自然與毀滅，后末日景觀，死亡？性格？守望者？
破碎的風(fēng)景，讓人想起生命/死，重生/更新/生命和舞蹈，慶祝？
它還沒有結(jié)束，重生/毀滅的痛苦，玻璃像植物一樣生長(zhǎng)，死亡與重生，結(jié)束是我的開始。
Loop,a continuous loop,nature vs destruction,post apocalyptic landscape,death ? character ? watchman?
broken landscape,reminiscent of life / death,rebirth / renewal / life and dance,celebration ?
it's not over, pain of rebirth / destruction, glass growing like plants, death vs rebirth,The end is my beginning.--Sean V
在這個(gè)作品的開頭有一種不安，讓你有點(diǎn)緊張。我喜歡它的情緒和發(fā)人深省的意象。我期待著下一期的演出。
There's an uneasiness at the start of this piece that puts you slightly on edge. I like the mood & the thought - provoking imagery. I look forward to the next instalment.--Mike
《Metanoia-The Mask》是章藻藻的一部藝術(shù)短片。一個(gè)有腐爛破碎的玻璃和破敗的建筑環(huán)繞的場(chǎng)景，在一個(gè)可怕的失去純真的紅色蒙面幽靈的監(jiān)督下的動(dòng)人的視覺散文。在這個(gè)故事里，力量和頹廢轉(zhuǎn)化為有意識(shí)的思想以及心靈，以及從消極轉(zhuǎn)變到積極的行動(dòng)和態(tài)度。這件藝術(shù)作品的最終主題是打破無明和恐懼的障礙，將能量重新導(dǎo)向慈悲、愛和光。
Surrounded by decay,broken glass and broken buildings. Overseen by the red masked specter of ghastliness and the loss of innocence, Metanoia’s The Mask is a short art film by Zhang Zao Zao.
A moving visual essay of today's society where power and decadence can be transformed by the conscious conversion of minds and hearts from negative to positive actions and attitudes. The breaking down of the barriers of ignorance and fear and the redirecting of energy into compassion, love, and light as symbolized by the blue masked dancer is the ultimate theme of this art piece.--Frank
我的感覺主要與迷戀有關(guān)。我并不害怕，但這些人物戴著面具，看起來確實(shí)有潛在的威脅，我認(rèn)為廢棄的工業(yè)空間促成了這種感覺，尤其是在影片的開始。但是當(dāng)我看到那個(gè)年輕人跳舞時(shí)，我沒有同樣的感覺。之所以注意到兔子，是因?yàn)檎略逶逭f自己是一個(gè)兔年出生的人。
My feelings were primarily those associated with fascination. I was not afraid, but the figures did seem potentially menacing because of their masks. I think the abandoned industrial space contributed to this sense, especially early in the piece. I did not feel the same way as I watch the young man dancing. I noticed the rabbits because Zhangzaozao has talked about herself as a person born in the Year of the Rabbit.---Jerry Sullivan
