朱晓晴（Xiaoqing Zhu)和她的视觉艺术作品
生于北京的朱晓晴，本科毕业于中国中央美术学院油画系，研究生毕业于美国芝加哥艺术学院版画媒体专业。现在一边在美国念视觉专业的研究生课程，一边往返于北京和纽约之间做艺术。机缘巧合下她对影像产生了兴趣，从2016年到现在，她的作品多为视频和摄影。拍摄的内容大多有关于公共环境中人与物，人与人，物与物之间错综复杂、循环往复的关系。她自己的形象也常常出现在作品中，一方面是因为方便，另一方面是观念上的需要，亲身参与让她更主观的认识外部世界和人类社会。过去的3年间，通过参加各种艺术家驻地项目，她去了不同的城市，开始因地制宜地选择拍摄题材，随机应变地利用突发状况创作。她喜欢不确定性、陌生感、语言的误差以及抽丝剥茧后的真实。她听人说艺术家爱没事找事，无病呻吟，她认为没事找事是治疗麻木的良药，无病呻吟是因为有话要说。
Xiaoqing Zhu is a multidisciplinary artist, born and raised in Beijing China and currently based in Beijing and New York. Zhu graduated from the Central Academy of Fine Arts in 2014 with a BA in painting and completed her MFA in printmedia at the School of the Art Institute of Chicago in 2017. Zhu started to focus on lens-based art since 2016, her artistic practices discussed the complex and interactive connections between the human society and the material world. Using video, installation, performance, photography, and printmaking, Zhu redefined the functionality and metaphor of body and object, at the same time, explored the correlations between human activity and the city environment.
下面是有关她的几件影像作品的介绍（some of her Major Works）
5am“早上五点” 是她的第一件视频作品，完成于她的第一个艺术家驻地项目。在墨西哥普埃布拉的6周时间里，她几乎每天早上5点出门6点回到住处，漫无目的的穿梭在纵横交错的老街之间，透过微弱的路灯光观察街道上的植物，建筑，设施，物件和人类痕迹。她想象自己是那些散落在各处的物品，那些被损坏的、被遗弃的、被困住的或者是被用错的东西，试想着假如有机会她将被怎样改变。怀着这种心情，她开始对街道进行随机的调整，功能性上的、状态上的、意义上的，方式完全凭直觉，结果无关于对错，只关于想象。她把当时手机拍摄这些过程，最后把几十条短的视频剪辑成一个11分钟的影片，起名为 5am“早上五点”。当时的她并不完全清楚自己在做什么拍什么，后来回想起来，拍了这样一个作品与她在当地的感受有直接的联系：语言不通所致的异乡感，半梦半醒间的游离感，对陌生街道并存的好奇心与恐惧感，以及寓情予物的投射心情，诸如此类的复杂情感促成了这件作品的完成。
5am (screenshot)
Location: Puebla, Mexico
Duration: 11’02’’
Year: 2016
5am is Zhu’s first time-based work. She finished it when she was doing an artist-in-resident program in Puebla, Mexico. During this six-week residency, She woke up every day at 5am, went out and shoot film. She wandered around the old streets, observed those plants, buildings, objects, public facilities, and human marks through the streetlight， imagined she was one of those damaged, abandoned, lost, stocked or misunderstood objects. “ What do I want to be treated if I got the chance?” She asked herself. With this question, She started to adjust the street in terms of the functionality, physicality, meanings, emotions, positions, etc. and documented all the impromptu actions with her iPhone and finally edited them into a 11-minute film. She was not sure what she was shooting at that time, she gradually found the reasons when she looked back: the outsider’s feeling that caused by the language barrier; the lost feeling caused by the hazy light and gloomy atmosphere; the conflicted feeling that was driven by curiosity and insecurity; and the projected emotion on the street objects; all of those complex emotions made this work.
结束墨西哥之行后，她回到当时念书的芝加哥，一边上学一边利用闲暇时间在城市里到处走到处拍摄。一段时间后她创作了几件有关她自己作为身份和身体符号如何存在于城市环境中的作品。The Funs “Is A Cult” 的名字取自一张过期的演唱会海报。
有天夜里她走出地铁口，偶然路过一张印着女人后脑勺的黑白海报。这张海报一下吸引了她的注意力，海报的高度和尺寸和她的身高吻合，其次是它的标题有个英文语法错误。她决定以这张海报为灵感做一件看上去荒诞的作品。她用不断重复的低头动作加上不断叠加的打印图像来完成一个记录不断重复过程的行为影像作品，由此来测试公共环境中人们对于身体和图像的反应，同时讨论艺术的价值以及发生场所的可能性。
The Funs “Is A Cult” (screenshot)
Location: Chicago
Duration: 02’39’’
Year: 2017
The Funs “Is A Cult” is a performative project that inspired by an expired poster that she encountered on the street one night when she went out of the subway station and accidentally found this poster. This black and white poster captured her attention immediately for its height matched hers and there was a grammar mistake in the title. She decided to make a seemingly absurd film to respond to this poster. She made this performative film which documented all the repetitions after combining the repetitive bow-gestures with the photographic-image copies, In this way, She tried to test the public responses to the body and image, at the same time, discussed the value of art and the potential location of the exhibition.）
Mutual Measurement“相互丈量”这件影像作品前后花了近2个月的时间。主要讲的是身体和公共空间的关系，实施的方法是用她的身体丈量公共环境中的工业产品。
身体和物体，长期处于相互丈量的关系。合脚的鞋子，显瘦的裙子，限重的电梯，限载的飞机，人类设计并大量生产便于身体使用的物品，大到建筑，运输工具，小到锅碗瓢鹏，笔墨纸张，工具的发展史也在某种程度上直接反映了人类的身体与文明进化史。人们熟练使用已知的物品并不断开发适应新的产品，看似越来越高效的生活背后，是否存在潜在的矛盾与危险？比如过度依赖机器导致人类劳动力退化与感官的迟钝，以及过度遵循社会秩序导致个人判断力与怀疑精神的消失等等当代社会现象。她希望通过自己的身体力行找到某种解决方法，于是开始以艺术为由在公共场合有意识的重建身体与物体之间的物理关系和心理关系。
Mutual Measurement (screenshot)
Location: Chicago
Duration: 05’03’’
Year: 2017
Mutual Measurement was finished in Chicago. This film discusses the relationships between the human body and the public space. The general idea is to use her own body to measure the industrial products in the public environment. Body and object have existed in a mutual-measured relationship for a very long time. Comfort shoes, fitted dress, weight-limited elevator, load-limited airplane, etc. People invented numerous objects according to tons of body-data, with the accurate measurements, people also have created tools that as big as the skyscraper and as small as contact lenses. The history of the object directly reflects the evolution of the human body and human society. With the increasing needs of more efficient life, many unavoidable problems have occurred, such as the sensory numb that caused by the degeneration of labor and the disappearance of skeptical spirit that caused by succumbing to the social rules. To respond to these phenomena, she tried to find the solutions in her way, that was how she started to shoot this film.）
Sooner Was Later“过去曾是未来” 是朱晓晴在芝加哥拍的最后一件作品。它以城市街头场景为背景，强调了“似曾相识”的视觉体验。她花了1个多月的时间游走于芝加哥的街头巷尾，尝试用一套新的视觉记忆体系来拍摄这期间看过又再次看到的场景。搜集足够素材之后，她开始重新编辑所有的场景。像是玩扑克牌中的配对游戏那样，找到过去与现在重合的场景，让它们出现在同框的画面中，通过这件作品讨论通过视觉建立的情感联系：为什么人们会触景生情或是寄情于景？为什么回忆和现实总有出入又偶尔惊人吻合？为什么人会对一个从没去过的地方或是见过的人感到熟悉？这些问题可能不存在答案但或许可以通过真实的影像来分析其中的因果关系，她感兴趣的正是这些促使 “巧合” 发生的点滴线索。
Sooner Was Later (screenshot)
Location: Chicago
Duration: 07’28’’
Year: 2017
Sooner Was Later was the last film that she shoot in Chicago based on the Chicago street view and emphasized the Déjà vu experiences. She spent one month walking around the street. While walking, she tried to create a memory-based shooting method to record the street scenes. When all the needed film materials collected, She started to re-edit them, like the pairing game in poker cards, she paired scenes from the different time period and composited them together and intended to discuss the emotion connection constructed by her own vision.” Why people get touched by specific scenes and sometimes project their own emotions on them? Why memory and reality always encounter each other but rarely overlapped? Why sometimes we feel familiar with something or someone we never met before?”, there might have no answers to these questions, but what she was looking for were the clues which triggered those questions and impelled all the happenings.
2017年12月，朱晓晴在伯灵顿州弗尔蒙特艺术中心的艺术家驻地项目处完成了反应艺术家的身体与工作室之间关系 的Studio Exercise“工作室练习” 这件作品。她尝试把身体作为工具而不是工具的使用者，最大程度上发挥它在工作室环境中的作用，在这种假设下，工作室的内部结构和工具都变成身体的支配方。墙、门、椅子、梯子、画框、推车、画纸等辅助艺术品产生的物件，此时成为创作的主导。正如它们平常服务她那样，她思考如何根据它们不同的物质属性服务它们。通过主动地将身体工具化，她开始重新体验身体的物理性以及与其相关的身份标签。人时时刻刻都在通过外物和其他人来认知自己，这样的认知通常极其主观而难以考证。如何打破和重建自我认知是她在这件作品中讨论的重点。
Studio Exercises (screenshot)
Location: Vermont Studio Center
Duration: 09’33’’
Year: 2018
Zhu participated in the artist residency program at Vermont Studio Center in December 2017. During this program, she made this site-specific film Studio Exercises. This work is about the relationship between the artist’s body and the studio space.In the studio, she treated her body as a tool instead of the user of the tool. With this assumption, all the elements in the studio turned into the users ‘ own body. Doors, walls, chairs, carts, frames, paper etc., all of these studio facilities and tools, in this case, became the leaders of the studio practices, like how they serve her before, she tried to serve them by matching her body with their different characteristics. By materializing her body objectively, she was able to re-experience her physical body and rethink about its labels. People usually know themselves by learning from others and the outside world, self-recognition like this is variable and questionable. With this concern, how to challenge the stereotyped recognition of human body is what this piece discussed about.
2018年7月，她去弗罗里达州太平洋艺术中心参加一个为期3周的驻地项目，利用那里的舞台与后台环境即兴创作了Piano Without Piano Bench“没有琴櫈的钢琴” 这个与人合作的作品。第一次进入这个空间时，她看到一架钢琴，一个琴櫈以及后台的各式椅子，接着她想到和她一起参加驻地项目的作曲人、作家和画家。如何使包括她自己在内的这些人和这个环境发生关系？她首先想到的是music chair (抢椅子游戏）这个全世界流行的儿童游戏。她在原本游戏的基础上增加了一个运动规则以建立声音、物体和人三者之间全新的关系。钢琴没有琴櫈暗指一种不对劲儿的状态，有如球赛没有观众，油画没装框子，电影不带声音，吃面只有勺子，事物没有完全丧失功能性但总觉得别扭。伴随着琴声不断响起停止，人和椅子交替落座依次离席，谁在弹琴谁在听，究竟是表演还是真实，全要看规则和场合。
Piano Without Piano Bench (screenshot)
Location: Atlantic Center for the Arts
Duration: 12’37’’
Year: 2018
Piano Without Piano Bench is a collaborative film project finished during her artist residency program at the Atlantic Center for the Arts. This site-specific project was based on the theater environment. When she first came to this space, she saw a piano, a piano bench and eight other chairs at the backstage. She started to think about how to activate this space by adding people and actions. The first idea came into her mind was the very popular children’s game – music chair. she asked seven other people joined her and added an extra rule to create the movements between music, chairs and the human body. Piano without piano bench was a metaphor of “feels incorrect”, similar with a match without audiences, a painting without the frame, a movie without sound, and soup without the spoon, things still work but feels kind of wrong. With the music came and gone, pianists sit down then walked away.” Am I a performer or an audience? Is it reality or a play? Is now the present or the past?” It all depends on the rule and where.
离开弗罗里达后，她去纽约参加 Con 空间的艺术家驻地项目，这个驻地的灵活度很高，所以她有很多时间在街上闲逛。纽约的街上总有看不完的风景和故事，让刚到的她像跟所有游客一样激动又难以消化。冷静地观察一段时间后她开始拍摄。她的第一个作品 Proper Use“正确使用方法”就是有关于她在城市中见到的偶发事件。这些偶发事件全部有关用“错误”方式正确使用物品，类似于日本珍道具 Unuseless 的概念—- 介于有用与没用之间的工具。所谓正确使用方式有时用在错的地方，错误使用方法刚好用对了地方。人们设计一个工具往往是针对某种功能性，而对一个物品功能性的认知是通过尝试而非常识。生活中总有一些人出于不同的原因发掘出物品不为人知的功能性，这些人通常会引起她的注意。通过不断观察她看到人类的聪明和自作聪明，意识到每个人看事物角度的不同，也发现自己想象力的有限。她习惯性的用手机记录日常生活中启发她的瞬间，随着不断的拍摄，这件作品会成为一件未完待续的影像作品。
Proper Use (screenshot)
Location: New York
Duration: 06’50’’
Year: 2018
Proper Use is a film about the accidental moments that she saw and captured in New York. All the scenes that interested her were about using tools correctly in “wrong ways”. Similar to the Japanese Chindogu’s concept “unuseless” – tools between useful and useless, proper use means using tools properly not correctly. With the civilization of modern society, more and more tools have been designed to make life convenient. Every object has its special function, which is like everybody in the society has his or her social position. However, people might not know the truth as well as they thought. Most of the time, the functionalities of the objects have been underestimated. Zhu gradually saw how smart and smartly stupid human beings are when she started to shoot this project, meanwhile she also realized the limitation of her imagination.
影像作品Tangible Stop“触手可及的站台”拍摄于纽约地铁。作品的第一部分是作者在地铁站台问等车的人可不可以给他们编辫子，有些人同意有些人拒绝。作品的第二部分开头是相同的地铁场景，有一个人停在她旁边和她聊天，接着场景转到一个咖啡店，镜头中她在和一人聊他们是怎么认识的，以及编辫子与亲密关系之类的话题，通过声音可以判断这个聊天对象是那天在地铁站和她闲聊的人。这件作品里包含了很多偶然的元素，促成偶然发生的是陌生人之间的信任。在这件作品中她第一次加入了谈话的形式，这启发她做了之后的视频作品 What Are You Doing?“你在干嘛？”
Tangible Stop (screenshot)
Location: New York
Duration: 08’58’’
Year: 2018
Tangible Stop is a film shoot in the subway station. In the first part of this film Zhu offered free hair-braiding to the strangers, some people accepted her offer, and some did not. At the beginning of the second part of the film, she was talking to a guy in the same subway station, one minute later, the scene switched to a coffee shop, she chatted with the same guy, talking about how they met each other and some other topics like hair braid and intimacy in the public. There were lots of randomness in this work, what made those randomnesses happened was the trust between the strangers. It was the first time that she used a conversation in her film, which inspired her to shoot another one called What Are You Doing later.
What Are You Doing? “你在干嘛？” 这件影像作品讲的是陌生人之间的故事。两个毫不相关的陌生人向彼此打了个招呼，开始交流，分享各自的经历，产生联系，确立某种关系，随时间推移保持或改变这种关系，有些变成对方很重要的人，有些最后又回到陌生人状态，所有的这些交集都始于最开始的好奇。拍摄这件作品的初衷就是不分场合、肤色、性别、职业、身份以及社会地位，把心里的好奇说出来，只要某人身上的某点引起了她的注意，她就会去找他说话，同样的，有时候陌生人也会和她说话。不是每一段对话都流畅有趣，有些对话尴尬，有些甚至没有能够记住的内容。朱晓晴镜头下的日常一直是这样，它平淡蹩脚的地方藏着令人着迷的真实。
Tangible Stop (screenshot)
Location: New York
Duration: 08’58’’
Year: 2018
What Are You Doing is a film that discusses the relationships between the strangers. Two strangers say hello to each other, they start to talk, share their stories, spend time together, decide certain relationship, turn to an important role in each other’s lives, or become back to two strangers again, all of these encounters started from the very pure curiosity. Her intention of this work was to speak out that curiosity, despite the location, identity, sexuality, skin color, social position, or culture background, as long as someone evoked her interest, she would like to talk to. Similarly, strangers sometimes talked to her as well. Not all the conversations were fluent and interesting, some of them were kind of awkward or even has no content, however, this is how she shoot her daily life. Under the seemingly boring and awkward surface, there is the reality that she is addicted to.
有关朱晓晴的相关信息：
展览：
2019年“黑白摄影” 黑匣子画廊，美国波特兰
“工作室项目” 诺夫阿诺德画廊，美国芝加哥罗尤拉大学,
“周而复始” 罗曼苏珊画廊, 美国芝加哥
2018 年，“12个开幕” 综合黄色艺术空间, 美国芝加哥
“自带创可贴” 周氏兄弟艺术空间, 美国芝加哥
“宣言：一个适度提案” 比德泽学院画廊，美国克莱尔蒙特
“第88届艺术家群展” 芝加哥艺术家俱乐部，美国芝加哥
“拾忆” 联合街画廊，美国芝加哥
2017年，作品在美国芝加哥参加以下展览：
“第14届伊利诺伊州评审委员会展览”， 弗里波得美术馆
“时间片刻” 高地公园艺术中心
“纠结” 电线空间
“开幕2.0” 加盖行为艺术空间
“草/根” 女性制造画廊
“非彼即此”无国度画廊
“空隙” 克鲁格画廊
“权力所属” 罗曼苏珊画廊
同年，作品“抽象思维”在韩国金浦CICA美术馆 参展
2016年， “新血液” 行为艺术节在美国芝加哥链接大厅参展
“野蛮所栖”美国洛杉矶萨克里门托艺术中心
”第29届麦柯尼塞国际纸上作品展“美国洛杉矶盛大画廊
“再逆生”美国纽约荆棘树出版机构，
2015 年“青年艺术家100” 北京农业展览馆
2014年 第一届“ 新绎之星”优秀作品展北京今日美术馆
“同行同至”四人联展 新绎空间, 中国北京798艺术中心
作品被放映：
2019年 “身体与影像艺术节”，美国麦纳当代艺术中心
芝加哥+新泽西+迈阿密
“非洲国际手机录像电影节”， 尼日利利亚拉各斯
2018年 “极光图像展”，美国休斯顿极光新媒体艺术中心
“当代新媒体艺术2018 – 实验纪录片”，美国新墨西紫罗兰皇冠电影院
2017年 “空间化的我” ， 美国芝加哥艺术俱乐部
“路光”，美国芝加哥罗曼苏珊画廊
“移动影像00:01”，美国芝加哥纬度空间
“洛杉矶Cine电影节（半竞赛单元)”， 美国洛杉矶
被收藏作品：
2017年 “艺术家手工书-折叠”，美国芝加哥弗莱克斯曼图书馆
“影像-身体物理性”， 美国芝加哥鲍勃南希私人收藏机构
参与艺术家驻地项目：
2019 “安德森润” 艺术家驻留项目，美国科罗拉多驻地奖学金
2018 “大西洋艺术中心艺术驻留项目”，美国弗罗里达 帕博斯特基金会奖学金
“空“ 春季驻留项目，美国纽约曼哈顿 “空” 艺术空间
“弗蒙特工作室中心” ， 美国伯林顿全额奖学金
“阿卡特比亚夏季驻留项目” ，墨西哥普埃布拉
获奖：
2017年 “第十四届伊利诺伊州评审委员会展览”，美国芝加哥弗里波得美术馆
2016 年“旅行奖学金”， 美国芝加哥艺术学院
“玛格丽特托马斯奖学金”，美国芝加哥艺术学院
2015 年“Ox-Bow 荣誉奖学金”，美国芝加哥 Ox-Bow学校
2014年北京新绎爱特基金会 “新绎之星” 青年艺术家支持计划一等奖学金
“依恋” 优秀学生奖学金， 韩国依恋集团
“优秀毕业作品三等奖”，北京中央美术学院
《国际艺术新闻网》 记者 王萌
