【2013艺术部落网年度人物推荐-钞氏兄弟】

闻正

钞氏兄弟（钞子艺，本科、学士;钞子伟，清华硕士.双胞胎兄弟）职业艺术家。
河南南阳人，同为中国美术家协会会员，中国雕塑学会会员，中国工艺美术学会雕塑专业委员会会员。毕业于河南南阳理工学院艺术系，先后在中央美术学院学习。现工作生活于北京 。  

媒体：南阳台电视台、河南电视台、中央电视台分别作过专题报道。个人专辑数本，在上百个刊物上发表作品、文章等。

个展
【追忆——钞氏兄弟作品展】中华世纪坛世界艺术馆（2012年）
【红色经典——钞氏兄弟作品展】世纪金源购物中心B11美术馆（2011年）
【裂•变——钞氏兄弟艺术展】北京大未来林舍画廊   （2011年）
【“风雨沧桑忆门楼”——钞子伟、钞子艺作品展】北京（2005年）
【“都市怀旧”——钞子伟、钞子艺作品展】798北京   （2004年）

获奖
【第七届全国陶瓷展】《消失的家园》获“金奖”，龙泉
【第十一届全国美展，（雕塑展、设计展、陶瓷展）】中国美术馆《昨天》获“银奖”，
【中国－东盟国际商务区城市雕塑设计方案邀请赛】《硕果》获“银奖”南宁
【第二届韩国国际陶瓷双年展】《门》获“铜奖”，利川陶瓷馆，韩国
【抗日战争胜利55周年美术作品展】《支前》获“三等奖”， 全国政协礼堂，北京
【第七届亚洲艺术节主体雕塑展】《南国之光》获“三等奖”，佛山市政府，佛山
【第四届韩国国际陶艺双年展】《东方红》获“评委会精品奖”，利川陶瓷馆，韩国
【北京奥林匹克景观雕塑国际巡回展】《夙愿》，《硕果》“优秀奖”北京、上海/美国
【黄天厚土雕塑大展】《中国娃娃》获“纪念奖”，中华世纪坛，北京
【河南省第五届大学生科技文化艺术节】雕塑、绘画获“一、二、三等奖”

展览
2013
【 2013中国雕塑年鉴展】国家大剧院展厅
【“青春记忆--大钟寺中坤广场美术走廊首届美术展”】 大钟寺中坤广场
【第三届公共视觉优秀作品双年展】上海
【CHINA•梦—北京•景德镇原创艺术家北影交流展】电影学院
【“大象有形”中国当代雕塑邀请展】宋庄美术馆
2012
【2012年度“曾竹韶雕塑艺术奖学金】大同
【清华美院研究生毕业作品展】清华美院
【首届中国陶瓷大展】中华世纪坛隆重展出
【第十九届建筑设计展】北京市规划化展览馆
【大音无声—现代精品陶艺展】武汉半亩园
【中国宋庄艺术品交易网特展】钟莲生美术馆
【2012•宋庄边缘自由艺术家联展】宋庄
2011
【“开悟”2011大同国际雕塑双年展】大同
【艺术面向--青年油画雕塑展2010】北京美丽道艺术中心
【“艺术在路上”中粮朝阳大悦城当代艺术展】北京朝阳大悦城艺术空间
【2011中国雕塑年鉴展】北京国粹苑文化创意基地
【中国当代陶瓷艺术北美巡回展】美国、加拿大
【中国姿态--第二届中国雕塑大展】北京、天津、上海、芜湖、广州、深圳、牡丹江
【穿越•对话--当代艺术邀请展】安徽桐城老街
【蓄势•续势】北京大未来林舍画廊
2010                               
【“工业记忆”--上海国际雕塑邀请展】上海世博会
【《雕塑》杂志年度提名展】北京  
【《雕塑》杂志十五周年特邀艺术家展】北京
【“意象•特质”第三届北航艺术馆当代艺术邀请展】北航艺术馆
【2010上海现当代陶艺作品展】上海世博会
【中国当代艺术年鉴展开幕三大主题跨年展出】上上美术馆
【和艺术沙龙展】798和画廊
2009
【第十一届全国美展，长春（雕塑），深圳（艺术设计）,厦门/中国美术馆（陶瓷）】
【第五届韩国国际陶艺双年展邀请展】利川陶瓷馆，韩国
【中国雕塑百家作品联展】北京，上海等  
【礼赞生命－5.12抗灾雕塑主题展】北京，四川等  
【文思.物语－大陆当代陶艺展】台湾
【中国雕塑年鉴展】北京国际雕塑艺术区展览馆
【“60-70-80”——图尔中国当代艺术展】图尔城堡美术馆，法国
【“40把椅子”国际设计师作品邀请展】三里屯，中央美术学院
【SOGO环境雕塑艺术展】北京
【“我能相信”中国当代艺术家邀请展】繁星美术馆，北京
2008
【第三届北京国际美术双年展】中国美术馆，北京
【中国－东盟国际商务区城市雕塑设计方案邀请赛】南宁
【 “亚洲”___当代艺术中部邀请展】河南美术馆，郑州
【“向内”，偏锋新艺术空间】北京
【“龙之舞”中国当代艺术展】布恩市特尔沁博物馆,美国北卡罗来纳州
【中国现代陶艺展】西安
【“探索•创新”——中国中青年雕塑家邀请展】获郑州
【中国当代艺术文献展】墙美术馆，北京
2007
【第四届韩国国际陶艺双年展】，利川陶瓷馆，韩国
【“妄想国”——中国新生代艺术展】对比窗画廊，上海
【庆祝香港回归十周年大汇展】香港中央图书馆展览馆，香港
【第35届塞万提斯国际艺术节艺术展】墨西哥
【新锐艺术大展，上海多伦现代美术馆】上海
【首届全国职业雕塑家作品联展】成都雕塑院，成都
2006
【北京奥林匹克景观雕塑国际巡回展】北京、上海/美国纽约/英国
【中国美术馆当代陶瓷艺术收藏邀请展】中国美术馆，北京
【传统与现代雕塑展】北京城市规划展览馆，北京
【第二届中国现代工艺美术作品展】中华世纪坛，北京
【北京奥林匹克公园城市雕塑设计方案展】城市规划设计院，北京
【中国郑州首届国际城市雕塑精品展】郑州国际会展中心，郑州
2005
【第二届北京国际美术双年展】中国美术馆，北京
【第54届法恩扎国际陶艺展】佛罗仑萨，意大利
【第七届亚洲艺术节主体雕塑展】，佛山市政府，佛山
【和平繁荣雕塑巡回展】北京/南京
【黄天厚土雕塑大展】中华世纪坛，北京
【“表达”当代艺术展】洛阳红星剧院，洛阳
2004
【中国第四届青年陶艺家双年展邀请展】中国美术学院，杭州
【澳大利亚黄金海岸陶艺展】澳大利亚悉尼
【“八只泥手”陶艺展】酱艺术中心，北京
【中国美术家协会第二届陶瓷展】 唐山，河北
2003
【第二届韩国国际陶瓷双年展】利川陶瓷馆，韩国
【中国美术家协会第二届陶瓷展】唐山市政府，唐山
2002
【第七届全国陶瓷展】龙泉
【中国第二届雕刻大奖赛】惠安
2001
【河南省建党70周年美术作品展】河南美术馆，郑州
2000
【中央美术学院雕塑系陶瓷九人展】中央美术学院，北京
1999
【抗日战争胜利55周年美术作品展】全国政协礼堂，北京
【“晾•晒”雕塑展】中央美术学院，北京
【河南省第九节美术作品展览】河南美术馆，郑州
1998
【大连“槐花杯”环境艺术大奖赛】大连
1997
【河南省第四届体育美展】河南郑州

收藏：       
中国美术馆，河南省美术馆，利川陶瓷馆，乌里•希克，大同中国当代雕塑馆，台湾大未来画廊，台湾四行仓库、北京当代唐人艺术中心，墙美术馆 ，南京爱涛艺术馆 ，纽约陶艺画廊，东盟艺术大赛组委会，惠安、佛山、厦门、郑州、新乡等政府机构，另有多件作品分别被画廊和个人收藏。

邮编： 101118   手机：13522070220 13671054751
E-mail  chaoziyi@163.com    chaoziwei@163.com  
网址：www.chaobrother.com     
地址：北京市通州区宋庄艺术区宋庄小学对面                                                                                          
The CHAO BROTHERS (Chao Ziyi, Undergraduate, Bachelor's degree, Chao Ziwei, Master's Degree of Tsinghua University)
Hometown: Nanyang, Henan Province, members of Chinese Artists Association, Chinese Sculpture Association, Sculpture Special Interest Committee of Chinese Industrial Arts Association.
Graduated from Arts Department of Nanyang Institute of Technology and studied in China Central Academy of Fine Arts.
Working and living in Beijing now

Exhibitions
2011
“Ready • Momentum”, Beijing Daweilai Linshe Gallery
“Facing Art”, Youth Oil-painting and Sculpture Exhibition-2010, Beijing Meilidao Arts Center
“Art on the road”, COFCO Chaoyang Dayuecheng Modern Art Exhibition, Beijing Chaoyang Dayuecheng Art Space
“2011 China Sculpture Annual Exhibition”, Beijing Quintessence Cultural and Creative Base
2010
“Memory of Industry”---Shanghai International Sculpture Guest Exhibition, Shanghai Expo
Sculpture Magazine, Annual Nomination Exhibition, Beijing
Sculpture Magazine, the 15th Anniversary Special Invited Artist Exhibition, Beijing
“Image • Particularity”, the 3ed Beihang Art Gallery, Modern Art Guest Exhibition
2010 Shanghai Modern Ceramics Exhibition, Shanghai Expo
The opening of Chinese ART Annual Exhibition, exhibition of three themes, Shangshang Art Gallery and Culture Art Exhibition, 798 Gallery
2009
The 11th National Art Exhibition, Changchun (Sculpture), Shenzhen (Art design), Xiamen/ the Chinese Art Gallery (Ceramics), the Yesterday wins “Silver Award”
The 5th Korean International Ceramics Biennale Guest Exhibition, Icheon Ceramics House, Korea
The Group Exhibition of Chinese Sculpture Hundred Works, such as Beijing, Shanghai, etc.
“Praise of Life”——5.12 Fighting Natural Calamities Sculpture Subject Exhibition
“Wensi • Wuyu”——Mainland Modern Ceramics Exhibition, Taiwan
China Sculpture Annual Exhibition, Beijing International Sculpture Art Area Exhibition Hall
“60-70-80” ——Tour China Modern Art Exhibition, Tour Castle Art Gallery, France
“40 Chairs”, International Designers’ Works Guest Exhibition, Sanlitun, China Central Academy of Fine Arts
SOGO Environment Sculpture Art Exhibition, Beijing
“I Believe” ——Quest Exhibition of Chinese Modern Artists, Fanxing Art Gallery, Beijing
2008
Asia Contemporary Art Central China Invitation Exhibition，Zhengzhou, China Contemporary Ceramic Exhibition，Xi'an,
The 4th Beijing International Art Biennale, Beijing, China
Inward, PIFO New Art Studios, Beijing, China
New Year The 2nd China Art Biennale Exhibition, Art 8 Gallery, Beijing, China.
Dance with the Dragon  Chinese Contemporary Art Exhibition, North Carolina, America.
Discovery and Creation——Chinese Young Sculptors Invitational Exhibition, Zhengzhou, China.
Contemporary Art and Documentary Exhibition of China, Wall Museum, Beijing, Chima.
China－Invitational Tournament of Sculpture Design Proposal in Dongmeng International Business District, the Shuoguo wins “Silver Award”, Nanning
“Asia” ——Modern Art Central Guest Exhibition, Henan Art Gallery, Zhengzhou
The 2ed Chinese Sculpture Grand Prix, Huian
2007
The 4th South Korea International Ceramics Biennale Exhibition, Museum, Icheon, Korea
A Land of Illusion——The Art of China's New Generation, Shanghai, China.
Grand Exhibition in Celebration of the 10th Anniversary of Hong Kong’ Return to Mainland, Hong Kong, China.
Art Exhibition of 35th Cervantes International Art Festival, Mexico
Young Artists Contemporary Art Exhibition, Shanghai Duolun Museum of Modern Art, Shanghai, China.
First National Collective Exhibition for the Professional Sculpture Artist, Chengdu, China.
2006
Urban Nostalgia——Art Pottery Exhibition of Chao ziwei and Chao ziyi, Pata Gallery, Beijing, China.
The Olympic Park City Sculpture of urban exhibition, China/America/Great Britain.
Ceramics Art Exhibition of National Art Museum of China,  National Art Museum of China, Beijing, China.
Traditional and Modern Sculpture Exhibition, Beijing Urban Planning Hall, Beijing, China.
The 2nd Chinese Modern Art and Design Works Exhibition, China Century Monument, Beijing, China,
Exhibited at the China Olympic Park City Sculpture Design Compitition, Beijing Urban Planning Hall, Beijing, China.
An International City of Sculptuer and Cultural Year of Zhengzhou,China
2005
Exposicion  Internacional de Ceramicay Porcelana, Italy
The 7th Asia Arts Fstival Subject Sculpture Exhibition, Government of Foshan, Foshan, China.
Peace and Prosperity sculpture circuit show, Beijing/Nanjing, China.
Huang Tian Hou Tu and celebrating the Sculpture invitation exhibition, China Century Monument, Beijing, China,
The 2nd Beijing International Art Biennale, Beijing, China.
Recalling the Gatehouse of the Storm Vicissitudes——Art Pottery Exhibition of Chao ziwei and Chao ziyi, Beijing, China.
2004
The 4th China Youth Potters Biennial Invitation, China Academy of Art, Hangzhou, China.
Gold Coast Ceramics Exhibition, Sydney, Australia
Eight Mud Hands Ceramics Exhibition, Pickled Art Centre, Beijing, China.
2003
The 2nd South Korea International Biennale Ceramics Exhibition, Museum, Icheon, Korea
The 2nd Ceramics Exhibition of Chinese Artists Association, Government of Tangshan, Tangshan, China.
2002
China's Second——Carving Competitions, Westlands
The 7th National Ceramics Exhibition, Longquan, China.
2001
The Art Exhibition of the 70th Foundation of CPC, Henan province, Henan Art Gallery, Zhengzhou

2000
Nine People Sculpture Exhibition, Central Academy of Fine Arts, Beijing, China.
1999
The 55th Anniversary of the War of Resistance against Japan Art exhibition, Beijing, China.
Air-cure Sculpture Exhibition, China Central Academy of Fine Arts, Beijing, China.
1998
Dalian “Huaihua Cup” Environment Art Grand Prix, Dalian
1997
Win “Outstanding Award” in the 4th Sports Art Exhibition
1996
Win “the First, Second and Third Prize” in the 5th University Science & Culture Art Festival of Sculpture and Painting in Henan province                                   


Awards:
        “Eastern Red” – Recipient of Special Award from the Fourth Annual South Korean International Juror’s Choice.
        “Zhi Qian” – Third Prize Winner at the Sculpture Exhibition Commemorating the 55th Anniversary of the War Against Japanese Aggression.
   “Disappearing Home Garden” – Gold Prize Winner at the Seventh China National Ceramic and China Arts Exposition.
   “Gate” – Bronze Prize Winner of the Second South Korean International Ceramic Art Exposition.   
   “Light of the Southern Land” – Third Prize Winner in Sculptures at the Seventh Asia Arts Festival.
   “Chinese Doll” – Recipient of the Memorial Award at the Huang Tianhou Clay Sculpture Exhibition.
Collection are available at:
        China’s Museum of Arts, Lichuan Museum of Ceramics and China, and various other museums in China (including Taiwan), Sweden, and New York.  Some works are collected by art galleries and private individuals.
Many other works are collected by art galleries and personal collections .


P.C: 100118      Tel:  86-10-69599133    MP : 13522070220   13671054751
E-mail:chaoziyi@163.com      chaoziwei@163.com                       
http:// www.chaobrother.com     WWW. 钞氏兄弟. Com
Add:The Beijing tongzhou district songzhuang small fort XiaoPu street YiFuyuan hotel west 50 metres (itc take 808 or 809 small fort north street that is) chao's brothers studio

闻正

在路上  
                          
文/ 钞氏兄弟

    转眼间来北京已有 13个年头，从早期怀揣梦想，满腔热忱来京寻梦，到现在也有属于自己的一片天地。回想起从艺历程，曾经也像千千万万个北漂族一样，经历过无数个酸甜苦辣和喜怒哀乐。虽然,路途布满曲折和艰辛，但也同样充满希望和惊喜。至今我们还在这条路上乐此不彼。
     当今的世界，文化艺术呈现多元化和开放的姿态，传统艺术与当代艺术之间，有碰撞﹑有融合。各种形形色色的“架上艺术﹑当代艺术﹑视觉艺术，观念艺术和行为艺术等等”,不仅突破了原有的审美经验，也一次次冲击着人们的视觉和心理承受底线，很多人只能望而兴叹：“当代艺术越来越看不懂了……”
     我们的作品主题大多都是以过去和现在“物”的形态，“以物寓人”“托物寓怀”来展现人文精神和社会现状。不管今天是“叱咤风云﹑指点江山”的风流人物，还是“平平庸庸﹑无所作为”的凡夫俗子，若干年后，那些被我们过去或今天，遗留下来的“物件”都将成为明天的昨天。 选择“土与火”做为我们创作的主要媒介，它正好切合了作品的主题.土也是地球上有人类以来，最古老的创作元素.而它所历经的“烈火熔焰”就像是核经历“裂变”的过程，而裂变过程，所释放的能量是巨大的。它是物质发生“质”的变化和飞跃，就像“凤凰涅槃”获得新生的过程。
     艺术家应建立在严肃创作的基础上，具有强烈的历史使命感和社会责任感，不满足优秀，崇尚创新，追求卓越。这也是多年来，我们一直遵循的创作宗旨。进行有益的尝试、不断探索和创新，有继承但不守旧﹑不猎奇求异﹑不投机讨巧﹑不搞哗众取宠。在追求艺术最本体语言的基础上，“脚踏实地﹑折衷中外﹑融合古今”。从题材、技法上吸收本土的精髓，为我所用，坚持走一条属于自我的艺术创新之路。在艺术创作上，常有人说：“越是民族的，就越是世界的”但不是找一两个所谓的文化符号，或者贴一个标签，就成了民族的世界的。我认为，这是对文化艺术认识的谬误和浅薄造成的。“艺术可以国际化，但不是被国际同化”没有对民族文化的深刻认识和理解，谈何能做出振聋发聩﹑激荡人心﹑而又发人深省的力作呢。我们的创作，重在挖掘和探索，从陶瓷﹑绘画、金属﹑木雕﹑石材以及数字多媒体等等艺术语言，结合中国传统文化和当下社会现状，在艺术创作中寻求的最大表现空间。“做艺术就像是在挖井，挖多个井都不出水，说明井挖得不够深，只要顺着一口井一直挖下去，总会有水出来的。”所以，必须具备“一竿子插到底和不计成败”的钻研精神。
      这些年，我们一直遵循一条严肃创作的方向，从中国传统的经典建筑，历史遗迹等入手。“古城﹑天坛﹑大宅门楼﹑古塔﹑沉船﹑各种老物件﹑废旧军鞋到老爷车﹑蒸汽机﹑东方红拖拉机、飞机残骸，至保时捷﹑法拉利跑车等等给予新的解读和诠释，着重对中国经典建筑及文化有一个更好的梳理和体现。从过去遗留下来的“物件”到当下最时尚流行的“物品”，用一种将来时态，把历史车轮历经风雨，碾压的满目疮痍和岁月轨迹呈现出来。由早期个体物品，到对当下社会现实和重大事件的批判﹑关注和思考，形成一条主要的脉络。从视觉张力上产生极大反差，以期引申更多思考。也想把泥土语言的美，发挥到淋漓尽致。由极致的精细到“美轮美奂”；或由极为的粗犷到“土的掉渣”。如：《老物件》、《怀旧系列》，从军装上可以看到“汗迹斑斑”，军鞋上能好像能闻到“鞋臭味”；《东方红系列》，体现的是中国红色政权成立之初，建设者战天斗地﹑不畏艰难﹑不屈不挠的革命大无畏精神；《家园系列》，不仅看到了中国饱经苦难的历史，更重要它凝聚了我们民族优秀传统文化的精髓。也想通过这些，呈现一个国家，一个民族的“浑厚苍润﹑沉雄博大﹑大气磅薄”的包容胸怀。
     现在，我们兄弟俩，以一个艺术的参与者和实践者的身份，行进在当今千百万艺术从业者的大军中。一直想把我们兄弟所作的作品，进行阶段性的梳理和总结，但总觉得时机不够成熟，有待继续完善。时至今日，每到一个阶段，总会有新的想法。
     在此，我们要感谢这些年，很多老师﹑前辈和朋友给我们的帮助和鼓励。感谢大未来林舍画廊林天民先生和林岱蔚﹑林岱隆兄弟长期以来的支持和关注，使得今天的展览得以呈现出来。虽然，还不尽完美，但也算是我们多年创作的总结。在此，欢迎同道批评指正！路漫漫其修远兮 吾将上下而求索……。

                                             2011年6月1日于北京宋庄

On the Road


It is 13 years since the CHAO BROTHERS came to Beijing, they came here with full enthusiasm to seek dream, and until now they owned their own piece of the sky. Look back on the art experience, just like the thousands of “north-striving group” artists, and they experienced numerous ups and downs, pleasures or dejections. Although the way was filled with twists and difficulties, there were much hope and surprise, and we were never bored with this art road.

This world is full of multi-culture and openness, the conflicts and amalgamation simultaneously exist between traditional and modern arts. There are many kinds of arts, such as easel art, modern art, visual art, conceptual art as well as action art, etc. They not only broke through intrinsic esthetic experience, but also shocked people’s vision and psychological endurance, and many people suspired: “It is getting harder and harder to understand the modern art……”

Most of our works are based on the forms of past and present “objects”, to “imply people by objects” and “show mind through objects”, in which way expresses the humanistic spirit and social reality. No matter the gallant heroes of “all-powerful” or ordinary people of “mediocrity”, years later, those “objects” that are left at past or present will become the tomorrow’s yesterday. We choose “soil and fire” as the major medium because they rightly meet the subject. Soil is the oldest creation element since there was human being on the earth. The experience in “blazing fire” is just like the process of nucleus’s fission with tremendous power. The change and leap of its essence is likes the rebirth process of “phoenix nirvana”.

Artist should set up strong historical mission and social responsibility based on strict creation basis, and one should not satisfy with excellence, but advocate creation and pursue outstand. This is our creation tenet over these years. At the same time, we tried to discover and create, we inherit but we are not conservative, and we don’t hurt novelty, seek for strangeness, opportunism or perform ostentatiously. We are realistic, we compromise Chinese and foreign arts as well as integrate ancient and present based on the artistic language. We need to insist on our own creative way by catching the essence in theme and skill aspects. It is often said: “If it is national, it is international”, but it doesn’t mean one or two so-called culture symbols or marks can form national or international, which is caused by the falsehood and superficiality in my opinion. “Art can be international, but it is not assimilated by internationalization”. How can you create exciting and thought-provoking works or the ones that can awaken the deaf without deep cognition and understanding? Our works concentrate on excavation and exploration, based on ceramic, drawing, metal, sculpture, stone material and digital media artistic language, we seek for maximum space during the art creation by means of combing Chinese traditional and current social status. “Doing art likes digging a well, if there is no water after dug many wells, it is not deep enough, as long as you dig a well all the while, and water will turn up finally.” Therefore, the spirit of “carrying a task right down to the grass-roots level and never consider success or failure” is necessary.

These years, we always adhered to a strict way of creation by starting with Chinese traditional sculpture, historical interest, etc. From ancient city, Temple of Heaven, Residence gate tower, ancient tower, wrecked ship, various old objects, worn-out army boot to vintage car, steam engine, Dongfanghong tractor, the remains of aircraft, Porsche, Ferrari, all of which had been given new reading and annotation, and the better clarification as well as embodiment of Chinese classic sculpture were emphasized. From the left “objects” to modern “objects”, the historical track was manifested by using the future tense. The early individual object and current social reality, criticism, attention and thinking of important events formed a central thread. Tremendous contrast of visual tension extended more thinking, and the beauty of soil language was thoroughly performed, from ultimate detail to “extremely stunning”; or from extremely straightforward to boorish. For instance, in Old Object and Reminiscence Series you could find “sweat spots” form military uniform, and you could smell “smelly shoe” from army boot. In the Dongfanghong Series, it described the inexorable, dauntless and great courage of revolution at the beginning of Chinese red political power. In the Homeland Series, it not only indicated the Chinese history that was full of tribulation and difficulties, more importantly, it united our essence of national traditional culture, through which it presented that the “simple and honest, broad and profound, powerful” open heart of a country and a nation.  

Nowadays, as the participant and practitioner, we are marching among the thousands of artists group. We always want to arrange or summarize our works periodically, but we don’t think it is the right time, which needs time to be perfected. At the present time, new ideas always turns up in each stage.

We’d like to take this opportunity to express our appreciation to the teachers, predecessors and friends who gave us much assistance and encouragement. We also want to show many thanks to Mr. Lin Tianmin and the brother Lin Daiwei and Lin Dailong from Daweilai Linshe Gallery, thanks to your support and attention, without which this exhibition can not be presented here. Although it is not perfect enough, these works are our summarization of creation for years. Meanwhile, welcome criticism on our works. We see no ending, yet high and low I’ll search with our will unbending……
                 
        
                                       June 1, 2011   Songzhuang, Beijing

闻正

                    
“红色机器”自述
   
文/ 钞氏兄弟

《东方红系列》又名“红色机器”，是我们兄弟近几年一直关注的题材之一。“东方红”又是“红色中国”的代名词。自中国红色政权建立及巩固以后，“东方红”便以一个特定的符号登上了中国历史的舞台。而东方红拖拉机就是这一时期工业发展的典型代表。因为它的诞生宣告了中国农业开始走上工业机械化作业的道路。它也寄托着中国老一辈拓荒者的希望。老火车、解放车同样承载着这一时期的建设者的梦想，也承载着我们民族复兴的希望。
我们从早期的《东方红系列》（拖拉机、红旗轿车、解放车、蒸汽机等）到后来关注当下中国的社会现象，一直沿着一条“红色路线”奋力潜行。希望以此唤醒当下更多的国人对那些已失去和消逝的记忆的思考。
中国拥有着几千年的文明史，在这几千年里经历了太多的苦难，承载了太多的重负。一代又一代的人们在一次又一次血与火的洗礼中伴随着青春的逝去而退出了历史的舞台。而那些曾经承载着这些历史使命的“工作马”不是被人遗弃在角落里，就是被打入冷宫。如今的它们或红锈班驳，或铁制嶙峋。
在那个感性冲天，理性放假的年代；在那个战天斗地、摧枯拉朽、被红海洋浸没的年代；在那个被我们今天看来多么荒谬、无知、可笑的年代，作为那个时代的交通工具———老火车、解放车……，也同样承担着太多的使命。当年那些天不怕、地不怕的红卫兵和知青们无不是乘坐着这些红色机器，走遍祖国的神州大地，去实现他们的“伟大梦想”。这些“工作马”见证了无数个血与火，爱与恨，恐惧与争纷，生离与死别的场景。而如今它们静静的躺在被人们遗忘的角落里，但我们却依稀能从那布满灰尘的身躯上，看到它们所散发出来的炙热光辉。
我们兄弟多年来一直置身于作品语言与泥土本质的探索与研究，一直在寻找把陶瓷语言与雕刻塑造相结合的路子，从而既能揉进泥土本质——自然朴素的语言，又可加入雕塑造型——视觉张力的冲击元素。不管是细致入微、千锤百凿的刻画，还是大刀阔斧、随意洒脱的豪迈，都力争使作品以一种最真实、最自然的状态呈现出来。这既是一条充满艰辛、布满荆棘的曲折之路，又是一条诱人奋进、激人进取的挑战之路。在创作初期为解决制作上的高难度成型问题，我们的神经之弦一直都处于紧绷状态，然后又要承受在烧制过程中随时可能出现的坍塌、断裂状况的煎熬，几个月的辛劳很可能就会被一把火烧得前功尽弃，所有的努力都将付之东流。而正是泥土这种在经历过烈炼后所呈现出来的惨烈和神奇之处，诱使着我们兄弟沿着这条道路坚持不懈地走下去。
“记忆承载观念”这也是我们兄弟多年来呕心沥血“炼造”出来的“成果”。不刻意去粉饰华丽的外衣，做一个虔诚的艺术殉道者，默默的，也用最朴素、最诚恳、最真实的语言来表达我们对自己作品的诠释… …

                                                                           
                                                      2008年于索家村工作室

The Red Machine

CHAO BROTHERS

“The Eastern Red”is also named as “The Red Machine”, which is a focus of both of our brothers in recent years. “The Eastern Red” is also a synonym of “Red China”. Since the communist party took power, “The Eastern Red” has become a special sign in Chinese history. The tractor with the brand of “The Eastern Red” served as a typical representative of the industrial development in that time, whose birth was a declaration of the mechanization of Chinese agriculture, and which the old generation of pioneers placed hopes on. The old trains and the liberation cars both carried the dreams of constructers in that time and the hope of national resurgence.
From the early “The Eastern Red Series”(including tractors, Hongqi cars, Liberation cars, steam engines and so on.) to social phenomena in contemporary China, the works of both of us cohere along a red road,  with which we hope we can awaken more Chinese to the passing memory.
China has a five-thousand-year history of civilization; however, china has experienced too many disasters and shouldered too many burdens in modern history. Those who devoted their youth and energy to our country in that time have withdrawn from the historical stage, so have those “working horses” which are the witnesses of the history, but now abandoned in the corner, rusted.
The old trains and the liberation cars as transport vehicles shouldered too many missions in that time when emotion replaced reason, when there was a sea of red everywhere, when people seemed ridiculous in the eyes of people today. The formidable Red Guards and literate youngsters were taking these transportations to realize their amazing dreams in different areas in China. These “working horses” witnessed numerous scenes of blood and fire, love and hate, horror and conflicts, and departures. Now they stay silently in corners forgotten by people; however, they still radiate a glow of light through dust all over their bodies.
        Elements of the nature of clay have been combined into our work because years of exploration and research of the nature of clay and language of works by both of us. We are trying to present our works in the most real and natural way both in the subtle and broad expression. It is the fruit of our two brothers through many years of hard work that memory carries concept. We would rather use the most plain, genuine and real words to explain our works with an attitude of a pious martyr to arts, than pursue magnificent appearances.  
                                                               2008
                            BeiJing SuoJiaCun Chao's brothers studio

闻正

老城门老门楼创作自述

文/ 钞氏兄弟

老城门老门楼的创作构想其实由来已久，早在十几年前的学生时代初到北京考察时，就曾经被皇城的辉煌博大气势和颐和园、圆明园、国子监以及老城区的四合院建筑所震撼。当时曾数天侵淫在老城区的大小街道上，常常流连忘返不能自拔，但当时就一直有一种怪怪的感觉，因为在我印象里那些所谓大大小小带‘门’的地名其实实物已经消失，而那一条条老的街道早已被淹没在现代繁华化大街上了。皇城的威仪和古城的辉煌其实是卷缩在这个不伦不类不土不洋“现代”都市里。十几年前当我怀揣梦想来京学习生活再次目睹老四合院的拆迁，看着一条条胡同消失。看着皇城遗址和一个个残垣断壁，彷徨、失落、无助、 无奈，一种撕裂心头悲沧感和责无旁贷的责任感促使自己拿起手中的刻刀。
1999年边开始了老门楼、老物件系列的作品. 作品更多注重泥土语言的运用和怀旧情感的复述上。
《大世纪之一》作品创作动机由来已久，正阳门见证了几百年封建王朝兴盛与衰败，也经历了无数次的血雨腥风和战火洗礼。遥想当年傅作义将军为保护故都与共产党和谈北平和平解放令让人钦佩。但新中国刚一建立，、随之而来的大规模破破坏文物活动便开始了，许许多多的古建文物以及有价值的胡同转眼之间化为灰烬不复存，真的很无奈。二十几座城门也不可避免惨遭灭‘门’，唯独正阳门只剩城门楼和箭楼、德胜门孤零零的像是在的倾诉着什么。这件作品我们采用诙谐荒诞的手法，摄取历史上几个典型的事件放置在这个封建王朝的城池之上，城下出巡的皇帝与进城的解放军不期而遇。城外欢呼的人群，城内的传教士，巡城的清兵，文革的红卫兵造反派，太平盛世观光的游客，京剧人物组成的奥运五环，以及城门外右侧的车祸现场，都在营造一种似梦非梦，真真假假、荒诞离奇的滑稽场面。
  寻找一个好的结合点更好的表现城门、门楼的破败与沧桑，让曾经的历史在作品中凝固。技法上采用泥板成型传统技法与现代工艺结合，材料选择上用陶土烧制，并加入化妆土、色剂、化工原料以及食盐草木灰等等。不同瓷区不同温度的油料与陶土，力争保持泥土固有的特性，使作品以一种朴素、自然的状态呈现出来，心情完全释然了。
                                             
                                             2008年于索家村工作室
      


Self-description of the Creation
for Old City Gate and Gate Tower
                                                      
CHAO BROTHERS

    The creative composition of the old city gate and gate tower has a long history, in the early ten years ago, they were shocked by the gorgeous and spacious Imperial City when they came to investigate in Beijing, such as the Summer Palace, Yuan-Ming Yuan Imperial Garden, the Imperial College as well as Beijing quadrangle in old city. They lingered on these days that were spent on the streets in old cities and found it impossible to stop recollecting, there was a strange sense that these material objects named with the word “Gate” had disappeared, however, the old streets had been submerged under the modern flourishing ones”. The impressive, dignified Imperial City and brilliant ancient city were crouched in the nondescript, non-indigenous and non-modern city. Ten years ago, when we found that the bystreet disappeared one by one, when we looked at the archaeological site of Imperial City and the old ruins, it only left us hesitation, lose, helplessness and hopelessness, and there was a heart wrenching of sadness and indispensable responsibility, which urged them to take up the carving knife.

    The old gate and old objects turned up from 1999. The works are mainly repeating reminiscence, what was more concerned was that they were used in mud language way.

    One of Big Centuries’ creative motivation has a long history, Zhengyang Gate testified the prosperity and decline of hundreds years’ feudal dynasty, which also experienced bloody battles and baptism of fire for heaps of times. Think about the general Fu Zuoyi, who was admired for his protection of former capital and peacefully liberation of Beiping. However, as the foundation of new China, the subsequent large-scale destructive activities of cultural relics arose. Many historic relic as well as valuable bystreet reduced to ashes and no longer existed. More than 20 gates couldn’t avoid breakages, only Zhengyang Gate left the City Gate Tower and Embrasure Watchtower, Desheng Gate, standing there and confided something. As to this work, we adopted the humoristic and fantastic method, and intussuscepted some scenes of typical historical events, and put them on the feudal dynasty moat, the emperor of the Qing Dynasty who was about to patrol ran across with the marching liberation army to city. The cheering crowd, missionaries inside the city, the patrolling Qing soldiers, the rebellious Red Guards during the Cultural Revolution, the tourists of millenarianism, the Olympic Rings combined with Beijing opera figures, the scene of the car crash at the right side of city gate, all of which built a both real and sham, imaginary, irrational and surreal art world.

    It was a fantastic way to find an excellent bonding point to express the ruins and vicissitudes, all of which were shown in their works. Technically, they added vitreous slip, toner, chemical raw material, and even salt and wood-ash to the clay by using the traditional mud shaping method with the combination of modern arts. Different porcelain area of soil plants and china clays in different temperature, which maintained the inherent characters, made the works simple, nature and relaxed.
                          2008 BeiJing SuoJiaCun Chao's brothers studio

闻正

寄物以情引新思   
                                   
文\盛杨   
                  
     在最近的20多年里，出现了一批又一批年轻的雕塑家。他们生气勃勃，努力推进雕塑的新发展，并以探索，寻找个人的雕塑语言和个人风格的独特性而展现他们的才华。在这之中，钞子艺、钞子伟兄弟是一对令人瞩目的双子星座，熠熠发光。最初我是被他们兄弟二人的勤劳、朴素、谦虚、热忱所感动。他们在租用的一间大房子里，用于居住的仅是一间吊脚小阁楼，而整个房子则是一个大车间，布满了工作台，工具和材料，堆满了他们的大大小小的雕塑成品和半成品。 你初次进来，一股浓烈的树脂味、烧土味和混杂着的劳动的气息味向你袭来，一个地地道道的手工作坊。然而，当你坐下来和他们谈，再看看他们制作的状态，观赏他们的作品，那未空气就会不知不觉地慢慢地转化为一种苦涩中又渗透着温馨的芬芳，这是一个艺术创造、艺术劳作、艺术畅想的地方。
     由于雕塑艺术自身语言形式的特性，自古以来，雕塑都是以做人，做动物为创作载体去表现大自然和人类社会万千不同的形态、思想和意境。而物件只是提取一些可用作人物配件的道具而出现在雕塑之上，在浮雕上虽然用得多些，但亦不为主体。近百多年来，在西方的现代雕塑家中，有些人改变了这种状况，他们塑造物件，用物件做载体，甚至用真实的物件来表现他们的观念和审美情趣，这种对雕塑体式，对雕塑语言的开拓和发展，在我们国家近二三十年兴起而活跃起来。钞子艺和钞子伟兄弟当他们一踏上艺术征程的时候，就情有独钟地爱上了这以物寄情的艺术体式，一往情深地、执着地、甚至是痴迷的在这条路上走下去。经过十几二十多年的磨砺，做出了一系列的作品，展现了他们的才华，也惊动了雕塑艺坛。他们的作品深深地打动了观众的心绪，沉甸甸的发人深思。
     在许多以塑造物件为表现形式的雕塑家中，有些雕塑家把原来物件的材质转换成另一种材质，使原来的物件有一种新的视觉感和触觉感，从而赋予这个物件以新的美感和联想，有的雕塑家是把某个物件，或某个真实的物件加上某种符号而显示主观的含义.........
钞氏兄弟则不然，他们有自己的特色。他们以写实的塑造、陶土烧制形式、选用看似极其平凡的、甚至是生活细节的物件，真实的刻画历经沧桑、磨难的历史、以唤起人们对往事的记忆、对历史进程的再认识。钞氏兄弟的作品，无论是旧军鞋、旧军帽、冲锋号、冲锋枪、军包、笔记本和茶缸，支援前线的手推车、大板车、水井上的辘轳、土房里的老灶台、墙头的老门框、老门楼，河岸上的破木船，亦或是解放牌汽车、东方红拖拉机、毛泽东号火车头，以及“家园”、“校园”、“寺院”等等，都是寄物以情，睹物思人的艺术表现，把残旧的物件情感化了、生命化了、人格化了。透过这些物件，显示它的主人们所经历的历史，所担负的使命，以及他们的人生命运。无论是征战的胜利，还是壮烈的牺牲，也无论是创业的艰辛和辉煌的成就，还是挫折和失误的沉痛苦楚，都在这些作品中一一触动人们的思念和思路。从而使这些看似一般的物件成为具有纪念意义和纪念价值的艺术品。
     诚然，一个有历史意义的自然物件，本身同样具有这种历史价值。但作为一个艺术品，它不是物体的单纯复制，平庸拙劣的模仿，正如平庸的琴手演奏不出音乐大师的名曲来一样。好的艺术品，取决于艺术家对这些物件的认识，只有深入地研究产生这些物件的历史、和这些物件主人的经历、命运、品质和灵魂，才能充分地表现这些物件的精神内涵。同样作者越是深刻理解，感应了这些物件所渗透的灵魂，就越是能挖掘，发现这些平凡的、破旧的、甚至可能成为垃圾，乃至其形已沦落为丑陋之物它所蕴藏着的美，并创造出展示其美的表现形式。钞氏兄弟的每件作品只是经历了这番苦苦的探寻，由心及物、由物及心、以物交感，才使作品的思想和艺术性达到一个高度，沁心入肺的触动他们的观众。那厚实而磨薄了的鞋底，那脚指突破了的鞋帮，是谁穿过的呢？是一位从战场中走过来又登上了建设岗位的老同志，还是在另一次战斗中牺牲了的无名英雄？那双鞋是谁做的呢？是当年子弟兵的母亲，一位鬓发花白的老大娘，还是送郎参军的年轻的小媳妇？她们还在当年那片贫瘠的土地上吗？.........每件作品都渗透着血和眼泪,都深深的承载着历史的痕迹.残缺的辘轳、陈旧的老灶台、枯朽的破船、破烂的门楼都给我们怎样的思念？飞驰的解放牌老汽车、巨臂的东方红拖拉机、汽笛长鸣的火车头又给我们怎样的情愫？残留的古城断恒、倒塌的寺院碑塔又给我们怎样的忧伤？作者在一刀一塑中扣击我们的心灵。
“诵其诗、读其书，不知其人可乎，是以论其世也。”钞子艺、钞子伟是一对孪生兄弟，河南南阳人，祖祖辈辈是农民。从祖父那代开始，兼以烧制粗泥大缸为业，这也许为他的儿孙们孕育了玩弄泥土的兴趣和才智。钞子艺和钞子伟随着年龄的增长，从大土缸里爬了出来，对更多的形象产生追求和所取，特别是先后在南阳理工学院、中央美术学院的学习、坚定了从事雕塑艺术的志愿和道路。钞氏兄弟是富有社会责任感的艺术家。他们不粉饰历史、也不歪曲历史、不玩弄历史、不嘲笑历史、不咒骂历史，而是力求真实的反映历史。他们以历史的物件陈述往事，追忆过去，激发人们的思路。让推动历史进步的力量永不泯灭而发扬光大，让那些挫折、失误、荒谬、腐败引以为鉴、不再重复。
正像所有的艺术品那样，一定要透过观者的感受，欣赏和解读它的美学价值才可以成立，对于作品观者又以自己的经历，思想和文化素养和艺术品交流，同一件作品在不同的观者中可能衍生不同的反应。然而它的基础仍在于作者的思想境界和艺术能力。艺术家的作品能够和更多的观众产生共鸣，能够引发观者丰富而深远的联想，能够促进人们思想情感的健康和发展，其艺术的力量和价值就更强大，更高尚。
唐代诗人王维有诗云：“红豆生南国、春来发几枝、愿君多采撷、此物最相思”。钞氏兄弟给我们撒了很多“豆子”，有美好的、有丑陋的、有甘甜的、有苦涩的、有困惑的、有醒悟，它催使人们更多更多的思路。
钞氏兄弟几次向我提示，希望我对他们的作品写点品论。但他们最近发展得很快，创作了很多新作品，参加了众多的国内外展览，并屡屡获奖，而我却跟不上，很多作品都未能看到，故不敢对钞氏兄弟的作品作全面的论述，但我真心的称赞他们，并藉此表露我的心情，故就把那些在他们既是工作作坊，又是艺术畅想的地方，和朋友一起聊天时所说的话，回忆写出来，以谢钞氏兄弟之情，并再次预祝他们获得更大的成就。
                                            
                                                           
                                                           2011年5月     
                     盛杨, 中国美术家协会雕塑艺委会主任，中央美院教授

New Thinking Derives from Describing and Emotion
                  
                                             Sheng Yang   
     More and more young sculptors sprung up in recent twenty years. They not only were full of energy, but also strived to advance the new development in the sculpture. Those younger sculptors tried to search for the specificity in sculpture languages and individual style to show their own artistic talent. Chao Ziwei and Chao Ziyi were brothers who distinguished among sculptors. At first, I was touched by their characters-----hardworking, modest, industrious and enthusiasm. These two brothers rented a large house. The whole house was a big workshop except a small attic that was used as living. In a workshop，there were many working- platforms, tools, materials as well as all sizes of sculpture products which were finished and half-finished. When you entered the house, a thick smell with labor breath went towards you. This was an out-and-out manual mill. However, after I talked with them, enjoyed their working status and their products, I felt the atmosphere slowly transform into a bitter and happy fragrant. This was a place where the art can be created, worked and imagined.

     Because of the self-language character in the sculpture, the sculpture has been expressing the nature, people’s thinking as well as artistic conception by carving figures and animals since the ancient time. Things, which were only used as character accessories, were not the main part though most of the things were used in the anaglyph. However, some people changed this concept in nearly 100 years. It appeared a new style that people carved the things to express their perceptions and esthetic sentiments. This style was developed in recent 20 years abroad. Chao Ziwei and Chao Ziyi were both fascinated with this style. Two brothers created many works and showed their talent through 20 years’ time, which shocked the field of the sculpture.

     Among many sculptors that used things to show their ideas, some can create a new sense of vision and feeling by transforming the material quality; some can show the subjective meaning by adding a sign to a thing.

     However, the CHAO BROTHERS was different from them. The CHAO BROTHERS had their own characters. They chose little things to carve a long and rough history which can arouse people’ memory and see the history progress again. All Chao’s products, which were either old military footwear, submachine gun or Jiefangpai cars, Dongfanghong tractors, were showing the emotion by describing the things. Those sculptures demonstrated the owners’ experience, mission as well as their destiny. The victory of wars, Martyrs sacrifice, achievements and so on can be found in those products. Those styles make ordinary things significant and valuable.

     Actually, a thing experienced the history possesses a value of this history. But a good art is not just a copy, or the common and unskilled imitation is just like the mediocre piano player who can’t play chef-d'oeuvre, which depends on the cognition of things. Only by deeply researching the history of these objects and the master’s experience, destiny, character and soul can embody the spirit connotation of these objects. The more understanding of the objects’ soul, the easier to turn the common or old objects into classic will be. After studying the things, Chao’s products touched their audiences. Who wore the shoes that were worn thin and out? The old comrade who survived from the battle or the hero who sacrificed from another battle? Who made a pair of shoes? Was it a solder’s mother or a wife? Each work infiltrates blood and tears, and they carry the historical imprint, fragmentary winch, shopworn old hearth, withered boat, tattered gate, which bring you miss. How do you think of the running Jiefangpai truck and huge Dongfanghong tractor as well as the ringing locomotive? How sad we would be if facing the remaining broken walls and fallen temples or towers? Each work touched our souls.

     Chao Ziwei and Chao Ziyi were twin brothers. They were from Nanyang in Henan Province. Their ancestors were farmers and lived on firing big crock. The two brothers lived in such environment and were actually interested in art. Then they studied in Nanyang Polytechnic College and Central Academy of Fine Arts. They never varnished the history, flirted with history and tried to reveal the genuine of the history. They described the past events based on historical objects and inspired people’s thinking. They carried forward the strength of historical improvement and avoid frustration, misplay, absurdity and putrescence.

     The reaction of a works varies according to different audience. But all those are based on sculpture’s’ thinking and artistic talent. If the works can arouse audiences’ imagination and improve the development of the thinking, the works is more significant.

     The poet Wangwei said: ormosias are from Nanling; it blooms as spring comes; I want you to pluck more because ormosias can express your emotion more. Chao spread many ormosias containing beautiful, ugly, sweet and bitter which stirred up more and more thinking.

     The two brothers asked me to give some comments on their works several times. But recently they have created many new works, take part in exhibitions at home and abroad and were awarded many prizes. Because I did not see their all works, I can’t have an overall comment on their works. I only describe something happened in a workshop. I also hope that they will have a further achievement.

                                                                May,2011           
                      Sheng Yang，China artist association, director Arts
                              council sculpture from cafa reveal professor