张思扬
In the city of Taiyuan, there is a patch of ruins. Old people say it's been abandoned for thirty or forty years because it's haunted. Next to the ruins, in 1990, a state-owned rubber factory was once established here, which closed down during the city's decline. Later, online rumors circulated that in 2013, twelve young people died in the ruins.
In the city, the ruins bury the remnants of buildings, and above the ruins, packs of dogs roam day and night.
The sounds and smells of bone grinding become the constituent elements of the sculpture, juxtaposed with the remnants of rubber materials. The action itself, such as grinding bones and boiling bone broth, when these materials and actions intervene in the ruins, a sensory rebound ensues, confronting the silent silence and invisible state of this place. Sculpture here is no longer a pre-determined object, but rather becomes a field for the unexpected release of energy. The silence of the place is broken in an unforeseen manner, and the imprint of time rebounds in a tangible and perceptible form.
与其说是为了引发反冲，不如说是行动自身，在触碰废墟时，遭遇了一次反弹。
在太原的城市中，有一片废墟。老人们说它因为闹鬼而废弃，已经三十年，或者四十年。废墟旁，在1990年，曾经有一个国营橡胶厂在这里开办，他在城市衰败中关闭。后来，网上有人说，2013年，十二个年轻人死在了废墟里。
城市中的废墟掩埋了残余的楼宇，而废墟之上，狗群日夜游荡。
磨骨的声音和气味成为了雕塑的构成元素，与遗留的橡胶原料并置。行动本身，例如研磨骨骼和煮沸骨汤，当这些物质和行为介入废墟时，一种感官的反冲却随之而来，对抗着此地无声的沉寂和不可见的状态。雕塑在此不再是预设的物体，而成为了一个能量意外释放的场域，场所的沉默被某种始料未及的方式打破，时间的印记也以一种具体可感的形式反弹出来。