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Double exil exhibition view, 2023, GALLERIA CONTINUA, Paris. Photo: Oak Taylor-Smith

陈箴

Chen Zhen

Double exil exhibition view, 2023, GALLERIA CONTINUA, Paris. Photo: Oak Taylor-Smith

Fu Dao / Fu Dao, Upside-down Buddha / Arrival At Good Fortune 1997. Installation view: 'Short-circuits' Pirelli HangarBicocca, Milan, 2020. Photo: Agostino Osio. Courtesy Pirelli HangarBicocca, Milano, and GALLERIA CONTINUA. © ADAGP, Paris

Installation view: 'Short-circuits' Pirelli HangarBicocca, Milan, 2020. Photo: Agostino Osio. Courtesy Pirelli HangarBicocca, Milano, and GALLERIA CONTINUA. © ADAGP, Paris

Six Roots - Mémoire | Memory 2000, Fabrics, metal, ink, 205 x 415 x 256 cm about. © ADAGP, Paris. Photo Nestor Kim.

Six Roots - Mémoire | Memory 2000, Fabrics, metal, ink, 205 x 415 x 256 cm about. © ADAGP, Paris. Photo Ela Bialkowska.

Six Roots - Enfance | Garçon - Childhood | Boy 2000, Wooden boat, plastic toy soldiers and tanks, metal, 173 x 382 x 150 cm. © ADAGP, Paris. Photo Michele Alberto Sereni.

Six Roots - Enfance | Fille - Childhood | Girl 2000, Metal bathtub, plastic dolls, fabric, matchsticks, 215 x 80 x 55 cm. © ADAGP, Paris. Photo Ela Bialkowska.

Jardin-Lavoir, 2000, beds, metal, wood, water, hydraulic system, objets trouvés, 700 x 2000 x 1800 cm about, © ADAGP Paris, Photo Oak Taylor-Smith

Jardin mémorable, 2000, bronze, metal, 130 x120 x 120 cm each element, 119,5 x 119,5 x 3 cm each plate, © ADAGP Paris, Photo Bertrand Huet

Jardin mémorable, 2000, bronze, metal, 130 x 120 x 120 cm each element, 119,5 x 119,5 x 3 cm each plate, © ADAGP Paris, Photo Lucio Ghilardi

Purification Room, 2000, Objets-trouvés, clay, h. 350 x 800 x 600 cm, © ADAGP Paris, Photo Ela Bialkowska

Zen Garden (2), 2000, alabaster, metal, plastic plants, wood, sand, small stones, light bulbs, 175 x 340 x 300 cm, © ADAGP Paris, Photo Ela Bialkowska

Un Village sans frontières, 2000, chair and colored candles, 50 x 32 x 25 cm, © ADAGP Paris, Photo Ela Bialkowska

Jue Chang, Dancing Body – Drumming Mind (The Last Song), 2000, lits, chaises, métal, bois, peau de vache, ficelle, cordes, 230 x 1800 x 1200 cm, © ADAGP Paris, Photo Ela Bialkowska

PERFORMANCE: Jue Chang, Dancing Body – Drumming Mind (The Last Song), 2000, wood, metal, chairs, beds, cowhide, string, ropes, 230 x 1800 x 1200 cm, GEM (Haags Gemeentemuseum), Den Haag, The Netherlands, 2004, © ADAGP Paris

PERFORMANCE: Jue Chang, Dancing Body – Drumming Mind (The Last Song), 2000, wood, metal, chairs, beds, cowhide, string, ropes, 230 x 1800 x 1200 cm, Palais de Tokyo, Paris, 2003, © ADAGP Paris

PERFORMANCE: Jue Chang, Dancing Body – Drumming Mind (The Last Song), 2000, wood, metal, chairs, beds, cowhide, string, ropes, 230 x 1800 x 1200 cm, Shanghai Art Museum, Shanghai, 2016, © ADAGP Paris

Crystal Landscape of Inner Body(Serpent), 2000, crystal, metal, glass, 95 x 70 x 190 cm, © ADAGP Paris, Photo Ela Bialkowska

Même lit, rêves différents, 1999, Chinese bed, metal, Plexiglas, fabric, mattress, matches, polistirene balls, fan, motion sensor, television, 400 x 600 x 800 cm, Photo Ela Bialkowska

陈箴，1955年生于上海，1973年就读于上海工艺美术学院。1976年，他开始在那里任教，1978年，他去了上海戏剧学院，专攻布景设计，后来于1982年成为教授。他对人体科学着迷。他是一位将实验和人生哲学作为自己艺术表达的艺术家。

Chen Zhen, born in Shanghai in 1955, studied at the Shanghai School of Fine Arts and Crafts in 1973. In 1976, he then started teaching there before going, in 1978, to the Shanghai Drama Institute where he specialized in set design and later became a professor in 1982. He was fascinated by the science of human body. He was an artist who made of experimentation and philosophy of life his own expression of art.

25岁时，陈箴被诊断出患有不治之症，这段经历让他在强大的分析水平上对时间和空间的价值有了深刻的认识。

At the age of twenty-five, Chen Zhen was diagnosed with an incurable illness, an experience which gave him vast insight into the value of time and space at a strong analytical level.

1986年，抵达法国后，陈箴开始专注于装置艺术。他的作品开始按照跨文化的思想流派发展，艺术家称之为“跨体验”的概念，基于人、消费者、社会和自然之间的关系。

In 1986, after arriving in France, Chen Zhen began to concentrate on installation art. His work began to develop according to a transcultural school of thought, a concept that the artist called ‘Transexpérience’, based on the relationship between man, consumer, society and nature.

尽管陈箴的职业生涯在2000年不幸结束，但在他去世后，他开放的态度和高质量的作品为他带来了广泛的国际认可，因为他对装置的创新方法经常呈现文化之间的对话、不同寻常的物质联盟以及东方传统与西方艺术词汇之间的新联系。陈震将他的研究和好奇心转化为艺术创造力和艺术。他尝试了各种材料；从上海卑微的日常生活中的物品，到与经验丰富的意大利工匠合作制作的手工水晶，再到世界各地常用的简单蜡烛。他结合了中西科学知识、文化和文学概念，总是将它们并置。

Although Chen Zhen’s career sadly ended in 2000, upon his death, his open-minded approach and quality of his work gained him widespread international recognition for his innovative approach to installations that often present a dialogue between cultures, unusual material alliances and new connections between Eastern traditions and the Western artistic vocabulary. Chen Zhen transformed his research and curiosity into artistic creativity and art. He experimented with a variety of materials; from objects from Shanghai’s humble everyday life, to handmade crystal made in collaboration with experienced Italian craftsmen or simple candles of common use all over the world. He combined Chinese and Western scientific knowledge, and cultural and literal concepts, always juxtaposing them.

©陈箴

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中国艺术家 | 陈箴 Chen Zhen