Michael Zelehoski
(AMERICAN，B.1979)
Tessellation
Executed in 2017 repurposed wood with phenolic plywood 216×432cm
Provenance:
Tang Gallery
Literature: Musée National d’Art Moderne - Centre Pompidou，Paris

Michael Zelehoski (b. 1979) is an American artist who lives and works in Beacon，New York. He received his Associates of Art degree from Bard College at Simon’s Rock and a BA from the Universidad Finis Terrae，in Santiago，Chile. Michael Zelehoski’s return to the United States after six years in South America coincided with the literal collapse of his early sculptural work into the two-dimensional picture plane.
He has exhibited nationally and internationally，with works residing in private and public collections around the world，most notably in the Musée National d’Art - Centre Pompidou in Paris，which acquired his 40 ft. monumental piece Open House in the Spring of 2015. The artist and his work have been written about in The New York Times，T Magazine，ARTnews，Hyperallergic，Design Milk，and World Sculpture
“Zelehoski initiates a playful dialogue with earlier artistic examples of constructions and assemblages，including Picasso’s Cubist collages，Duchamp’s Readymades，and Rauschenberg’s Combines. While Zelehoski might not allude，intentionally，to the ironical underpinnings of these earlier artworks，there remains a degree of play and conflict in the reconciliation of his objects’ destruction and reconstruction. This conflict or act of transformation is a critical component of the artistic process. Its expression is found in Zelehoski’s denial of an object’s original，three-dimensional structure，and his subsequent establishment of the object’s authenticity as both concrete and abstract. In effect，the artist considers the history of the object itself as a primary element in the contemporary experience of his sculpture.”
— Aliza Edelman，“Michael Zelehoski: Objecthood”，September 2010
This work aims to dismantle visual processes by deconstructing the physicality of mundane objects and using industrial materials to meticulously reassemble them in pictorial space. While there is nothing inherently unique about the humble，utilitarian objects that the artist selects，they are activated by their reconfiguration and isolation in space. This remediation allows the viewer to locate the subtle beauty of materials that might otherwise seem old or decrepit，highlighting the history inscribed in their surfaces by the passage of time. At the same time，the viewer struggles to reconcile the reality of the object with the artificiality of its context and configuration––trying in vain to reconstruct the fragmented objects and coax them back into the conditioned physical understanding of space. Like Donald Judd and other artists associated with Minimalism，Zelehoski activates the relationship between object and space on an aesthetic level. But he does so，paradoxically，by depriving objects of their spatial autonomy and physical integrity. He also avoids the standardized production commonly associated with Minimalism，in favor of a more direct and intuitive process that derives organic stories from sometimes inorganic industrial materials.

来源：
唐人画廊

麦克尔·查莱赫斯基是一位生活、工作在纽约灯塔镇（Beacon，New York）的美国艺术家。他在西蒙巴德学院获得了艺术副学位，并在智利圣地牙哥的Universidad Finis Terrae大学取得硕士学位。经过六年的南美生活，麦克尔·查莱赫斯基回到了美国，恰好在同一时期，他从早期的雕塑创作转向二维的平面绘画。
他曾参加众多国内外展览，作品被全球的私人和公众机构收藏，最著名的当属国家艺术博物馆—巴黎蓬皮杜艺术中心，2015年春，蓬皮杜收藏了艺术家40英尺高的大幅作品“开放的房屋”。纽约时报T Magazine、ARTnews、Hyperallergic、 Design Milk 、 World Sculpture News 等杂志均登载过他的作品评论。
“查莱赫斯基同早期的结构与组合展开了有趣的对话，其中包括毕卡索的立体派拼贴画、杜尚的现成品，以及劳森伯格的结合画。虽然查莱赫斯基或许不是故意强调这些早期作品的讽刺基调，但在物体解构和重构的调和中，仍然存在一定程度的戏剧和冲突。这种冲突或经过转化的行为是艺术过程的关键部分，表现在拒绝对象的原有三维结构，并通过具象和抽象来表现物体的真实性。事实上，艺术家认为物件的历史性是其雕塑作品当代体验的主要元素。”
—阿里·埃尔德曼，“麦克尔·查莱赫斯基：实物艺术”
2010年9月
这件作品旨在通过解构平常的对象，并使用工业材料在画面空间中精心地组装，进而拆解视觉过程。艺术家选择的对象低调、实用，并不具有独特性。但它们在空间中被重构和隔离，进而被激发。这让我们看到，随时间的流逝历史刻在他们表面老旧的微妙之美。同时，我们努力调和对象的真实性和所处语境与布局的人为干涉。我们的头脑妄图重建支离破碎的物件，哄骗它们回归到空间的物理常识。正如唐纳德·贾德和其他极简主义艺术家一样，查莱赫斯基在审美层面上触发了物件和空间的关系。他如此创作 —反而—剥夺了物象对空间的自治和物理完整性。他还避免了通常与极简主义相关的标准化创作，偏向于更直接和直观的过程，从时常选用的无机工业材料中衍生出有机的故事。