Stella Zhong

    BIOGRAPHY

    Stella Zhong(b. 1993, China)currently lives and works in New York. She holds a BFA in Glass from Rhode Island School of Design and an MFA from Yale University.

    Stella Zhong’s sculpture calibrates to both the particulate and the cosmic, held together by installations and videos that oscillate vastly in scale, material, and approachability. Her elemental forms are gravitational but cannot be accessed. Seen forensically, smooth, enveloping volumes are infiltrated by endearing objects – following them in turn leads one into ontologically frightening territory

    In her idiosyncratic way, Zhong magnifies the gap between the internal and infinite, bringing decidedly incommensurable relations onto the same plane while making distance in perception and comprehension felt. Zhong’s worlds withdraw entirely from the human scale, instead pressing for a new mathematics, a new power structure, to find footing. Yet this heady side is offset by tactility, precarity, and an existential humor that is deeply human, reflecting contemporary frictions between solitude and connectivity, expansion and opacity, and the simultaneous and indeterminate. 

    Zhong has had solo exhibitions at ROH, Jakarta, Indonesia; Antenna Space, Shanghai, CN; The Intermission, Piraeus, GRC; Chapter NY; Fanta-MLN, Milan; Adams and Ollman, Portland, OR; and Guan Shan Yue Art Museum, Shenzhen; among others. Zhong has exhibited internationally at Para Site, Hong Kong; The Powerstation, Dallas, TX; Asia Art Society, Houston, TX; Leeum Museum of Art, Seoul; SculptureCenter, Queens, NY; The Aldrich Contemporary Art Museum, Ridgefield, CT; Deborah Schamoni, Munich; Grimm Gallery, London/New York; Galerie Wschód, Warsaw/New york; Jeffrey Deitch, LA; Blindspot, Hong Kong and more. Her work has been reviewed on FlashArt, ArtAsiaPacific, Mousse Magazine, Texte zur Kunst, The New York Times, Art in America, among others.

    Artworks

    EXHIBITIONS

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    ARTICLES

    • 展评:钟笛鸣 – “凹 DENT” | 艺术论坛 ARTFORUM – 文:钱梦妮

      2024-10-22
      钟笛鸣的装置作品具有简洁规整的几何造型,封闭、平滑、低饱和色的外表让人感觉仿佛某个重要功能等待着被启动。而在不起眼的孔洞、凹槽里总是出人意料地隐藏着另一个微缩版的装置、一个更小的几何体或一丛细碎的颗粒。它们令我不断想到智利作家本哈明·拉巴图特(Benjamín Labatut)通过文学虚构扎入物理学家、数学家意识空间的小说《当我们不再理解世界》。钟笛鸣借由这些具有强烈模型感的作品试图再现的,其实也正是科学家撞到知识壁垒时的壮观场面,好奇心与被撼动的意识界限…

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