Former assistant to the arguably most famous Chinese artist Ai Weiwei and touted as his protégé, Zhao Zhao has recently gained wide attention for his subversive interventions. Zhao's artistic practice takes various forms, from paintings, sculptures, installation to photography and performance, wherein he questions and challenges traditional value systems and prevailing ideologies in Chinese society. In the project “How” shown in Hong Kong last year, Zhao has purchased a 200-year-old, 2-meter-high wood Buddha statue in Shanxi, and has it moved 400 km to Beijing, then has it hand-cut into 258 geometric shapes, like toy building blocks, all covered with gold foils, and finally has them sold at auction, attesting to the complete cycle of an artwork in the system, from production to collection. In a similar vein, Wood Block (2013-2014), presented in the Encounters sector by Osage Gallery, features a group of intriguing objects, which are in fact the collages and assemblies of various wood blocks and metal panels that the artist has salvaged from a defunct Italian furniture manufacturer in Shanghai, before having them sanded and polished. Through attempts of altering an object in a direct, even violent way, the artist frees it from its established context, form, function, and meaning, and allows the viewer to make his own interpretation of what he sees and conceives.
趙趙曾是堪稱中國最著名的藝術家艾未未的助手，並被外界視為其得意門生，
近來以顛覆性創作引起廣泛關注。趙趙的藝術實踐採多樣形式，通過繪畫、雕塑、裝
置、攝影、行為等不同手段，對中國社會的傳統價值體系和普遍的意識形態提出質疑
和挑戰。去年在香港展出項目《如何》，藝術家自山西購買了一尊具兩百年歷史、高
兩米多的木雕佛像，運到400公里遠的北京，請人以手工切割成258塊不同幾何形體
的木塊，宛如玩具積木般，並全部貼上金箔，最後通過拍賣會公開銷售，見證了藝術
品在藝術體系裡，從製作到收藏的整個流程。這次奧沙畫廊在“藝聚空間”展區展示
的《積木》（2013-2014），頗有異曲同工之妙。作品呈現一組形狀奇異的物品，其
實是藝術家自上海一家棄置的義大利家具廠拾來的木塊和金屬板，打磨光滑後組合而
成。藝術家以直接、甚至暴力的方式來變更物件，將其自既定的脈絡、形式、功能和
意義中脫離出來，從而讓觀者對所思所見做出個人自己的詮釋。
