郑源个展 “最小限度的”
- 艺术家郑源的最新个展，2024.3.16-5.6于上海没顶画廊中呈现。我们为此次展览设计了海报视觉。

郑源的作品以影像作为主要表现形式。通常在说到“影像”二字时，总是不自觉的将其与“视觉”联系在一起。但在郑源的作品中，一般意义上的“好看”“漂亮”等表层视觉被弱化，取而代之的是强烈的文本性，以及无论单屏还是多屏并置的作品中所流露出的诗意。这种诗意并非刻意为之，它们隐藏在视觉之下，伴随着影像所特有的时间流动性而慢慢显露出来。
在海报视觉的设计前夕，展览主题确定为“最小限度的”。艺术家希望能去除一切视觉与装饰性的元素，甚至连文字信息也一再精简，只保留最小限度的内容，将设计的痕迹降至最低，但同时又能够在几乎空无一物的海报中看出着力点。在设计沟通过程中，一些偶然看到的墨迹元素引起了艺术家的兴趣，希望能够与展览的文字信息进行结合。于是，我将选定的一些仅具有版式设计痕迹的文字信息打印出来，以手工的形式又完成了二次加工，便形成了此次展览“最小限度的”最小视觉。

展览海报使用了极大量的留白，所有关于视觉的文字元素均集中在中央位置(但并不是绝对的中央，我根据视觉感受进行了位置的调整)。在最小限度的压缩中，仅有的视觉元素墨迹从文字中被挤压出来。
Artist Zheng Yuan's latest solo exhibition, from March 16th to May 6th, 2024, is presented at the Madein Gallery in Shanghai. We have designed the poster visual for this exhibition. Zheng Yuan's works primarily manifest through imagery. Often, when speaking of "imagery," there's an unconscious association with "visuals." However, in Zheng Yuan's works, the superficial visual appeal, such as "beautiful" or "attractive," is subdued, replaced by strong textual elements and a poetic essence exuded especially in the juxtaposition of single or multiple screens. This poetry isn't contrived; it lies beneath the visual surface, gradually revealed through the inherent temporality of imagery. Prior to designing the poster visual, the exhibition theme was established as "minimalism." The artist aimed to strip away all visual and decorative elements, even repeatedly streamlining textual information, retaining only the bare minimum content to minimize design traces yet still indicate focal points within the almost barren poster. During the design process, the artist became intrigued by some accidentally encountered ink elements, desiring to integrate them with the textual information of the exhibition. Consequently, I printed out selected textual information bearing only layout design traces, then manually processed them a second time, resulting in the "minimalism" of this exhibition's minimal visual. The exhibition poster utilizes significant whitespace, with all visual textual elements centralized (though not necessarily at the exact center, as I adjusted their positions based on visual perception). Amidst the minimal compression, the only visual element, ink traces, emerges squeezed out from the text.