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临时秩序 | 馆藏展第二部分：阳台（The Balcony） 搜狐网 2018-09-15 20:30 阳 台 The Balcony 在美术馆的空中展廊中出现的20余件作品，全部呈现在透过阳光板后弥散在空间中的自然光环境中，如同阳台一般。我们选择了与身体相关的作品，包括人的身体（皮肤、肢体与器官）和植物、石头等拟人化的身体。“身体”这一主题的起源可以直接追溯到古希腊时期的艺术，对于身体的描绘贯穿了整个西方艺术发展史。而到了当代艺术领域，艺术家除了描绘他人的身体，也往往开始不断重新审视自己的身体——这个一切思维、逻辑、感觉、情绪的主体。观众也将在美术馆的环形走廊中漫步的同时，思索身体与空间的关系。当你走到阳台的最尽头，将在四方当代艺术湖区的最高点与城市达成连结。 More than 20 pieces sit in the sky gallery, bathed in natural sunlight streaming in through polycarbonate panels, as if on a balcony. We have chosen artwork related to bodies, including human(skin, limbs, torsos, and organs), and anthropomorphized plants, rocks, and other objects. The'body'as an artistic theme can be traced back to Ancient Greece. Depictions of bodies spanthe entire history of Western art. Contemporary artists no longer limit themselves to depictions of others’ bodies, often reexamining their own bodies as well—those masses ofthought, logic, feeling, and emotion. While strolling through the ring-shaped gallery, viewers will also contemplate the relationship between space and the body. The balcony leads to the highest point in Sifang Collective, from which one can look out and connect with the city sprawling below.  ➡ 由左及右：米瑞尔姆·卡恩《L.I.S.弯曲，1988》、黎清妍《对齐（排队）》、黎清妍《潺潺》  ◆黎清妍 《对齐（排队）》，2013 布面油画 Lai Firenze Alignment (Queue), 2013 Oil on canvas ◆黎清妍 《潺潺》，2015 布面油画 Lai Firenze Ripple, 2015 Oil on canvas 黎清妍是生活和工作在香港的艺术家，她在绘画中塑造被拉长或压扁的人的身体，并寻找这些人物形象与其所在环境的复杂关联，以此传达画中人以及艺术家自身的心理状态。相比更广大的空间，艺术家认为“贴近的空间更重要”，因为唯有如此才能传达出“在场”的感受。黎清妍将创作锁定在绘画，将“找到立足点和平衡点”作为最大的课题。 Firenze Lai is an artist living and working in Hong Kong. In her paintings, she shapes human bodies that have been stretched out or squashed flat and searches for the complex associations between these figures and their environments, thus conveying the mental state of the people in the paintings as well as that of the artist herself. In comparison to broader spaces, Lai believes that 'close spaces are more important', as only through these spaces can one convey the feeling of being 'on-site'. Lai has targeted her creative efforts on painting, and considers 'finding footholds and balance points' to be the main subjects of her work.  ◆米瑞尔姆·卡恩 《L.I.S.弯曲，1988》 炭笔纸本 Miriam Cahn L.I.S. gebeugt, 1988 Charcoal on paper 瑞士艺术家米瑞尔姆·卡恩经常提及自己作为一个女权主义者的身份，“你的身体就是你的战场’，这句来自芭芭拉·克鲁格的名言同样也是米瑞尔姆·卡恩的口头禅。从上世纪70年代开始，卡恩开始用黑色粉笔进行绘画，这一系列的炭笔画作尺幅可观，且作画速度极快，整个工作室往往充满炭笔的灰尘。在这一情况下，作品如何进行完全需要听从身体的指令，笔触、线条往往稍纵即逝，这种绘画方式也是艺术家对于男权主导下的“杰作的艺术史”的拒绝。 Swiss artist Miriam Cahn has often given herself a feminist identity, as Barbara Kruger's famous quote, 'Your body is a battleground”, which is also Cahn's personal mantra. In the 1970s, Cahn first began drawing with black chalk. This series of charcoal on paper is often of considerable sizes, completed briskly in a studio misted with dust. The works have to fully obey the orders from body to guide the progress, brushstrokes and lines fleeting under this situation, which is also a refusal to masterpiece art history led by masculism.    ◆凯莉·明石 《形体14》，2014-2015 青铜、铅、吹制和塑性玻璃、蜡、棉烛芯、雪花石、镍、聚氨酯、硼硅玻璃、指甲、古董串珠、瓷漆、木、银明胶、油画颜料 Kelly Akashi Figure 14, 2014-2015 Bronze, lead, blown and sculpted glass, wax, cotton wick, alabaster, nickel, urethane, borosilicate glass, fingernails, antique beads, Solomon’s borosilicate glass, enamel paint, wood, silver gelatin, oil 凯莉·明石是美国日裔艺术家，试图去传达“生活经验的无形与短暂”。艺术家在不同时期制作自己的手模，随后与其它物件放置在一起，如同记录“感觉的档案”。她的作品强调模型与照片文档之间的相似性，并用玻璃、蜡、青铜和绳结来表现这种关于感知的脆弱性，以此表达抽象形式与身体实在、消逝与永恒、记录与献祭中传递的物质性的快乐。 Kelly Akashi is a Japanese-American artist whose work attempts to convey 'the intangible fleeting quality of life and of experiences'. By making casts of her hands at different points in time and arranging them with other objects, Akashi has created a sort of 'archive of sensations'. Her pieces emphasize the similarities between physical models and photographic records, and she has used glass, wax, bronze, and knotted ropes to express the fragility of perception. In this way, the artist communicates the material joy transmitted through the contrast between abstract forms and the actual bodies, evanescence and eternity, and testimony and sacrifice.   ◆黄炳 《欲望丛林》，2015 单频影像动画 Wong Ping Jungle of Desire, 2015 Single channel video animation 《欲望丛林》是香港艺术家黄炳作为动画师转型当代艺术家的第一件作品，近期同时在纽约古根海姆美术馆的群展“单手拍掌”展出。动画的每一帧都堪称抽象绘画，文本也如同小说般饶有趣味，在艺术家颇为正经的朗读声中，讲述了一名失去性能力的男子的欲望。在这件作品里，艺术家高完成度的动画语言时刻在被其肮脏、粗俗的表达方式拆台，最终达成了一次对于欲望和语言的解放。 Jungle of Desire is the first product of Hong Kong artist Wong Ping's metamorphosis from animator to contemporary artist. This piece has recently also been displayed at One Hand Clapping, an exhibition by the Guggenheim Museum in New York. Each frame in the animation can be considered an abstract painting, and the dialogue reminds one of a thought-provoking novel. In a tone of utmost sobriety, the artist recounts the desires of a man afflicted with impotence. In this piece, the artist's highly-polished animation dialogue is constantly undermined by his filthy, vulgar expression, culminating in a liberation of desire and language.  ➡ 由左及右：梅林·詹姆斯《纹理》、村上隆《银椭圆大佛》、米瑞尔姆·卡恩《动物性（永远美好）》、谢德庆《跳》、大竹伸朗《网膜（频闪II）》  ◆大竹伸朗 《网膜造船厂》，1990 玻璃纤维、塑料、船模 Shinro Ohtake Retina Shipyard, 1990 Fiberglass, plastic on found ship-mould  ◆大竹伸朗 《网膜（频闪II）》，1992 双层纸、胶带、油彩、铅笔、圆珠笔（纸本） Shinro Ohtake Retina (Strobo II), 1992 Two paper, tape, oil, pencil and ball pen on paper 日本著名画家大竹伸朗的《视网膜》系列是其90年代最重要的系列之一。这批作品讨论了视知觉的本质，即我们所能看到的事物到底指什么？是物体穿过视网膜后在眼中的成像，还是再进一步的感知的成像？艺术家用丰富的材料语言，模拟了“观看”时发生的复杂的成像原理，引导我们用更本质的感知去观看那些非实在的图像。 Renowned Japanese painter Shino Ohtake's Retina series was the most important series produced by the artist during the 1990s. These pieces discuss the essence of visual perception: what, ultimately, is signified by the things we see? Does the physical object pass through the retina and form an image in the eye, or does the image involve an additional layer of perception? Ohtake employs a rich dialogue of materials to simulate the complex imaging principles behind the act of 'observing', directing us to use a more essential type of perception as we observe those illusory images. ◆谢德庆 《跳》，1973/2017 档案涂料印刷（四层纸板） Hsieh Tehching Jump Piece, 1973/2017 Framed archival pigment print mounted to 4 ply museum boar 谢德庆是出生于台湾的著名美籍艺术家，他从1978年至1986年陆续开展了其著名的五件“一年表演”，包括一年持续每小时打卡，一年在户外生活，一年与他人捆绑在一起生活等。我们现在看到的这件《跳》是其1973年的早期行为作品，与“持续一年”不同的是，这件作品试图传达瞬间坠落带来的身体苦痛。艺术家从其家中二楼跃下，双脚脚踝随即摔断。他将影像记录销毁，只留下我们现在看到的这张照片。 Hsieh Tehching, born in Taiwan, China, is a renowned American artist . From 1978 to 1986, Hsieh conducted five of his well-known 'One Year Performances', including a year during which he punched a time clock every hour, a year of living outdoors, and a year spent tied to another person. The Jump Piece featured in this exhibition is one of Hsieh's early performance pieces from 1973. Unlike his 'year-long' works, this piece attempts to convey the physical pain experienced during the instant of the fall. The artist leapt from the second floor of his home, and broke both of his ankles. He then destroyed the video records, leaving behind only the photographs we see here. ◆米瑞尔姆·卡恩 《动物性（永远美好）》，2015 布面油画 Miriam Cahn tierhaft (IMMERSCHOEN), 2015 Oil on canvas 在米瑞尔姆·卡恩的后期创作中，她开始逐渐尝试油画颜料和明亮的色彩。因为长期高强度的炭笔绘画导致的腰痛，使其只能绘制油画。作品的边缘往往被笼罩在一层神秘的光晕中，是对传统绘画中坚硬边界（男性的艺术史）的消解。这幅作品的画面向我们展示了一个脆弱的面孔，在黯淡背景的衬托下，传递出恐惧、愤怒和孤独的情绪。 In the later period of Miriam Cahn’s creation, she began to try oil paints and bright colours. Due to the long-time-and-high-intensity drawing with charcoal, Cahn has a severe back pain, restricting her to oil paintings. The borders of her pieces enveloped in a mysterious halo are to dispel the rigid boundaries of traditional painting (i.e. masculine art history), and the frail face in the middle of painting, accentuated by the dim surroundings, indicates fear, anger and solitude. ◆梅林·詹姆斯 《纹理》，2016 丙烯、综合材料 Merlin James Grain, 2016 Acrylic and mixed media 英国艺术家梅林·詹姆斯的作品有两个显著的标志，一是好像穿透画布形成某些“磨损”，另一种是在画框上撑起诸如丝绸或者尼龙之类的半透明材料，梦幻般的笔触在画框内外构成了绝妙的氛围，引诱观众进入。尽管他的绘画方式迥异于传统艺术，但我们还是可以看到来自惠更斯、恩索尔、培根等人的影响，艺术家自谦地认为自己是以一种低于艺术史的姿态在进行创作，这从他近期的展览标题“风俗画”中可以看出。 The works of British artist Merlin James have two notable features. One is the 'abrasions' that appear to extend through the canvas, and the other is the semitransparent materials such as silk and nylon that are stretched across the frame. Fantastical brushstrokes within and outside of the frame create a wondrous atmosphere that draws viewers in. Even though James' painting methods differ greatly from traditional artistic techniques, we can still observe the influences from Huygens, Ensor, Bacon, and others. The artist himself has modestly claimed that his creative activities are conducted beneath the plane of art history, a belief that can be descried in the title of his recent exhibition, Genre Paintings. ➡ 由左及右：唐娜·胡安卡《绿色沙滩（海滩）》、刘炜《风景》、唐狄鑫《行走》、哈罗德·安卡特《无题》、周春芽《淡蓝色的石山》、帕克·伊藤《2016年2月25日（奥利维亚的银莲花）》、村上隆《银椭圆大佛》 ◆村上隆 《银椭圆大佛》，2008 纯银、大理石底座 Takashi Murakami Oval Buddha, 2008 Sterling silver, marble base 村上隆是日本当代最重要的艺术家之一，他成功地消解了高雅艺术与通俗艺术之间的边界。这尊古怪的雕塑反映了村上隆正在进化的身体、思想和精神，以及他对文化、国家、宗教及艺术现状的不断探索。雕塑中的形象一面融入了艺术家的肖像，另一面则是来自日本精怪故事中的河童形象，艺术家将复杂精巧的工艺巧妙地融入进了作品。 Takashi Murakami is one of Japan's most important contemporary artists. He has successfully dispelled the boundaries between fine art and popular art. This bizarre sculpture reflects Murakami's evolving body, mind, and spirit, as well as his unbroken pursuit of culture, country, religion, and the current state of art. A portrait of the artist is incorporated into one face of the sculpture, while the other face presents the image of a kappa from Japanese folklore. Murakami has expertly integrated sophisticated crafting techniques into this piece. ◆帕克·伊藤 《2016年2月25日（奥利维亚的银莲花）》，2016 丙烯、增光剂、光漆（布面） Parker Ito February 25th 2016 (Olivia’s Anemone), 2016 Acrylic, toner and gloss varnish on linen 帕克·伊藤这一系列的作品全用他的妻子（同时也是他的画廊代理人）的名字“奥利维亚”命名。花朵的形象翻拍自Rose Editions出版的艺术书。他擅于利用老式打印机的低画质效果，并进一步制造打印错误，以此使翻拍的图像被改变和降低质量。接下来，艺术家把各种化学物质倾倒在画面上降解画面，然后再用高分辨率的相机重新拍摄，最后再在上面手工绘制几笔，使得画面最终成为高／低分辨率和笔触混合在一起的混沌之物。 Every piece in this series by Parker Ito has been given a title that includes the name of the artist's wife (and gallery director), 'Olivia'. The flower design comes from a photograph of an art book published by Rose Editions. Ito skillfully employed the poor-quality effects produced by old printers and synthesized additional printing artifacts to alter and reduce the quality of the reproduced photo. The artist then poured various chemicals onto the surface of the picture to degrade it further, used a high-resolution camera to create yet another photograph, and applied finishing touches to the piece by hand. The final picture is an blend of high and low resolutions mixed with brush strokes. ◆周春芽 《淡蓝色的石山》，2018 布面油画 Zhou Chunya Mountain Stones in Light Blue, 2018 Oil on canvas 周春芽是中国著名当代艺术家，他以“桃花”、“绿狗”和“假山石”为代表的系列创作跨越了“伤痕美术”、“乡土绘画”、“85新潮”直至如今。他的早期创作在形式上受到德国新表现主义绘画的影响，但趣味上始终是中国文人式的。这件《淡蓝色的石山》源自四方当代美术馆数年前的委托创作，终于在今年5月完成。这也是艺术家《假山石》新系列作品中的第一件，所描绘的对象来自艺术家的扬州之行所见。假山石被当作中国传统文化的身体来描绘，但颜色更显虚薄，笔触也很通透。 Zhou Chunya is a renowned contemporary Chinese artist who has produced a succession of creative works represented by the pieces peach blossoms, green dog, and artificial mountains. This series stretches from the 'Scar Art', 'Rustic Painting', and ''85 New Wave' movements all the way to the present day. Zhou's early works were influenced in terms of form by German neo-expressionist painting, but have always retained their 'Chinese literati' flavor. Mountain Stones in Light Blue originated from a project commissioned years ago by the Sifang Art Museum, and was finally completed in May of this year. The inaugural piece in Zhou's new series on artificial rocks, the subject of this painting was drawn from the artist's experience visiting the city of Yangzhou. The artificial rocks are portrayed as the 'body' of traditional Chinese culture, but the colors are more ethereal, and the brushstrokes particularly penetrating. ◆哈罗德·安卡特 《无题》，2016 油画棒、铅笔嵌木纸本 Harold Ancart Untitled, 2016 Oil stick and pencil on paper mounted on wood 出生于比利时，生活工作在纽约的艺术家哈罗德·安卡特认为自己的作品“是绘图而不是绘画…绘图是从未完成的或者是未完成的——它们给未来留下了一个承诺。”艺术家常以他那令人生畏的创作尺幅（比如一堵砖墙）见诸报道。在这件小作品中，我们可以看到锯齿状或者毛茸茸的边缘，艺术家使用混合的纯色直接涂绘在纸上，为我们召唤了一个类似马克斯·恩斯特所表现的幻境。关于意义，艺术家说“我认为消除意义会更有趣，因为并不是所有事情都需要一个理由。” Harold Ancart is a Belgium-born artist who currently lives and works in New York. He has described his work thus: 'It’s important that I work in drawing and not painting . . . Drawings are never finished or unfinished—they are a promise for the future.' Ancart has become a frequent subject of news reports due to the intimidating scale of his creations (e.g. an entire brick wall). In this diminutive piece, serrated or ragged edges and an amalgamation of pure colors applied directly to the paper summon forth a dreamlike scene reminiscent of those expressed by Max Ernst. Regarding meaning, the artist has said, 'I think it’s more interesting to remove meaning, because not everything needs a reason.” ◆唐狄鑫 《行走》，2016 布面油画 Tang Dixin Walking, 2016 Oil on canvas 中国艺术家唐狄鑫的绘画作品常常与身体有关（他同时以身体性的现场表演著称），无论是人类还是动物的身体。但这些身体总是被置于艺术家虚构的超现实场景中，加上他有力的大面积的用笔和高纯度颜料的运用，使得这些场景显得有些晦涩难懂。“再也没有纯白的灵魂走在蓝色的虚空，自人类堕落为半兽人，我开始用第一人称，记录眼前所有的发生”，画面中的形象非人非兽，徘徊在空无一物的荒原上。 Chinese artist Tang Dixin's paintings frequently involve the body (he is also well known for his body-themed on-site performances), including both human and animal bodies. However, these bodies are always inserted into surreal scenes imagined by the artist, and the addition of Tang's forceful, wide-ranging brushstrokes and his use of high-purity pigments makes the scenes appear rather obscure and enigmatic. In his words, 'No more pure white souls will walk upon the blue void; ever since humans degenerated into semi-animals, I have been referring to myself in the first person, and recording everything that takes place before my eyes.' The figures in Tang's paintings are neither human nor animal, wandering across an empty wasteland. ◆刘炜 《风景》，2008 布面油画 Liu Wei Landscape, 2008 Oil on canvas 刘炜是从上世纪80年代活跃至今的中国架上绘画的重要艺术家。90年代后期，他的绘画被视为“玩世泼皮”的代表。从早期描画变形、扭曲以致腐坏的人物形象，到2012年的这件《风景》中正在崩溃、分裂的景观，刘炜延续了同一种主题，它成为艺术家对于中国社会景观冷静的嘲讽。用艺术家自己的话来说，“不管是什么样的图形，我最直接的感觉还是一块肉，不管是什么烂肉或者好肉，从1997年开始到现在，都是这样。” Liu Wei is an important Chinese easel painting artist who has been active from the 1980s up to the present day. In the late 1990s, his paintings were considered representative works of 'Cynical Realism'. From his early works, depicting deformed, distorted, and even decayed human forms, to this piece from 2012, Landscape, which depicts collapsed, broken-up scenery, Liu Wei has adhered to a single theme. This theme has become the artist's way of calmly ridiculing China's social landscape. In his words, 'No matter what form the picture takes, my most immediate sensation is that it is a piece of meat, whether rotten or fresh. Since the beginning in 1997, this has always been the case.” ◆唐娜·胡安卡 《绿色沙滩（海滩）》，2018 油画、丙烯（布面数码印刷） Donna Huanca ARENA VERDE (PLAYA), 2018 Oil and acrylic on digital print on canvas 观看美国艺术家唐娜·胡安卡的绘画作品需要参考她的现场行为表演，“身体”是胡安卡创作的核心主题，她时常在展览中将身体作为图像和材料展示，形成一种具有巫术色彩的展览仪式。她在像皮肤一样的画布／织物上着色、涂抹、撕扯、折叠、堆积，她说：“我裁剪我的衣服，将它们贴在画布上。我的目的非常直接，用织物来作画是实现其最快速最本质的方式。” A viewing of American artist Donna Huanca's paintings must take her on-site performances into consideration. The 'body' is the core motif of Huanca's creative work. During exhibitions, she often displays bodies as images and materials, forming a type of occult 'exhibition ritual'. She works with skin-like canvas/fabrics, coloring, smearing, tearing, folding, and piling up the materials. In her words: 'I started to cut up my clothing, gluing it on canvas. My intention was immediacy and painting with fabric was the fastest and most visceral way to achieve that.” ◆帕克·伊藤 《无题（贞德墙）》，2015 UV喷墨打印（石膏板）、铝框、LED灯、五金 Parker Ito Untitled (Jeanne d’Arc Wall), 2015 UV print on drywall, aluminum frame, LED lighting, hardware 尽管帕克·伊藤很容易被归为后网络艺术的一份子，但他自辩“我不是一个网络艺术家，我只是一个在网上搞艺术的潮男”。在这件作品中，灯带缠绕着经过画质处理的圣女贞德的形象（这一形象经常出现在他的创作中），随后被悬挂在布展用的叉车上。艺术家用错置来讨论网络文化如何深刻地影响了我们的传统艺术和文化。 Although it would be simple to classify Parker Ito as a member of the post-Internet art, the artist himself claims, 'I’m not an Internet artist. I’m just a hipster on the Internet who makes art.' In this piece, light strips are wrapped around a processed image of Joan of Arc (this image frequently appears in his work), then hung up on the forklift used to arrange the exhibition. Through this juxtaposition, the artist discusses how Internet culture has deeply influenced our traditional art and culture. ◆李明 《心渲染间》，2017 15频道高清录像装置（彩色、有声） Li Ming Rendering the Mind, 2017 15-channel HD video installation, colour, sound 李明是以表演与影像为主要创作方式的中国艺术家，《心渲染间》是其2017年的新作，也是其参与HUGO BOSS ASIA ART时的获奖作品。这一次，我们邀请艺术家在空间中“重新”定制一个影像的体验空间。“空间”、“时间”和“情绪”是这件作品的三个关键词。艺术家用近20屏影像勾画了一个多维的，集合观念、情感和视听感受于一身的特殊场域。艺术家说，“在时空和环境下，我们人的思维、感知、直觉、判断、我们接触到的事物、我们的理解，全部都在‘情绪’里。” Li Ming is a Chinese artist whose creative efforts are centered primarily on performance and video art. Rendering the Mind is one of the artist's new pieces from 2017, and earned him an award at the HUGO BOSS ASIA ART Award. This time, we have invited the artist to 'once more' design an experience space for his video work. 'Space', 'time', and 'mood' are the three key words for this piece. Li has used nearly 20 video screens to delineate a special multidimensional field in which ideas, emotions, and audiovisual sensations are combined into one. In his words, 'In this spacetime, this environment, our thoughts, perceptions, intuition, judgements, the objects we come in touch with, and our understanding, are all encompassed within ‘mood'.' ... of ..., at...h, at..., in... |
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