亚洲杯:ViewingRoom

发布日期:2020-03-26   作者:亚洲杯外围   已浏览: 81次

亚洲杯外围Familymeanscommonality,asharedlinkorrelationship,acomingtogetherofbiologicallyordecidedlyconnectedpeopleorthings.Homeisaplaceinwhichtobelong.Notnecessarilyaplaceofprovenance,butaplaceofacceptanceandcomfort.Formanypeople,homeisalmostanabstractconcept,afarawaypossibility.

Theuniontobefoundinafamilyoftengoesbeyondobviousorpre-imposedconnectionsandincorporatesthecompassion,trust,union,friendship,reliabilityandaffectionthattakesyearsandyearstobuild.Theworksinthisviewingroomincorporatealloftheseelementsofwhatitmeanstobepartofafamily,tobepartofsomethinglargerthanourindividualselfsandwhatitmeanstohavearelationshiptohome,whetherhomeisleftbehindoraplaceyettobefound.

"Itriedveryhardtocuttheskyinhalf.Oneformyloverandoneforme.Buttheskykeptmovingandcloudsfromhisterritorycameintomine.Itriedpushingitawaywithbothmyhands.Harderandharder.Buttheskykeptmovingandthecloudsfrommyterritorywentintohis.Ibroughtasofaandplaceditinthemiddle.Butthecloudskeptfloatingoverit.Ibuiltawallinthemiddle.Buttheskystartedflowthroughit.Idugatrench.Andthenitrainedandtheskymadecloudsoverthetrench.Itriedveryhardtocut."

亚洲杯外围Theselinessoundslikealetterfromthewarfront.Alovelornsoldiersitsinoneofthetrenchesandwritesdowntheselines.Heisfightingawarforsomeone.Thelinesgetblurredasthetearsfromhiseyestrickleontheletters.Hadtherebeennocolourmovies,wecouldhaveimaginedthissceneinblackandwhite.Theintensityofaworldwheretheevilwasdepictedinblackandthegoodwasetchedinwhite.Itcouldbeacliché.

Thewordsarepastedintheformofaflag,apieceofclothethatloadsavainman’schestwiththeprideofbelongingandresultantarrogance.Itflutters.Thisyellowflagisnobody'sflag.Comecloserandknowme,itinvites.Thecloseryouget,thebetteryoureadtheantslikeformationsontheyellowstripes.Likethe'Om'writtenonaHindusage'sclothes,youseetheinscriptions:THEREISNOBORDERHERE.Itgoesonlikeachanting.(JohnyML)

ThisworkofShilpaGuptaissimpleanddirect.Flagsthatshouldhavebeenheraldingthefreedom,nowlimitsit.Initsinscribednationality,ideology,caste,creed,raceaflagbecomesalimitingthing;itembodiesthe'border.

Adream-likescenarioisdescribedinpoeticwords.Theforminwhichthepoemispresentedchargesitwithtension,suggestingtheoppositeofwhatthewordstellus:thelinesforexamplearemadeofyellowtapethat,seenfromupclose,isprintedwiththemessage:“THEREISNOBORDERHERE”Thebodyofthepoemistapedupintheshapeofaflag,anotherambivalentmotif:ontheonehanditisasymboloffreedomandindependence,andontheotheritreferstoborders–national,religiousorideological.

ShilpaGupta(1976)livesandworksinMumbai,IndiawhereshestudiedsculptureattheSirJ.J.SchoolofFineArtsfrom1992to1997.

Herworksareconcernedwithspaceandhowweoccupyanduseitandwhetherthatspaceisrelatedtonationalidentity,personalidentity,bodilyoccupationorlanguage;sheoftenshiftsartfromobject-basedcommoditytoaparticipatoryexperience.Sheisenticedbyhowwedefineourmaterial,socialandpersonalexperiencesandhowtheythenbecometranslatedinsocietythroughdivision,restriction,censorshipandsecurity.

AccordingtoKapoor,therearetwokindsofbecoming:oneisanalmostcinematicexperienceoftheobject,ofitsseemingevolutionasonelooksatit;theotherisaninternalstate,amorepoeticone,ofthebecomingoftheworkintheimaginationoftheviewer.

AnishKapoor,afterhavingspentsometimeatAyersRock,averypowerfulproto-place,experiencedsomeunbelievablethings.Developingadeepconnectionwiththeplace,henoticedasymbolicinterpretationoftheholesandthestripsofstonethatseemedtobeleaningagainstit,hewasamazed,notatthemonolith,butatthewaythemonolithseemedtobemadeupofsymbolicevents.Oneoftheideashewrotedownwassimply“whiteformonawhitewall.”WhenIamPregnant,anobjectinastateofbecoming,wastheresult.

OncebacktoLondonheproceededtomakeawhiteformonawhitewall—creatingaformthatcouldbebothpresentandnotpresent."Togetittodisappeartheformmustbepulledoutineverydirection,attenuated,sothatitblendsitselfoutintothewall”,says,"Itbecomesafull,pregnantformandyetitisnotpresent.Whenlookedatdirectlyitlookslikefuzzonthewall,inhabitingthat“non-object”state."

Certainmonksformallyaskeachotheriftheyarepregnantyet,andthathastodowithwhethertheyhavereachedastateofspiritualaccomplishment.Sotheartistwondered,well,amIpregnant

WhenyouareinfrontofWhenIamPregnant,nomatterhowcloseorfaraway,itisablur.Itisonlywhenyoumovetothesideofitthatyoucanseeitisaform.Thereisaslightmanipulationthatforcestheviewerintodoingsomething.

AnishKapoorisconsideredoneofthemostinfluentialsculptorsworkingtoday.HewasborninMumbaiin1954andlivesandworksinLondon.HestudiedatHornseyCollegeofArt(1973–77)followedbypostgraduatestudiesatChelseaSchoolofArt,London(1977–78).

AnishKapoorisaBritishsculptorknownforhisoftenlarge-scaleinstallations,sculpturesandbothindoorandoutdoorsite-specificworks.Heinitiallyworkedonabstractsculpturesusingnaturalmaterialslikegranite,limestone,marble,pigmentandplaster.AnishKapoorisknownforhisunexpecteduseofmaterials,twoofthemostnoticeablebeingmirrorsandcoloredpigment.Heisalsoknownforhisabilityincreatingnewenvironmentsthatinvolvetheviewer,oftenthroughamechanizedelementthatmanipulatesanothermaterial.Alotoftheseworksaremonochromaticandtheychallengetheviewer’sperceptionoftheirimmediateenvironmentattimeswiththeintentionofaffectingtheirpsychologicalandphysicalstate.

Anhourglass,thesandofwhichisanadditiontothefacialfeaturesplacedineachendofthecontainer.Adherentandconnected,asymbioticrelationshipisdepicted,asthesandsoftimeofoneofthebeingstricklesintotheother.

HestudiedatEscuelaNacionaldeBellasArtesdeBuenosAires.InMacchi'sview,thesimplerandcleanertheobject,themoreitiscapableofcontainingreferencesandthemoreitsrelationshipwithuswillbepersonalandsentimental.This"obliquestrategy"andasharpsenseofblackhumourarecharacteristicsofhiswork.

Theartistoftendrawsonnewspapers,paradigmsofinformationarchivesbasedonfacts,andhisworksarealsoconceivedfromanecdote,chanceandeverydaylife.Signsaresilentlybrokendownandthenpiecedtogetheragainaccordingtoaprocessof"de-familiarization".Macchiclearlyshowsaninterestformargins,endingsandfragments,whathasfallenbehindus.Inhisuniverse,everythingisintransit,precarious.Nothingiseverpermanent.Hispiecesreflectabsenceswhichorderthescenesasstronglyaseachpresence.Heisanartistoflossandnostalgia.

TheMirageseriesdealswiththehopeforanewlifethroughajourneyofmigrationfromsmallruralcentrestonewmetropoli,thetitlereferringtohowthiscanbeanillusion.Childrenandteenagerstraveltowardsanewlifetoo,provokinganinvestigationintofamily,whereistheirfamily

AhmedMaterwasbornin1979,theintenseconclusiontoadecadeofmomentouseconomicandpoliticalupheaval,Materwitnessedarapidlytransformingsocietywhosechangesdivergedintoextraordinarysocialshiftsandtrenchantideologies.

Physicianturnedartist,AhmedMaterisoneofthemostsignificantculturalvoicesdocumentingandscrutinisingtherealitiesofcontemporarySaudiArabia.Forginganongoing,complexmappingoftheKingdom,hispracticeexplorescollectivememoriestouncoverandrecordunofficialhistories.Thehistorical,geographicalandtopicalbreadthofhisresearch-ledinquiriesaresharpenedbytheincisiveactionsofhisconceptualworks.Withthisscope,Materimaginespossibleprognosesforalandofunprecedentedreligious,social,economic,andpoliticalinfluence.Usingphotography,film,sculptureandperformance,hemaps,documentsandanalyses,consideringthepsychologicalimpactontheindividual,thecommunity,society,andtheworld.

SabrinaMezzaqui’sworkscomefromareflectiveprocessofaself-imposeddiscipline.Literatureistheprivilegedobjectofherartisticresearch,actingbothasitsmediumandmessage.Inherartisticpracticetheartistusestheprincipleofdistance,operatingwithinadetachmentfromthenecessarywords,forthegenesisofimagesandconcreteobjectsoftenmadeofpaper,sewingthreadandfabric.Thisworkisamanifestationofthisinclinationoftheartist,embroideryonfabricisrepresentativeofwordswrittenonthepageofabookthatisencasedinaglasscasefromVirginiaWoolf’s“ARoomofOne’sOwn”.

In1985,shegraduatedfromtheIstitutoStataled’ArtediBolognabeforegraduatingfromtheAccademiadiBelleArtiBolognain1993.

SabrinaMezzaqui’sworkscomefromareflectiveprocessofaself-imposeddiscipline.Literatureisoftenatthecentreofherartisticresearchandpractice,actingbothasitsmediumandmessage.Inherartisticpracticetheartistusestheprincipleofdistance,operatingwithinadetachmentfromthenecessarywords,forthecreationofimagesandconcreteobjectsoftenmadeofpaper,sewingthreadandfabric.Theconstructionanddeconstructionprocessesactivatethemselvesandit’sfromthisthat,followingonfromoneanother,intimateworksspringup,worksinwhichtherelationshiptotheworldisfilteredthroughaliteraryanddiaristicdimension.Astrongnarrativecomponentemergesinthewaysheworks,awaythatincorporatessuspended,dilated,eternaltimethatevokesthefeelingofmemorywhileindustrioushandscrossover,sew,cutwithanattentiontothelimitsofritualityintheapparentsimplicityofrepeatingasignoragesture.

Featuringanadolescentcouplesittingonaheadlandattheedgeofaprecipice,thisisabittersweetimageofyounglovethatpresentstheviewerwiththeartistspreoccupationwithchange,wheredifferentstagesofourlivesarepunctuatedbytheperiodsofwaitingbeforetransitioningintoanewphase.Thisworkisasymboloffirstlovethatsignalsthepassageintoadulthoodandthelossofinnocence.

HansOpdeBeeckwasborninTurnhoutin1969.HelivesandworksinBrusselsandGooik,Belgium.OpdeBeeckhasshownhisworkextensivelyinsoloandgroupexhibitionsaroundtheworld.

HansOpdeBeeckproduceslargeinstallations,sculptures,films,drawings,paintings,photographsandtexts.Hisworkisareflectiononourcomplexsocietyandtheuniversalquestionsofmeaningandmortalitythatresonatewithinit.Heregardsmanasabeingwhostagestheworldaroundhiminatragi-comicway.Aboveall,OpdeBeeckiskeentostimulatetheviewers’senses,andinvitethemtoreallyexperiencetheimage.Heseekstocreateaformofvisualfictionthatdeliversamomentofwonder,silenceandintrospection.

Displayingsunlightandfocusingonthethree-dimensionalityofspaceinhisphotographsGiovanniOzzolabringsthetwoaspectstogetherinadazzlingdisplaythatcanbeassociatedwithpainting.

GiovanniOzzolawasbornin1982inFlorence(Italy)andhelivesandworksinCanaryIslands.Heisamultidisciplinaryartistworkingprimarilyinphotography,aswellasvideoandsculpturalinstallation.Ozzola’spracticedemonstratesadeepsensitivitytowardsthephenomenonoflightanditsvariousphysicalcharacteristics.Hismainthematicinterestslieinconceptualisingandrepresentinginfinitudeandexploration,bothgeographicalandintrospective.

Hiscareerasanartistbeganwhenhetookpartinthegroupshow“Happiness.ASurvivalGuideForArtAndLife”,curatedbyDavidElliotandPierLuigiTazzi,fortheMoriArtMuseumofTokyoin2001.SincethenOzzolahasshownaroundtheworld,andhisworkscanbefoundinmanypublicandprivatecollections,includingMART,Rovereto,Italy;ChelseaArtMuseum,NewYork,USA;SharjahMarayaArtCenter,Dubai;MoriMuseum,Tokyo,Japan;Schunck-Glaspaleis,Herleen,Netherlands;KünstlerhausPalaisThurnUndTaxis,Bregenz,Austria;GalleriaContinua,SanGimignano/Beijing/LesMoulins/Habana;PalazzodellePapesse,Siena,Italy;ManMuseod’Arte,Nuoro,Italy;WasedaUniversity,Tokyo,Japan;Centred’ArtBastille,Grenoble,France;GC.AC,Monfalcone,Italy;ViafariniDocva,Milan,Italy;CentroArtiVisivePescheria,Pesaro,Italy;OCAT–ContemporayArtTerminal,ShanghaiandGuandongMuseumofArt,Guangzhou,China;2139,Jeddah,SaudiArabia;DistrictSixMuseum,CapeTown,SouthAfrica;BasilicadiSanFranciscodiAssisi,LaHabana,Cuba;FoundationVuitton,Paris,France;FosunFoundation,Shanghai,China.

MichelangeloPistolettohascapturedanintimatefamilymoment,theviewerwitnessesthemakingofamemoryforthesethreepeoplewhilealso,throughthemediumofthesuperstainlesssteelmirror,beinginsertedintotheimageitself.

MichelangeloPistolettowasborninBiella,Piedmont,Italyin1933,heisanItalianpainter,arttheorist,actionartist,installationartistandobjectartistandisconsideredprolificintheArtePoveramovement.From1947to1958heworkedasapaintingrestoreralongsidehisfather.

Inthe1950sheworkedprimarilybypaintingself-portraitsandfigurativeworks.In1959,heparticipatedintheBiennalediSanMarino.Ayearlater,hehadhisfirstsoloexhibitioninGalleriaGalateainTurin.

Thedevelopmentforhiswhatwouldbecomeextremelyfamousmirrorpaintingsstartedfromhisself-portraitsof1960-61.Inthesepaintings,hecoveredhiscanvaseswithgroundsofmetallicpaint.Lateron,hewouldreplacethecanvaswithpolishedsteel.MichelangeloPistolettostartedphotosilkscreeningimagesontothesesheetsofpolishedsteel.Theaimoftheseimagesoflife-sizepeoplewastointegratethesurroundingsandtheviewerintohisworkthereforeexaminingrealityandtherepresentationofit.MirroredsurfacesweretobecomearecurringfeaturethroughoutPistoletto’scareer.

Inthelate1960s,Pistolettobegantoexperimentwithperformanceart.HavingfoundedtheZoogroup,Pistolettopresented“actions”from1968to1970.Theperformanceswereintendedtobringarttopeople’severydaylives.Theywereperformedintheartist’sstudio,inschools,theatresandinthestreetsofTurinaswellasothercities.

MichelangeloPistolettohadretrospectivesinsomeoftheworld’smostprestigiousmuseums;PalazzoGrassi,Venice(1976),PalaciodeCristal,Madrid(1983),FortediBelvedere,Florence(1984),GalleriaNazionaled’ArteModerna,Rome(1990),andMuseud’ArtContemporanideBarcelona(2000).

In1994,PistolettofoundedProgettoArte,aprojectthataimstobondthediversitytobefoundinsocietythroughart.In1998,heestablishedCittadellarte,FondazionePistolettowhichisacentreforthestudyanddiffusionofculturalactivityinBiella.ThirdParadise,begunin2004,wasinspiredbyPistoletto’sinterestsinsymbologyandengagementinsocialissues.ThesymbolofThirdParadiseistheinfinitysymbol.TheinternationalprojecttakesplaceinvariousmanifestationsallovertheworldinplaceslikeLaHabanainCubaandNaples,Rome,BiellainItalyjusttonameafew.Theproject’saimisasocialone,unitingpeoplethroughartandcreativity,tomakesocietyabetterplace.

Theworkwasshowedforthefirsttimeduringthe53rdVeniceBiennalewiththetitle“FareMondi/MakingWorlds”.Theartistintendstocreateaworldinconstruction,fullofspontaneity,movementsandcirculation,acommunicationinthemaking.

“Tributetothebeautyofcommonsense,intelligenceattheserviceofhumanity,avibrantreminderofthepastforabettertomorrow.”

PascaleMarthineTayouwasborninNkongsambain1966andhelivesandworksinGhent,BelgiumandinYaoundé,Cameroon.

Hisworkischaracterizedbyitsvariability,sinceheconfineshimselfinhisartisticworkneithertoonemediumnortoaparticularsetofissues.Whilehisthemesmaybevarious,theyallusetheartisthimselfasapersonastheirpointofdeparture.Hisworkisdeliberatelymobile,elusiveofpre-establishedschema,heterogeneous.Itisalwayscloselylinkedtotheideaoftravelandofcomingintocontactwithwhatisothertoself,andissospontaneousthatitalmostseemscasual.Theobjects,sculptures,installations,drawingsandvideosproducedbyTayouhavearecurrentfeatureincommon:theydwelluponanindividualmovingthroughtheworldandexploringtheissueoftheglobalvillage.AnditisinthiscontextthatTayounegotiateshisAfricanoriginsandrelatedexpectations.

KikiSmith’spassionforthetactilequalitiesofpaper-amaterialthatshehasexploredextensively-rendersherdrawingslifelikeandalive.Thepapersheworksuponistranslucent,skinlikeandhandmademeaningtheviewer'sconnectionwiththesubjectsinherworkisdictatedbyanemotiveandtransformativerelationship.

KikiSmithwasbornin1954inNuremberg,Germany.SheisanAmericanartistandhasbeenknownsincethe1980sforhermultidisciplinarypracticerelatingtothehumanconditionandthenaturalworld.Sheusesabroadvarietyofmaterialstocontinuouslyexpandandevolveabodyofworkthatincludessculpture,printmaking,photography,drawingandtextiles.

Withaspecialfascinationwiththebody,bothanimalandhuman,Smithregularlyincludesfiguralrepresentationsofmortality,abjection,andsexualityinherworks.Constantlyexperimentingwithmaterials,fromlightsensitiveprintingtechniquestowoventapestriesandmetalsculpturesherworkmanagestocaptureaglobalhumanexperienceandlocateitamongstnatureandtheuniversearoundus.

PleasesignuptoourNewslettertoreceivenewsaboutourupcomingexhibitionsandartcontemporaryeventsaroundtheworld