亚洲杯:ViewingRoom

发布日期:2020-04-12   作者:亚洲杯外围   已浏览: 88次

LuQing,thewifeofAiWeiwei,onthe5thanniversaryoftheTiananmenSquaremassacre,liftsherskirtinfrontofthecamera,showingherunderwearandlegsinagestureofresistance.

Markingintimetheimportantpassingofaninternationallysignificativeevent,thisactionisamessageofinstigationandderision,asymbolicfact,anunquestionablepieceofproof.

AiWeiwei’sdispositiontoqueryandopposeunjustandunfairsystemsmeanshisworkiscapableofactingbetweenpoliticalactivismandartisticexpression.He’samulti-skilledartistwhoseworktakestheformofinstallations,videos,photography,sculptureandarchitecturethatareconstantlyreminiscentofancientstories,societiesandconceptsthroughtheirreferentialityorthroughtheartist’suseofmaterials.

Frequentlycontrastingcontemporaryelementsofsocietyandsocietalconstructswithancientandtraditionaltechniquesandconcepts,Aioftenrepurposesandupdatesobjectsandmaterialstoachieveatranscendenceinmeaningandtocriticizetheworldaroundhim.AitakesgreatcourageinproducinghisworkafterbeingpursuednumeroustimesbytheChinesegovernment,sufferinghousearrestsandeventhedemolitionofhisstudio,hehoweverremainssteadfastinhisresolvetoovercomefearandoppressionandtomakewayforfreedomandrespect.

Fourteenmirrors,matchedinpairs,conveyalightthatreflectsupwardstoinfinityinanevocationofthestoryof‘Jacob’sladder’.ThisparableabouttheeternalmovementbetweenthetemporalandspiritualspheresappearsinIslamic,ChristianandJudaictexts.Inthiscontextthereferencetothe'Jacob'sladder'comesinacubicshapethatimmediatelyrecallstheIslamicKaaba,inalong-lastingunionofformandmeaning.

KaderAttiagrewupinbothAlgeriaandthesuburbsofParis,andusesthisexperienceoflivingasapartoftwoculturesasastartingpointtodevelopadynamicpracticethatreflectsonaestheticsandethicsofdifferentcultures.Hetakesapoeticandsymbolicapproachtoexploringthewide-rangingrepercussionsofWesternmodernculturalhegemonyandcolonialismonnon-Westerncultures,investigatingidentitypoliticsofhistoricalandcolonialeras,fromTraditiontoModernity,inthelightofourglobalizedworld,ofwhichhecreatesagenealogy.Forseveralyears,hisresearchfocusesontheconceptofRepair,asaconstantinhumannature,ofwhichthemodernwesternmindandthetraditionalextra-occidentalthoughthavealwayshadanoppositevision.Fromculturetonature,fromgendertoarchitecture,fromsciencetophilosophy,anysystemoflifeisaninfiniteprocessofrepair.

亚洲杯外围59bowlsfilledwithrainwateroccupythespaceontheground,theinternalspaceofthebowlsconsumedbywater,theexternalspacesurroundingthem,consumedbythebowls.Theideaofconsumingisperpetuatedthroughtheconstantfillingofthevesselsandthecreatingofdifferentlevelsofliquidwithineachvessel.

Bornin1986inManzanillo,Cuba.ShestudiedattheEscueladeArtesPlásticasdeManzanillo“CarlosEnríquez”,AcademyofFineArts,CubaandInstitutoSuperiordeArte(ISA),HigherArtInstitute,Havana,Cuba.

Herworkoftencapturestheworld’sephemeralandalwayschangingcharacterandrepresentsprocessoflife,deterioration,unstoppablecorruptionorthestateofthenatural.Herworkheavilyhintsatthepresenceofmortality,herartworksalmostrepresentthemomentthatprecedesdeath,anenticingyetabsolutelyparalysingmoment.

AworkthatChenZhenstudiedformanyyears,it’sametaphortodenounceasadepisodeinhistory.TheworkisinspiredbyEmperorQianlong’sgardenthatheconstructedinhispark.Thebeautyofagarden,onceatangiblemanifestationofthefabulousmeetingandcollaborationbetweentwoworlds,hasbecomealegendaryruin.JardinMémorablewantstorevivethislostbeautythatonedaycouldturntheworldintoa"humangarden".

亚洲杯外围ChenZhen1955-2000,studiedattheShanghaiSchoolofFineArtsandCrafts(1973)wherehethenstartedteachingin1976beforegoing,in1978,totheShanghaiDramaInstitutewherehespecializedinsetdesignandbecameaprofessorin1982.

Attheageoftwenty-five,ChenZhenwasdiagnisedwiththeterminalillnesshemolyticanemia,anexperiencewhichgavehimvastinsightintothevalueoftimeandspaceatastronganalyticallevel.

In1986,afterarrivinginFrance,ChenZhenbegantoconcentrateoninstallationart.Hisworkbegantodevelopaccordingtoatransculturalschoolofthought,aconceptthattheartistcalled‘Transexpérience’,basedontherelationshipbetweenman,consumer,societyandnature.

亚洲杯外围ChenZhendiedon13December2000andalthoughhiscareerwassadlycutshorthisopen-mindedapproachandqualityofhisworkgainedhimwidespreadinternationalrecognitionforhisinnovativeapproachtoinstallations,thatoftenpresentadialoguebetweencultures,unusualmaterialalliancesandnewconnectionsbetweenEasterntraditionsandtheWesternartisticvocabulary.

AdigitalprintofamomentintheperformanceInsideoutbyNikhilChoprathattookplaceinSanGimignanointheexhibitionspaceArcodeiBecciinwhichtheartiststayedfor99hours.Thetracesoftheartistwereleftintheroomashelivedinit,afrescoofSanGimignanoonthewall,afewbitsoffurniture,utensils,andthedresswornbytheartist.

亚洲杯外围Abandonedobjects,frescoesandphotographscontributetoasortofincompletere-enactmentoftheeventlastingovertime.Atthesametime,however,theyconstitutemuchmorethanthemeredocumentationofaperformancethathasnowrunout,accordingtothelogicofthisandotherworksbyChopra.

NikhilChopraisanIndianartistbornin1974inCalcutta.Hehasparticipatedinrecentyearsinmajorshowsthathavefocusedonthemesandwaysofmakingartthathasdealtwithissuessuchasgeopoliticalreadjustments,thedevelopmentsoftheglobaleconomy,andtherelationshipwiththeartist’sbodyandsurroundingenvironment.HavingstudiedinAmericaandIndia,hehasperformedallovertheworld,mostofteninvolvinghisaudiencewithabodilyexperiencewithcertainmaterials.

亚洲杯外围Hismostrecentsoloexhibitionsinclude:DRAWINGALINETHROUGHLANDSCAPEdOCUMENTA14,Athens–Kassel(2017),BlackeningVI:EngineNo.3157,MuseumofScienceandIndustry,Manchester,UK(2017),DRUMSOLOATTHEMILLGalleriaContinua/LesMoulins,France(2016)and

FLOATINGCITIES&LOADEDDICE3hourperformancewithUrielBarthélémi,GareduNord,Paris(2016).Hismostrecentgroupexhibitionsinclude:FireWater,2018,YinchuanBiennale,China(2018),Bhairav,NewNorthandSouth,NewArtExchange,Nottingham,UK(2017),TheBlackPearl:TheCityFromtheRiver,Alchemy,SouthbankCentre,London,UK(2016).

Unframedanduncoveredthewaxtreeissuspendedonthewall,piercedbyironbars.Thetreeweseeismerelyanillusionofafulltrunk.Flakesofdeadwood,thatgotstuckinthedarkbrownwaxwhilepaintingthemouldsareapparentonthesurface,herebydefyingthedistinctionbetweenrealityandillusion,betweenthecopyandtheoriginal.Intheshapeofthetrunk,thebodyisabsentbuttangible.Imposingthemselvesastwogianttorsosinthenarrowcorridor,thewoundedbarksrecallboththecrucifixionofChristandthebodyofSanSebastian,piercedbyarrows.ThesculpturesareembeddedintheChristianIconographythatiscloselyrelatedtothevillageofSanGimignanoasahavenforPilgrims.

Bornin1964inGhent,Belgium,whereshelivesandworks.Theartisthasparticipatedininternationaleventssuchasthe50thVeniceBiennale,PadiglioneItalia(2003),astheartistrepresentingtheBelgiumPavilionforthe55thVeniceBiennale(2013)andthe15thIstanbulBiennale(2017).

BerlindeDeBruyckere’sworkdealswiththetransformation,transcendenceandreconciliationofbodiesinthefaceofmortality.Thesebodiesareoftenanimal,humanorinanimate.SheisofteninspiredbythelegaciesoftheEuropeanOldMastersandChristianiconography,aswellasmythologyandculturallore.BerlindeDeBruyckereplaysonexistinghistoriesandimagerywithnewnarrativesthataresuggestedbytheartist'schoiceandthenmanipulationof,hermaterials.

Aninstallationin-situinBonMarchéinParis,FranceforwhichtheArgentineartist,LeandroErlich,hastakentheescalatorsandmanipulatedthemintheformofaknot,confusingthesupposeddirectionofvisitors,oratleasttheperceptionofit.Disturbingtheusualperceptionoftheplace,peoplestillcompletetheirshort“journey”,endingupwheretheywereplanningtogo.

Asaconceptualartist,hisworkexplorestheperceptualbasesofrealityandourcapacitytointerrogatethesesamefoundationsthroughavisualframework.ThearchitectureoftheeverydayisarecurringthemeinErlich’sart,aimedatcreatingadialoguebetweenwhatwebelieveandwhatwesee,justasheseekstoclosethedistancebetweenthemuseumorgalleryspaceanddailyexperience.

Hisworkhasbeenshown,mostrecently,innumerousindividualexhibitionsincluding:CAFAM,Beijing,China(2019);MALBA,BuenosAires,Argentina(2019);HOWArtMuseum,Shanghai(2018);MORIArtMuseum,Tokyo(2017/2018);NeubergerMuseumofArt,NewYork(2017);FundaciónTelefónica,Madrid,Spain(2017);MALBA,BuenosAires(2015);ZKM,Germany(2015);MMCA,Seoul,Korea(2014);21stCenturyMuseumofContemporaryArt,Kanazawa,Japan(2014)

WitnessescomprisesaseriesofdrawingsinwhichGaraicoareturnstotheslowworkofchiseling,creatingsmall-scalewoodenmodels.Totransferthegestureoftheprocessandthevolumeofmaterials,theartistusesanoldtechniqueofgraphitefrottageandsetsitintoacurrentcontext.Asaresult,hecomesupwithlandscapesthatdiscussthegeometricfiguresandtheabstractionoftextures,wherethegameoflinesmeets,almostbychance,thevisualplotofthedrawing.ArchitecturalprecisionandgraphiclanguagepersistinthisnewseriesascentralelementsofGaraicoa’spoetics.

CarlosGaraicoastudiedthermodynamicsandlaterpaintingattheInstitutoSuperiordeArte,Havana(1989-1994).Hedevelopedamultidisciplinaryapproachtoaddressissuesofcultureandpolitics,particularlyCuban,throughthestudyofarchitecture,urbanismandhistory.Hefocusesonadialoguebetweenartandurbanspacethroughwhichinvestigatesthesocialstructureofourcitiesintermsoftheirarchitecture.Throughawidevarietyofmaterialsandmedia,GaraicoafoundwaystocriticisemodernistUtopianarchitectureandthecollapseofthe20thcenturyideologies.

ObjectorexperienceAhologram-likedrawingappearsin10minutesofdarkness,followedby40secondsofintenselighttorevealaspaceframehoveringbetweenarchitectureandadrawingofarchitecture.Seveninterconnectedroomsofthesamevolumebutvastlydifferentheightsandlengthsrisefromamandala-likedrawingonthefloor.Here,theorthogonalstructureofthebuiltenvironmentiscompressedandextended,suggestingspaceswithinspacesthatbecomeametaphorofthebodyandthesiteofitsexistence.TheCartesiandeterminationofperspectivewheretheviewerisalwaysinaprivilegedsinglepointpositionnolongerapplies.Wearefreetobeinsideoroutoftheframe.

BorninLondonin1950,iswidelyacclaimedforhissculptures,installationsandpublicartworksthatinvestigatetherelationshipofthehumanbodytospace.Hisworkhasdevelopedthepotentialopenedupbysculpturesincethe1960sthroughacriticalengagementwithbothhisownbodyandthoseofothersinawaythatconfrontsfundamentalquestionsofwherehumanbeingsstandinrelationtonatureandthecosmos.Gormleycontinuallytriestoidentifythespaceofartasaplaceofbecominginwhichnewbehaviours,thoughtsandfeelingscanarise.

Inthiswork,ShilpaGupta,exploresspatialandsocialparameters,engagingwiththeviewerfromadifferentperspectiveandprovokingthequestioningoftime,howwespenditandourrelationshiptoothers.Theimpossible“time”inthetitleofthiswork,isanotherprovocationintothinkingaboutwhenwetakeawaytheframeoftime,howdowemeasureourselves,ouractivityandourexistence.

Bornin1976,shelivesandworksinMumbai,IndiawhereshestudiedsculptureattheSirJ.J.SchoolofFineArtsfrom1992to1997.

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

InMay2012,JRcollaboratedwithCuban-AmericanartistJoséParláontheTheWrinklesoftheCityproject:ahugemuralinstallationinHavana,undertakenfortheHavanaBiennale,forwhichJRandParláphotographedandrecorded25seniorcitizenswhohadlivedthroughtheCubanrevolution,creatingportraitswhichParlá,whoisofCubandescent,interlacedwithpalimpsesticcalligraphicwritingsandpaintings.Parlá’smarkingsechothedistressedsurfacesofthewallsheinscribes,andoffercommentaryonthelivesofCuba’selders;together,JRandParlá’smuralsmarvelouslyanimateacitywhosewallsareotherwiseadornedonlybyimagesofitsleaders.

BorninParisin1983,heisanartistwhoexhibitsfreelyinthestreets,communitiesandpublicspacesaroundtheworld.HisworkconfrontsArtandActionandoftenincorporatesmembersofthepublicintheworksthemselves.Hemakesthemtheprotagonistsofworksthatthengoontoenhancetheircommunitiesandpublicspaces.JR'sstreetartcareerdevelopedintophotographywhenin2001hefoundacameraintheParisMetro.Heistheoriginatorofthe28MillimetersProjectwhichhestartedinClichy-Montfermeilin2004andcontinuedintheMiddleEastwithFace2Face(2007),inBrazilandKenyaforWomenAreHeroes(2008-2011).

In2013,thefirstretrospectivesofJR'sworktookplaceinTokyoattheWatari-UmMuseumandtheCincinnatiContemporaryArtsCenter.ThesewerefollowedbyexhibitionsattheFriederBurdaMuseuminBadenBadenin2014,andattheHOCAFoundationinHongKongin2015.Heexhibitedin2018attheMaisonEuropéennedelaPhotographieinParisandin2019attheSanFranciscoMuseumofModernArt(SFMOMA)andtheBrooklynMuseum.MorerecentprojectsincludeacollaborationwiththeNewYorkCityBalletandanartisticinterventionintheabandonedhospitalofEllisIsland.JRattheLouvrewasaprojectinwhichhemadethepyramiddisappear.

Theartisthasbeenworkingonanextensivebodyofwatercolourssincethemid-nineties.Intheseworksthereisadeeptiebetweenmaterialityandmeaning,almostcreatingasetofimaginationsamples.Thewatercolourshavebeenawaytocounterbalanceamorerationalandmentalactivity.Asstatedbytheartist:“Itwasamoreunconscious,carefree,andspeedyplaceofexpression”and"Formetheworkstartswithanimage,notanidea."Inhisdrawings,forinstance,wecanfindcertainvisualcouplages,designedforsemanticcontrastsandaffinities.Interrogatingthesign,Macchicriticisesthetransparentoridenticalsensethatunifiesitwithitsobject.Thisworkevidentlytiesintheage-oldimageoftimeitself,thehourglass,withalandscape.Thesearebothimagesoftwouncontainablethings,timeandnatureandareperhapsrepresentativeofhowtheyrelatetooneanother.

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

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

'TheVestiges'arecomposedofwoodensculpturesof'colons',i.e.Africanpeoplewearingoccidentalclothes.Thesesculpturesareverycommonsouvenirsmadefortourists.

Presentedasapaintingandcoveredwithwhitepainting,thesesymbolsofthecolonisationbecomerealrelics(«vestiges»)ofanancientperiod.Nowitistimetoacceptthepastandtomoveforward,lookingtoabrightfuture.Indeedtheconfettiaresignofajoyfulstep.

Pagesofburntpaperaregluednexttoeachother.Theseillegiblepages,destroyedbythefire,remindusoftheautos-da-féwhich,fromtimeimmemorial,haveerasedpartsofhistory,ofthepast,ofthememoryandthusoftheidentityofcertaincivilizations.Thisdestructionofworksbearsitssymbolismduringconflicts,particularlyintermsofcensorshipanddenialofadifferentculture.

Time,thefoundingdimensionofthehumanbeing,isameasureofexperience,energyandsubjectiveemotion;itisaninstrumentofknowledge,aparadigmofhistory,anexpressionofchange.Timestretchesbetweenparticulartimehorizons...thepastandthefuture.Theintervalinwhichtheirreversibilityofchangestakesplaceisexperiencedaspresent.Ourpresentisasuspendedtimethathasstoppedslippingawayfromourhandsgivingustheopportunitytogiveshapetoworldsdifferentfromthoseinwhichweusuallylive.Itisasilentandprofoundpresentthatbecomesaplaceoflivingandfromwhichnewvaluesandgreaterawarenessemerge.

Thequestionoftimerunsthroughtheworkofmanyartistsindifferentforms,transportingustoadimensionthatcouldbedefinedasuniversal.Intheworksoftheseartiststimeismemoryandremembrancebutitisalsoaglancetowardsthefuturethatallowsustoovercomefinitenessandlimitation;itisaspacethatbreathes,itisthefallingofrainthatmarksthecycleofseasonsortheworntreetrunkthattellsthetransienceandfragilityofexistence.Andwhenthepassageoftimeismarkedbytheactionofman,theimagemagicallytransformsitselfintoarchitectureandlandscape.

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