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《数字之诗意》鲁美&艾尔弗雷德×1905艺术展

2017-09-29 20:04:03 来源: 雅昌艺术网专稿
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摘要: 2017年10月7日至11月15日 10位来自鲁迅美术学院的艺术家 与13位来自地球另一端美国纽约艾尔弗雷德大学的艺术家 共同在沈阳1905文化创意园呈现一场展览 数字之诗意 鲁迅美术学院&艾尔弗雷德×1905艺术展 引发人们对于机械与人类关系的思考 这是一场数字与科技的艺术行…

  

2017年10月7日至11月15日

  10位来自鲁迅美术学院的艺术家

  与13位来自地球另一端美国纽约艾尔弗雷德大学的艺术家

  共同在沈阳1905文化创意园呈现一场展览

  数字之诗意

  鲁迅美术学院&艾尔弗雷德×1905艺术展

  引发人们对于机械与人类关系的思考

  这是一场数字与科技的艺术行动

  展览时间

  Duration

  2017/10/7-11/15

  总冠名

  Title Sponsor

  凯迪拉克

  主办方

  Organizer

  鲁迅美术学院 艾尔弗雷德大学 1905文化创意园

  展览地址

  Add.

  沈阳市铁西区兴华北街8号

  扫描二维码,查看更多展览详情

  惯常思维里的艺术

  是布面上的油画或者青铜铸的雕塑

  然而在人工智能、虚拟现实、扩张现实……

  这些热词广为传播的当下

  架上艺术之外

  享受惯了数字科技的人们期待更丰富的展览形式

  于是数字艺术

  逐渐成为当代艺术新的发展趋势

  作为东北规模最大、形式最新、参展艺术家最多的

  当代数字艺术交互展览

  本次展览将呈现影像、装置、行为表演等不同形式的20余件艺术作品

  本次艺术展不仅会为公众带来视觉的震撼

  艺术家创作出声音、视觉与体验相结合的艺术作品

  传达精确的数据美学,赋予每一件作品以生命

  本次展览将应用投影mapping技术、声音交互技术、影像融合技术等

  使每一位观者可以走到近前去听、去触摸、去互动

  通过丰富的体验形式完整地呈现作品

  ▲ 策展人、参展艺术家许毅博作品《自愈功能》局部

  展览前言 Introduction

  文/陈小文

  我们经常将诗歌与我们对外部物质世界的情感接触相结合:景观(空间),事件(动作)以及失落的回忆(移情)。诗歌就是语言的艺术。当词汇以一定顺序排列在一起,就会产生能够触发我们想象力和肢体运动的有韵律的魔法。资本主义社会越来越简化我们与词汇的关系时,随之也减少了人类对其情感和身体认同的能力,转而成为如同交通灯信号般只能简单地服从“开”和“关”两个动作指令。在展览“数字之诗意”中,艺术家将二进制代码和计算机语言转化为具有全方面诗意可能性的语言,表达了对无形体验的渴望,并以隐喻的方式表现出从资本主义可编程控制系统的逃脱。我们认为,出于必要性,一个新的感知系统诞生了,这些奇妙作品的创作必定是出于艺术家对数字的需求,以此来作为他们创造新形式诗歌的工具,在不确定的世界中赋予自己的力量。在这个意义上,来自地球另一面的艺术家(美国艺术家)有着相同的信念,即“艺术很重要”。

  We often associate the poetry to our emotional engagement with the outside material world: landscape (space), events(action), and memories of lost(empathy) . Never the less, poetry is the art of language. The words being put together in certain order create rhythmic magic that evoke our imagination and bodily movement. At the time when Capitalistic society increasingly simplifies our relationship with the Word, reducing human’s power of expressing their emotional and bodily recognition to simple binary “on” and “off”, like traffic light signal. The artists in the exhibition “Poetic of Digit” are turning the binary code and computational language into the language with full range of poetic possibility, expressing their desire for incorporeal experiences, metaphorical speaking the escape from Capitalism programmable control systems. As we believe a new organ of perception comes into being because of necessity, the creation of those fantastic works certainly come out of artists’ needs for the digit as their poetic tool to empower themselves in the world of uncertainty. In that sense, the artist from the opposite side of the Globe share the same belief: Art Matters.

  文/许毅博

  在整个人类历史中,有三位伟大的思想家。哥白尼,消除了地球与宇宙之间的不连续;达尔文, 消除了人与动物之间的不连续;弗洛伊德,消除了意识与无意识之间的不连续。在当下高速发展的数字工业时代,第四重要的人物也许是消除了人与机器不连续的那一位。

  我们总是在经受着考验,我们质疑自己,质疑他人,质疑整个人类的发展方向。此刻,我们仍旧在摸索中前行,我们虽然暂时无法得到关于人在数字工业时代该如何自处的明确答案,但我们正在用自己的智慧梳理着自身发展的脉络,我相信我们终究坚守着自己的底线。作为艺术家,我认为人类身为造物主,我们的大脑能够真正进行思考和创作是因为我们内心具有情感基础,做出的任何决定都倍受它的鼓舞,情感终究是最与众不同的特征。

  最后我想引用1942年,阿西莫夫在短片小说《Runaround》中首次提出机器人定律的动机作为结尾,当我们不知道未来如何发展之时,唯一可做的就是尽可能的制定引导我们进入未来的原则。

  Throughout human history, there have been three great thinkers: Copernicus, who eliminated discontinuity between Earth and the universe; Darwin, who established relationship between human and animals; Freud, who created connections between consciousness and unconsciousness. In my view, in this digital era of rapid development, the fourth important person may be the one who eliminate the discontinuity between human and digital industry.

  Human beings are always under test: we question ourselves, others, even the direction of human’s development. At the moment, we are still groping forward. Although we are temporarily unable to get a clear answer about how we should be with ourselves in this digital era, we are planning our development process with our wisdom. I believe that we will always stick to our bottom line. As an artist, I think human as the Creator, we have the ability of thinking and creating is because we have emotions deep in our hearts, and any decisions we make is inspired by emotions. Emotion, after all, is the most distinctive feature of human.

  Finally, I would like to use the motivation of creating the laws of robotics in Asimov’s novel Runaround as the end of this article. When we do not yet know how the future will develop, the only thing we can do is to initiate principles that lead us into that future.

  参展作品 Art Works

  1# 笃于时也 / Limitations of Time

  类别 / Type:影像 / Video

  尺寸 / Size:16/9

  作者 / Artist:周丽娜 / Lina Zhou

  作品简介 / Brief Introduction:

  如果我们像朝菌一样朝生夕死,就不会感受到昼夜更替;如果我们像蟪蛄一样春生秋死,就不会感受到四季轮回。我作品里墙缝中光晕的轨迹在时间之中的明暗变化,直观地表达出光阴的时间历程,它是一种神秘的征兆,是对未来的预警或者期望,也是一种幻化的现实景观。从而引发人们在有限的时空中对生命存在的思考,在人类认知以外,是更为广阔的未知。

  If we are limited by time, we will not feel the change of days and seasons. In the artist’s work, light and shade of the halo in the wall visually express the process of how time passes. It is a kind of symptoms of mystery, warnings or expectations to future, and also a transformation of real landscape. Thus, evoking human to think about life in limited time and space, that is: beyond human’s cognition, there will be a much broader world to be explored.

  2# 秩序 / Order

  类别 / Type:影像装置 / Video installation

  尺寸 / Size:可变 / Variable

  作者 / Artist:刘志鹏 / Zhipeng Liu

  作品简介 / Brief Introduction:

  水是按照一定的秩序在流淌的,但当水遇到阻碍时会绕过障碍并在原有的基础上去建立一个新的秩序继续流淌。这件作品是艺术家在模仿水纹的状态,来不断地建立一个秩序,又打破这个建立起来的秩序,不断地去重复。

  Water is flowing in some certain order. However, when water meets obstacles, it will bypass them, and flow in a new order which is on the basis of the original one. In this work, the artist imitates the water pattern, establishes an order, then breaks it. The process is endlessly repeated.

  3# Redemption / 救赎

  类别 / Type:Video / 影像

  尺寸 / Video Resolution:1920x1080

  作者 / Artist:张耀文 / Yaowen Zhang

  作品简介 / Brief Introduction:

  此影像作品展现出一种担忧易受腐蚀的亚文化的成长和人文关系,同时也传达出无助与失落。作者用自己想象的语言来处理这份担忧、无奈和矛盾。“救赎”这个名字在这里不是像《圣经》里上帝对有罪之人的挽救,而是指望人们自己对自己的认知和救赎。视频里面的绿人代表客观的、过去的、给予爱的、外部的、想象的当地文化。蓝人则指的是主观的、现在的、被爱的、内部的、真实的艺术家自我感悟。整个影像是对文化、民族以及个人关系的探索和想象,也是作者从平面数码版画作品的一个三维衍生和续构。

  The video shows a growing and humanistic relationship between a vulnerable subculture and a sense of helplessness and loss. The author deals with this worry, frustration and contradiction in her own imaginary language. The name “Redemption” is not the salvation of God in Bible, but people’s own perception and salvation. The green one in the video represents objective, past, love-giving, external and imagined local culture; the blue one refers to subjective, present, being loved, internal and real self-perception. The whole video is the exploration and imagination of culture, nation and personal relationship, and also the author’s three-dimensional derivative and renewal of from planar digital printmaking.

  4# 记事 / Notes

  类别 / Type:影像 / Video

  尺寸 / Video Resolution:3840×1080

  作者/ Artist:张付涛 / Futao Zhang

  作品简介 / Brief Introduction:

  作品以艺术家的三段生活经历为起点,把视频分为三部分:风起、月缺、山变。通过对物的描述表达人的情感,人对生活和世界产生认识,从而借物抒情。

  The artist’s inspiration came from his three life experiences. He divided the whole video into three parts: rising wind, waning moon, and varying hills. Through the description of landscapes, the artist intends to express emotions, so that human will rise awareness toward life and the world.

  5# 自愈功能 / Self-healing Function

  类别 / Type:影像装置 / Video installation

  尺寸 / Size:可变 / Variable

  作者 / Artist:许毅博 / Yibo Xu

  作品简介 / Brief Introduction:

  我们很难评价和预测工业科技发展在未来会给我们带来什么,这是艺术家内心产生不安的原因,这种忧虑与不安则是他创作的动机。在作品中艺术家尝试将无答案的状态呈现在观众面前,这是一种面对工业与科技无限制发展的充满忧虑与不安的陈述。而他的作品在试图给予这些工业科技产物一种约束与规则,使之不要脱离人类的掌控范围,就如同他的机械雕塑作品《自愈功能——归》中所传达的思考,无论人类被工业科技发展带去何处,有那么一刻这种发展终将回归我们的掌控范围。对于创作,艺术家尽量使自己处于一种探索状态,所谓探索就是将答案抛弃,在没有结论的前提下进行创作,用自己的作品来阐述对一个问题的思考,不去过多表达自己的立场,将对问题的思考抛出去。所以他努力使作品脱离结论的限制。

  It is difficult for us to evaluate and predict the continuous development of industrial machinery and technology in the future. This is why the artist is uneasy, he tried to find the state without answers when he created his art piece. This statement of anxiety and uneasiness is the power of creation. Since the Aristotelian era, Westerners believe that “soul” or “self” can distinguish between humans and non-human beings. Is this distinction in the current era of great development of science and technology industry still effective? There is no conclusive evidence of the fundamental gap between man and machine. For each human activity, there can be a mechanical correspondence. Is the difference between man and machine completely gone?

  6#“11 Points and 11 Paths” and “18 Points and 18 Paths” / “11个点位11条轨迹”和“18个点位18条轨迹”

  类别 / Type:Video Documentation of a Cybernetic System (Humans) / 影像

  尺寸 / Size:Full Wall Projection / 满墙投影

  作者 / Artist:Michael Mykola Haleta

  作品介绍 / Brief Introduction:

  “11 Points and 11 Paths” and “18 Points and 18 Paths” are video performance pieces embedded with directional scores or activity arrangements that are assigned to groups of 11 and 18 people. These pieces were composed to create a layered system of independent human movement and document all activity within the same screen frame. The basic elements of the passing and warping of time occur as a byproduct of dense layers of activity positioned together and replayed for an audience.

  “11个点位11条轨迹”和“18个点位18条轨迹”是嵌入定向分数或活动安排的视频演出片段,分别分配给11和18人的组。这些作品是为了创建独立的人类运动的分层系统,并记录了同一屏幕框架内的所有活动。时间的流逝和扭曲,其基本要素是作为紧密活动的副产品,并定位在一起,不停地为观众重播。

  7# Venlafaxine / 文拉法辛

  类别 / Type:Video installation / 影像装置

  尺寸 / Size:可变 / Variable

  作者 / Artist:Matthew Underwood

  作品简介 / Brief Introduction:

  This is a personal work dealing with depression. “Venlafaxine” is an investigation into the apparatus of video projection that reveals an unstable and fragile subject. The electronic image is decoded into its component parts; red, green, and blue. The images of the three projectors are re-encoded into one. Viewers are invited to interact with the image by interrupting the beams of light by walking throughout the space.

  这是一部关于抑郁主题的个人作品。“文拉法辛”揭示了不稳定、脆弱的主题,展现出的电子图像被解码成红、绿、蓝三色的组合。三台投影仪分别展示的图像被重新整合成为一个图像。观展者可以在整个放映空间内走动,打断光线的投射,从而与图像进行交流互动。

  8# 呼吸的预言/ Prediction of Breath

  类别 / Type:交互装置 / Interactive installation

  尺寸 / Size:240cm*100cm*1 50cm*50cm*5

  作者 / Artist:肖珣 / Xun Xiao

  作品简介 / Brief Introduction:

  交互艺术被认为是人类创造性活动最重要的表达,交互艺术也可以被理解是一个过程和选择媒体的一种方式,数字交互将人类的想象性本质以直观的形式呈现在人的感知前面,从而修正人类对艺术固有的宗教般的热情。人类从泛神论—神权主义—人文主义—当下的数字时代的到来,表述了当代艺术不仅仅是艺术语言上的更新,也是价值取向的巨变,更是对科学技术的进步带给人类和自然的进步与伤害进行整体上的反思。

  Interactive art is seemed as the most important expression of human’s creative activities, which can also be considered as a process and a choice of media. Digital interaction presents imaginative nature in an intuitive way, so that human’s fanaticism toward art can be corrected. From pantheism, theocracy, to humanism, and to the arrival of current digital era, contemporary art not only experiences a tremendous change on art language and value orientation, but also an overall introspection on the progress and damage of both human’s nature and society brought by science and technology.

  9# Shy / 羞涩

  类别 / Type:装置 / Art device

  尺寸 / Size:50cm*50cm*50cm

  作者 / Artist:张琪 / Qi Zhang

  作品简介 / Brief Introduction:

  作品灵感来自于人对外物的一种反应,利用电子元件制作,将小红灯放置在娃娃头部,通过距离感应器来控制灯的亮暗和声音振动的频率。当人越走近时灯会越亮,声音也会越尖锐。表现的是面对陌生人的一种情绪或是生理变化。

  The inspiration comes from human’s response to external stuff and objects. This art device is made with electronic components. The artist puts a small red neon light into the doll’s head, controls the brightness of light and sound vibration frequency through proximity sensor. As walking nearer, the light will be brighter, the sound will be sharper as well. What the artist is willing to express, is an emotional or physical change of people when facing strangers.

  10# 内核 / Kernel

  类别 / Type:Mapping / 交互影像

  尺寸 / Size:450cm*396cm*340cm

  作者 / Artists:许毅博,郭长明,肖珣 / Yibo Xu, Changming Guo, Xun Xiao

  作品介绍 / Brief Introduction:

  数字艺术随着新技术的不断涌现而日新月异,作为数字艺术的实践者艺术家们尽可能将艺术与最前沿的科技相结合,营造不同的感官体验。这件在黄房子中的作品是对投影艺术的全新解析,并结合了交互技术,观众可以在空间中体会真实与虚幻的不同变化,同时作品在某一时刻对环境信息的采集可以进一步改变作品呈现的面貌。

  With the constantly emerging of new technologies, digital art is in a process of rapid changing. As practitioners, we combine art with cutting-edge technology as far as possible to create different sensory experience. This artwork in 1905’s yellow house is a brand new analysis to projection art. Combining with interactive technology, this art work will allow audiences to experience changes between virtual and reality; at the same time, the collection of environmental information in some point can further alter the appearance of the art work.

  11# Untitled / 无题

  类别 / Type:Video installation / 影像装置

  尺寸 / Size:可变 / Variable

  作者 / Artist:辛子墨/ Zimo Xin

  作品简介 / Brief Introduction:

  在本件作品中,我将自己的声音用软件降低速度,直到人说话的听起来像一个怪兽的低吟。同时我也将缓慢爬行的幻象做了速度上的一些调整。试图通过这样的尝试,更加模糊人与动物之间的界限。这件视频装置展在一个几乎封闭的黑色空间中,我将影像投影在地上。这件作品展览在私密的空间中,观众与影像中幻象的关系本身就是暧昧不明的,有一种潜移默化的变化产生于观众和幻象之间。

  In this work, the artist uses a software to slow down her voice, until it sounds like a monster murmur. At the same time, she also makes some adjustments to the slow crawling illusion. Trying to do this is to blur the line between human and animals. This video installation is shown in a nearly enclosed dark place, the artist projects the image on ground. For this work is exhibited in private space, the relationship between audience and the video is ambiguous, there is a subtle change emerging.

  12# 白茫茫茫茫 / Endless Whiteness

  类别 / Type:数码摄影 / Digital photography

  尺寸 / Size:尺寸可变 / Variable

  作者 / Artist:周丽娜 / Lina Zhou

  作品简介 / Brief Introduction:

  身处他们之中,艺术家确是一个局外人,但所有人都没有意识到这一点。艺术家就像一个生活在他们中间的间谍,没有人怀疑艺术家,甚至艺术家自己都深信不疑。

  I’m an outsider among others, but none of them realized it. I’m living with them like a spy , and no one has ever doubted me, even myself.

  13# 画框 / Frames

  类别 / Type:装置 / Art device

  尺寸 / Size:3.4m*1.8m*3.4m

  作者/ Artist:刘佳弘 / Jiahong Liu

  作品简介 / Brief Introduction:

  这些搜集而来的废弃画框不安定的摆放结构与基本的三原色在一定的透视规律下构成新的感知,通过从单纯的视觉层面构造几何、颜色、空间、以三原色灯源作为一种代替颜料的媒介与这些废弃画框重复,非线性的排列组合整个角落,探索意识转换下新的光怪陆离空间呈现。

  Unstable structure of those abandoned picture frames and three-primary colors both constitute new perceptions under perspicere law. From pure visual level, with geometry, colors, space and trichromatic lamps as a medium instead of pigment, overlaps those abandoned frames. Combining in the whole corner in a nonlinear way, exploring a new fanciful space under the transformation of consciousness.

  14# Open Your Eyes / 睁开你的双眼

  类别 / Type:影像装置 / Video installation

  尺寸 / Size:可变 / Variable

  作者 / Artist:宫悦源 / Yueyuan Gong

  作品简介 / Brief Introduction:

  “Open Your Eyes”是一个讨论人的阴暗面的作品。之所以讨论阴暗面是因为世界是二元对立而存在的。除了阳光,便是黑暗。黑暗占据了人生的一半。无论是从白天到黑夜,还是从好品性到坏品德。人生活在这个二元对立的世界,无法脱离。一旦人越是想挣脱阴暗的部分,阴暗越是不会散去,只有允许它,阳光才会到来。艺术家用十多岁女孩子的形象表现人的阴暗面,是因为从心理学的角度来说,每个人心理都有一个孩子,而这个孩子或是男孩或者是女孩,但艺术家之所以选择女孩子的形象,是因为艺术家认为女孩子的形象更加柔软,并且更能打动人心底。在传统中国,女孩子是阴的象征,男孩子是阳的象征。所以艺术家选择女孩子的形象并结合视频和VR综合手段表现艺术家想传递的信息。

  “Open Your Eyes” is a discussion under dark side of humanity, because the world is dualistic. Except for sunlight, it is darkness, and darkness accounts for half of life. Whether from day to night or from good characteristic to bad, humans cannot escape as long as they live in this world of dualism. The more you try to break away from the dark side, the more it will stay. The sun will rise only if you allow the darkness’ existence. I use an image of a teenage girl to show human’s dark side, because psychologically, every human is a child, a boy or a girl. The reason why the artist choose the image of a girl, because in her view, girl is more soft, and more impressive. In China’s traditional culture, girl is seemed as the symbol of “Yin”, boy as “Yang”. That’s why she combines the image of a girl with both video and VR technology to express her perceptions.

  15# Pierce / 刺穿

  类别 / Type:装置 / Art device

  尺寸 / Size:可变 / Variable

  作者/ Artist:闫佳利 / Jiali Yan

  作品简介 / Brief Introduction:

  三角形是具有刺穿意味的符号,与手的指示方向形成相互呼应关系。它们之间既相互对立,又隔着一定空间,逾越不了既定距离。手具有挑衅意味,尖锐而美丽的三角形虽锋利,但到达不了对方空间,暗喻一些欲望永远无法达成。

  The triangle can be seemed as a piercing sign, which corresponds to the direction of the hand. They are opposite to each other, but separated by a certain space. The hand is provocative, while the triangle is sharp and beautiful, they both cannot reach each other. This work metaphors some desires that will never be achieved.

  16# Timeless / 永恒

  类别 / Type:Video / 影像

  尺寸 / Size:可变 / Variable

  作者 / Artist:王嘉颐 / Jiayi Wang

  作品简介 / Brief Introduction:

  用显微镜记录冰块融化的过程,以此来表达时间的流逝。所选用的冰块是冬天房子外的冰柱,冰柱本身是通过时间的积累形成的。除此之外,当天气变暖冰柱又开始融化变成水,水会蒸发变成水蒸气到天上,又会变成雪降落到地上形成冰柱。如此反复,证明了时间的流逝。

  Through recording the melting process of an ice cube with a microscope, the artist shows how time passes. The ice cube is chosen from an icicle outside the artist’s house, which represents the accumulation of time. In addition, when weather is getting warmer, the icicle begins to melt into water, the water will evaporate into steam and goes up to heaven, and the steam will be frozen into snow, falls to ground, formed other icicles. The repetitive process proves the passage of time.

  17#Domestic Blue / 池内之蓝

  类别 / Type:Three Channel Video N/A / 三通道影像

  尺寸 / Size:可变 / Variable

  作者 / Artist:Jessica Earle

  作品简介 / Brief Introduction:

  Awash in blue, and held in a state of limbo, domesticated blue waters refract sunlight off a concrete landscape. Working both as a baptismal font, and a space age stasis chamber for the figure. Encapsulated in a banal environment the water, a symbol of life, rebirth and also catastrophe sloshes about in heedless plops, slops, and ripples. There is a tension between the artificial nature of the environment and the natural elements at play in it. Escape the heat, stay suspended, wrinkle up like fruit in a jar, or just bob on unaware in this motel oasis.

  郁郁葱葱的蓝色,波光四溢,折射着阳光,形成一幅清凉的景观。水象征着生命与重生,这片蓝色的水域既可以是一个洗礼池,也可以是一个密闭空间。环境中人为因素和自然元素间存在着紧张关系。我们可以远离炎热,潜入水中,享受着这片类似于沙漠绿洲的池水为我们带来的凉爽。

  18#Schizophrenia, From Nothing to Nothing / 精神分裂,从无到无

  类别 / Type:Microscope HD Video / 影像

  尺寸 / Size:可变 / Variable

  作者 / Artist:梁奥迪 / Aodi Liang

  作品简介 / Brief Introduction:重表演系列视频是对显微镜视频拍摄的实验性作品。

  微观的物体(羽毛纤维,动植物细胞)在显微镜下被放大,配合艺术家赋予的动作,重新获得表演的能力,如同木偶剧。艺术家通过这种表演的方式展现微观世界的感性形象,表达宏观的故事概念。I号视频精神分裂运用了羽毛纤维拍摄,II号视频运用了动植物的细胞玻片。

  Series of video work “Re-Performance” are an experimental on microscope video.

  Micro objects (Feather, Animal/Plant Cells) were magnified under the microscope, have regained the power of performance with the motion which is given by the artist, like a puppet show. The artist reveals the sensuous figure of the micro world by this form of performing, convey a macro concept of stories. Video No. I “Schizophrenia” was made with feathers; Video No. II “From Nothing to Nothing” was made with animal and plant cells.

  19# Bad Wish / 坏愿望

  类别 / Type:装置 / Art device

  尺寸 / Size:150cm*150cm

  作者 / Artist:于墨 / Mo Yu

  作品简介 / Brief Introduction:黑色的花是由背心塑料袋被撕扯后留下的最上面的部分组成的,也是最被忽视、最无用的部分,长久地被如此对待,积怨深厚,变成了两个花环。像一团乌云,笼罩在头顶之上。谁也不会一帆风顺,也不会一直受到上帝的眷顾。艺术如此,人生亦如此。

  Black flowers are made by the most neglected and the most useless part of black vest bags. After being long ignored, they were under a deep bitterness, who finally transformed into two garlands, hung over our heads like dark clouds. No one has a totally smooth sailing, no one can be blessed all the time, so as art, so as life.

  看不见的城市 / Invisible City

  类别 / Type:行为艺术 / Performance

  尺寸 / Size:可变 / Variable

  作者 / Artist:张丹 / Dan Zhang宫文博/ Wenbo Gong 高士贺/ Shihe Gao

  表演者/ Performers: 刘志鹏/Zhipeng Liu 张付涛 /Futao Zhang 张琪/Qi Zhang 谭啸/ Xiao Tan 周丽娜 /Lina Zhou 肖珣 /Xun Xiao 于墨 /Mo Yu 闫佳利/Jili Yan

  作品简介 / Brief Introduction:我们所居住的城市像一个汉堡包是个多层的混合体,个体意识、经验、国家、政治、经济、文化等组织成一个虚幻的实体。创意起源于翻绳游戏,个人与群体之间关系通过绳子暗喻,无数的切片与想象不断交织、重组,个体生命与集体无意识构筑了乌托邦与反乌托邦的堡垒。焦虑与迷茫,对死亡的恐惧与希望营造了海市蜃楼般的城市。

  The city we live in is a multi-layer hybrid, which looks like a hamburger. Individual consciousness, experience, country, politic, economy and culture, etc. organize into an imaginary entity; countless slices and imagine are constantly intertwined, restructuring. Individual life and collective unconsciousness both build up a fortress of utopia and dystopia. Anxiety and confusion, fear of death, and hopes all help to create a city of mirage.

  Apeiron | Peras / 无限与界限

  类别 / Type: Performance / 行为艺术

  尺寸 / Size: Variable / 可变

  作者 / Artist: Phillip Stearns

  作品简介 / Introduction:

  “Apeiron | Peras” is a series of videographics and sound compositions created using a custom built video synthesizer connected in generative feedback paths. Intense audio-video synesthesia is produced by sonifying and visualizing raw electronic signals as directly as possible, creating an intricately intertwined relationship between what is heard and what is seen as sound and image take turns leading and following each other in a perpetual dance. Each work follows an improvised trajectory, navigating the sonic and visual landscape produced by folding electronic signals inwards upon themselves. “Apeiron | Peras” audio-video works are the result of a process of seeking balance between exerting expressive control over an otherwise raw electronic signal and letting the wild, unpredictable current follow its own path.

  该作品是由一系列视频和声音合成,通过利用连接已生成的反馈回路,由一个定制的视频合成器创建。通过将原始电子信号直接声音化和可视化来产生强烈的通感,从而在声音和图像之间形成一个复杂的、交织在一起的关系,并在不停的舞蹈中相互依存。每个作品都是即兴的,通过自己折叠电子信号从而产生声音和视觉的景象。作品是在对原始电子信号进行控制和让不可预测的电流遵循自己的规律之间寻求平衡的过程中产生的结果。

  Phillip作品

  Transhuman Art Critics: Music Hall of Fame / 超人艺术评论家:音乐名人堂

  类别 / Type:Performance / 行为艺术

  尺寸 / Size: 2 video screens, 2x2 m, 2 persons on stage / 2面影像屏幕,2m*2m*2 ,两个人表演

  作者 / Artist: Emma Nilsson, Emil Schult

  作品简介 / Brief Introduction:

  In the two artists’ performance, they feature pioneers of electronic music: Karl Heinz Stockhausen, Henk Badings, and Herbert Eimert. All three composers have been very important for the development of modern digital age. The electronic music is partly prerecorded and partly live. This is underplayed with 2 video projections showing contemporary digital imaginary. Electronic music as the expansion of the universe of sound waves, as the key to a new global language, relaunching our world into a cosmic context.

  在这两位艺术家的表演中采用了三位先锋电子音乐人的作品,分别是:德国的卡尔·海因茨·施托克豪森、荷兰的亨克·贝丁思以及德国的赫伯特·艾默特,他们对现代数字时代的发展至关重要。电子音乐的特征是一部分音乐事先录制好,一部分现场表演。将用两台投影仪展示他们的影像。

  Emil+Emma作品

  Hermes / 赫耳墨斯

  类别 / Type:Performance / 行为艺术

  尺寸 / Size:Variable / 可变

  作者 / Artist:Peer Bode

  作品介绍 / Brief Introduction:

  Electronic videos and strings, moving image and sound. Enthusiastic forces, play tension, musical and visual. Dedicated to Hermes, from ancient Greek mythology, the god of transport in and out of foreign places. Hermes is the patron saint of mediated being.

  视频和弦乐器,以及运动的图像和声音,共同构成了这部作品。作品中用音乐和视觉艺术呈现出热情的力量,以及紧张的情绪。赫尔墨斯,希腊神话中的十二主神之一,他是众神使者,是风雨、商业与偷盗之神,也是边界及穿越边界的旅行者之神。

(责任编辑:裴刚)

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