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马凌画廊 香港 | 陶辉个展“节奏与知觉”1月10日开幕

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2019-02-23 22:55:51 来源: 马凌画廊
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摘要:≡跳动的原子PulsatingAtom,2019单频高清彩色有声录像SinglechannelHDVideo,color,sound14min12sec©图片由马凌画廊及艺术家提供ImagecourtesyofEdouardMalingueGalleryandtheartist新展开幕Upcomin…

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跳动的原子 Pulsating Atom2019

单频高清彩色有声录像

Single channel HD Video, color, sound

14 min 12 sec

© 图片由马凌画廊及艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist

新展开幕 Upcoming Exhibition

节奏与知觉

Rhythm and Senses

开幕 Opening: 19.01.10 6-8pm

展期 Duration: 19.01.10 – 19.03.15



(Scroll down for English version)


人在数字时代如何自处、共处?这正是陶辉(1987年生于重庆)在马凌画廊香港的首个个展“节奏与知觉”探讨的核心命题。来自重庆的中国艺术家陶辉通过录像和装置的创作语言,从社会身份、性别状态、种族划分和文化危机入手,呈现出当代人的集体经验。错置感是陶辉作品主要描绘的对象,带动观者正视自身的文化历史、生活环境和社会身份。本次展览由四件作品组成,审视我们现有的生存状态和我们与之应对的行为,梳理纠缠其中的不稳定因素、不断变化的认知和精神需求。


“节奏与知觉”分四部分解析当代人的生活状况,呈现出我们真实和虚拟生活的脉息。艺术家用 PVC滑动门将展览区域划分为三部分。这一隔离产生了相对独立的冥思空间,继而一种孤独的观感弥漫于各个空间,我们浮游在数字时代中的个人经历如低语般回荡。通过每一个移墙上半透明蓝色亚克力,观众可以一瞥其他空间的作品,陶辉试图用这一设计来暗指我们支离破碎但又环环相扣的生存状态。


进入第一个空间,观众便会看到奠定此次展览数字基调的作品《屏幕作为展示主体》(2019)。将四个显示器置于一辆手推车上,并使其分别展示红、绿、蓝、白四种主要的像素颜色。这四种颜色也是构成视觉传播的要素,陶辉希望由此来指出这些颜色是如何影响人们看世界的,无论是肉眼中的真实世界还是数字世界。 这件作品还试图解释屏幕是如何被视为作品本身并升华其艺术地位和价值。此外,通过富有多种用途的屏幕,陶辉向观众展示其如何既可被用为娱乐工具又可被用为政治控制。

NM29BM3qCY4KyP9YTHuHiSbgOslVaYGrOp5kXuzr.jpg

跳动的原子 Pulsating Atom2019

单频高清彩色有声录像

Single channel HD Video, color, sound

14 min 12 sec

© 图片由马凌画廊及艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist


在装置作品《跳动的原子》(2019) 中陶辉着重于我们持续受数字时代影响的个人和集体状况。通过一个长高形的屏幕呈现由一相貌平常的中年晚会歌手播报每日生活的片段和来自电影短片中的旋律。这一作品反映当下社交网络的狂热现象,更特指中国社交软件“抖音”(Tiktok)。人们通过这一软件可以查看、创作、二次创造和分享各类用来短视频。作品中的晚会歌手和短视频并无关系,就如同通过抖音上的视频而产生连结但实际生活中毫不相干的人们一样。由此,呼应作品名称,这件作品试图阐述当下社会的原子化和一种出人意料的现象,即人们通过网络更加频繁地交流,孤独感却在与日俱增。


在展览的最后一个空间,两件作品同时播出并点明了事实在数字时代里的意义。在装置《白色建筑》中,操控台的基体是西方现代主义建筑的样式,而上面屏幕则播放著具有浓厚黄河流域传统风情的腰鼓表演和黄河的壮丽风景。用一种暗指权力的方式呈现人文主义的传统和起源,陶辉再次强调作品《屏幕作为展示主体》中的双重性,同时暗示屏幕对我们所见、所感和所为的不可见的操纵。一系列悬挂在墙上的全息图作品《全息照片 – 无题》(2019)再次强调了陶辉的这一思考。这组全息照片以繁复的全息成像技术呈现建筑模型,利用激光作为成像光源,每一次拍摄的过程都是一次高精度的建设过程。作品诠释人和自然的关系并质疑如今透过视觉和触觉的感知方法,同时还探寻真实的定义以及如何在虚拟现实间找寻真实。


通过上述的作品,展览“节奏与知觉”对存在进行了深入的探索。陶辉运用歌舞、娱乐、自然和交换的这些特属人类的语言来描绘人类的传播繁衍和其在数字时代下的重构。仅提供多一种批判的角度而并非为了批判,陶辉试图激起对人类自身、习惯和生存环境的感知,从而点明当代社会零散却又互联的状况。

DPbStvKsqeMvc4kGNbiQVQcSD5tA1WOx3c6XklCL.jpg

≡无题(全息摄影01) Untitled (holographic building 01), 2019

全息摄影、玻璃

Hologram, glass

25 x 15 cm

© 图片由马凌画廊及艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist

How we live and relate to each other in light of increased digitisation is at the core of ‘Rhythm and Senses’, the first solo exhibition of Tao Hui (b. 1987, Chongqing) at Edouard Malingue Gallery, Hong Kong. Tao Hui is a Chinese artist born in the city of Chongqing. Using the language of video and installation, Tao Hui expresses collective experience, the focus of which is often social identity, gender status, ethnicity and cultural crisis. Running throughout his work is a sense of misplacement, prompting the audience to face their own cultural histories, living conditions and social identities. Exploring the pace of our present existence and our responses to such, Tao Hui navigates through four distinct works the unstable complications we face, our shifting perceptions as well as spiritual needs.

‘Rhythm and Senses’ is a dissection of our contemporary condition in four parts, fleshing out the pulse of contemporary being, actually and virtually, and how it has impacted society. Sliding PVC doors carve the exhibition area into three sections, leading to individual contemplation of each piece. A sense of solitary viewership pervades, a state that relates to our personal experience in relation to an increasingly digitised world in which we are bubbled, yet linked. Tao Hui hints to a continued element of association, however, through the clear blue slithers in each wall slide that permit peering between each section, an allusion to our fractured yet existent connectivity. 

Entering the first space is ‘Screen as Display Body’ (2019), which sets the exhibition’s digital tone, presenting four screens on the floor aboard a shopping trolley, which respectively show the key tones of display pixels: red, blue, green and white. The core components of visual dissemination, Tao Hui points to how these colours are responsible for the way we view the world whether through our eyes in real life or digitally. The work, however, equally addresses how the screen can be considered a work in itself, elevating its status and value. Moreover, through its multifaceted use, Tao Hui addresses how it can be both a tool for entertainment and political control. 

4ly0Z1qHBMQ785Rw4GCbsyBdyGeiLGEEgVE0s6Yv.jpg

跳动的原子 Pulsating Atom2019

单频高清彩色有声录像

Single channel HD Video, color, sound

14 min 12 sec

© 图片由马凌画廊及艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist


Our individual yet collective condition as influenced by digitisation is poignantly captured in ‘Pulsating Atom’ (2019), an installation composed of a tall screen that presents a commonplace, middle-aged gala singer conveying fractions of everyday life to the rhythm of short movie clips. The work relates to the frenzy of social networking, more specifically the Chinese phenomenon ‘Tiktok’, an app that shares short video clips that people can view, produce, reproduce and share. The gala singer and the clips share no actual connection, much in the way the people who relate to each other via these shorts, building on each other’s contributions. As such, and as highlighted by the work’s title, it addresses the atomisation of society as well as the dissonance between greater exchange and increased solitude. 


In the final room the last two works are presented concurrently and relate to truths. "White Building" (2019) is an installation presenting a control panel of western modernist style, a display that contrasts with its content that depicts across a series of screens the native Huanghe waist drum dance and the area’s surrounding natural scenery.By presenting a humanist tradition and its origins in a manner that alludes to power, Tao Hui highlights the duality of ‘the screen’ as presented by ‘Screen as Display Body’ (2019) in the first room, but also alludes to the manipulation of what we see, feel and do. This consideration is further emphasised by the series of photographs hanging on the walls that present through laser holography architectural models rendered with exacting precision. The works address our relationship with nature and question our modern ways of sensing, through sight and touch, while pointing to truth and how we seek it amidst the virtual.


Ultimately, ‘Rhythm and Senses’ is an exploration of being. Using the language of dance, song, entertainment, nature, exchange - all the things that make humans human - Tao Hui addresses the propagation of humanity and its reformulation in the context of the digital age. Mounting a critique rather than being critical per se, Tao Hui prompts a sense of awareness as to ourselves, our habits and our surroundings. A prompt that points to a state of fracturing but also highlights the strings interconnecting our contemporary society. 

vqUsI5keCGX74O3kobSqpt99DqyBtZs8JR7gEPsS.jpg

≡无题(全息摄影02) Untitled (holographic building 02), 2019

全息摄影、玻璃

Hologram, glass

25 x 15 cm

© 图片由马凌画廊及艺术家提供

Image courtesy of Edouard Malingue Gallery and the artist

艺术家简介 About artist

陶辉1987年出生于重庆云阳,2010年以美术学士毕业于四川美术学院油画系,现工作生活于北京。他曾于2008年获得四川美术学院的“当代艺术档案特殊奖”,并在2015年荣获三亚艺术季华宇青年奖评委会大奖。2015年陶辉在SESC巴西录像艺术节“南部全景”单元上获得特奖,又于2017年先后入选HUGO BOSS亚洲新锐艺术家大奖和KINO DER KUNST电影节“国际竞赛”单元。他的个展包括:OCAT西安馆的“一点儿不多余”(2017)和北京尤伦斯当代艺术中心的“新倾向:陶辉”(2015)。参加的群展包括:上海当代艺术博物馆的第11届上海双年展“何不再问”(2016年);巴黎路易威登基金会的“本土:变革中的中国艺术家”(2016);上海K11基金会的“骇客空间”(2016);圣保罗SESC巴西录像艺术节“南部全景”单元(2013)。

1okFACVar0coE5HwmbTtYbqyAdZt9xkevUVukuZk.jpg

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