交换价值 EXCHANGE VALUE
开幕式 OPENING:4.27 周六 SAT 16:00-19:00
展期 DURATION:2019.4.27-2019.5.19
策展人 CURATOR:杨蒨 Qian Yang
艺术家 ARTIST:Hilary Koob-Sassen, 刘鼎 Ding Liu, 高磊 Lei Gao,任莉莉 Lili Ren,陈伟 Wei Chen, 杨熹 Xi Yang,钟云舒 Tant Zhong, Oceane Huaqing Francioli
* Please scroll down for English version.
生命是流质的。
从一个胚胎,
到细胞分裂,
DNA塑造了生命的语构。
身体,
是细胞代谢的基础设施。
损耗于日常劳作,
却无力保护自己,
受遭于基础设施的脆弱。
雕塑就是生命的剧场。
其初衷在于复刻生命,
它的目标是如浮士德,
以其死后的灵魂,
交换创作的价值。
陈伟的作品“16个器皿”,借由古老的陶瓷语言,回归到“物”本身;现场的行为表演,洞察当下社会结构下人的生存处境。“白化人”的影像作品,身体如古希腊雕塑,充满诗性之美。而其因病理因素所引发的生理特征,如畏光、流泪、眼球震颤等细微症状,又将观众的视线拉回到现实的观看当中。
皮肤是我们感触周遭世界的一种媒介,但同时也是一种屏障。肉体被保护的同时,也被阻隔与规范,我们受困于皮肤之中。它的颜色、光泽、平滑程度、美学与健康状态等都限定了人的身份,让人无处遁逃。皮肤疾病的病态,本身是被社会偏见围困下产出的定义,是对审美的绑架。任莉莉的雕塑“当我剥落时”将衰败的、布满斑驳白斑的皮肤放大呈现在海绵上,与被精确切割加工完成的粉底色的固态“水洼”形成反照,呈现出被掩饰和被暴露的感官体验。
任莉莉 Lili Ren《当我剥落时》You will never be beautiful enough for them
Mixed media, Site-specific 综合材料,因地制宜, 2017
Océane Huaqing Francioli的作品“身体和身份作为对象中,通过去功能化两把椅子,以及她与朋友们的互动表演,重新探讨了椅子的使用价值。杨熹的作品来源于感知的狭缝中产生的记忆、情感等感性世界,以直觉来捕捉和归纳抽象的形态。她以织物、塑料纤维等软性材料,塑造作品坚固的肉身,其内在能量延伸出一种可控的失控。
Océane Huaqing Francioli, "Physical Body and Identity as Object V.2," 2019
身体和身份作为对象
Video performance, 15’42’’视频表演
钟云舒的作品隐含事物于形式及美学上的认知,这些认知或许荒谬,然而其间所产生的对抗正是艺术家企图挑战的。作品“盆景”中拥有自然生命中的真实,也有生命消失后的痕迹。用物培养出的人造植物,一次性餐具的脆弱,塑料网的残忍,都是繁衍的终结。没有水分的枯枝和没有土壤的大楼,岌岌可危。但是不用担心,组织和结构会自我更迭。
Tant Zhong 钟云舒
potted landscape 盆景
渔网, 一次性水杯、吸管、陶瓷、花盆 Fishing net, disposable cups, straw, pot
因地制宜, site-specific
高磊的雕塑“遭遇”由现成人工物与自然物彼此嫁接建构,模拟了一次被各种非自然外力所扭曲的生命历程。其中一根造型扭曲的钢筋,来自于2017年初上海近郊一处大型农贸市场的拆迁现场;而象征生命起点与终点的赤裸虚空形态则被两个自然植物椰子壳所填充。作品“栖”呈现了其自我的遭遇。2019年初,他的仓库遭遇拆迁,在多次搬迁往返,被驱逐的过程中,仓库门口的一棵大樟树被依次锯成几段,散落在拆迁现场,最后逐渐沦为拆迁工人干活之后休息吃饭的座椅。
刘鼎的艺术创作与展览实践从思想史的角度出发,积极地反映了文化、艺术和政治权力与中国现当代历史的联系,在中国当代艺术与文化的思想根源处回响。在这组涂鸦式的绘画作品“无政治身份者”中,反复出现的美国卡通《猫和老鼠》的形象,以及充满斗争感的诗句,在画面中互为角色、互不代表。
Lei Gao 高磊, 遭遇 Encounter, 2017
螺纹钢水泥椰子壳,105x95x30cm
刘鼎的艺术创作与展览实践从思想史的角度出发,积极地反映了文化、艺术和政治权力与中国现当代历史的联系,在中国当代艺术与文化的思想根源处回响。在这组涂鸦式的绘画作品“无政治身份者”中,反复出现的美国卡通《猫和老鼠》的形象,以及充满斗争感的诗句,在画面中互为角色、互不代表。
刘鼎 Ding Liu, 无政治身份者 Apolitical Figures,2016
acrylic on canvas 布面丙烯, 70 x 55cm
Hilary Koob-Sassen的电影在诗歌、音乐和句法意象的变标量剧场中流动。故事板来自于他的最新电影“如何攻克基建难题,使生命及时栖居大地”,呈现了但丁天主教景观式的标量生态位上的战争,曲径通幽——走出标量束缚的洞穴,通往人类未来的物质生活。与此同时放映的,是他2009年的电影《基础设施的信仰》,它进一步支撑与构建Koob-Sassen构想的语法和规模的形而上学。章鱼从水中,探深教堂的塔尖。去那座先锋花园——现代物质主义的经济花园,我们只有开船;这艘宝藏船,开往标量生态位,在哪里? 所有人类的梦,透明的互相重叠。
“交换价值”是策展项目“li-qui-di-ty”的最后一幕。它是关于策展的行动,是“有机的”,是诗本身。四幕的叙事是偶然性的、关联性的、实验性的、并相互融合的。在这三年迂回的策展旅程中,策展人以她的身体,抵抗着艺术的交换价值。
Life flows.
From an embryo,
To cell division,
DNA forms the syntax of life.
The body is the fundamental apparatus,
Runs by cell metabolism
Being consumed in daily wear and tear,
Is unable to protect itself
From being a vulnerable infrastructure.
Sculpture is the Theatre of Life,
Its intent is to re-embody life.
It aims to be like Faust,
Staking its soul after death,
In exchange for the value of creation.
Chen Wei’s work 16 vessels, 2019 based on the ancient language of pottery, guides the sight of the viewers back to the “object” itself. The on-site performance reflects the living condition of people at present from his point of view. In his video installation albino, 2018the body appears as ancient Greek sculpture, full of poetic beauty. However, specific physiological features caused by pathological factors, such as photophobia, tears, nystagmus and other subtle symptoms, bring the viewer’s sight back into reality.
Skin is the surface through which we experience the world around us. The body is protected yet trapped and regulated by the skin. It's color, luster and smoothness, aesthetics and health-state all frame and represent who weare. Lili Ren draws attention to skin disease. The pathological definition of skin disease is set under the onslaught of social prejudice, which is a way of hijacking aesthetics. Her piece You Will Never Be Beautiful Enough for Them, 2017 creates an emotional, physical and sensory experience, which the audience can immerse in. It magnifies blemished, mottled skin into a spongey texture, standing in contrastive relation with those solid puddles of cosmetic foundation that are precisely cut and finished.
任莉莉 Lili Ren《当我剥落时》You will never be beautiful enough for them
Mixed media, Site-specific 综合材料,因地制宜, 2017
Océane Huaqing Francioli’s piece Body and Identity as Objects,2014 explores the use value of chairs by defunctionalizing and interacting with them. Yang Xi's works come from the world of memory andemotion grasped through the narrow gap of perception, and from abstract forms captured and summarized by intuition. She uses soft materials such as fabricand plastic fiber to create the palpable fleshliness of her works, with aninner energy in which one senses a controllable loss of control.
Tant Zhong’s works imply the cognition of form and aesthetics, which may be absurd, but the oppositions therein are precisely what the artist attempts to challenge. Her site-specific work Potted Landscape, 2019 contains the reality of natural life and traces of life’s disappearance. The use of things to cultivate artificial plants, the fragility of disposable tableware, and the cruelty represented byplastic mesh reveals the endpoint of procreation. Dry branches without water and buildings without soil are at stake. Yet, let’s be optimistic! For the organization and structure are self-sufficient.
The sculpture Encounter, 2017 by Gao Lei, is constructed out of artificial artifacts and natural objects, simulating a life course that is distorted by various unnatural forces. One of the distorted steel bars comes from the demolition site of a large suburban market in Shanghai in early 2017. The naked void form symbolizing the beginning is filled with two shells of coconuts, which grow naturally. The work Perch, 2019 presents its own encounters. At the beginning of 2019, Gao’s warehouse was demolished. During the process of his expulsion, a large camphor tree at the entrance of the warehouse was sawn into several sections over time, scattered on the demolition site, and eventually used as seats for the demolition workers to rest on after eating.
Liu Ding’s practice actively reflects the connection of culture, art and political power to Chinese modern and contemporary history from the perspective of intellectual history, while echoing the ideological roots of Chinese contemporary art and culture. In this set of graffiti-esque paintings titled Apolitical Figures, 2016 the images of the cat and the mouse from the American cartoon Tom and Jerryappear over and over again, together with confrontational lines of poetry. Both components allude to eachother, without representing each other.
Hilary Koob-Sassen’s films flow through a trans-scalar theatre with assemblages of poetry, music and syntactical imagery. The storyboard of his upcoming film How to conquer infrastructure finance and colonize the scalar niche for life in time presents a Dante-esque, Catholic spectacle of war for scalar niches, followed by a path out of the cave of scalar constraints, leading to the material life of the future. The simultaneously shown film Faith in Infrastructure, 2009 further introduces the metaphysics of syntax and scale running under and through Koob-Sassen’s proposals. The octopusin the warm water dives towards the church spire: to reach that avant-garde garden—the economic garden of modernist materialism, sailing is the only way. Where is this treasure ship bound for scalar niche? All Humanity’s dreams overlapped as transparencies.
Hilary Koob Sassen, Screenshot of Faith in Infrastructure, 2009
基础设施的信仰,2009 电影,15 min versions
As the last Act of the curatorial project li-qui-di-ty, the exhibition Exchange Value is about curatorial actions. It is ‘organic’, generative, and a poem itself. The narrative of four Acts is contingent, relational, experimental, and mutually convergent. In this three-year circuitous curatorial journey, the curator resists the exchange value of art with her body.
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