Far & Few Between  隔岸

No Format Gallery, London, UK

3.3-13.3.2016

 

Artist-curator 

Lisa Chang Lee

 

Artists

 

Haili Sun, Yingsheng Yang,  Le Guo, Jeremy Lee, Lisa Chang Lee, Tian Mu, Yiman Lin

 

 

展览序言

《隔岸》是一个先有艺术家再来生成主题的展览,以目前生活和工作在伦敦的7位艺术家的视角,探索个体身份和界线之间的关系,艺术家,作品和阅读之间的关系。这里的界限即是政治的阈限也是地理的域线;即是种族,个人的界限也是心理和精神的域限。展览的目的不是声明态度而是倾向于提出一个或是多个疑问,对于历史,种族,个人存在与徙居之所的关系。旅英亚裔几代艺术家作为一个群体同时出现在展览空间,让时代的差异模糊了,换言之这种难得的打乱和融合让艺术作品作为“结果”和“窗口”贯穿起半个世纪的精神映像。

 

 

 

Preface

“Far and Few 【Between】” explores identity from the perspective of Chinese expats now living in the UK. Considering 

geographical, cultural and political boundaries, this exhibition examines the physical and psychological relationships between individuals, races, history and environments. The concept also implies a circular act of gaze occurring between artists, artworks and their audiences, where visualization, interpretation, and ambiguities are nourished. This exhibition examines the activity of observing; the projection of the self and consciousness; ones understanding of the outside world; and the seemingly definitive conclusions drawn from such acts of observing, projecting and understanding.

 

 

Repeat/Spiral  重复/衍生

An exhibiton hosted by China Academy of Fine Arts as part of Impact 9 International Printmaking Conference

Renke Gallery 9.2015  Hangzhou,Zhejiang Province, China

版画制作对材料和媒介的依赖决定使用这种媒介的艺术创作是一个不断制作,返工,再推进的过程。 每一次刮刻、对版、释压赋予每一张看似相同的作品独一无二的生命。 这种源于“印”的复制性,以及与后现代图像文化的关系,已逐渐超越了其作为媒介的物理功能,成为广泛被运用的形式语言,衍生出更深层次的社会人文意义。从手工制版到机械化印刷,从纸面到数字世界,延伸一步到不断重复出现的影音信息等等。正如英国作家Will Self,我们生活在一个“后图像时代”(post-image)21世纪的生活已经到达了一个视觉超载的极点,目之所及若非我们制造的图像, 就是图像被他人所造。娱乐节目、广告、路标,不胜枚举.他们嵌入我们的生活里,被不假思索的接受并 习以为常,成为一种文化符号。于是这种重复就不再是简单的周而复始,而成为一种螺旋衍生的蝴蝶效应。 同时当代艺术的着眼点又越来越不可回避的渗透进社会文化和经济的各个层面,艺术家们关注重复而平淡的“日常”, 又用多样的形式语言切入日常背后的更深的层面, 提出怀疑,问询或是追溯,甚至是挑衅。

此次展览希望提供一个开放的场,没有媒介的限制也不施予评断,更侧重的从国际和多元的视野呈现给观者一个当下的多重切面;同时作品与作品之间在这个场之中又产生有意思的呼应和新的关系。我希望在这种“呈现”中讨论并探索“重复”之于“衍生”的关系和中外艺术家们在知觉或无觉中对复制性 这个动作的运用与再创造。于是,展览本身也成为“衍生”过程的一个节点,在现象中延续下去。

 

20158

 李昶

 At the juncture of the 9th Impact International Symposium (2015), using traditional printmaking language as the basis, this exhibition seeks to explore the possibility for traditional prints to have a more profound and far-reaching impact on the art scene, against the backdrop of contemporary art development.

 

Printmakings reliance on material and medium means that the art form thus derived is a process of continuous making, reworking and progression. The engraving, etching and decompression methods employed in printmaking render similar-looking prints unique in their own ways. Prints reproduction and its association with post-modern pictorial culture have gradually transcended its physical functions as a medium, and prints have become a widely used stylistic language, resulting in social and humanistic significance that is more wide-ranging.

 

From manual printmaking to mechanical printing, from the world of paper to the digital world, to an age in which video and audio signals keep bombarding us. As Will Self, the British author says, we live in a post image. In the 21st century, life is rife with visual excesses. Everywhere we look, we see images in abundance, either by our doing or by our contemporaries. Entertainment programs, advertisements, road signs, just to name a few, have invaded our life and been taken for granted as symbols of culture. As a result, such repetition is no longer a simple cycle but a spiral with the butterfly effect. At the same time, the focus of contemporary art has become inevitably and increasingly intertwined with every facets of social, cultural and economic fabric. Artists pay heed to the repetitive and plain banality of daily life, and question, enquire into or provoke interest in factors underlying such banality, with languages expressed in a myriad of forms. This exhibition hopes to provide an open and free space, without constraining and commenting on the art medium. Instead, it seeks to emphasize through international and diverse perspectives the multi-faceted contemporary life. The exhibition discusses and explores the interaction between repetition and spiral, as well as the utilization and re-creation of the repetitive process by Chinese and foreign artists in a conscious or unconscious manner.

 

Thus, the exhibition has become a node by which it turns into a spiral process. 

   

 

Lisa Chang Lee

8.2015

 

 

Online article about this exhibition: