No Format Gallery, London, UK
Lisa Chang Lee
Haili Sun, Yingsheng Yang, Le Guo, Jeremy Lee, Lisa Chang Lee, Tian Mu, Yiman Lin
“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.
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说,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。
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.
Printmaking’s 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. Print’s 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
Online article about this exhibition: