Far & Few Between 

隔岸

 

No Format Gallery, London, UK

3.3-13.3.2016

 

Artist-curator 

Lisa Chang Lee 李昶

 

Artists

 Haili Sun孙海力,Yingsheng Yang杨迎生 

 Le Guo郭洛, Jeremy Lee李培宇,Tian Mu田牧,

Lisa Chang Lee李昶,,Lin Yiman林伊蔓,

 

 

 

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 visualisation, 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.

 

 

 

孙海力——

 

生于60年代在英国生活工作20余年的艺术家孙海力此次展出两件大型的装置作品《卷曲的赋格曲》与《无题》。他的作品意在探索人造材料的可能性,从而将其嵌入到自然材料和环境之中已获得一种视觉与心理的全新体验。

《卷曲的赋格曲》在英文中Fugue即指巴洛克时期广泛流行的一种作曲方式,形容重复回环的曲调。这个词汇源于拉丁语中的“飞行”和“追逐”。同时这个词在病理学中指“神游症”。艺术家将其中隐喻嫁接在作品中,表达环境和心理的转换所带来的进退两难之困境。

《无题》作品中艺术家用PVA乳胶翻制身体的各个部分,再将他们分离重组,分别嵌入五块破碎的玻璃中。艺术家尝试借此传达物质和肉体的脆弱和精神的捆锁,以及纯粹自由的寻求与挣扎。

 

Haili Sun

 

Born in 1960 in Sichuan, China, Haili Sun has been working and living in the UK for over 20 years. The artist seeks to explore artificial materials in order to ‘permeate’ natural materials or environment to gain a new experience in a visual and psychological way.

In "Curled Fugue”, as the artist explained, a fugue is a polyphonic musical composition technique prevalent during the Baroque period. It is built on a theme which frequently repeats, and the term is derived from the Latin word meaning 'to chase' or 'to fly'. This musical form is transformed into a material form in this work, to deliver the effect of twisted emotions and the dilemmas of a changing environment. The 'border' is formed of the artist's travel tickets, postcards and maps.  Whereas in the “Untitled",the artist mixed PVA glue and plant sap. This mix was used to making 'casts' of various parts of his body, creating a 'skin debris'. These 'casts' are collaged, restoring the whole body onto five broken glass. The artist attempts to explore the fragile physical and spirit struggling to break free, as well as the spiritual illusory.

 

 

 

 

杨迎生——

60年初生人,杨迎生年来到英国至今已余30年。深受西方艺术思潮的影响,杨迎生的艺术创作始终着眼于将西方当代艺术理念与其自身的东方文化背景结合。杨迎生此次展出的两件作品 《隐形》和《另外一边》,前者来自于在一张有折痕的纸张上画一条直线,再将纸张展平,原本的直线中间依然呈现空缺的缝隙。《另外一边》是艺术家根据场馆现场制作的装置,取入口处像船舱内一样般的窗户,符号化的人形伫立向往外望,而同时路人也是由这三扇窗看见展厅的内部空间。二者都在彼此的另外一边。

 

Yingsheng Yang 

 

Born in the early 1960s ,  Yingsheng Yang has been living and working in UK for 30 years. Yang’s artistic attention has always been on how to combine Western contemporary ideas with his own cultural traditions. The exhibition display two works from him "invisible " and " the other side ".

 “ invisible” focused on a straight line drawn on a creased paper , then unfold the paper, It turns out in the middle part of straight line left a vacant slot still.

 " The other side " is a site specific installation work, the window entrance from the space look alike a cabin window while symbolic human figure standing and yearning outside, It can be also seen from the outside by passers-by through all these windows to the interior space. Both in each other's other side.

郭洛——

生于60年代已经在英国生活和工作了26年的艺术家郭洛此次展出了两件装置作品。

玻璃棉缠绕着黑色塑料管似乎从白墙上生长出来,包裹着金属的骨架隐约从缠绕的棉絮中反射银色金属冰冷而坚硬的线条。作品的名称Koan(心印)是佛教中形容心性,精神与理性和逻辑的矛盾状态。

Koan means paradoxical anecdote or a riddle that has no solution; used in Zen Buddhism to show the inadequacy of logical reasoning。

牺牲-一颗鎏金的剥开的石榴如祭坛的圣物一般被摆放在生锈了的烛台上,随着时间的推移,原本鲜活欲滴的紫红色石榴开始从腹内干瘪而鎏金的外表却还依然保持原样,一条金链从果实口中“流淌”出来,长长地悬垂着。

这尊被教堂丢弃烛台离开了神坛回归到其物质性本身,而石榴的作为东西方宗教隐喻中的常用符号也被以现实的形式呈现出来。

 

Le Guo

Born in the 60s, London based artist Le Guo who has lived and worked in UK for 26 years exhibited 2 installations for the show. A hugely ambitious work that boasts glass wool wrapped in black plastic tubes is installed by a petition facing the gallery entrance. The body seems to sprawl out from the white wall whereas wrapped metal skeleton vaguely reflected spills of flashes from the sharp fine lines from the wound cotton silver metal.The work is named Koan means paradoxical anecdote or a riddle that has no solution; used in Zen Buddhism to show the inadequacy of logical reasoning.

“Sacrifice” – the work presents a peeled gilt pomegranate as holy altar is monumentally placed on a rusty candlestick, by the time passing, the freshly dripping purple pomegranate starts to rot from inside and gilt shriveled appearance still remains intact on its own, a gold chain flow out, dangled in the wind.This altar candlestick was discarded by church and now left to return to its materiality itself. The pomegranate, as a metaphor of connecting Eastern and Western religions,is commonly used in different cultures has also been presented in the form of reality.

 

李培宇——

70年代末艺术家李培宇生于北京,后随家人移居香港,生活工作在伦敦十来年。他惯用生活中司空见惯的现成品,转换其原本被赋予的功能制作带有诙谐和调侃性的作品。此次他为展览创作的《不灵》想法原初仅仅来自一支废旧不用的吹风机。一个保留着手工痕迹的透明塑料袋构成的“热气球”在吹风机断断续续的工作中时而生气时而沉落。艺术家无意过多谈及其中的政治隐喻,观众能读取多少或者一笑了之都无关紧要。用其自己的话说,创作本身常常只是想骂一句“**妈*” 

 

Jeremy Lee

 

Artist Jeremy Lee was born in late 70s, Beijing. After spending the childhood there, he moved to Hong Kong with his family. He has now lived and worked in London over a decade.

 Jeremy unified readymade object as a way to shift its own function, transform and present something which is urging people to re-imagine through connecting humor and ridicule. The new work he created for the show is given name as " Not working”. The artwork from the original idea of a broken hairdryer blowing hot air to a handmade transparent plastic bag composed of " hot air balloon " metaphorical reflecting angry and fall into the scenario. The artist has no intention to touch much political metaphor regardless of how much laughing off from audience, which for the artist is not a matter of the fact. In his own words, “perhaps I just want to scold a f***** “

 

 

 

田牧——

80年代生人,旅居英国7年的艺术家田牧,其作品常采用叙事方式,对现成物进行重建,改造和嫁接。这些动作起源于艺术家对其收集的现成物的迷恋,这种迷恋引导着物件脱离了其本来的功能性,成为真空的个体和独立的存在。艺术家在此基础上施加一系列再创作,从而引发对自我和“已知”的疏离和反观,用清雅和诙谐的方式探讨诸如命运,轮回的推敲和思考。以一种独有的隐喻去寻求生命和非生命,现实与虚构的模糊界限。

 

Tian Mu

 

Tian Mu has lived in London over 7 years. He often uses a narrative way with found objects which formed with reconstruction, rehabilitation and grafting. These actions originated in the artist's fascination with its collection of objects . They are removed from the basic functionality then become individuals and somehow vacuumed to be independent existence. The artist applied a series of re-creation, discuss self and the known in an elegant and witty way to explore such as the human identity and body reflection. Regarding fear in relation to his childhood incidents when fell into a ditch infested by insects. This leads to a conclusion where he expresses this concern of the dissolution of the boundaries between fiction and reality as a metaphor to seek living creatures and transmigration.

李昶——

生于80年代, 身为策展人和艺术家的李昶的作品关注时间与精神,个人存在的精神性和客观世界之间的关系。她的创作语言跨越多种媒介,同时又隐晦地渗透着独特的东方视角。此次展出的作品《栖息地》灵感来自于她个人旅居各地的经历。飞机起降时对城市的鸟瞰,像是中国古典绘画中的山水长卷,徐徐拉开。此时无论故城或是新景,都骤然变得陌生起来。眼中呈现得的一个宏观的有机体,水泥森林此刻凝重地静止了,成为风景,成为固态的图案——广袤大地的人造延伸。而此时个体被隐去,语言,肤色,文化统统成为看似无足轻重的异体。

 

 

Lisa Chang Lee

 

Born in the 80s, Lisa Chang Lee has been working in both London and Beijing for 4 years . Penetrated with the idea that ‘mentality is always ahead of languages ‘, Lisa Chang Lee’s work involves various mediums including moving images, sound, still images (printmaking, photography, drawing, etc.) to achieve an interactive stage of transmission between artist and the audiences. Whatsoever her work is always tactfully refined to be minimal and seemingly effortless. The intention anchors deeply to the oriental philosophy- the nothingness and harmlessness, revealing the artist’s perspective of individual existence, sensations, experience of time and space alternations.  

The exhibited work Habitat-1 stemmed from the artist’s experience of bird viewing a destination city while taxing. The duration of anxious and restless gaze seeking traces of familiar blocks,streets, buildings, windows, following a certain common formula of human habitat. The artist is intrigued by the contradiction between everyday experience in a city and being 'unplugged' then driven-off to see the machinery from above. The non-perspective landscape is reconstructed by numerous small frames. It becomes a patternized scroll of  an organic body, whereas individuals are faded away from the scene like ants on the floor.

 

 

林伊蔓——

90后艺术家林伊蔓长期以来关注海外移民生存状态和文化差异与融合话题, 展出影像作品《福星超市》以客观镜头的视角深入坐落于伦敦华人超市,让观众首先置身于摆满东方商品的货架之间,随着不断进出的西方顾客和门外进出的伦敦标志红色双层公交,中英交杂的对话,等等。观众才渐渐将开篇时的预设矫正。

作品和在同一空间展出的影像《栖息地-1》形成鲜明的反差, 深入到一座城市的细胞内部却同样用一相对客观和冷静视角,观看,接纳并转述着现实,或者说一个没有故事的故事。

 

Lin Yinman

 

Lin Yiman was born in 1990 to the south of China and has long been focused on living status of expats and multi-cultural realms in the age of globalization. The exhibited video works "Fuxing Supermarket”, in the perspective of an objective lens, is located in a Chinese supermarket in London. Began with a scene filled with Oriental goods throughout  the shelves, the camera was set objectively inside the shop. All of such are almost disorientating. Not until London's iconic red double-decker bus, mixed Chinese and English dialogues with western customers walking in and out, an viewer could finally reconnect to the place, which underlying an integration of conceptual base added to her international cultural identity. In contrast with the work "Habitat -1” allocated in the same room, Lin Yiman’s work looks at  a city from a completely different angle. Instead of zooming out, the camera was zoomed into a micro cell of the machinery telling narratives of people by withdrawing cross-sections of reality.