Repetition interests me in the context of traumatic memory. Trauma is characterized by a disjunction between what is happening and what"I" is able to consciously understand. Traumatic experiences cannot be processed, the subject that is supposed to experience them dissolves around them instead.


One of the result is that since the thing can't have happened, it keeps happening, repeating itself.

-----------Pauline Emond





吉尔斯·德路兹(Gilles Deleuze







" I do not repeat because I repress. I repress because I repeat, I forget because I repeat. I repress, because I can live certain things or certain experiences only in the mode of repetition."

Gilles Deleuze, Difference and Repetition.

Repetition has always been central to my practice. I mainly work with drawing and printmaking (which as a process also deals with copying, duplicating, repeating).

 In everyday life repetition is often associated to the realm of monotony and banality. However, in a broader spatial- temporal level repetition is not always predictable, sometimes dimensions appear to divide and duplicate and sometimes we experience the uncanny feeling of déjà vu as things come around again. It is a force far stranger and complex than we might ever imagine. David Hume [1] proposed that repetition changes nothing in the object repeated but does change something in the mind which contemplates it. Likewise, for me each pencil mark or each printed layer, is not just an inscription of the drawing on the paper's surface but it's also a projection through time and an imprint of an inner journey.



In Untitled (2014), the black rectangle functions as a barrier that disallows a penetrating gaze. The multiple layers of black (screen-printed again and again) and the way the black shape suffocates what is pictured, aim in removing, separating the image from the event it depicts, allowing in this way to the viewer to re-imagine and recover the image. There is definitely something uneasy about the relationship to be had with this image.

In Refugees set off for the beach (2014) I used various silver paint markers with different opacity and nib width, in order to obscure and re-render the image to varying degrees and create different tonalities within the image. My effort focuses on subtly suppressing certain elements of the picture in an effort to accentuate their very presence. Because of the way  the image is made (miniscule silver pen marks that reflect the light), the viewer is led to perceive obscured past events affected by changing lighting conditions and the angle by which they are seen.

------Anastasia Mina





--------麦克斯 帕玛

Human behavior is mostly determined by repeating patterns (routines), triggered by certain stimuli. Learning and recognizing these patterns allows us to function in an increasingly complex environment. Future actions don't have to be newly developed as they become necessary since we can draw from an archive of previously learned actions and previously encountered stimuli. The counterpart to this man-made code of behavior is the actual range of action all possible actions, rather than just the one the human brain determines to be the most accurate for a certain stimulus. In the beginning I studied the human need (and desire) to constantly categorize it's environment in order to maintain functionality and the resulting discrepancy between objective reality and social fact. Soon I discovered that my own need to categorize in many instances had nothing to do with the preservation of functionality. I was categorizing for the sake of categorization- collecting repeating moments, as if at some point I would have a bigger understanding of what was going on around me. I was using the only system that I had at hand, trying to understand processes that perhaps could never be explained through this system.




--------詹思敏 艾岛博纳

Repetetive processes always include thoughts of recreating reality. In our mind we have recourse of a collective archive, which enables us to associate similar perceptions of things. So in my work I requote and trace back those kind of inner pictures.

---------Jasmin Edelbrunner



-------克瑞纳 曼德斯基



Where I find the repetitive system within in the nature, trees in the forest, mountains in the countryside or is the movement of the water and the sea. Nature never stops, it runs in cycles, always transient, always recussing.All of my works are related to nature. When I visit a forest I often feel like I want to take it home and share it with others, but that would be impossible. Through art I learned to express emotions, which gave me a way to create a representation of the things I experience in nature.

-------Karina Mendreczky








My concepts are generally driven by scrutiny and questioning of general human behavior and are often developed by way of repetition employing comparison, parody, irony and humour.


The four images I am showing here in response to the theme of 'repea't all operate by enabling comparison by way of repetition. 'Attitudism' 1983-87. In which I have asked artist friends to pose for me exhibiting the main universally recognised facial expressions of happiness, surprise, fear, sadness, anger, disgust and interest. I have then presented the outcome in a grid which reveals aspects of the individual artists characters by way of their attitude in response to my request.


With '200 Tongues' 2003 the gesture of extruding the tongue is repeated to illustrate how it has shifted from its original expression of rebuke toward provocation or ecstasy and how this is backed up by its proliferation in media and advertising. War and Peace 2009 is again in consideration of the mixed messages received from common gestures, By bringing together the different eras and cultures within which the V sign has been and still is used, from antiquity through to its contemporary use, I'm debunking the taboo that had been associated with the gesture by rendering it as virtually meaningless.

'The Beauty Contest' is working in a similar way with the comparison of statues, again across time and cultures. In this instant via repetition it is suggesting that the originality and craft within the

sculptures has rendered the viewers perception of art to that of a beauty contest.


------Dick Jewell





When I received the proposal from the curator about the exhibition Repetitive/spiral, I knew that it had a bit in common with my current works, although I hadnt produced my art on the basis of the theme. However, what is interesting is that this is often the pattern: artworks being reinterpreted. If you think about it carefully, such harmony may be derived from the basic principles of printmaking. Laozis one gives rise to two, two to three, and three to everything and Shi Taos one painting theories both share the same conceptual interpretation. The repetition in printmaking has two results: one is a stylistic change, i.e. from traditional quantitative change to change in quality; the other is surgery-like genomic sequencing, from the inception of the work, to abrupt changes in the art medium. Of the two, I opted for the latter. Perhaps such a theme reflects the impact on our individuality of the entropic process of the society.

---------Jiang Chao





As a medium of art creation, prints pluralistic and technical production vividly portrays the connotations and extensions of the theme: repetitive and spiral.

--------Chen Zhao





Several dozens of repetitive canvases are being obscured and hidden each by a different language, with identical contents being reduced and each canvas becoming a bit more independent, before a new visual equilibrium is established on the basis of destruction. Each canvas is fully autonomous, with no images covered, reminding the viewers of the origin of the whole series. 

------Zhang Wan


“重复”构建期待和期望。重复可以表现为“双重” —— 一次性复制对二元关系提出直接质疑:真实与复制、原件与仿制品,原作的独一无二与复制件的永恒存在。当重复表现为多次复制时,它建立的是一系列的反复,从而引发连续叠加的设想。


在我的作品中, 已经出现过的视觉符号时常被提取并重新使用。通过这一行为,我想探讨观众怎样去看待那些在不同作品中重复出现的符号和图像,特别是在新画面中局部被重复或摘录的符号。此外,当作品中的符号和图像被转换及使用时,观众与作品、我与作品、观众与我的距离又会产生什么样的转变?





Pergamon Foil (2014­现持续)


Pergamon Foil2014开始,是一件持续进行的作品。这件作品是场域特定装置绘画,其数量、组合与排列呼应不同的展览场景。

Pergamon Foil像子弹一般的形状来自于我之前的另一幅画作。在那幅作品里,这个形状给画面赋予了一种方向感,起到了构图的作用。而在Pergamon Foil里,每片形状中的各个图像来源于锡纸的放大图,以及美国艺术家Larry Bell近期的新光线投射作品的截图。

这件作品探讨艺术家重复使用图像和视觉符号的权利,以及重复性在艺术中的角色。作品持续累积,其中重复的图形建立了一种对连贯性和同一性的期待。但与此同时,Pergamon Foil中每一个图形中的画面从不重复。这种二元对立的特性也是选择锡纸为画面的决定因素,因为锡纸在折皱后虽然“碎裂”,但仍然是一个整体,正符合这种二元性。那么,重复引发的是一种期待和整体性的感觉,还是其中包含的差异和个体性呢?



Repetition is the building up of anticipation and expectation. Repetition can be conveyed as a double a duplication that raises direct questions around the real versus the copy; the original versus imitation; and the unique versus immortality of the reproduced. To duplicate more than one time, a repetitive field is established, from which assumptions are evoked to suggest continuous reiteration.

Fields of repetitive motifs are often built in my work, to construct a ground layer within which I then attack by bringing in other disparate, context-specific motifs. This is to look at how elements from different contexts confront each other, and how new hierarchies and associations emerge when disparate motifs are juxtaposed together.

Often, parts of a figurative motif used in one of my works are extracted and employed again in subsequent works. Through this, I want to examine how the audience may relate to a repeated re-occurrence of the same motif or image, when clues are only partially given. Moreover, it is to explore the changes in distance between the audience and my work, when the transformation and reorganization of previously employed motifs become perceivable throughout the works.

Hence, in my work, repetition serves as a way to challenge assumptions. Through excessive repetition or duplicating an image, I want to direct the viewer to re-think the imagery in front of them. Repetition allows a distortion, or makes redundant the original meaning and significance of the motifs in question. Works thus become more about painting, about space, rather than a description of the motifs that are repeated.


Pergamon Foil (2014-present)


Pergamon Foil is an ongoing project. The shapes have been continuously produced since 2014. The installation configuration for this work, including the number and arrangement of the shapes, is site-specific.

The bullet-like form of the shapes is appropriated from a previous painting. This shape was originally a compositional solution to that painting, where it provided a sense of direction in the painting. The painted image in each shape comprise of enlarged photographs of crumpled aluminium foil, and also enlarged sections of Larry Bell's new light interference paintings.

More shapes are continuously added to this ongoing project. This allows the building up of expectation of continuity and sameness through repetition. However, each of the painted image in Pergamon Foil is individual and never repeats. This duality is also iterated through the painted aluminium foil in the work, as when aluminium foil is crumpled and thus broken, it still exists as one entity. Does repetition propel a sense of wholeness through its projection of expectation, or does it actually highlight difference and singularity when one realises its role in devising such expectations? The work examines the authority of the artist in re-employing visual references within ones practice, as well as the role of repetition in works of art.


-----Vivien Zhang



重复,能生长出离一个既定的时间。这个过程由一个模板(底片)开始,而模版终 会成为多余的、废弃的一块材料被扔进垃圾箱。 然而其间的衍生物便自成体系成 就了一番新的天地。以迈克尔斯诺 (Michael Snow) 的作品《行走的女人》(Walking Women)中的模版为例,由这些剪切图形衍生而来的雕塑和摄影作品才完成了艺术 家的意图,表达着空间及时序关系。斯诺曾写道:“我任意地推进着我任意选择的 主体:它的用意是不可预见的。机运。我抓住机会把抽象艺术中发生的事物‘带向 人格化’。”去重复就是去稳固,去确认,去扩展,从而把我们的思路赶出他固有 的区域。 所有的事物都在行进当中,无论是我们创造的事物还是创造我们的事物。重复的动 作从某种程度上来讲埋藏了变化,掩盖了那些重复中生动细微又隐蔽的个体革新。 重复呼唤一双敏锐的眼,一双能观察到微小动态的眼。我希望我的作品是这样一双 眼,带着观者去看那些不可预见。


Repetition is about stemming out of its own time. The process of a repetition starts with a stencil (the negative) that later becomes the forgotten bit of material that gets chucked in a bin. It is the derivatives that form a brand new universe. Michael Snows cutout Walking Women for instance, the sculptures themselves became representations of a spatial and sequential relationship. Snow once wrote I arbitrarily continue with an arbitrarily chosen subject: it was not designed for uses that could be foreseen. Chance. I take a chance draw personification of things that happened in the abstract art. (The collected Writings of Michael Snow: The Michael Snow Project) To repeat is to empower, to confirm, to expand, and to drive our thoughts out of its set domain.

Everything is on the go, either the thing that we create or the thing that created us. The gesture of repeating buries the procedure of self-transformation toa certain level where it is also proposing a vivid micro view of this mild revolution through its hidden modification of individuality. Repetition is screaming for a pair of keen eyes, a pair that could scrutinize its subtle movements and departures.


-----Meiyi Wang







Repetition of units in my collection brought audience a visual order of "similar difference". The haze is currently a great issue and a natural outcome of the fast development of modern society especially in China. However, as an individual, people can also relatively perceive a invisible haze, composed by the confusion, desire or any other ingredients because of the same context, namely, the rapid change of everything around ourselves. The five repetitive frames and structures respectively display the haze index of one year of the five cities where I was born, grew up, studied and live. I believe the process of data visualization is a permeating process from subjective emotion and thinking to the objective data. The five units that seem to be repetitive reflect my "similar but different" perceivable and emotional journey and experience in my different stages.

-----Liu Jiayu

[1] Hume, David, A Treatise of Human Nature